Posted Jan. 24, 2012: David E. Morris, assistant professor of theatre, designed the scenery for Young Jean Lee’s Untitled Feminist Show, which had its World Premiere at the Walker Art Center in Minneapolis, Minn., in early January, immediately followed by the New York Premiere at the Baryshnikov Arts Center on W. 37th St. Reviews have been more »
Posted August 23, 2010: David Evans Morris, Assistant Professor of Theatre, was nominated for a Henry Hewes Design Award for his scenic design of Young Jean Lee’s LEAR at SoHo Rep, which premiered in New York City in January of 2010. The Hewes Awards are given out by the American Theater Wing (the same organization more »
Posted May 25: Since its inception in 2004, the WILLIAMS COLLEGE SUMMER THEATRE LAB has served as an opportunity for Williams students, as well as returning alumni professionals, to work in a theatrical environment free from commercial and critical pressures. The Lab’s goal is to nurture theatrical projects that foster creative experimentation, artistic risk taking, more »
Posted May 1: Peter Erickson, visiting professor of humanities, has published “Black Like Me: Reconfiguring Blackface in the Art of Glenn Ligon and Fred Wilson,” in Nka: Journal of Contemporary African Art 25 (2010). The article shows how two African American artists address a standard text from the early Civil Rights Movement, Black Like Me more »
Feb. 4: Peter Erickson, visiting professor of humanities, has conducted an extensive, wide-ranging interview with the African American actor Harry Lennix, whose roles encompass both Shakespeare and August Wilson. “From Lear’s Button to Harmond’s Paintbrush: A Conversation with Harry Lennix” appears in issue 102 (January 2010) of Transition, a journal published under the auspices of more »
Jan. 4 Peter Erickson, visiting professor of humanities, has published “Black Characters in Search of an Author: Black Plays on Black Performers of Shakespeare” in the collection Weyward Macbeth: Intersections of Race and Performance (Palgrave, 2010). This article examines the varied critical perspectives generated when contemporary black dramatists focus on Shakespearean performances by black actors.