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GALLERY OLIVER TWIST Video Images Jason discusses OLIVER TWIST with the Vermont Stage Company's Artistic Director, Mark Nash. Using Charles Dickens' original words, a handful of tunes composed by local musician David Symons, and a chameleon ensemble of actors featuring some of Vermont's finest performers, Neil Bartlett's powerful new version of Oliver Twist brings the dark underbelly of nineteenth-century London back to bold theatrical life. The unforgettable characters - Fagin, Nancy, Bill Sikes, and the Artful Dodger - inhabit a world filled with images of danger and fear, innocence and hope; a world seen through the eyes of an astonished child. OLIVER TWIST Add a Title Neil Bartlett Dickens — and Bartlett in this adaptation — focused on the brutality toward the poor by 19th C society." The parallels between the Victorians and how we're treating immigration today, as if it's somehow these people fault..." An adaptation that really embraces 19th-century theatrical storytelling: theater as spectacle, theater as melodrama. ..one of the Burlington professional company's most compelling and entertaining productions to date” Neil Bartlett OLIVER TWIST OLIVER TWIST An adaptation that really embraces 19th-century theatrical storytelling: theater as spectacle, theater as melodrama. The parallels between the Victorians and how we're treating immigration today, as if it's somehow these people fault..." Dickens — and Bartlett in this adaptation — focused on the brutality toward the poor by 19th C society." Times Argus One of the Burlington professional company's most compelling and entertaining productions to date” Times Argus Dickens — and Bartlett in this adaptation — focused on the brutality toward the poor by 19th C society." Times Argus Neil Bartlett OLIVER TWIST OLIVER TWIST An adaptation that really embraces 19th-century theatrical storytelling: theater as spectacle, theater as melodrama. The parallels between the Victorians and how we're treating immigration today, as if it's somehow these people fault..." One of the Burlington professional company's most compelling and entertaining productions to date” Times Argus

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Venue / category : Vermont Stage Company All projects Original work Independent theatre Theatre Askew Post Theatre Company OLIVER TWIST Neil Bartlett View More OPUS Michael Hollinger View More VANYA VERMONT Chekhov, Kathryn Blume View More

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POST THEATRE COMPANY: LONG ISLAND UNIVERSITY KANDER & EBB CABA RET Joni Mitchell sang, “You don’t know what you’ve got ’til it’s gone.” In Cabaret, freedom teeters on the edge of extinction—and no one seems able to stop it. Or stop history from repeating itself. G A L L E R Y C L O S E Personal transformation is a focus of director Jason Jacobs’ interpretation of Shakespeare’s comedy…The 16-character cast is played in this production by just seven actors, some of whom play cross-gender roles.” Seven Days It's a journey into the forest. It's a forest of discovery, a forest of liberation." WM. SHAKESPEARE AS YOU LIKE IT From the opening invocation of “all the world is a stage” to the final prologue, which seals the compact of cast and audience, the production illuminates the reality of theatrical space, the transformative power of the actor, and role of the viewer’s imagination to create the theatrical event. Starting as the victim of oppression, Shakespeare's Rosalind embraces theatrical strategies to face her challenges: through improvisation and performance, she discovers her strength and power. Leaving a troubled everyday world to venture into the unknown, Rosalind becomes actor, director, stage manager, and spectator. The production celebrates the power of the actor at her/his most joyous best, and suggests that real liberation is not about disguise, but how we bring ourselves – body, hear, and soul, to play our part in the world. G A L L E R Y C L O S E BY PETER WEISS MARAT / SADE The year is 1808: France is a powerful empire ruled by Napoleon. Outside of Paris, in the mental asylum of Charenton, the Marquis de Sade has been inprisoned for seven years because of his outrageous writings ... Tonight, Sade presents a play, performed by the institution's patients, dramatyixing the assassination revolutionary leader Jean-Paul Marat during the French Revolution. He is glad to have you with us. G A L L E R Y C L O S E BY CHARLES L. MEE after Aeschylus's THE SUPPLIANT WOMEN BIG LOVE "Please feel free to take [my plays] and use them freely as a resource for your own work: that is to say, don't just make some cuts or rewrite a few passages or re-arrange them or put in a few texts that you like better, but pillage the plays as I have pillaged the structures and contents of the plays of Euripides and Brecht and stuff out of Soap Opera Digest and the evening news and the internet, and build your own, entirely new, piece—and then, please, put your own name to the work that results." - CHARLES MEE, playwright G A L L E R Y C L O S E by SOPHIE TREADWELL MAC HINAL In 1928, Treadwell stunned Broadway with a powerful indictment of a system that dehumanizes women. Through expressionism, she revealed the crushing forces of patriarchy in work, marriage, and the law—addressing issues like sexual harassment, unequal pay, and reproductive control. Ninety years later, the students in this cast say they still feel those same forces at work. And as we rehearsed, we watched continued attacks on institutions like Planned Parenthood, and heard hateful rhetoric from the highest levels of power. What gives me hope is the courage these young actors bring. They’ve delved into history, into family stories, and into themselves to understand the relevance of Machinal today. As they give voice to our collective past, they also point toward a future we must continue fighting for—a future where we steer the machine toward progress, not oppression. - JASON JACOBS program note G A L L E R Y C L O S E Book: Keythe Farley & Brian Flemming BAT BOY: THE MUSICAL G A L L E R Y C L O S E John Cameron Mitchell HEDWIG AND THE ANGRY INCH Classics invite interpretation, and this Hedwig is shaped by a new generation of young artists tearing down the walls of traditional gender strictures. Our rehearsals have been an inquiry into how this multifaceted role can be embodied by a diverse ensemble and how this story continues to resonate more than twenty years after its inception. Whatever your journey, I thank you for being here tonight and wish you an exciting theatrical ride! - Jason Jacob, November 2021 Program Note G A L L E R Y C L O S E OTHER VENUES VERMONT THEATRE CO THEATRE ASKEW ORIGINAL WORK INDEPENDENT THEATRE CABA RET KANDER & EBB Joni Mitchell sang, “You don’t know what you’ve got ’til it’s gone.” In Cabaret, freedom teeters on the edge of extinction—and no one seems able to stop it. Or stop history from repeating itself. G A L L E R Y C L O S E AS YOU LIKE IT WM. SHAKESPEARE From the opening invocation of “all the world is a stage” to the final prologue, which seals the compact of cast and audience, the production illuminates the reality of theatrical space, the transformative power of the actor, and role of the viewer’s imagination to create the theatrical event. Starting as the victim of oppression, Shakespeare's Rosalind embraces theatrical strategies to face her challenges: through improvisation and performance, she discovers her strength and power. Leaving a troubled everyday world to venture into the unknown, Rosalind becomes actor, director, stage manager, and spectator. The production celebrates the power of the actor at her/his most joyous best, and suggests that real liberation is not about disguise, but how we bring ourselves – body, hear, and soul, to play our part in the world. Personal transformation is a focus of director Jason Jacobs’ interpretation of Shakespeare’s comedy…The 16-character cast is played in this production by just seven actors, some of whom play cross-gender roles.” Seven Days It's a journey into the forest. It's a forest of discovery, a forest of liberation." G A L L E R Y C L O S E MARAT / SADE BY PETER WEISS The year is 1808: France is a powerful empire ruled by Napoleon. Outside of Paris, in the mental asylum of Charenton, the Marquis de Sade has been inprisoned for seven years because of his outrageous writings ... Tonight, Sade presents a play, performed by the institution's patients, dramatyixing the assassination revolutionary leader Jean-Paul Marat during the French Revolution. He is glad to have you with us. G A L L E R Y C L O S E BIG LOVE BY CHARLES L. MEE after Aeschylus's THE SUPPLIANT WOMEN "Please feel free to take [my plays] and use them freely as a resource for your own work: that is to say, don't just make some cuts or rewrite a few passages or re-arrange them or put in a few texts that you like better, but pillage the plays as I have pillaged the structures and contents of the plays of Euripides and Brecht and stuff out of Soap Opera Digest and the evening news and the internet, and build your own, entirely new, piece—and then, please, put your own name to the work that results." - CHARLES MEE, playwright G A L L E R Y C L O S E MAC HINAL by SOPHIE TREADWELL In 1928, Treadwell stunned Broadway with a powerful indictment of a system that dehumanizes women. Through expressionism, she revealed the crushing forces of patriarchy in work, marriage, and the law—addressing issues like sexual harassment, unequal pay, and reproductive control. Ninety years later, the students in this cast say they still feel those same forces at work. And as we rehearsed, we watched continued attacks on institutions like Planned Parenthood, and heard hateful rhetoric from the highest levels of power. What gives me hope is the courage these young actors bring. They’ve delved into history, into family stories, and into themselves to understand the relevance of Machinal today. As they give voice to our collective past, they also point toward a future we must continue fighting for—a future where we steer the machine toward progress, not oppression. - JASON JACOBS program note G A L L E R Y C L O S E BAT BOY: Book: Keythe Farley & Brian Flemming G A L L E R Y C L O S E HEDWIG John Cameron Mitchell Classics invite interpretation, and this Hedwig is shaped by a new generation of young artists tearing down the walls of traditional gender strictures. Our rehearsals have been an inquiry into how this multifaceted role can be embodied by a diverse ensemble and how this story continues to resonate more than twenty years after its inception. Whatever your journey, I thank you for being here tonight and wish you an exciting theatrical ride! - Jason Jacob, November 2021 Program Note G A L L E R Y C L O S E OTHER VENUES VERMONT THEATRE CO THEATRE ASKEW ORIGINAL WORK INDEPENDENT THEATRE CABA RET KANDER & EBB Joni Mitchell sang, “You don’t know what you’ve got ’til it’s gone.” In Cabaret, freedom teeters on the edge of extinction—and no one seems able to stop it. Or stop history from repeating itself. G A L L E R Y C L O S E AS YOU LIKE IT WM. SHAKESPEARE Personal transformation is a focus of director Jason Jacobs’ interpretation of Shakespeare’s comedy…The 16-character cast is played in this production by just seven actors, some of whom play cross-gender roles.” Seven Days From the opening invocation of “all the world is a stage” to the final prologue, which seals the compact of cast and audience, the production illuminates the reality of theatrical space, the transformative power of the actor, and role of the viewer’s imagination to create the theatrical event. Starting as the victim of oppression, Shakespeare's Rosalind embraces theatrical strategies to face her challenges: through improvisation and performance, she discovers her strength and power. Leaving a troubled everyday world to venture into the unknown, Rosalind becomes actor, director, stage manager, and spectator. The production celebrates the power of the actor at her/his most joyous best, and suggests that real liberation is not about disguise, but how we bring ourselves – body, hear, and soul, to play our part in the world. It's a journey into the forest. It's a forest of discovery, a forest of liberation." G A L L E R Y C L O S E MARAT / SADE BY PETER WEISS The year is 1808: France is a powerful empire ruled by Napoleon. Outside of Paris, in the mental asylum of Charenton, the Marquis de Sade has been inprisoned for seven years because of his outrageous writings ... Tonight, Sade presents a play, performed by the institution's patients, dramatyixing the assassination revolutionary leader Jean-Paul Marat during the French Revolution. He is glad to have you with us. G A L L E R Y C L O S E BIG LOVE BY CHARLES L. MEE after Aeschylus's THE SUPPLIANT WOMEN "Please feel free to take [my plays] and use them freely as a resource for your own work: that is to say, don't just make some cuts or rewrite a few passages or re-arrange them or put in a few texts that you like better, but pillage the plays as I have pillaged the structures and contents of the plays of Euripides and Brecht and stuff out of Soap Opera Digest and the evening news and the internet, and build your own, entirely new, piece—and then, please, put your own name to the work that results." - CHARLES MEE, playwright G A L L E R Y C L O S E MACHINAL by SOPHIE TREADWELL In 1928, Treadwell stunned Broadway with a powerful indictment of a system that dehumanizes women. Through expressionism, she revealed the crushing forces of patriarchy in work, marriage, and the law—addressing issues like sexual harassment, unequal pay, and reproductive control. Ninety years later, the students in this cast say they still feel those same forces at work. And as we rehearsed, we watched continued attacks on institutions like Planned Parenthood, and heard hateful rhetoric from the highest levels of power. What gives me hope is the courage these young actors bring. They’ve delved into history, into family stories, and into themselves to understand the relevance of Machinal today. As they give voice to our collective past, they also point toward a future we must continue fighting for—a future where we steer the machine toward progress, not oppression. - JASON JACOBS program note G A L L E R Y C L O S E BAT BOY: THE MUSICAL Book: Keythe Farley & Brian Flemming G A L L E R Y C L O S E HEDWIG AND THE ANGRY INCH John Cameron Mitchell Classics invite interpretation, and this Hedwig is shaped by a new generation of young artists tearing down the walls of traditional gender strictures. Our rehearsals have been an inquiry into how this multifaceted role can be embodied by a diverse ensemble and how this story continues to resonate more than twenty years after its inception. Whatever your journey, I thank you for being here tonight and wish you an exciting theatrical ride! - Jason Jacob, November 2021 Program Note G A L L E R Y C L O S E OTHER VENUES VERMONT THEATRE CO THEATRE ASKEW ORIGINAL WORK INDEPENDENT THEATRE