David Feldshuh

David Feldshuh is a director, writer, teacher, actor and board certified, emergency medicine physician. 

David trained at the London Academy of Music and Dramatic Art, studied mime with Jacques Lecoq, and began his professional acting career as a McKnight Fellow at the Guthrie Theater in Minneapolis. He remains an enthusiastic, lifelong member of Actor’s Equity. 

Appointed an Associate Director at the Guthrie Theater, David directed, wrote, adapted, and created a variety of productions over the next seven years on the Guthrie’s mainstage as well as in its experimental theater space. During this time, he became fascinated by the relationship between acting and Zen meditation, the Japanese martial arts, Gestalt Therapy and other psychophysical disciplines, an interest that began as an...

David Feldshuh is a director, writer, teacher, actor and board certified, emergency medicine physician. 

David trained at the London Academy of Music and Dramatic Art, studied mime with Jacques Lecoq, and began his professional acting career as a McKnight Fellow at the Guthrie Theater in Minneapolis. He remains an enthusiastic, lifelong member of Actor’s Equity. 

Appointed an Associate Director at the Guthrie Theater, David directed, wrote, adapted, and created a variety of productions over the next seven years on the Guthrie’s mainstage as well as in its experimental theater space. During this time, he became fascinated by the relationship between acting and Zen meditation, the Japanese martial arts, Gestalt Therapy and other psychophysical disciplines, an interest that began as an undergraduate actor at Dartmouth College. Wanting to learn more, he completed a PhD from the University of Minnesota focusing on creativity and actor training. 

Subsequently, David’s theater work supported another of his interests, medicine. Directing plays to work his way through medical school, David earned an M.D. degree from the University of Minnesota, became board-certified in emergency medicine, and a Fellow of the American College of Emergency Physicians. After medical school, David divided his time between professional directing and writing plays and his work as an ER doctor in a Minneapolis Level I Trauma Center. 

Intrigued by Cornell University’s determination to build a new building dedicated to theater, film and dance and develop an audience to fill it, David arrived in Ithaca to lead that effort and become the first Artistic Director of the Schwartz Center for the Performing Arts, guiding a resident company of professional actors who taught and worked side-by-side with students from throughout Cornell. 

David enjoys directing big productions with large casts. Selected projects include The Coronation of Poppea (Minnesota Opera Company); The Einstein Project (Illusion Theater); Becket, An Italian Straw Hat, Baal, The Measures Taken (Guthrie Theater); and at Cornell, King Lear (with actress Sheriden Thomas as Lear), Angels in America, The Cradle Will Rock, and Leonard Bernstein’s opera, Mass (with a student cast of 138 singer-actors). 

David is active in writing and directing his own scripts and using these productions to create theatrical “firsts.” His play Fables Here and Then (University of Minnesota Press) was the first Guthrie play to tour, visiting 52 cities throughout the Midwest. David directed and co-wrote the Guthrie’s first A Christmas Carol, a tradition that was adopted as an annual financial lifeline at other regional theaters and that has continued at the Guthrie for almost five decades. David’s adaptation of Sophocles’ Antigone (professional premiere at Center Stage in Baltimore) was written and produced for Cornell’s First Year Reading Program. David published Antigone free of royalties online, and it has been read and performed throughout the U.S. and internationally. Teachers report that the script has been particularly useful in venues where students can’t afford to buy copies of one of the world’s great classic plays. 

David has written screenplays, short stories, and television scripts as well as plays. His most recent professional theater production, Dancing with Giants, tells the story of a remarkable friendship between German boxer, Max Schmeling, and his Jewish manager, Yussel Jacobs, in the run-up years to World War II. His most recent play, Virginia's Gift, (previously titled Orlando's Gift) merges the tragedy of Woolf’s life with the comedic saga of her fictional character, Orlando. Guided by a chorus of words and Shakespeare’s fearless sister, Judith, Virginia and Orlando travel a giddy world of fantasy, wit and audacious comedy to rediscover life and the ecstasy of writing.

David’s widely produced play, Miss Evers' Boys, combined his medical and theatrical passions, and was a finalist for the Pulitzer Prize in Drama. It was a Sundance Institute Major Project and received the New American Play Award (sponsored by the Geraldine R. Dodge Foundation). As an HBO movie, Miss Evers’ Boys received twelve Emmy nominations winning five including Best Picture and the President’s Award for television presentations exploring vital social issues. It also received the NAACP Image Award for Outstanding Television Movie, the Cable Ace Award for Best Picture and two Golden Globe Awards. The success of the film helped catalyze an official government apology from President Clinton to the survivors of the so-called, "Tuskegee Study,” a forty-year, government medical experiment. 

David has spoken extensively about the use of theater to address important social issues, and Miss Evers’ Boys has become an educational asset in medical schools and courses that consider the influence of cultural bias in contemporary medical care. For its role in education, Miss Evers’ Boys received the National Education Association’s award for "Achievement in Learning Through Broadcasting," as well as the American Medical Association "Freddy" Helen Hayes Award for Best Film on a Medical Subject. To further this educational effort, David co-produced and interviewed survivors of the Tuskegee study to create the Cornell-supported documentary, Susceptible to Kindness (CINE Golden Eagle, the Intercom Gold Plaque, the International Health and Medical Film Festival Award). 

As an educator, David has developed original courses including “Acting in Public: Performance in Everyday Life,” a course that aims to reduce performance anxiety and strengthen speaking presence through theatrical training techniques. Using elements from Acting in Public as well as lessons learned from creating a variety of workshops for on-campus Cornell groups, at Cornell Tech, and for leaders in business and academia, David created a 15-week, eCornell Executive Presence distance-learning course that has taught more than 1800 students domestically and globally including students from India, Dubai, Russia, China, and England. 

Scripts

Fables Here and Then

by David Feldshuh

Synopsis

Story theater, fables told with physicalization, including The Wise Man, The Centipede, How the Snake Lost His Voice, Gassir the Hero, The Silver Bell, The Shirt Collar, The Suicide, The Fisherman and the Sea King's Daughter, The Gas Company, The Indians and Death, and The Bremen Town Musicians.

Story theater, fables told with physicalization, including The Wise Man, The Centipede, How the Snake Lost His Voice, Gassir the Hero, The Silver Bell, The Shirt Collar, The Suicide, The Fisherman and the Sea King's Daughter, The Gas Company, The Indians and Death, and The Bremen Town Musicians.

Antigone by Sophocles adapted by David Feldshuh

by David Feldshuh

Synopsis

My primary goal in this adaptation was to tell that story with clarity, immediacy and theatricality avoiding stilted literalism without losing Sophoclesʼhaunting images and pointed argument. I have also made an important structural change in the final messenger scene. The messenger becomes a narrator for the audience and each character (including those already dead) describes their part of the story in the third...

My primary goal in this adaptation was to tell that story with clarity, immediacy and theatricality avoiding stilted literalism without losing Sophoclesʼhaunting images and pointed argument. I have also made an important structural change in the final messenger scene. The messenger becomes a narrator for the audience and each character (including those already dead) describes their part of the story in the third person. There are six choruses in Antigone. This adaptation tries to create
a unique tone and specific dramatic function for each of them.

At the heart of the play is Antigone, daughter of Oedipus, who faces a moral crisis after a bloody civil war has left Thebes in turmoil. Before the action begins, her two brothers Eteocles and Polynices have killed each other fighting for control of their city. Creon, the new ruler and their uncle, declares that Eteocles will be honored with burial, but Polynices — labeled a traitor — must remain unburied on the battlefield as punishment.
Antigone, driven by loyalty to her family and belief in divine law, defies Creon’s edict to ensure her brother Polynices receives a proper burial — a sacred ritual in Greek belief. She argues that the laws of the gods and familial duty outweigh the laws of earthly rulers. Her actions set up a powerful moral and political clash with Creon, whose commitment to civic law and authority leads him to condemn Antigone despite warnings and pleas from others.

Miss Evers' Boys

by David Feldshuh

Synopsis

Miss Evers’ Boys is a drama based on the true story of the Tuskegee Syphilis Study, a U.S. government experiment conducted between 1932 and 1972 in which Black men with syphilis were deliberately left untreated so researchers could study the progression of the disease.
The play centers on Eunice Evers, a dedicated African American nurse working in rural Alabama. When government doctors recruit poor Black...

Miss Evers’ Boys is a drama based on the true story of the Tuskegee Syphilis Study, a U.S. government experiment conducted between 1932 and 1972 in which Black men with syphilis were deliberately left untreated so researchers could study the progression of the disease.
The play centers on Eunice Evers, a dedicated African American nurse working in rural Alabama. When government doctors recruit poor Black sharecroppers for what they describe as treatment for “bad blood,” Miss Evers helps persuade the men to participate, believing she is helping her community receive medical care during the Great Depression.
Initially, the men receive some treatment. However, when penicillin is discovered as an effective cure for syphilis in the 1940s, the U.S. Public Health Service chooses not to provide it to the participants. Instead, they continue the study in secret, allowing the disease to progress untreated. Miss Evers, caught between loyalty to the men she cares for and obedience to white authority figures and the medical establishment, struggles with moral conflict.
The emotional core of the play follows the four main study participants—Caleb, Willie, Ben, and Hodman—whose trust in Miss Evers and the system ultimately leads to betrayal. As their health deteriorates, the devastating consequences of the study become clear.
The play is framed by a 1970s Senate hearing investigating the Tuskegee Study. Miss Evers is called to testify, forcing her to confront her role in the tragedy. The drama explores themes of racism, medical ethics, trust, complicity, responsibility, and the moral cost of survival within oppressive systems.

Virginia's Gift (Ecstasy, Laughter, and the Art of Staying Alive)

by David Feldshuh

Synopsis

A fantastical comic adventure about a serious subject: Virginia Woolf choosing to live again. Exploring identity, love’s transformative power, and creativity as survival, the play follows a chorus of orphaned words who save Virginia’s life. Haunted by Mad Voices that shatter her ability to write, Virginia Woolf walks into the River Ouse to end her life. Near death, she is visited by her abandoned Words beckoning...

A fantastical comic adventure about a serious subject: Virginia Woolf choosing to live again. Exploring identity, love’s transformative power, and creativity as survival, the play follows a chorus of orphaned words who save Virginia’s life. Haunted by Mad Voices that shatter her ability to write, Virginia Woolf walks into the River Ouse to end her life. Near death, she is visited by her abandoned Words beckoning her to write them again. Together they create Orlando, an eternal figure who transcends time and gender in a dazzling quest for poetic greatness. Guided by Shakespeare’s fearless sister, Judith, Virginia and Orlando travel a giddy world of fantasy, wit, and audacious comedy. As allies, they challenge Virginia to confront her darkest secrets, reclaim her life from madness, and rediscover the ecstasy of words.