Rachel Greene

All is calm until theater department favorite Professor Daniel Holmes casts unassuming freshman Laura Vogel as Carol in his Spring production of David Mamet’s Oleanna. No one is less pleased than ambitious, fat sophomore Jen Barnett, who threatens to expose a secret that could turn lives and careers upside down. When student reporter Andy Stark starts to follow leads for an explosive exposé, it is only a matter of time before dangerous truths come out. Art begins to imitate life as secrets unravel, masks come off, and classic texts are challenged. In this decidedly murderous exploration into the devilish intricacies of sex, power, consent, and gender politics in academia, three students take control in asking: If Carol was telling the story, wouldn’t John deserve to die?

Everyone has their secrets, including Lauren - a bookish English major by day, fat fetish camgirl by night. These worlds collide as romance sparks between Lauren and fellow classics-lover Simon, who meet studying Titus Andronicus in their Shakespeare class. The two dive into the play and discover the deep, world-altering nature of pain and trauma – even the fictional kind. In an analysis that borders on the supernatural, this decidedly feminine horror play explores patriarchy’s morbid fascination with and fetishization of violence, fat bodies, and voiceless women.

The hit reality weight-loss competition show GUTS is back with its BIGGEST! SEASON! EVER! There will be grueling challenges, verbal abuses, and – of course – the fan-favorite weekly weigh-ins. But behind the camera, relationships are forming, romances are blossoming, and friendships are being found in the most unlikely of places. Can these six contestants find self-love, communal healing, and liberation in a place designed to make them hate themselves and their bodies? Do they have the guts?

When overachieving, agreeable, and undeniably fat undergrad Sarah gets cast to play historical sex symbol Helen of Troy in a student production, she and her peers are forced to confront their understandings of beauty, sex, and fatness. To make matters more complicated, a budding tension between Sarah and her on-stage love interest Chris begs the student actors to ask where the characters end and the real bodies begin. With a cast of all-too familiar characters, Power Play puts a magnifying glass to the underbelly of “liberal” and educational theatre-making and the bodies it continues to marginalize.

Margaret My Name is an explosive new cut of Shakespeare's first tetralogy reframed from the perspective of the oft-neglected and villainized Queen Margaret of Anjou. Most popular scholarship ignores Margaret entirely, or else dismiss her as a villain; scholar Harold Bloom goes as far as to call her “termagant,” “any actress’ nightmare,” and “a ghastly widow, for whom Shakespeare never could compose a decent line.” This adaptation strives to tell the gentle, proud, and ruthless Queen Margaret’s story in its entirety, and to explore the capacity of modern artists to reclaim classical narratives for the women who drive them forward