![]() Transported to that era through an excellent soundtrack and subtle costuming, Those cultures had cringe-worthy moments, though theĭirector wisely chose not to play them up just for the yucks. This may have been because I both played D&D in my youth and I haven’t had this much fun at a play in a long time, and Of Steepness, or a guidance counselor’s office as needed. Perfect multi-level background that suggests the River of Wetness, the Mountain The dice-shaped stage pieces sit on top of a hex paper stage which The script is witty andĬlever, and contains authentic teen dialog, achingly awkward and heartbreakingĪll at once. Involved, and certainly engaged the audience as well. This complex staging gave testament to the skill of the actors Were several well-choreographed fight scenes, often with several melees going Social scene, and Agnes is ashamed once she comprehends these previouslyĬast throws themselves into this play with great gusto and enthusiasm. Nerd, Tilly was also a lesbian and a champion for those on the margin of the Recognize the struggles Tilly dealt with in real life. She realizes that she didn’t know her younger sister very well. The more she battles magical monsters, the more Joins Tilly’s party of adventurers, Agnes learns that her actions in the game Of Mean Girl harpies dressed in cheerleader uniforms. She encounters sexy demons, blood thirsty fairies, and a pair Notebook and discover the world Tilly lived in.Ĭomes alive as Agnes learns the game of Dungeons and Dragons, which was a Together, Chuck and Agnes role play through the story in the Takes it to a local expert, DM Chuck Biggs, the high school clerk at the local Agnes finds Tilly’s indecipherable D&D notebook, and Teacher at the high school she went to, is packing up her childhood home,įollowing the car accident that killed her whole family, including her much For it is 1995 and we are in Athens, Ohio, where internet operates at a blazing fast 56 kilobytes per second. The first of many shadow puppets act out the tragedy that engenders our story. Upbeat music from the early 90s fades out as a hooded figure emerges from behind the d20. Oversized polyhedron shapes dominate the stage at the Ruth Nagel Jones Theater at Wellesley College. Manager: Mieke Bovbjerg Fight Captain: Anna Beyette. Lighting Design: Siena Wise Stage Manager: Natalie Solomon Assistant Stage Production Manager/Setĭesign: David Towlun Costume Design: Chelsea Kerl Sound Design: George Cook įight Choreographer: Sarah Flanagan Dance Choreographer: Katie Suchyta ![]()
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