Over the course of the last academic year, Professor Ray Munro and 12 Clark University students collaborated to create a devised theater piece that draws from a wide range of sources including plays, philosophical treatise, journal articles, Youtube videos and student biographies. Rooted in several American plays from the middle of the 20th century, the devised theater piece titled …from the hand of strange children looks with a critical eye at the increasing difficulty our culture faces in trying to discern reality from the simulacrum.

This emerged from a course that was taught last semester with Al Anderson.
It met all day Fridays, there was a 3 hour performance philosophy session in the morning and a 3 hour studio time in the afternoon where we started to develop …from the hand of strange children

Two years ago, in a piece called …like sisters, we asked a question: what does it do to you, your family your community, your world, what does it do to you to live not a year or ten years or even a hundred years but what does it do to you live century after century in an entirely meaningless universe? “What does it do to us to live century after century in a completely meaningless universe?” Using the end of the 19th century as our starting point, we examined the spiral of images and thoughts that make up our collective consciousness, and how these re-emerge throughout history, as well as in our current microcosm here at Clark. We begin today where we left off two years ago: in the middle of the 20th century.

…from the hand of strange children looks with a critical eye at the increasing difficulty our culture faces in trying to discern reality from the simulacrum. The Blair Witch Project, Reality TV, infotainment instead of news, Rush Limbaugh and Donald Trump rather than true political debate, Frankenfood, Social Media–people spending all night on Facebook and still waking up horribly lonely etc.)  the increased online usage of IRL (In real Life).
It is not important whether or not you saw the first chapter, though there are likely to be threads you may recognize if you did. This is a new day, and as complete as a day can be; as full as a year can be, or a lifetime, because these smaller or larger cycles harmonize as widening turns in a spiral. This is the next turn.


Terce (Mid morning)
Dancer, Daysha Willams

Just like in …like sisters, we are using the monastic hours to move us through the day but this time we’re only using what’s known as the lesser hours of terce-mid morning, sext-noon, none-mid afternoon, compline-bedtime. Each of the monastic hours will be marked by a solo dance.

The odalisque greeting and introduction
Odalisque-Hannah Yukon
We are using the figure of the odalisque to carry the spiritual philosophical perspective.

Comings and Goings
Woman-Daysha Williams
Man-Colby Hinson
On waking. This is taken from a play comings and goings by Megan Terry 1966.

Odalisque Au bade
Odalisque-Hannah Yukon
This is taken from Yuga by Marty Glass 2001.

Pointing Out
Charlotte Maxwell, Liat Graf, Daysha Williams
Pointing Out is a Meditation by Ken Wilber based on the teachings of Dzochen Buddhism and psychosynthesis.

Comings and Goings
Breakfast, Daysha Willaims, Colby Hinson
Later that day.

The House of Blue Leaves
Bananas: Charlotte Donovan
House of Blue Leaves by John Guare 1971.

The Refrigerator 

The Refrigerator by Wendy Biller

CELIE-Charlotte Donovan
RUDY- Alexander Vesenka
FAYE-Maya Davis
RAY-Colby Hinson
VOICE-Kevin Mcgerial

THE REFRIGERATOR (Andaluz Jury Prize) was first produced by the FUSION Theatre Company (FUSIONnm.org) June 4-14th 2015 at the Cell Theate in Albuquerque, New Mexico. Festival Director Dennis Gromelski: Curator: Jen Grigg. Directed by Jacqueline Reid. Lighting and Scenic Design by Richard Hogle. Sound Design by Brent Stevens.  Costume Design by Kristina Kassouf. Properties Design by Robyn Phillips. Production Stage Manager: Maria Lee Schmidt. The cast was as follows:
CELIE……….Jen Grigg
RUDY………..Martin Andrews
FAYE…………Katie Becker–Colon
RAY……………Matthew Van Wettering
VOICE…………Bruce Holms

Wendy Biller began her career in New York City as a choreographer in dance and theater. She’ s the recipient of a National Endowment for the arts grant and her choreography for both theater and dance has been presented at Dance Theatre Workshop, P.S.1, The kitchen and the Public Theatre as well as in videos including Paul Simon  (You can call me Al), The Bangles (Walk Like An Egyptian). She’s also a WGA award winning screenwriter with projects that include Showtime, TBS and Fox and directed the independent film Mumsy. Her plays include The Refrigerator (Fusion Theatre ) An Intolerant Vaudeville (Secret Theatre, KGB Literary Bar, NYC).  She’s a member of the Writers Guild of America and the Dramatist Guild.

Dance 1
Dancer, Daysha Williams
Sext, noon.

Odalisque-Hannah Yukon
Again, from Yuga by Marty Glass 2001.

Daysha’s Portrait
Daysha Williams
In this iteration, the life at Clark is exemplified by voices you might not have heard. These portraits are self authored and self performed.


Motel by Jean-Claude van Itallie
Motel keeper, Maya Davis
Woman, Charlotte Donovan
Man, Alexander Vesenka
Motel a Mask for Three Dolls by Jean-Claude van Itallie

In the 1964-65 season Motel as a single-play (which was originally called The Savage God and then America Hurrah) permiered at LaMaMa ETC, in New York City, directed by Michael Kahn and with doll heads by Robert Wilson, and toured in Europe.

The actors in the dolls in the 1966 Pocket Theatre production were as follows:

Motel-Keeper: Brenda Smiley

Man: Conard Fowkes

Woman: James Barbosa

Motel-Keeper’s Voice: Ruth White

Music: Marianne de Pury

It’s not the end, it’s intermission.


Dance 3
Dancer, Daysha Williams
None, mid afternoon.

Liat’s Portrait
Liat Graf
In this iteration, the life at Clark is exemplified by voices you might not have heard. These portraits are self authored and self performed.

Spitting Soldiers
Crowd: Maya Davis, Allyssa Spencer, Alexander Vesenka Daysha Williams, Charlotte Donovan
Principals: Maya Davis, Colby Hinson
This work was inspired by the work of Jerry Lembcke sociology professor from Holy Cross but especially his book, Spitting Image.

Prancersize and Bronies
Allyssa Spencer as Allysa Spencer
Maya Davis as Mom

Girlfriend: Charlotte Donovan
Boyfriend: Alexander Vesenka
Deep in the American mythology the archetype of a horse maintains a powerful position. The following are two very contemporary manifestations. Even more interesting than these two current expressions of our zeitgeist are the communities that have sprung up around them.

Dance 4
Dancer, Daysha Williams

Emma Woods
Emma I, Liat Graf
Emma II, Daysha Williams
Old story new context. This piece is a product of verbatim theatre, all the text used are from the writings of Emma Woods (pseudonym) or recordings taken from her website.

Odalisque, Hannah Yukon
Once again, Marty Glass, 2001.

Comings and Goings
Man, Colby Hinson
Woman, Daysha Williams
Final excerpt from Megan Terry’s play.



Raymond Munro//Hannah Yukon//Colby Hinson

//Wyndham Maxwell//
Odalisque Introduction
Spitting on Soldiers
Introductions to Horses and Emma Woods

//Maya Davis//
Prancercise and Bronies



//Daysha Williams//
Dancer in Comings and Goings
Pointing Out
Daysha’s Portrait
Spitting on Soldiers
Emma II

//Hannah Yukon//
The Odalisque

//Colby Hinson//
Comings and Goings
The Refrigerator
Spitting on Soldiers

//Charlotte Maxwell//
Pointing Out

//Liat Graf//
Pointing Out
Liat’s portrait
Spitting on Soldiers
Emma Woods

//Charlotte Donovan//
House of Blue Leaves
The Refrigerator
Spitting on Soilders

// Maya Davis //
The Refrigerator
Spitting on Soldiers

// Alexander Vesenka //
The Refrigerator
Spitting on Soldiers

// Alyssa Spencer //
Spitting on Soldiers


PRODUCTION TEAM //Raymond Munro// Kevin McGerigle// Jessie Darrell-Jarbadan

CHOREOGRAPHY //Daysha Williams//

PRODUCER //Gino DiIorio//


LIGHTING DESIGNER // Rachel Fuji//Claire Hanna//

SOUND DESIGNER// Michela Tucci//

COSTUME DESIGNER// Jessie Darrell-Jarbadan//

STAGE MANAGER// Aliyah Nissim //

PROPS MANAGER// Casey Bush //

BOARD OPERATORS // Liam Day//Alexander Rakovshik//Sarah Parker//Tara Wykes

TECHNICAL CREW// Ryan King//Nicole Williams//Claire Bayler

SPECIAL THANKS// Miranda White//Amy Yeager//Sami West

COSTUME CREW // Erin McKeon // Ann Kim // Brigette Sullivan // Anayis Wright // Christa Spitzfaden // Jamie Silverman // Valeria Flores // Quinn Mitchel // Nate McDonald//


“I Put a Spell on You” – Alice Smith

“First Light” – Brian Eno and Harold Budd

“Brown Rice” – Don Cherry

“On the nature of daylight” – Max Richter

“Gimme Shelter” – The Rolling Stones

“Wild Horse”- Rolling Stones

“Summa”- Arvo Part

“New Day”- Dustin O’ Halloran

Dedication to Neil Schroeder

In the early Seventies of the last century, Neil Schroeder left the English Department of Clark University to head Theatre in the brand new Department of Visual and Performing Arts. I was privileged to be his colleague for nearly thirty years.
Neil was a brilliant actor who always seemed perfect for the role. Whether he was playing a royal or a peasant you always felt the role was somehow written just for him.
He was also an Ibsen scholar and I am happy to say that after The Foxrock Performance Company’s performance in Cracow, Poland, in which he played a wonderful Krapp, Neil was able to continue onto Norway where he visited the sites he had spent a lifetime studying.
He was great to work with. Never gave you a false note. He always rang true. Every time. Every rehearsal. Every performance.
A kind and generous soul. A true gentleman.

Neil 051094