Department of Performing Arts

Directed by Andy Head

Audition specifics: watch video for details

She Kills Monsters: Virtual Realms is a comedic romp into the world of fantasy role-playing games! In this high-octane dramatic comedy laden with homicidal fairies, nasty ogres and pop culture, acclaimed playwright Qui Nguyen offers a heart-pounding homage to the geek and warrior within us all. She Kills Monsters tells the story of Agnes Evans as she leaves her childhood home in Ohio following the death of her teenage sister, Tilly. When Agnes finds Tilly’s Dungeons & Dragons notebook, however, she finds herself catapulted into a journey of discovery and action-packed adventure in the imaginary world that was her sister’s refuge.​

The Robert F. Panara Theatre is named in honor of Dr. Robert Panara, RIT's first Deaf Professor and founder of the NTID Drama Club. A 500 seat auditorium, the theatre has played host numerous guest artists such as Mikail Baryishnikov, Jane Fonda, Louise Fletcher, Marlee Maitlin, National Theatre of the Deaf, Phyllis Frelich, Bernard Bragg, Patrick Graybill, Howie Seago, Cleveland SignStage, Annabelle Gamzon, Garth Fagan Dance, Hartford Ballet, Foreigner, Emerson, Lake and Palmer, Jethro Tull, American Deaf Dance Company, and many others.

The theatre opened its doors on October 3, 1974 with a production of Shakespeare's Taming of the Shrew. Originally called the Experimental Educational Theatre (EET) the theater department has a rich heritage of offering challenging, entertaining, and provocative works of theater, all created for both Deaf and hearing audiences. We have produced work in a wide variety of theater styles; Comedy, Musical, Dance, Drama, Classical, Kabuki (Japanese), Experimental, Puppets, and new works by both Deaf and hearing authors.

A Unique Form of Theatre

In developing a production that is equally accessible to Deaf and hearing, on-stage, backstage, and for members of the audience, there are many factors to consider that are unique to this form of theater ie: designing costumes and sets that are historically accurate yet provide sightlines and clear background for the Sign Language to play against (it's difficult to read Sign Language from the audience if the actor has on a bright, paisley shirt or the set is a series of "busy" colors and lines); or how to represent off-stage dialog and/or sound effects visually; keeping focus on the actors and not on extraneous, but often necessary movement; how to interpret dialog from the script that is based on sounds such as imitation of another's voice; how to stage or "block" the show so that both the audience and the actors can see each other at all times; how to cue an actor that cannot see the action on stage, but must enter on a certain line; how to incorporate voice actors; and many, many other unique things that make this type of theater so exciting. Design and staging challenges, script translation to Sign Language, and non-traditional casting are examples of the factors that cause our Director's imaginations to soar--much to the benefit of our audiences.

From the experimentation and imagination required to mount one of our productions, we have developed a body of works that have enriched the lives of hundreds of thousands audience members and a working process that has greatly benefitted and encouraged hundreds of young Deaf performers. We are very proud of the fact that many of the Deaf Professionals in the performing arts and entertainment industry are our former students, faculty and staff.

Our very successful heritage is now the backbone for our future growth. We are looking to expand our academic programs as well as our relationships with mainstream professional and community theaters. We produced the first-ever "American Deaf Play Creators Festival" and look forward to its continued growth and development. We look forward to the future, having the confidence and desire to promote artistic growth within the Deaf community and awareness of the many talents of Deaf Artists within the hearing community.

Theatre Capacity

The Robert F. Panara Theatre seats 440 people plus 9 handicap accessible spaces.

Seating Chart 

Click to view the seating chart.

The 1510 Lab Theatre is our smaller, "blackbox" type of space. In addition to holding classes the space serves as a venue for a variety of experimental, intimate, and student-directed productions.

Numerous successful productions have taken place in this space in a wide variety of theatrical styles. Admission to plays in this space are always free, but due to the popularity of the shows presented here, and because shows tend to fill up fast, we pass out tickets for admission on a first-come, first-served basis one hour prior to curtain on the day of a show--there are no reservations except those made by prior agreement with the House Manager.

Theatre Capacity

The 1510 Lab Theatre holds 50-85 persons, depending on the design of the set.

Available for blended (deaf, hard of hearing & hearing) modern dance class, other classes and groups.