Department of Performing Arts

The Turn of the Screw
Adapted by Jeffrey Hatcher, from the story by Henry James
Directed by Dr. Kelley Holley

Based on the classic ghost story, The Turn of the Screw is a tale of a woman who is either haunted, or going mad, as she takes care of two children in a secluded country manor.

This is a two-hander! One actor plays the governess, the other plays everyone else. No costume changes, no props, all acting. An exciting acting challenge, the show uses language to paint the whole world of this spooky tale.

REHEARSALS: August 31, 2026 -September 24, 6:30-10:00 pm Mon, Wed, Thursday & 11am-4pm range Saturdays

TECH: September 25-30, 2026

SHOWS: October 1-4, 2026

Please note: this rehearsal period is very short and attendance and line memorization is incredibly important. You cannot miss any tech rehearsals. 

CASTING NOTE: This production is open to all students at RIT of any size, race, and ethnicity. Although the gender of the characters cannot be altered, auditions and casting are open to all students, staff, and faculty regardless of gender identity.

CHARACTER BREAKDOWN: 

The Governess – A young woman who lived a sheltered life with her religious father, before becoming the new governess to two young children. She deeply cares for their well-being.

“The Man” – This actor plays everyone else, including Miles, a child, to Mrs. Grouse, the housekeeper, the Uncle and the Narrator. Versatility is important here, both in physical performance and character development.

CONTENT DISCLOSURE: This show contains suggestions of the abuse of minors, as well as discussions of death and grief, along with a brief illusion to suicide, mental illness, an illusion to pregnancy, and some sexually explicit language, including innuendos,  and situations. None of this is explicitly staged, only implied or discussed. Additionally, the play contains a stage kiss, an intimate embrace, and other moments of minor intimacy, such as a kiss on the head. All moments of intimacy will be choreographed with the support of an intimacy director.

If you have questions, please email Kelley, kthspa@rit.edu.

Script Tease: The Laramie Project
Written by Moisés Kaufman and members of the Tectonic Theater Project
Directed by Andy Head

The Laramie Project, devised by the Tectonic Theater Project, is a powerful documentary-styled play that explores the aftermath of the brutal murder of Matthew Shepard in Laramie, Wyoming in 1998. Constructed from hundreds of interviews, the play weaves together many voices and perspectives of a community reeling from tragedy. The play investigates how we can respond to hate with community, resilience, empathy, and hope. 

More about Script Tease: This stripped-down performance style puts raw acting choices at center stage. Performers will be cast from joint auditions at the beginning of each semester and will be joined by a team of student stage managers, lighting and sound designers, and dramaturgs. For each play, a focused rehearsal period will lead up to the public performance taking place in the Glass Box Theater where performers will have scripts-in-hand. 

REHEARSALS: October 19-23, 2026, 6-10pm

TECH: October 24-25, 2026, 10am-5pm

SHOW: October 25, 2026, 7:30pm

Please note: you cannot miss any tech rehearsals.  

CHARACTER BREAKDOWN: 

CASTING NOTE: This production is open to all students at RIT of any size, race, and ethnicity. Although the gender of the characters cannot be altered, auditions and casting are open to all students, staff, and faculty regardless of gender identity.

The play consists of over 60 characters who are based on real life people from Laramie, WY and members of the Tectonic Theatre Project. Each actor in the cast can expect to play approximately 5-8 characters of varying ages, genders, races, ethnicities, and backgrounds. 

CONTENT DISCLOSURE: This production contains mature themes, including discussions of violence, hate crime, homophobia, and the murder of Matthew Shepard. If you have questions, please email Andy at awhgla@rit.edu.

If you have questions, please email Andy at awhgla@rit.edu.

Clue
Based on the screenplay by Jonathan Lynn, Written by Sandy Rustin 
Directed by JW Guido
Assistant Director/Voice Coach: Gabi Nocciolino 

Clue is a high-energy murder mystery/comedy that feels like an episode of Scooby-Doo mixed with a vintage dinner party from hell. Six guests are invited to a dinner party where they are blackmailed by their host, who ends up murdered. The play follows the guests attempting to find the killer- Who did it? How? And where?

Clue is a fast-paced, murder mystery-farce that combines physical humor, exaggerated characters, quick dialogue, and is performed in both American Sign Language and English.

REHEARSALS: September 4- October 29, 2026, 6:00-9:00pm MWTH / 10am-2pm Sa

TECH: October 30- November 5, 2026

SHOWS: November 6-8, 2026 

Please note: you cannot miss any tech rehearsals.  

CHARACTER BREAKDOWN: 

CASTING NOTE: This production is open to all students at RIT of any size, race, and ethnicity. Although the gender of the characters cannot be altered, auditions and casting are open to all students, staff, and faculty regardless of gender identity.

This production will utilize a combination of Deaf, hard of hearing, and hearing actors working together to create characters. 

Wadsworth (Male/Any, 30+): A traditional, uptight, and formal British butler. He drives the action and narrates much of the story.

Miss Scarlet (Female, 25+): A dry, sarcastic D.C. madam who is cynical and intelligent 

Mrs. Peacock (Female, 30+): The neurotic, theatrical wife of a senator, who is fast talking and quickly falls into hysteria.

Mrs. White (Female, 30+): A pale, morbid, and tragic figure who may be a murderer.  

Colonel Mustard (Male, 30+): A pompous, dense, and blowhard military man.  

Professor Plum (Male 30+): An arrogant, academic womanizer. *This character engages in sexual/flirtatious innuendo

Mr. Green (Male, 20+): A timid, klutzy, and anxious rule follower.

Yvette (Female, 20-30): A sexy, French maid with secrets, *This character engages in sexual/flirtatious innuendo

Mr. Boddy (Male): A slick, shady, film-noir type character

The Cook: A threatening, gruff presence

The Motorist: A polite, lost gentleman.

Singing Telegram Girl: A bubbly, energetic performer.

Chief of Police: A sharp authoritative figure.

CONTENT DISCLOSURE: The show is a comedy centered on murder and involves fast-paced comedic violence featuring theatrical violence, gun usage, and witty, adult oriented dialogue. As a murder mystery farce, this production features multiple staged deaths. Characters are depicted being killed using various “iconic” prop weapons. Language includes mild to moderate profanity and sexual innuendo. 

If you have questions, please email JW Guido at jwdnpa@rit.edu or Gabi Nocciolino at gannpa@rit.edu 

Sunday in the Park with George
Music and Lyrics by Stephen Sondheim, Book by James Lapine
Directed by Christopher Ryan

 This beautiful score by Stephen Sondheim features well-known songs such as “Sunday”, “Putting it Together”, and “Children and Art”.  The first act, set in 1880s Paris, centers on a fictionalized version of the pointillist painter, Georges Seurat, and his relationship with his mistress and muse, Dot.  In the second act, we skip forward to the 1980s and see Georges and Dot’s grandson (also George) and his grandmother, Marie, Georges and Dot’s daughter as they reveal the 7th invention in a series by George. His Chromolume #7 is an interpretation in color and light, the work of Georges Seurat: A Sunday Afternoon on the Island of La Grande Jatte.

REHEARSALS: September 2- November 4, 6-10pm, Saturdays scheduled during the 10 AM - 4 PM window (depending on performer schedules). 

TECH: November 5-11, 2026

SHOWS: November 12-15, 2026

Please note: you cannot miss any tech rehearsals.  

CASTING NOTE: This production is open to all students at RIT of any size, race, and ethnicity. Although the gender of the characters cannot generally be altered beyond what is listed below, auditions and casting are open to all students, staff, and faculty regardless of gender identity.  

CHARACTER BREAKDOWN: 

George - Tenor, G#2-G#4 Georges Seurat is a 24 year old artist, working on a painting using an innovative pointillism technique. His mistress and muse is Dot.  In Act II, this performer plays George, the grandson of Georges and Dot, who is also an artist who creates light and sound-emitting sculptures.

Dot/Marie - Mezzo, E3-D5 Dot is a model and aspiring follies performer who is George’s lover and muse.  She becomes pregnant and chooses to leave George for Louie (the baker).  Then, when Georges doesn’t ask her to stay, she and Louie leave with a tourist couple (Mr. and Mrs.) and move to America.  In Act II, this performer plays Marie, Georges and Dot’s daughter, and Act II George’s grandmother.  

Old Lady/Blair Daniels - Mezzo, F3-D#5 In Act I, the Old Lady is George’s mother.  She’s thoroughly discontent with most everything, bemoaning the loss of the past and the industrialization of Paris.  Her companion and caregiver is The Nurse.  In Act II, Blair Daniels is an art critic who criticizes George for not pushing himself to create new and different pieces rather than iterating on the idea of the Chromolume.

Nurse/Mrs./Harriet Pawling - Mezzo, G3-F4 In Act I, The Nurse is the companion and caretaker of the Old Lady.  She also has a flirtatious relationship with Franz.  Also in Act I, The Nurse plays the character of Mrs., an affluent Southern American woman who has come to Paris on vacation and finds most everything is NOT to her liking, with the significant exception of the pastries available from local bakers.  In Act II, Harriet Pawling is an affluent patron of the arts.

Jules/Bob Greenberg - Baritone, G2-F4 Jules is another Parisian artist whom George wishes to impress.  Jules is more conventional than George, and is quite critical of his modern and unconventional approach.  Jules is having an affair with his nanny and cook, Frieda.  Jules and Yvonne have a young daughter, Louise. In Act II, Bob Greenberg is the museum director where George is showing his latest work, the Chromolume #7.  

Yvonne/Naomi Eisen - Mezzo, E3-D#5 Yvonne is Jules’ wife.  She doesn’t much like art, but, as an artist’s wife, is surrounded by it.  She does join Jules in criticizing George’s work, but finds George much more interesting, as a person, than she finds her husband. Yvonne and Jules have a young daughter, Louise. In Act II, Naomi Eisen is the composer for George’s new creation, the Chromolume #7.

Boatman/Charles Redmond - Baritone, D#2-D#4 In Act I, the Boatman is a gruff, generally disgruntled barge captain, who is unhappy with Louise’s attempts to pet his dog and unsure what to think of George sketching him and his dog. In Act II, Charles Redmond is a visiting curator at the museum.

Celeste #1/Waitress - Soprano, B3-G5 Celeste #1 is a shop girl out on the island in search of something exciting.  She spots The Soldier and finds him very intriguing.  She is both friend and competitor with Celeste #2.  In Act II, Waitress is a server at the museum event.

Celeste #2/Elaine - Soprano, B3-G5 Celeste #2 is a shop girl out on the island in search of something exciting.  She spots The Soldier and finds him very intriguing.  She is both friend and competitor with Celeste #1.  In Act II, Elaine is George’s ex-wife, who still has a loving relationship with his grandmother, Marie.

Louise/Museum Patron - Mezzo, G3-D#5 Louise is the precocious and bespectacled daughter of Jules and Yvonne.  Her nanny, Frieda, is someone she happily escapes.  Louise informs Yvonne of Jules’ infidelity.  In Act II, Museum Patron is one of the invitees to George’s reveal of his new creation, the Chromolume #7.

Franz/Dennis - Baritone B2-G4 Franz is a German living in Paris, and he works as the Coachman to Jules and Yvonne.  He is married to Frieda, but makes advances on The Nurse.  As a blue collar worker, he wishes he’d taken up art “so he didn’t have to work”.  Franz doesn’t like Louise and finds it odd that George would want to sketch him and Frieda.  In Act II, Dennis is George’s friend and assistant and the technician responsible for Chromolume #7 and the previous iterations.

Frieda/Betty - Soprano, G3-F5 Frieda is a German living in Paris, and is the Nanny to Louise and the cook for Jules and Yvonne.  She is married to Franz, but is having an affair with Jules.  As a blue collar worker, she finds it odd that George would want to sketch her and Franz.  In Act II, Betty is a fellow artist attending the reveal of George’s new Chromolume #7.

Soldier/Alex - Baritone, A2-F4 Friends with another soldier (a cardboard cutout that he carries around), the Soldier comes to the island and meets the Celestes who he subsequently dates.  In Act II, Alex is another artist who attends the reveal of George’s new Chromolume #7.

Mr./Lee Randolph - Spoken (and will join in ensemble singing) In Act I, Mr. is an affluent American tourist visiting Paris, and he finds nothing to his liking except the pastries.  He is married to Mrs. In the end, he returns home, bringing Louis (and Dot and Marie) with him. In Act II, Lee Randolph is the museum’s publicist. 

Louis/Billy Webster - Baritone A2-A4 Louis is a baker and is the man Dot chooses, when she leaves George.  He accepts Dot, despite her being pregnant, and he and Dot move with the baby, Marie, to America to work for Mr. and Mrs. In Act II, Billy Webster is a friend of Harriet Pawling.

Woman/Photographer - Ensemble singer (voice part to be determined) In Act I, the Woman (with baby carriage) is one of the ensemble members who are part of the painting. In Act II, the Photographer is in the museum to document the reveal of George’s Chromolume #7. 

Man/Museum Assistant - Ensemble singer (voice part to be determined) In Act I, the Man (with bicycle) is one of the ensemble members who are part of the painting. In Act II, the Museum Assistant is a member of the museum staff there to support the event revealing George’s Chromolume #7. 

Company - Various voice parts There is the possibility of us casting additional ensemble roles that will play Island Visitors in Act I, and Museum Guests in Act II.

CONTENT DISCLOSURE: There are themes of neglect, emotional distance, and infidelity. Some choreographed physical and verbal disagreement. Potential physical connections between characters which could include embracing, hand holding, and kissing (specifically, the characters who may be involved in physical connection are: Frieda, Jules, Franz, Nurse, Dot, George, Louis, Yvonne/Louise, Soldier, Celeste #1/#2). Some coarse language (Boatman).

If you have questions, please email Christopher at cxrspa@rit.edu

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 449 seat auditorium, the theatre has played host to numerous guest artists such as Mikail Baryishnikov, Jane Fonda, Louise Fletcher, Marlee Maitlin, the 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, Sean Forbes, American Deaf Dance Company, Alvin Ailey American Dance Theatre, Danielle Ponder, 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 theatre program has a rich heritage of offering challenging, entertaining, and provocative works of theatre, 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.

Renovations in 2022-2023 included the first update to Panara Theater’s lighting system since its opening in 1974 as well as the creation of a new dance lab, a new multi-purpose rehearsal room, and an expanded scene shop with areas for painting props and for welding. In addition, the renovations updated the existing dance lab, costume shop, woodshop, dressing rooms, green room, faculty offices, and department office suite. The renovations also focused on increasing the accessibility of the performing arts spaces. The updated costume shop is fully accessible for wheelchair users and includes height-adjustable tables and an adaptive sewing machine. The costume shop, green room, and dressing rooms all now include TV monitors that can show the stage, allowing for deaf and hard-of-hearing students to see cues to go on stage.

Theatre Capacity

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

Seating Chart 

Click to view the seating chart.

The new Dance Labs and Rehearsal Room are available for students to reserve for individual or group practices. Rooms can be reserved through EMS or by contacting NTIDperformingarts@rit.edu.

This new dance lab not only increases the overall amount of space on campus for dance but also allows for multi-purpose usage with its sprung floors and light grid. These features will allow the spaces to be used for small productions as well as rehearsals and classes.