A Festival Of World Premiere One-Act Plays, Muhlenberg’s ‘New Voices’ Spotlights Talent Of Emerging Playwrights

Allentown, PA – From the creative minds of three emerging playwrights comes Muhlenberg College’s “New Voices,” an evening of world premiere theater featuring three short plays. “New Voices” runs Sept. 30 – Oct. 4 on the Studio Theatre stage.

“It has been very exciting to share the process that all the artists have been hard at work generating for months to prepare for rehearsals,” says Beth Schachter, the chair of Muhlenberg’s Department of Theatre and Dance and the evening’s artistic director. “Audience members will be getting more than their money’s worth by joining us for the three short plays.”

In the provocative and timely “Death of a Sun,” by Claire Waggoner ’16, a mother and daughter watch the sun die out in the distant future. As they share the brief time they have left together, they examine what’s truly important and speculate about what might come next. Ariel Holman ’16 directs.

“My Short Shitty Life” by Nikk Tetreault ’18, explores humanity through a series of absurd comedic vignettes. The play follows a large group of friends through loves lost and friendships regained. Sydney Watt ’18 directs.

“Three Bedroom” by Lauren Waters ’15, follows a tumultuous night in the lives of four young women in their early twenties as they ride the roller coaster of New York City life and try to navigate their way to adulthood. Danielle Lichter ’16 directs.

The New Voices Playwrights’ Festival is presented every other year as a part of the Muhlenberg Theatre & Dance Mainstage season. The festival provides up-and-coming young playwrights the opportunity to showcase their work in a collaborative and intimate environment. It also offers a rare opportunity for audiences to see the work of the next generation of emerging theater artists.

“I think it is fantastic the department gives students the opportunity to showcase their work in the New Voices Festival,” Tetreault says. “The education and experience I’ve had so far with this project makes me want to continue to collaborate and develop new works at Muhlenberg and beyond.”

Muhlenberg College is a liberal arts college of more than 2,200 students in Allentown, PA. The college offers Bachelor of Arts degrees in theater and dance. The Princeton Review has ranked Muhlenberg’s theater program as the top twelve in the nation for the past seven years, and Fiske Guide to Colleges lists both the theater and dance programs among the top small college programs in the United States. Muhlenberg is one of only eight colleges to be listed in Fiske for both theater and dance.

Performances of “New Voices” are Sept. 30 – Oct. 4: Wednesday through Friday, Sept. 30-Oct. 2, at 8 p.m.; Saturday, Oct. 3, at 2 and 8 p.m.; and Sunday, Oct. 4 at 2 p.m. Tickets are $15 for adults and $8 for students. Performances are in the Studio Theatre in Trexler Pavilion for Theatre and Dance at Muhlenberg College, 2400 Chew St., Allentown. For mature audiences.

Founded in 1848, Muhlenberg is a highly selective, private, four-year residential college located in Allentown, Pa., approximately 90 miles west of New York City. With an undergraduate enrollment of approximately 2200 students, Muhlenberg College is dedicated to shaping creative, compassionate, collaborative leaders through rigorous academic programs in the arts, sciences, business, education and public health. A member of the Centennial Conference, Muhlenberg competes in 22 varsity sports. Muhlenberg is affiliated with the Evangelical Lutheran Church in America.

Muhlenberg Stages A Brisk ‘Winter’s Tale,’ Nov. 20-24

List of titles of works based on Shakespearean phrases (Photo credit: Wikipedia)

Allentown, PA – Toward the end of his career, Shakespeare broke away from the conventional rules of play writing and wrote a series of plays that featured wild dramatic verse and then-contemporary humor. The epitome of this defiantly innovative approach was “The Winter’s Tale,” written around 1610, and coming to the Muhlenberg College mainstage Nov. 20-24.

“The play has a real spirit of experimentation and rebelliousness,” says Troy Dwyer, who directs the production. “When they go see Shakespeare, many audience members brace themselves to do a lot of work. And often enough, modern productions make them.”

Dwyer’s aim, he says, is to allow the audience to relax and enjoy the playfulness of Shakespeare’s writing.

“I want the audience to let us do the work,” Dwyer says. “I want them to experience a strong sense of joy and understanding that they don’t have to labor for. That joy can come from comedy or it can come from the thrill of genuinely absorbing drama.”

“The Winter’s Tale” is the story of two intertwined kingdoms gripped by an icy prophecy. A demon bear hunts its victims along the tree-lined shore of Bohemia. Hundreds of miles across the ocean in Sicilia, something just as nightmarish stalks a young queen – her husband’s jealous madness. As both monsters pounce, Shakespeare’s unpredictable fantasy is set into motion.

Part suspenseful tragedy, part rollicking comedy, part grisly fairy tale, the play defies convention while showcasing what Dwyer calls “some of the most breathtaking language ever heard on the English stage.”

The show runs Nov. 20-24 in the Studio Theatre, Trexler Pavilion for Theatre & Dance at Muhlenberg College. In the interest of expediting the action, Dwyer has cut the play to a brisk two hours.

“Modern audiences are very different from 1610 audiences,” Dwyer says. “They understand stories differently, and I think if you’re going to do Shakespeare in 2013, you have to adapt to that different sensibility. That doesn’t mean dumbing the play down or stripping out historical context. It just means being thoughtful about pacing and emphasis, and working to develop relatable characters.”

Dwyer has also added choreography by Allison Berger and an original score by Sean Skahill for an enhanced multisensory experience.

“I want the audience to be pulled away from the dependence on language and narrative by providing other textures of experience,” Dwyer says. For example, the play’s infamous demon bear is depicted not by a large fuzzy costume but by the actors, through movement and music.

“The music and choreography makes it a more holistic and engaging experience for audiences,” Skahill says. “Music can express what you can’t get out through just talking.”

Dwyer says the play closely examines the institution of marriage with its inherent issues of power and parity. He expands that exploration to modern-day issues of marriage equality by gender-swapping certain characters.

“The play is partly about marriage and who has a right to it,” Dwyer says. “It’s about the ways that marriage is both a privilege and a peril — about the mythic demands that get mapped onto the institution of marriage. The play’s young lovers believe that marriage is something worth fighting for, which is a refrain we hear all the time in current discourse. I think the play helps us to disentangle some of the more oppressive threads woven into marriage vows.”

Muhlenberg College’s Theatre & Dance Department offers one of the top-rated college performance programs in the country, according to the Princeton Review rankings. Muhlenebrg is a liberal arts college of more than 2,200 students in Allentown, Pa., offering Bachelor of Arts degrees in theatre and dance. It has been named annually among the Fiske Guide to Colleges’ top 20 small college programs in the United States.

“The Winter’s Tale” runs Nov. 20-24 in the Studio Theatre, Trexler Pavilion for Theatre & Dance, Muhlenberg College, 2400 Chew St., Allentown.

Performances are Wednesday through Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Tickets and information are available at 484-664-3333 orwww.muhlenberg.edu/theatre&dance.

Muhlenberg Theatre And Dance Launches 2012-13 Season

Mainstage season will feature seven theater productions, three dance concerts, including a world premiere play

Allentown, Pa. (Sept. 11, 2012)—The Muhlenberg College Department of Theatre & Dance will open its 2012-13 Mainstage season later this month, with the first of seven theater productions and three dance concerts. Last September, the department was named the No. 1 theater production program in the country for 2012, by The Princeton Review.

The season is as follows. Ticket information for all production follows the listings.

“44 Plays for 44 Presidents”

Sept. 29 – Oct. 3

by The Neo-Futurists

production artistic director: Troy Dwyer

in the Studio Theatre, Trexler Pavilion for Theatre & Dance

This raucous theatrical mosaic of the U.S. presidency tours the audience through a fractured funhouse of 44 short, non-realist plays, each inspired by a different president. The plays range in length from seconds to several minutes, in tone from poetic to slapstick, and in style from song-and-dance to cowboy western.

Performances are Sept. 29 through Oct. 3: Saturday at 8 p.m., Sunday at 2 and 8 p.m., and Monday through Wednesday at 8 p.m. Tickets are $15. Youth and campus tickets are $8, including students, faculty and staff of all LVAIC colleges.

Saturday, Sept. 29, 8 p.m.

Sunday, Sept. 30, 2 and 8 p.m.

Monday, Oct. 1, 8 p.m.

Tuesday, Oct. 2, 8 p.m.

Wednesday, Oct. 3, 8 p.m.

“On the Town”

Oct. 26 – Nov. 4

music by Leonard Bernstein

book and lyrics by Betty Comden and Adolph Green

based on an idea by Jerome Robbins

directed by Charles Richter; musical director, Ed Bara; choreographer, Karen Dearborn

in the Empie Theatre, BakerCenter for the Arts

“On the Town” is a love letter to the Big Apple by four iconic talents of the American musical theater. Three sailors look for love and excitement on a one-day pass in New York City, in this 1940s blockbuster, featuring superb dancing, a gorgeous musical score, and zingy book and lyrics.

Performances are Oct. 26 through Nov. 4: Friday and Saturday, Oct. 26-27, at 8 p.m.; Sunday, Oct. 28, at 2 p.m.; Thursday and Friday, Nov. 1-2, at 8 p.m.; Saturday, Nov. 3, at 2 and 8 p.m., and Sunday, Nov. 4, at 2 p.m.. Tickets are $22. Youth and campus tickets are $8, including students, faculty and staff of all LVAIC colleges.

Friday, Oct. 26, 8 p.m.

Saturday, Oct. 27, 8 p.m.

Sunday, Oct. 28, 2 p.m.

Thursday, Nov. 1, 8 p.m.

Friday, Nov. 2, 8 p.m.

Saturday, Nov. 3, 2 and 8 p.m.

Sunday, Nov. 4, 2 p.m.

“Moving Stories”

Nov. 15-17

Student-choreographed dance

Artistic director Karen Dearborn

in the Dorothy Hess Baker Theatre, Trexler Pavilion for Theatre & Dance

Original dance pieces by upperclass students in the nationally acclaimed Muhlenberg College Dance Program span a variety of genres and styles.

Performances are Nov. 15-17: Thursday and Friday at 8 p.m., and Saturday at 2 and 8 p.m. Tickets are $15. Youth and campus tickets are $8, including students, faculty and staff of all LVAIC colleges.

Thursday, Nov. 15, 8 p.m.

Friday, Nov. 16, 8 p.m.

Saturday, Nov. 17, 2 and 8 p.m.

“The Bourgeois Pig”

Nov. 28 – Dec. 2

A World Premiere Play

by Brighde Mullins

directed by Beth Schachter

in the Studio Theatre, Trexler Pavilion for Theatre & Dance

It’s 1978 Los Angeles, and the Riley family is trying hard to hang on—to their hopes and to each other—in the face of serious dysfunction. Jack, the father, is a brilliant but damaged former war photographer-turned-reluctant paparazzi. His ex-wife can’t face the reality of a failed acting career. Their daughters cope with the fallout of their parents’ struggles. This funny and powerful new play by Guggenheim Fellow Brighde Mullins explores the power of the image—on the page and in the public eye.

Performances are Nov. 28 through Dec. 2: Wednesday through Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Tickets are $15. Youth and campus tickets are $8, including students, faculty and staff of all LVAIC colleges.

Wednesday, Nov. 28, 8 p.m.

Thursday, Nov. 29, 8 p.m.

Friday, Nov. 30, 8 p.m.

Saturday, Dec. 1, 2 and 8 p.m.

Sunday, Dec. 2, 2 p.m.

“Master Choreographers”

Feb. 7-9, 2013

artistic director Karen Dearborn

in the Empie Theatre, BakerCenter for the Arts

A spectacular evening of ballet, contemporary dance, tap and jazz, “Master Choreographers” showcases exciting new dance works by nationally and internationally acclaimed guest artists and faculty. This year’s concert features a restaging of part of “Viva Vivaldi,” the Joffrey Ballet’s signature work, staged by Trinette Singleton, co-artistic director of Repertory Dance Company and longtime Joffrey dancer.

Performances are Feb. 7-9: Thursday and Friday at 8 p.m., and Saturday at 2 and 8 p.m. Tickets are $15. Youth and campus tickets are $8, including students, faculty and staff of all LVAIC colleges.

Thursday, Feb. 7, 8 p.m.

Friday, Feb. 8, 8 p.m.

Saturday, Feb. 9, 2 and 8 p.m

“Bartholomew Fair”

Feb. 21-24, 2013

by Ben Jonson

directed by Kevin Crawford

in the Dorothy Hess Baker Theatre, Trexler Pavilion for Theatre & Dance

Ben Jonson’s 1614 play is a noisy, exuberant slice of Jacobean life, pitting the excesses of Puritanism against the cruder vices of the Fair’s underclass. The production features a new musical score by Caroline Boersma, based on traditional folk melodies, and a faculty spotlight performance by Holly Cate.

Performances are Feb. 21-24: Thursday through Saturday at 8 p.m., and Sunday at 2 p.m. Tickets are $15. Youth and campus tickets are $8, including students, faculty and staff of all LVAIC colleges.

Thursday, Feb. 21, 8 p.m.

Friday, Feb. 22, 8 p.m.

Saturday, Feb. 23, 8 p.m.

Sunday, Feb. 24, 2 p.m.

“New Visions Directors Festival”

March 20-24, 2013

in the Studio Theatre, Trexler Pavilion for Theatre & Dance

“Iphigenia and Other Daughters”

by Ellen McLaughlin

directed by Danielle Barlow

“Mental Landscapes: An Evening of One-Act Plays”

featuring: “The Man Who Turned Into a Stick,” by Kobo Abe, directed by Jimmy Morgan; “Intermission,” by Will Eno, directed by Abby Wylan; and “Rough for Theatre II,” by Samuel Beckett, directed by Riva Rubenoff

“Iphigenia and Other Daughters,” McLaughlin’s poetic modern adaptation of the legend of Agamemnon and the aftermath of the Trojan War, offers a bold, provocative feminist perspective on a story of lust, fury, sacrifice and rebellion.

In “Mental Landscapes,” three of Muhlenberg’s most accomplished student directors present an evening of life, death and absurdity.

Performances are March 20-24. “Iphigenia” will be performed Wednesday and Friday at 7 p.m., Thursday and Saturday at 10 p.m., and Sunday at 2 p.m.. “Mental Landscapes” will be performed Wednesday and Friday at 10 p.m., Thursday at 7 p.m., and Saturday at 2 and 7 p.m. Tickets are $15 for either production, or $20 for both. Youth and campus tickets are $8 for either production, or $12 for both. Campus tickets include students, faculty and staff of all LVAIC colleges.

Wednesday, March 20: “Iphigenia” at 7 p.m., “Mental Landscapes” at 10 p.m.

Thursday, March 21: “Mental Landscapes” at 7 p.m., “Iphigenia” at 10 p.m.

Friday, March 22: “Iphigenia” at 7 p.m., “Mental Landscapes” at 10 p.m.

Saturday, March 23: “Mental Landscapes” at 2 and 7 p.m., “Iphigenia” at 10 p.m.

Sunday, March 24: “Iphigenia” at 2 p.m.

“Dance Emerge”

April 18-21, 2013

Student-choreographed dance

Artistic directors Jeffrey Peterson and Teresa VanDenend Sorge

in the Dance Studio Theatre, Trexler Pavilion for Theatre & Dance

Original dance pieces by upperclass students in the nationally acclaimed Muhlenberg College Dance Program span a variety of genres and styles.

Performances are April 18-21: Thursday and Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 8 p.m. Tickets are $15. Youth and campus tickets are $8, including students, faculty and staff of all LVAIC colleges.

Thursday, April 18, 8 p.m.

Friday, April 19, 8 p.m.

Saturday, April 20, 2 and 8 p.m.

Sunday, April 21, 8 p.m.

“The Marriage of Figaro”

April 25-28, 2013

by Beaumarchais

directed by Francine Roussel

in the Dorothy Hess Baker Theatre, Trexler Pavilion for Theatre & Dance

Writing a few years before the French Revolution, Beaumarchais pours his rage at the aristocracy into a comedy of class and sexual inequality that manages equal parts hilarity and outrage. First produced in 1784, this play about plots, assignations, and the “droit du seigneur” served as the inspiration for Mozart’s famous 1786 opera.

Performances are April 25-28: Thursday through Saturday at 8 p.m., and Sunday at 2 p.m. Tickets are $15. Youth and campus tickets are $8, including students, faculty and staff of all LVAIC colleges.

Thursday, April 25, 8 p.m.

Friday, April 26, 8 p.m.

Saturday, April 27, 8 p.m.

Sunday, April 28, 2 p.m.

Ticket Information

All venues are at the Muhlenberg College performing arts campus, 2400 Chew Street, Allentown, 18104. Tickets are available at the box office, on the first floor of the Trexler Pavilion for Theatre and Dance, or at 484-664-3333, Monday through Friday noon to 6 p.m. and two hours before each performance. Tickets and information are available online at www.muhlenberg.edu/theatre&dance.

Sam Shepherd’s “Curse Of The Starving Class” At Muhlenberg College

Allentown, Pa. (Nov. 17, 2011) — Pulitzer Prize winning playwright Sam Shepard delves into the darkest corners of the American family in his 1978 play “Curse of the Starving Class,” opening Nov. 30 at Muhlenberg College.

Part of Shepard’s series of “family tragedy” plays, “Curse” continues the playwright’s exploration of the death of the American family—embodied by the Tate family, whose personal and financial struggles have pushed them to desperation. The New York Times called the play “Shepard’s most comic and most excoriating study of the indomesticity of the American household.”

“Curse of the Starving Class” plays Nov. 30 through Dec. 4 in Muhlenberg’s 100-seat Studio Theatre.

The production marks Muhlenberg faculty member Larry Singer’s return to the stage after 20 years. Singer teaches acting as a visiting assistant professor in the Theatre and Dance Department. He made his Broadway debut in 1980 and worked as an actor for the next decade, but since 1988 has worked primarily as a teacher and director.

A poll of Back Stage magazine readers named Singer the best scene study teacher and acting coach in New York City, in the magazine’s 2011 Back Stage Choice Awards. Singer says that “Curse of the Starving Class” has provided a challenging return to the stage.

“Shepard writes completely with his heart, trying to bear and expunge his own demons,” Singer says. “You just sense that as an artist, he’s not holding back, and he’s unequivocal in his determination to do that, and that inspires me as an actor to follow suit.”

Director Francine Roussel, also a faculty member in the Theatre and Dance Department, says the play has particular resonance now, in the wake of recent financial scandals and what she calls America’s growing distrust of the elite.

“The greed of American culture is a dominant theme in the play—how that greed overwhelms the characters’ sense of family,” Roussel says. “The play is talking about the dysfunctional family, but it also has the bigger context that is the crisis of capitalism, and the risk of the excesses that are beyond the individual crisis of this family.”

“Curse of the Starving Class” tells the story of the Tate family, barely subsisting on a scrap of a California avocado farm. The son, Wesley, stands on the precarious edge of manhood, his prospects dim, while his sister Emma immerses herself in 4-H projects and horseback fantasies. Their father Weston, played by Singer, has driven the family deep into debt, but he’s got a scheme to sell the place and start fresh. He has no idea that his wife Ella is cooking up a scheme of her own.

Roussel says the Tates are doomed from the start—by Weston’s alcoholism, by greed, and by their inability to come together as a family.

“The parents are behaving more like children, and the children are being forced to grow up very fast and to try to be responsible,” she says. “But of course they haven’t been given the tools to do that, to grow up. The family members cling to each other and claw at each other at the same time; they feel like they need each other to survive, but like they’re trapped.

“There’s a beautiful image at the end of the play,” Roussel says, “of an eagle who is flying in midair with a cat hanging by its claws from the eagle’s chest. They are destroying each other. And even though they’re trying to survive, both of them will eventually fall to their death.”

Singer says that, besides the playwright’s brutal honesty and excoriating, dark sense of humor, what most distinguishes Shepard’s writing is its sense of rhythm.

“The rhythms are challenging at first,” he says, “but after a while you feel like you’re galloping along with a horse. It’s a great feeling. Sometimes you fall off, and it hurts, but otherwise galloping is a great rhythm.”

The play presents some unique production challenges—chief among them, that it calls for a live lamb to join the cast.

“We have to make sure it’s not too big, make sure it’s used to being handled by humans and not just wild in the fields,” Roussel says. “That remains our number one concern.”

Muhlenberg College‘s Theatre & Dance Department is the top-rated college performance program in the country, according to the Princeton Review‘s 2012 survey report. Muhlenberg is a liberal arts college of more than 2,200 students in Allentown, Pa, offering Bachelor of Arts degrees in theater and dance.

“Curse of the Starving Class” will be performed Nov. 30 – Dec. 4: Wednesday through Friday at 8 p.m., Saturday at 2 and 8 p.m., and Sunday at 2 p.m. Tickets are $15 for adults and $8 for patrons 17 and under. Performances are in the Studio Theatre, Trexler Pavilion for Theatre and Dance, Muhlenberg College, 2400 Chew St., Allentown.    ***For mature audiences***

Tickets and information are available at 484-664-3333 or http://www.muhlenberg.edu/theatre

‘The Last Days Of Judas Iscariot’ Brings Courtroom Drama To The Next Level

The trial of Judas takes place Dec. 1-5
on the Muhlenberg Mainstage

Allentown, Pa. (Nov. 9, 2010) — When audiences arrive to see “The Last Days of Judas Iscariot” they will be thrust into a “transformative world,” in which a courtroom in Purgatory has been conjured from an abandoned junior high school gymnasium.

“The show is a flashy romp through history – which happens to take place in Purgatory,” says Jenny Lerner ’11, who plays lawyer Fabiana Aziza Cunningham.

Director Beth Schachter describes the show as a “fascinating version of a courtroom drama.” Schachter is an associate professor of theater at Muhlenberg College and teaches classes in acting, directing, and the history and theory of theater. She is also the director of the College’s Women’s Studies Program. The play runs Dec. 1-5 in the College’s 100-seat Studio Theatre, Trexler Pavilion for Theatre & Dance.

“The Last Days of Judas Iscariot,” by Stephen Adly Guirgis, takes place in the precinct of Hope, in downtown Purgatory. A trial has begun to determine the culpability of one of Western culture’s most notorious villains: the betrayer of Jesus himself, Judas Iscariot. A parade of famous and infamous figures takes the stand: Mother Theresa, Sigmund Freud, Satan, Pontius Pilate (who pleads the Fifth). They debate with the two lawyers, arguing their points with a ferocious combination of biblical metaphor and urban trash-talk.

“Guirgis has taken historical figures that presumably none of us have met before and made them interesting and funny – and actually very modern,” says Lerner. “Every character in the play is someone who doesn’t love themselves and feels that they are inadequate in some way. They are in Purgatory, but still grappling with issues from the past that are unresolved, and that is why they can’t move on.”

Guirgis’ scathing examination of faith, free will, and forgiveness explodes with unforgettable characters – cultural icons that appear not as figures in a storybook but as people trying to cope with the big questions, when no big answers are forthcoming.

 “The play is full of laughs and really interesting characters,” says Lerner. “But it also has deep heart and deep emotion and asks the question of how our actions affect us.”

Schacter says the combination of humor and challenging subject matter drew her into the play. She also likes that, while the play focuses on Judeo-Christian history and events, the themes are much broader.

“The play is less about particular sets of religious beliefs, practices, and history, and more about cultivating hope, faith, and the spirit of forgiveness,” Schachter says. “People who see this show have the opportunity to consider how necessary but painful forgiveness can be.”

Physical comedy plays a key role in this production of “The Last Days of Judas Iscariot,” Schachter says — although often in surprising ways. For example, there is a Keystone Kops–style scene with Roman soldiers and Judas that shifts suddenly and shockingly from slapstick to violence.

“The show seems to be very self aware of theatre conventions,” Lerner says. “And it plays with these conventions and bends the rules in many ways.”

Muhlenberg College is a liberal arts college of more than 2,200 students in Allentown, Pa. The college offers Bachelor of Arts degrees in theater and dance. Princeton ranks Muhlenberg’s theater program sixth in the nation, and The Princeton Review and the Fiske Guide to Colleges lists both the theater and dance programs among the top small college programs in the United States. Muhlenberg is one of only eight colleges to be listed in Fiske for both theater and dance.

“The Last Days of Judas Iscariot” performances are Wednesday through Friday, Dec. 1-3, at 8 p.m.; Saturday, Dec. 4, at 2 and 8 p.m.; and Sunday, Dec. 5, at 2 p.m. Tickets are $15 for adults and $8 for patrons 17 and under. Performances are in the Studio Theatre, Trexler Pavilion for Theatre and Dance, Muhlenberg College, 2400 Chew St., Allentown. For mature audiences.

“The Last Days of Judas Iscariot” performance information and tickets are available at 484-664-3333 or www.muhlenberg.edu/theatre/