“Ensemble” is a term directors and drama teachers love to champion, an ideal of individual cast members merged into a singular storytelling force. Rarely, though, does a production achieve this with as much flair and purpose as Orlando’s Gift, written and directed by Pulitzer Prize finalist Prof. David Feldshuh of performing and media arts. In this play, the concept of ensemble comes alive in the truest sense, with an electric cast embodying the spirit of camp in all its theatrical glory.
From the very first look of the Orlando’s Gift set, Virginia Woolf’s presence and influence are palpable, with words from her novel Orlando scattered across the stage floor and sails suspended from masts, conjuring both her world and her eccentricity. This adaptation of Woolf’s celebrated work takes on the novel’s playfulness as well as its profound themes. The production transforms the stage into a richly layered playground where movement and classic literature meld.
The show opens on Tess Lovell ’25 as Woolf herself, contemplating suicide in a vulnerable and haunting portrayal. Lovell’s trembling hands clutch rocks, embodying the depth of Woolf’s inner turmoil. Her despair is interrupted as her own words — personified by the cast dressed in white — coax her into crafting something joyful. In this surreal moment, Woolf encounters the boisterous figures of “Willum” Shakespeare (Jack McManus ’25) and his fictitious sister Judith (Emily Rose Rubinstein ’25). Together, with infectious enthusiasm for iambic pentameter, they urge Woolf toward levity, setting her on the creative journey that births Orlando.
The adventure begins with Justin Lee ’25 as Orlando, a spirited young nobleman in Elizabethan England, under the watchful and delightfully extravagant eye of Queen Elizabeth I, played by Katherine Lynn-Rose ’25. Lee captures the enthusiasm and naiveté of young Orlando with a delightful mix of innocence and boyish audacity, while Lynn-Rose’s impeccable comedic timing and regal flair give the Queen’s scenes a memorable edge. Emily Pugh’s ’25 Euphorysne and Luke Leh’s ’25 Archduchess also drew bellowing laughs from the audience. Yet, amid the boldness, there is a deep authenticity in the performances that is respectful to the novel’s roots. The actors understand that camp, at its best, reveals deeper truths through exaggeration, so they deliver with both hilarity and soul.
Feldshuh’s direction encourages a dynamic spirit, allowing each actor to explore and expand their roles within the larger ensemble. The performances feel both individually vibrant and collectively unified, reinforcing the idea that Woolf’s Orlando is not just a story about one character but a meditation on identity and transformation.
However, the production’s ambitious time jumps, array of British accents from different regions, and role changes — particularly the transition from Lee’s Orlando to an older version played by Oscar Llodra ’25 — may challenge those unfamiliar with Woolf’s original text. Nevertheless, these stylistic choices honor Woolf’s exploration of identity’s fluidity, suggesting that each Orlando, whether male or female, young or old, is a reflection of Woolf’s belief in the mutability of the self.
In addition to its exploration of self-discovery, Orlando’s Gift delves deeply into the theme of love as essential sustenance for life. This theme comes to life in one of the play’s most poignant scenes, where Orlando experiences a fleeting yet intense romance with Sasha, a Russian noblewoman portrayed by Liv Licursi ’25. Their connection is tenderly staged, capturing the ephemeral beauty of first love and heartbreak. Through a simple but effective staging choice, the production conveys their intimacy by having the two “skate” together across an imagined ice rink. This delicate choreography creates a suspended moment, contrasting beautifully with the fast-paced shifts of Orlando’s world, and offers a quiet, bittersweet respite that underscores love’s power to provide meaning — even when transitory.
Post-intermission, the play reaches the point in the story where Orlando, in his time in Constantinople, falls into a deep sleep and awakens as a woman (Zoe Buddie ’25). The transformation is presented without fanfare, underscoring Woolf’s own radical vision of gender as a continuum rather than a fixed point. As Orlando lives through successive eras, facing new constraints and freedoms, Buddie’s performance captures the character’s growing self-awareness, bringing depth to Woolf’s critique of rigid social structures. By 1928, the year Woolf published Orlando, Orlando has embraced her multifaceted identity, symbolizing Woolf’s affirmation of self-discovery and creative freedom.
The play stands out not only as an homage to Woolf’s revolutionary ideas but as a triumph of ensemble work. Feldshuh and his cast remind us why theater is a collaborative art form, delivering a performance that is not only entertaining but a testament to the power of coming together as one to enjoy telling a story. It is special to see a production where the ensemble truly takes center stage with this much heart, style, and creativity.
Orlando’s Gift is a must-see for anyone who believes that creating art sustains life. This production, with its joyfulness and sincere homage, is a celebration of the very act of creation, breathing new life into Woolf’s words.
Katie Kim is a freshman in the College of Arts and Sciences. She can be reached at [email protected].