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With a two-person cast and minimal set, Constellations demonstrates the charm of a good story

Hamilton Theatre Project’s production of Constellations opened on Feb. 6, 2025 at the Lyons Family Studio, located in L. R. Wilson Hall. This is HTP’s second run of the show, which they performed at The Staircase in June 2024.

Constellations, written by Nick Payne, follows the relationship of Marianne and Roland through different universes, mapping out multiple possible endings and beginnings. Amber Mills, the artistic producer of HTP, discussed how the play's themes stood out to her. “I feel like it’s a really beautiful look at how we spend our time and why it matters and the choices we make and how they impact the way our lives unfold,” said Mills, “That concept or idea of “what if?” and exploring the multiverse from a love perspective is really appealing to me.”

I feel like it’s a really beautiful look at how we spend our time and why it matters and the choices we make and how they impact the way our lives unfold.
Amber Mills, Artistic Producer
Hamilton Theatre Project

Mills also acts in the show, playing Marianne, alongside Colin Palangio, who plays Roland. “In my mind, as an actor it’s super appealing to do a project like this that’s small. It’s really just about storytelling and just about the relationship and not really about any production value or other things,” said Mills.

For this production, the theatre was configured “in the round” with approximately 80 seats, creating an immersive experience. “I can’t really imagine this play not [in the round]. It feels like a play that kind of calls to have people all around. [A traditional stage] can feel quite limiting, you can only play in one direction. So this feels like it gives you a lot of freedom,” said Mills.

The stage was set with two wooden benches, a chair, and some small boxes. Throughout the show, the benches are reconfigured to create various settings, and a couple of props are taken out from the boxes. Colin Palangio, who plays Roland, explained how they decided on the set pieces. “We stuck with the sparse, very little going on, because really it’s about the couple. They’re traversing different universes so much, so that would be way too much prop and set,” said Palangio.

Without set changes, the multiverse is only indicated via alternate versions of the “same” scene. This structure presents a fun challenge for Mills and Palangio, who are responsible for conveying a new scene while repeating identical or similar dialogue. “It’s definitely an actor’s pleasure to do something like this because you really get to play,” said Palangio, “It reminds me of going back to not seeing the sunlight in theatre school and just trying a scene over and over. And I think what’s cool is that this show really sort of requires you to do that.”

As the only cast members, Mills and Palangio are wholly responsible for telling the story. “I don’t feel like I can hide, it really asks a lot of you as an actor,” said Mills. “There’s just the dialogue and the two people and trusting your scene partner because you’re only really as good as the people you share the stage with,” said Palangio.

You're only really as good as the people you share the stage with.
Colin Palangio, Actor
Hamilton Theatre Project

Both actors remain onstage throughout the entire 90-minute play and are only unlit during brief voice-over transition scenes and minor set adjustments. The play is impressively fast paced, often switching between universes without warning and requiring the actors to change their expressions, body language and tone of voice within a few seconds. “It’s kind of unrelenting, you don’t really get a breather per se. You go on this ride and you just stay on it for 90 minutes,” said Mills.

Mills shared that HTP was invited to bring the show to campus by the arts operations, resources and production department of McMaster’s school of the arts “[They were] excited about bringing something that was sort of from Hamilton. A Hamilton-based project, something semi-professional that the students could come and see, . . . that wasn’t the same type of theatre that they might see anywhere else in town,” said Mills.

Constellations is on until Feb. 15, 2025. To view the full list of showtimes or purchase a ticket, you can visit the showpass page. Current McMaster students can use the promotional code MAC50 at checkout to receive a 50 per cent discount. To keep up with HTP and their future projects, you can find them on Instagram or Facebook.

The McMaster Thespian Company's production showcases the timeless appeal of classical theatre

By: Shelby Foster, Arts and Culture Contributor

"To be, or not to be, that is the question." But why our campus and why now? That's my question.

With the McMaster Thespian Company having wrapped up their fall production of Macbeth and beginning production for yet another of Shakespeare's plays, one has to ask themselves, why does Shakespeare have the McMaster theatre community in such a chokehold?

To get to the bottom of this question, I sat down with some of the cast and crew of MTC's Macbeth to talk about the production and understand what it means to be engaging with Shakespearian classics as modern-day students.

According to the UK National Theatre in their 2024 Macbeth deep dive, the timelessness of Shakespeare has been accredited to his appeal to themes such as love, death, ambition, power, fate and free will —experiences that transcend time.

As Annika Venkatesh, director of MTC's Macbeth, put it, "The themes are relevant because the themes are human." In addition to Shakespeare's heart-string-plucking work, his works are in the public domain, which has led to further opportunities for creatives to engage with them beyond reading the original works themselves, including but not limited to putting on university productions.

"Shakespeare is so infused in our culture already and in ways we don't even understand; we enjoy She's The Man, Lion King, 10 Things I Hate About You. Understanding the source material and letting ourselves enjoy and empathize with it are definitely things that we can strive to do through our theatre," said Venkatesh.

Understanding the source material and letting ourselves enjoy and empathize with it are definitely things that we can strive to do through our theatre.
Annika Venkatesh, Director of Macbeth
McMaster Thespian Company

As highlighted by Venkatesh, Shakespeare's impact on Western culture is undeniable, but his plays take center stage on a much more personal level for those directly involved with theatre.

"I remember being 15, reading Macbeth and I thought, "This was my dream character"," said Maya Psaris, a first-year PhD student who played Lady Macbeth in MTC's production. Through MTC, Psaris was enabled to pursue all of her passions by having classical theatre accessible on campus.

"I have a split brain in terms of my passions. I love research, psychology and child development . . . my other passions are acting and theatre," Psaris explained. "Being able to balance both of those two is really important to me."

When asked how their involvement with the MTC interacts with their studies, here is what one of Psaris' castmates had to say.

"It's definitely helpful," said Abbey Hanson, Lennox actress and third-year English and theatre student. "I feel like I have a better understanding of reading Shakespeare and understanding what's going on . . . also any performing experience helps with being in theatre, building up the resume, learning new things, learning different directing techniques that you will experience."

Hanson suggested that involving yourself with MTC as an English or theatre student may help in furthering your career development in direct ways. Venkatesh, alongside directing Macbeth, is a third-year nursing student and argued that the importance of engaging with theatre spans beyond your field of study.

"There's a lot more overlap between theatre and any other field of study than people expect there to be," said Venkatesh. "I go to clinical placements or to work; I go to the hospital . . . so I can talk with them [patients, colleagues] about books, plays, music and theatre. Especially with Shakespeare, everyone has some kind of story. Whether it's just them hating it in high school or talking about going to Stratford every year."

There's a lot more overlap between theatre and any other field of study than people expect there to be.
Annika Venkatesh, Director of Macbeth
McMaster Thespian Company

These unique individuals, all from different backgrounds, are united by one thing in common: the humanity that theatre highlights.

If you want to experience Shakespeare for yourself, MTC is currently preparing for their winter show, Twelfth Night. You can get in on the action by following MTC on Instagram to watch the production process and get the inside scoop. Keep an eye out for performance date announcements, read the play for yourself and, of course, consider seeing the show!

By: Vanessa Polojac

Established from a study conducted within the Hamilton community, McMaster associate professor of Social Work Mirna E. Carranza collaborated alongside Toronto based, Persian-Canadian actor, singer and writer Izad Etemadi to create a story that explores the re-occurring struggles, sacrifices and issues that many newcomers to Canada face, particularly women.

In partnership with the Immigrant Working Centre, Emergency Support Committee and Hamilton Community Legal Clinic, Carranza’s research was developed through a series of interviews focused on immigrant women, their partners and children. The interviewees ranged from two to 35 years since their immigration to Canada. The objective was to understand the intersection between immigration, integration, trauma and mental health.

The idea of popular theatre was then brought to the attention of Carranza by the women whom she had interviewed.

“The women wanted an impact, rather than writing a report or a paper. I then began thinking, what can I do differently?” explained Carranza.

During this time of her research, Carranza met Toronto playwright Eternadi when he mediated a panel about Syrian refugees at the immigrants working centre. The two instantly bounded over their passion for storytelling and began conceptualizing performance ideas.

In May 2016, the process had began. Eternai was given transcriptions and transformed them into a piece of theatre. The play centres around four young women and intersperses monologues with group scenes, telling emotional and memorable stories of their experiences of being new residents to Canada.

Some of these stories include: a young women who had fallen in love with a Canadian while on vacation and was forced to leave everything behind in her home country, a 12 year-old girl who moves to Hamilton with her family and sees the city as a terrifying place and a women who had just immigrated to Canada and is being stripped away from her ethnicity to conform to the new society she is now apart of.

“I just readjusted some of the wording to create a narrative. Everything came from the mouths of these women,” explained Eternai.

We Are Not The Others was first performed by McMaster students at the Art Gallery of Hamilton during the time of the American election.

“You could see the mood change within the audience. It was such a vulnerable topic for the time,” said Ethernai.

“The women wanted an impact, rather than writing a report or a paper. I then began thinking, what can I do differently?”

Mirna E. Carranza

Associate professor of Social Work

Due to an overwhelming response from the first showcase, Ethernai and Carranza decided to hold open casting calls for young actresses within the local community. The cast was then composed of Rashanna Cumberbatch, who is a first generation Canadian actress to Guyanese parents, Heath V. Salazar a Columbian-Canadian Dora award winning trans writer, actor, singer and dancer, Sima Sepehri, who had immigrated to Canada from Iran at the age of six years old and works on shows such as Private Eyes, and Angela Sun Chinese-Canadian multi-talented performer who has been apart of SummerWorks, Paprika, and InspiraTO theatre festivals.

We Are Not The Others was one of 50 plays to be chosen to be apart of Hamilton’s 2017 Fringe Festival running from July 20 to 30. The vast majority of people come to this country with the idea of hope.” said Carranza. Using music, poetry, and the real words of immigrant women, We Are Not The Others took audiences into the world of immigration that is full of struggles, pain, tears and hope.

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Creativity within a faculty can be a finicky thing, especially when the program is not typically associated with the arts. The stresses of other activities, mostly related to the horror stories of academics and the real possibility of an eight-year undergrad, can sap the mental and physical capacity to put something legitimately good onto a stage. This year's engineering musical shattered this notion. The expectation has been redefined and a new bar set for years to come. Clocking in at more than three hours long on closing night, its 15-minute intermission felt longer than each of the halves it separated.

Herc, despite not fitting in with most of his peers, set out to become a “True Engineer” with help from his friend Peggy and a bitter upper-year student named Sheldon. Midterms, parties, TAs and the temptations of artsies stood in the way, and the sinister plan of the Dean of Arts, Togo Salmon, for engineering to fall and arts to reign supreme at McMaster was ever persistent. With Disney's Hercules as the obvious inspiration it is a rather campy story overall, and its narrative focus succeeds in providing just enough nostalgia and variation to work.

Humour was dispersed in off-beat intervals as the constant mix of one-liners and longer setups throughout made an unpredictable and varied experience without the loss of comedic timing. The story scenes of the play had a phenomenal rhythm to them. Not knowing if or when a joke was about to come, even with setups already in place, was astounding for an amateur production to pull off successfully. The variety of jokes presented were not at all limited to just engineering or generic satire as you would expect. It was this constantly changed tempo, diversity and execution that brought new life to an otherwise predictable plot-line.

The Silhouette, The Hamilton Speculator, Spotted at Mac and The Plumbline as characters were less varied than the typical script, but still effective. The novelty and lighthearted jabs were entertaining without becoming overbearing. Disguised exposition dumps as interactions between their message to the audience and each other were fine enough. The parodies of Queens, Waterloo and the Deans of McMaster's non-engineering faculties unfortunately fell flatter than the previously mentioned papers and media as the straight-forward nature and stale material were odd low-points of the otherwise crisp writing, though these were rather short.

The musical scenes followed a similar pattern to the writing. At peaks, these numbers were absolutely phenomenal by any measure you could judge a musical by. Confident pieces, particularly in the second half, that consisted of solo or duet parts were exquisite. Each member that was asked to step up to the plate delivered with exceptional performances in these goose-bump inducing situations where cast, band and crew combined perfectly. Moments from these are still firmly ingrained in memory days later, and almost every member involved contributed to at least one of these.

It is when the number grew that I was left wanting more. When the knowledge is there that the entire cast and production is capable of these peaks, it felt like a waste and less than the sum of its parts when songs required more members participating. While there is only so much one could do in the pieces selected, mostly songs from Hercules and pop music from the years since its release, the want was almost always for one of the characters or band members, any of them, to have a segment with the mics up high to themselves. The weird mid-range, an odd but consistent low-point of the sound mixing, of these group pieces had infrequent individual parts to break it up. It is just that inclusion of more of these parts would have benefited. The talent was there for it to be brought to the front, not hidden away in a wall of sound.

Despite these minor issues, the overall experience was a positive one. As long as you were not overly critical, it is safe to say that you would have a good time no matter what faculty you were a part of with some solid laughs and songs to talk about afterwards. The next step up of reaching these highlights more often is a bit more love and a few more tweaks away. You should eagerly await what the engineering musical has in store for years to come.

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Last week, I went to see one of the Honours Performance Series plays, Unoriginal Sin. In the director’s notes, they write, “While we know that this will be something that may cause you discomfort, our overall goal is to make you really consider your everyday views on sex.” I take this to be the thesis of their play, but I don’t think the play successfully achieved their goal. They also stated that they wanted to “tackle the subject of sex in our times as honestly and directly as possible,” and open a discussion about the “complexities” that sex brings to our lives. Unfortunately, the characters were shallow — almost all were essentially the same characters with only two notable outliers — and the “complexities” of sex were watered down to scenes of people making out and dancing together.

I can’t express enough how boring and unoriginal this play was. Not even the masturbation or kissing scenes piqued my interest — both of which were just meant to be shock factors rather than much of a plot point. The humour was very uninspired. When one of the characters (Dylan) is seen flipping through Tinder, he makes a lot of jokes about the app. His gripes are the usual: he doesn’t like when people use group photos as their display photo. Of course the audience laughed — the experience is relatable, and Dylan simply named off everyone’s problems with their Tinder experiences.

Then, there’s a strange, borderline problematic, line. In one scene, Amy and Kyle are on a date — Amy, begrudgingly; Kyle, excitedly — and Kyle spends the whole time trying to convince her to have a good time, and Amy is just bratty about it. Then, Kyle defends his intentions by saying, “when you meet a great girl you have to go after her,” and then calls Amy beautiful. So, how is she a great girl, again? All he knows about her is that she’s attractive. Now, I assume that this was meant to be a subversive part, but I think that that assumption grants the play too much credit.

What I found odd, most of all, was that being gay was either a punch line or a crowd pleaser. In one part of the play, two characters — named Kyle and Dylan — were talking about their plans for the evening, and Kyle made a joke about Dylan being on Tinder, Bumble … and then Grindr, which he and the audience chuckled about. What is the joke here? Is the joke that Dylan is gay? That he uses an app specifically for men who are gay? I don’t know why there was a pause to make it a joke, and I don’t know why the audience found it humorous.

The gay men were a strange piece of comic relief. Even at the end, when taking bows, they came out together with one hand on the other’s back. Why? For what? To continue to get the positive reaction they got when they had kissed on stage and everyone cheered?

Finally, I was confused about the costume design at the end of the play. Everyone was dressed in white. The associations with white are usually “purity,” and “virginity,” yet, at the end of the play, the virgin (Brooke) was no longer a virgin. When I asked one of the cast members what the directors’ intention was with this final costume, they were told that that was just the way it was, although the symbolism of the “pure” white clothing did not fit the tone of the play’s ending.

What I found odd, most of all, was that being gay was either a punch line or a crowd pleaser.

The best parts of the play were those without dialogue. So much more was said in these parts, and the plot moved quicker during the tableau-esque moments.

This play didn’t make me uncomfortable for the reasons they may think — it made me uncomfortable that I had to watch rehashed jokes on stage and listen to an audience laugh and laud about gay men just doing normal things that even heterosexual couples do.

As a final note: I would love to lend my copy of The History of Sexuality by Foucault to the directors.

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When the list of nominees for the 2015 Cannes Film Festival came out, I was as excited for Justin Kurzel’s Macbeth as I was for Mark Osborne’s Le Petit Prince. Having closely watched both Roman Polanski’s 1971 Macbeth and the modernized 2010 British television adaptation, you’d think I’d be tired of the play by now, but Shakespeare’s Scottish tragedy once again proves itself a whirlwind of a masterpiece regardless of how it’s delivered.

If I had to describe the film in one word it would be “desolate.” The film begins in the silence of a haunting funeral, and while a battle cry eventually breaks the startling quiet, the monotony is never quite shaken off. For most of the movie, lines are murmured under breaths, sound effects are scarce and background music far in between, and the end result produces scenes eerily reminiscent of the earliest days of Soviet Montage. With scenes flashing by — shots of the three witches, brief flashes of the apparitions — without a single note or word in the background, Macbeth is almost suffocating in its dark and dismal emptiness as the strange sombre mood is maintained to the very end.

Director Justin Kurzel, however, uses the monotony in the first half to his advantage. As with the battle cry shattering the silence in the film’s first act, this pattern continues in its most significant scenes. A personal favourite is the subdued music that underlines Macbeth’s soliloquy as he walks, dagger in hand, to King Duncan’s room — music that escalates to a discordant peak as the stabbing scene plays out, effectively silencing the actors and drowning out the sounds of the struggle. By the end of the scene, the music fades, the film plunges back into its unsettling silence, and Macbeth’s bloody hands and King Duncan’s dead body soundlessly dominate the screen. The dissonance of quiet and sound reappears in the second half, when the loud cries of “Hail Macbeth!” are juxtaposed with the silence in between each cry. The startling juxtaposition frames the movie in a psychological context I haven’t seen in another adaptation, with Macbeth’s rapidly loosening grasp on reality spiralling blatantly out of his control with each sudden burst of sound in what is otherwise a silent scene. This time, it is not Macbeth unleashing the sounds of fury, and instead he is the one left in a suffocating, artificial silence.

With Ian McKellen, Patrick Stewart and James McAvoy all having previously tackled the controversial role of the thane-turned-king, Michael Fassbender is the last of the X-Men Professor X and Magneto quartet to take his turn at Macbeth. Fassbender’s Macbeth is fierce and savage, more unhinged than Patrick Stewart’s war period Macbeth and devoid of Jon Finch’s complex vulnerability in the 1971 film. This Macbeth is beast-like even in the deafening silence. By the last act, however, he is despaired and half-gone, his furious soliloquies that are usually spoken in rising volume are instead delivered barely above a whisper. The end product is mystifying, as rare as it is to see a Macbeth whose madness was not depicted to equal rabid screaming, and with this, Fassbender makes the role his and his alone. Alongside him is French actress Marion Cotillard, whose own Lady Macbeth is quiet but terrifying. She plays the role with a subdued, tender weariness, and her exhausted delivery seals the fatigued atmosphere of the film.

What this version appears to lack in consistent cacophony, it nevertheless made up for with its diegetic elements. Scenes alternate between high contrast and low contrast, and the film does not hold back in the required depiction of brutality. Kurzel’s Macbeth is not hesitant with its visual design and symbolism is laid on thick. It plays with symbolic colours, from the dark blacks and browns of Macbeth’s scenes to the blood red saturation of the finale that ultimately defined the film for me. Death hangs above the narrative constantly, setting up for the intended catharsis Macbeth’s death is meant to trigger. As the film reaches its end, the music rises, and the colours become increasingly saturated, until the dark red credits start rolling on screen.

For all that the movie was remotely and desolately silent, it kept me on edge. I was always leaning in to see more and hear more, and with that in mind, I’d like to say Kurzel’s Macbeth delivered more than it disappointed. “It is a tale told by an idiot,” goes one of the most famous lines in the play, despairingly whispered in this one, “Full of sound and fury, signifying nothing.” What this adaptation of Macbeth appeared to lack in sound, it made up for in silent fury, resulting in a version that may be a walking shadow of the story, but one that definitely does not signify nothing.

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When I saw Kim’s Convenience at Theatre Aquarius on Friday evening, I couldn’t help but think about my own family for the full two hours.

I am not Korean, I don’t live in Regent Park, nor does my family own a convenience store. But the whole time I felt that Apa, Janet, Umma and Jung were telling my story – my family’s story. When Apa revealed his disappointment with Janet’s career as a photographer, I remembered my own mother’s confusion four years ago: “Why not just science? Why art and science?” When Umma explained how Apa had sacrificed his whole life, his whole self, for his children, I thought of all the stories my father always shares so longingly about his home country. When Janet twisted her father’s arm to squeeze out of him the words “I love you,” I wanted nothing more than to immediately call my parents to remind them how much I care.

The production is hilarious, moving and honest – often brutally honest. My loud laughter was regularly cut off by a sudden wave of emotion. The story shifts gracefully from humour to heartbreak and thus offers a highly nuanced and realistic image of Canadian immigrant life.

But it doesn’t always paint a pretty picture. Apa might very well embrace a black husband for his daughter, but he will systematically practice racial profiling while running his business. And in the one instance that we see on stage, the audience gasped when Appa catches a Jamaican man stealing from his store. Janet is a kind and caring daughter, but we still see her in moments of extreme selfishness. And the story of Jung, the son with so much potential who ends up in a dead-end job with a baby and a girlfriend he doesn’t love, left me wondering about the futility of it all. Would their life have been different, better, more fulfilling if they had never come to Canada? Was Apa’s life a waste if his children were unhappy and unsuccessful? Could he have done things differently? Does there come a point when parents should not be held responsible for the decisions and failures of their children? When does that day come?

I was the probably the youngest person and I was also very clearly a racial minority. The room was filled with older, white men and women. And the whole time I wondered – what are these people thinking about? How are they relating to this story? Is there empathy? Do they too feel like they are contained within Kim’s Convenience store, that they too can find their own stories somewhere between the aisles and the shelves?

Kim’s Convenience reminded me of the power of theatre - of how a simple, everyday story suddenly becomes startling and special.

Kim’s Convenience is playing at Theatre Aquarius until November 23rd.

Jemma Wolfe
Senior ANDY Editor

Are artists getting framed? Do you feel framed by society? Framed, this year’s Fall Major production by McMaster’s School of the Arts, premieres this week to much anticipation.

Framed was conceptualized by upper-year Theatre & Film Studies students who wanted to address the way in which artists are perceived and often framed by our present society. The director, professor Peter Cockett, explains, “Framed is about artists, the way they are perceived in our society, the difficulties they face and their ability to reframe our world.”

The play subtly interrogates public attitudes towards the importance of art in its many forms. Six different artists (a ballerina, a sculptor, a street artist, a singer and two digital designers) are mysteriously drawn to the Alternate Dimension coffee shop. There, an unusual barista, with otherworldly insight into the plights of the artists he encounters, magically compels his customers to confront their artistic pasts and come to terms with the circumstances that made them give up on what they loved.

The types of artists’ lives explored in this production were thoughtfully chosen. Cockett explains, “We chose kinds of artists that allowed us to explore different aspects of our central idea. The street artist, for example, allowed us to explore the issue of legitimacy in the art world. Who defines what is art and what is not?”

This production plays on the many meanings of the word “framed.” “The frame has a double meaning in our show. Our artists have been framed by social expectation, and thus the frame is a restrictive presence that limits possibilities. But frames can be moved, and one of the principle values of art for me is its ability to re-frame experience and allow us to see the world in fresh perspective,” explained Cockett. One of the most striking aspects of Framed’s set design is the clever ways that it plays with frames and layers of perception.

Framed is the result of the combined effort of three different classes: the summer term’s Performance Research and Planning, Performance and Community Outreach and Major Production Workshop. These classes gave students a realistic experience of what the realities of creating and staging a play really are.

Cockett was eager to sing the praises of his student cast and crew. “I asked this cast to engage with a complex topic and I have been impressed with the maturity of their response and their commitment to the creative process.”

The first image I saw when I walked into the dress rehearsal was the whole cast and crew standing in a circle together, holding each other’s hands. This pre-show ritual is representative of the relationship between the creative team members that devised the show. Devising, as a theatre process, is all about unity, cooperation and the fusion of collective ideas. There is little hierarchy, and everyone involved, from actors to designers, share the responsibility of inventing the premise, formulating dialogue, building sets, etc.

The benefits of devising processes, as Cockett explains, are that it “brings a multiplicity of perspectives to bear on the issue you are dealing with. It also encourages active engagement from all participants and a sense of collective responsibility within the creative process.”

Framed is a thought-provoking production that both entertains and challenges audiences. Viewers cannot help but consider the power and potential of art to reframe our world, and what is lost when passionate artists lose hope.

Framed is playing on Nov. 11, 12, and 16-19 in Robinson Memorial Theatre (CNH 103) at 8 p.m. Tickets are available at COMPASS and at the door.

Jemma Wolfe
Senior ANDY Editor

Are artists getting framed? Do you feel framed by society? Framed, this year’s Fall Major production by McMaster’s School of the Arts, premieres this week to much anticipation.

Framed is playing on Nov. 11, 12, and 16-19 in Robinson Memorial Theatre (CNH 103) at 8 p.m. Tickets are available at COMPASS and at the door.