Directed by Zach Hartley
Scenic and Lighting Design by G. Maurice “Moe” Conn
Costuming by James J. Fasching
Sound Design by Aris Hines
Stage Management by Sara Rainess
Directed by Zach Hartley
Scenic and Lighting Design by G. Maurice “Moe” Conn
Costuming by James J. Fasching
Sound Design by Aris Hines
Stage Management by Sara Rainess
The story of Rashōmon is the namesake of the more contemporary concept, coined by scholar Valerie Alia, the Rashomon Effect. This is a pretty simple idea: That different witnesses may have contradictory interpretations of the same event. Rashōmon, along with many other stories, including classics like Citizen Kane, the “A Matter of Perspective” episode of Star Trek: The Next Generation, and even Fonzie getting shot in Happy Days use this concept, all with a focus on the perception of recollection and the nature of truth. How well do we really remember what happened, and how can we remember clearly when we are the heroes of our own stories?
Today, however, we see a similar effect that does not quite follow this structure. With advances in communication through the internet and its accessibility from the palms of our hands, we can all be eye-witnesses. Our responses become less about our ability to accurately recollect and more about our preconceived notions regarding a situation that we can witness, but not understand. We cease to be witnesses, and become judges. We begin to fail as journalists and become storytellers.
The storytellers in Rashōmon do an excellent job. They do their best to withhold judgment, to tell the story as accurately as possible, and to work towards “truth” rather than justice. When they stray from that path, another is there to help them back on. However, we never get to hear what the judge decides. Judgment is withheld, but we, as secondary witnesses, are unable to withhold our own judgment. We are the audience – we reserve the right to witness, to judge, to seek the truth. When we leave, though, we will return to our storytelling. We will be able to say how obvious it was who the guilty party is. We will say that what this person says is true, and what this other person says is false.
We will say that we were there, and we know how it happened. We will look back at this and admire the hard work we saw on stage, the commitment of the actors and crew, and admire that we, for a short time, searched with our hearts and minds for the nature of truth.
Or at least, that’s how I will remember it.
Zach Hartley, Director
Priest | Tirrell Bethel
Woodcutter | Robert Mendelson
Wigmaker | Aris Hines
Deputy | Mike Smith
Tajomaru | Denzel Dickens
Husband | Darius Foreman
Wife | Randi Seepersad
Mother | Donita McCullough
Medium | Ayana Towe
Setting
The Rashomon Gate situated between Osaka and Kyoto.
Time
Feudal Japan
Director | Zachary Hartley
Scenic & Lighting Designer | G. Maurice “Moe” Conn
Technical Director | G. Maurice “Moe” Conn
Light Board Operator | Jennifer Bearman
Lighting Crew | Hayden Muller, Donita McCullough
Sound Designer | Aris Hines
Sound Board Operator | Janatia Tribble
Costume Designer | James J. Fasching
Stage Manager | Sara Rainess
Deck Chief | Hayden Muller
Stage Crew | Ty’res Lee, Katy Wiley
Set Construction | Hayden Muller, Donita McCullough, Ty’res Lee,
Lisa Jones-Franklin, Jesse Barna, Jennifer Bearman,
Janatia Tribble, Katy Wiley, Sara Rainess
Costume Shop Student Assistant | Randi Seepersad
Production Photographer | Katie Simmons-Barth
Box Office Staff | Thom Purdy
Communications Assistant | James Lefter
Production Coordinator | Julie Lewis
Dr. Sandra Kurtinitis • President, CCBC
Dr. Mark McColloch • Vice President of Instruction
Dr. Rich Lilley • Vice President of Enrollment & Student Services
Dr. William Watson • Dean of Liberal Arts
Professor Patti Crossman • Chair, Performing Arts & Humanities
Jacqueline Lucy • Media Relations Coordinator
Jackie McTear • Graphic Designer.