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Marist Home
Cannavino Library
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A Short Dra for a Longer History of
Marist College Theatre
by Gerard A. Cox
Based on oral tradi on and anecdotes from a variety of sources, we
know that theatre ac vi es were in evidence throughout the first
decade and a half of the history of Marian College. One-act and full-
length plays by established playwrights and produc ons of
Shakespeare's plays were among the accomplishments of the
student body, then a small assemblage of male religious preparing to
become educators. (Among the present faculty of the college are
several cast members from a 1950s produc on of HENRY V.) The
playbills from these years show that their programs also included
student wri en short and full-length plays such as "The Lame
Donkey," a short play based on a Christmas fable and LUX ET
TENEBRAE, a full length play portraying the final hours in the life and
death of Christ..
According to a 1958 edi on of the student newspaper, in response to
urgings of the college's newly installed president, Linus R. Foy, a
theatre organiza on for students was formed, crea ng what is now
"the college's oldest student club." By 1959 the group was known as
the Theatre Guild. (The designa on as "the oldest club" first appears
in print in THE RECORD in 1961. In 1960 the college's name had been
changed to Marist College.) During the start-up years of this
organiza on it existed side-by-side with a separate set of in-house
theatre produc ons staged by the young religious a ending the
college and, within their structure, student directors were common
from earliest days.
The ini al a empt to permit "lay" students to direct Guild
produc ons came in December, 1961, when Richard Kearney, a 21
year old undergraduate, directed a one-act play by Eugene O'Neill as
the first student assignment under "The Student Director Program."
The program was begun by James Bri , Guild Director, "to foster a
finer understanding of the Drama c Arts," as well as deploying
leadership quali es in students . The drive to create alterna ves
approaches to theatre through new student clubs was par ally
caused by the desire to have more opportuni es to direct.: Children'
Theatre (c1968) and Experimental Theatre (c.1970) A later trial
program sponsored by the Guild for student directors came in 1974
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when a repertory company was formed. The annual fes val of
student wri en plays (1981) eventually became a major opportunity
for students to gain experience as directors.
The Theatre Guild persisted as the Guild un l 1976 when it merged
with Children's Theatre (c. 1968) and Experimental Theatre (c. 1970)
to become the Marist College Council on Theatre Arts (MCCTA).
Children's Theatre had been founded as a separate organiza on
since the Guild did not want to take on extra produc ons. Also, the
student founders of Children's Theatre wanted to direct the plays,
themselves. And it was at about the same me that other students
expressed a desire "to experiment with new works." There was
something of a rebellion abroad against the Guild's commitment to
draw its bills exclusively from those plays which had enjoyed, if not
commercial, at least cri cal success on Broadway. Two factors came
into play. There was a new openness to staging original works by
both students and faculty and there was a renewal of the push to
create more chances for students to learn about direc ng in the
theatre.
The college's first children's produc on was given on March 21-23,
1969. In the beginning, a few performances were given on campus;
o en more performances were performed "on the road" than on
campus. Elementary schools, hospitals, and, even every now and
then, prisons were the loca ons at which the road-shows were
given. Funding for these trips came from community agencies.
Eventually these external dollars became more difficult to obtain and
student academic schedules became more disparate making travel
arrangements Impossible, even when money was secured. Touring
ended and the number of on-campus performances increased to a
week, seven performance schedule. Performances have since
doubled within the one-week format thereby requiring two casts of
characters to avoid having students miss too many classes. Today
Children's Theatre is performed annually for several thousand
children who come to the campus.
Consistent efforts to encourage student wri ng for theatre are noted
in 1970 under what then were called "experimental produc ons."
Although these early efforts originated as class projects in one
professor's theatre course, the Theatre Guild encouraged and
financially supported the class efforts. At first the plays were
presented both on and off-campus. The most o en used off-campus
site was the historic Vassar Ins tute which, at that me, housed the
Marist College administered Poughkeepsie College Center. At the
same me some independent produc ons of original works
appeared.
Eventually the format for original works began to change, the class
projects resulted in programs of mul ple works, such as DOUBLE BIL
(1978) and TWO FOR THE SHOW (1979). Since 1980 the natural
extension of this prac ce has been an annual fes val of short plays
wri en, directed and acted by students.
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Today, theatre produc ons at Marist College are s ll being funded
through student government's alloca on of money derived from the
student ac vity fee. The students' drama club, MCCTA, submits a
budget request to student government on a semester by semester
basis.
The sole structural change within MCCTA since the 1976 unifica on
came with the addi on of HuMarists. In the early 90s some
undergraduates branched out into the arena of stand-up comedy. At
first their performances were high points in students' talent contests
Then, slowly at first, but with persistence, a group of comedians
came together and searched for recogni on as an organiza on. The
earliest effort was to incorporate with MCCTA which was prepared to
sponsor the humorists as an adjunct ac vity. But student
government eventually decided that this group should find its
permanent home within the MCCTA organiza on, as another
performance unit. Final cons tu onal unifica on came about in
1998.
The tradi onal approach of relying on the faculty adviser(s) to supply
professional guidance was effec ve through the 1960s and for a
short me in the 1970s. It was during the '70s that the involvement
of full- me faculty began to disappear, here due to some of the most
suppor ve faculty turning to college administra on, while on other
campuses it may have been due to faculty withdrawal from
involvement with extra-curricula ac vi es. Today's faculty advisor is
a vo ng member of MCCTA's Execu ve Board. Yet it is quite different
from when two or more faculty met with a small group, three or fou
student officers of the Guild, to make all the administra ve decisions
for the season.
While dependence upon semester by semester budget alloca ons
from student government worked when fewer produc ons were
staged, planning an en re theatre season became vastly more
complicated star ng with the late '70s because from one semester to
the next, there's no guarantee of the level of allocated funding. Even
a semester plan is troublesome today since it is impossible to hire
professional directors, choreographers, musicians when there is no
me to do a search a er budgets are announced or, worse yet, to
make adjustments when the money for professional staff is
disallowed.
Finally, there is a comment in one of the more popular na onal
college guides that helps to describe the role played by the theatre
organiza on on campus today. "In the cultural arena, the Marist
College Council on Theatre Arts is a favorite, producing several plays
each year, some of them wri en by students and now appearing in
the new 350-seat Nelly Gole Theatre located in the $27 million
student center."
On October 16, 2001 the Marist College Council for Theatre Arts was
presented with the Dutchess County Execu ve's "Art in Educa on"
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Award. This honor was given in recogni on for the ac vi es MCCTA
has presented for a variety of audiences through the years. :
History of College Produc ons
Retrievable records, primarily the college's student newspapers
(names of the newspaper over the years: Greystone GAZETTE, The
Reynard's RECORD, The Marist College RECORD, THE CIRCLE) and
yearbooks (THE GREYSTONE, THE REYNARD), along with memorabilia
provided by theatre alumni, have made it possible to compile the list
given below of produc ons staged by the college's staff and
students.
Produc ons by external groups (when recorded) have been noted;
these are listed to the right on each page. When an asterisk (*)
appears it indicates the play was wri en by a Marist College student
or alumnus.
Expand All
Collapse All
1960 - 1961
WAITING FOR GODOT
THE WISE HAVE NOT SPOKEN
1961 - 1962
AN EVENING WITH EUGENE
O'NEILL: "The Voyage Home" & "In
the Zone"
TWO BLIND MICE
1962 - 1963
THE VISIT
1963 - 1964
MY THREE ANGELS
A HATEFUL OF RAIN
1964 - 1965
THE MISER
THE WALL
LUTHER
1965 - 1966
TWELVE ANGRY MEN
HIGH TOR
ROSS
A MAN FOR ALL SEASONS
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1966 - 1967
THE BEST MAN
THE GANG'S ALL HERE
THE APPLE CART
ENEMY OF THE PEOPLE
THE FANTASTICKS
1967 - 1968
LOOK HOMEWARD ANGEL
KNIGHT OF THE BURNING PESTLE
110 IN THE SHADE
MARAT/SADE
1968 - 1969
DETECTIVE STORY
BETWEEN TWO THIEVES
DEATH OF A SALESMAN (County
Players)
CINDERELLA
1969 - 1970
INCIDENT AT VICHY
THE DARK AT THE TOP OF THE
STAIRS
CALCULATED RISK
COME BLOW YOUR HORN
THE WIZARD OF OZ
1970 - 1971
HOW TO SUCCEED IN BUSINESS
WITHOUT REALLY TRYING
EVERYMAN REVISITED *
MEDEA
PETER PAN
1971 - 1972
THE PETRIFIED FOREST
JOAN OF LORRAINE
J.B.
SNOW WHITE
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1972 - 1973
THE PRIME OF MISS JEAN BRODIE
ROMANOFF AND JULIET
BUT NOT JUST EVERYMAN *
CELEBRATING THE FIRST FEW
MONTHS *
PINOCCHIO
1973 - 1974
AN EVENING OF THE ABSURD:
"The Room," "The Orchestra," &
"The Lesson"
MOURNING BECOMES ELECTRA
METANOIA *
THE BEEPLE
1974 - 1975
THE LARK
GENTLE CATAPULTS *
IN REPERTORY: WHO'S AFRAID OF
VIRGINIA WOLF, PLAZA SUITE, THE
EFFECTS OF GAMMA RAYS ON
MAN-IN-THE-MOON MARIGOLDS
GEORGE M
ALICE IN WONDERLAND
1975 - 1976
"The Emperor Jones" & "Chamber
Music"
LEAVE IT TO JANE
BAREFOOT IN THE PARK
ALLADIN AND THE WONDERFUL
LAMP
1976 - 1977
THE MOUSETRAP
WINNIE THE POOH
1976 - 1977
THE MOUSETRAP
WINNIE THE POOH
1977 - 1978
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PLAZA SUITE
STREETCAR NAMED DESIRE
THE MIRACLE WORKER
DOUBLE BILL: "At Laura's Locker"
* & "Althea's Throne" *
THE WIZARD OF OZ
1978 - 1979
PLAZA SUITE
STREETCAR NAMED DESIRE
THE MIRACLE WORKER
DOUBLE BILL: "At Laura's Locker"
* & "Althea's Throne" *
THE WIZARD OF OZ
1978 - 1979
I REMEMBER MAMA
TWO FOR THE SHOW--TWO NEW
PLAYS: "A Soldier's Song" * &
"Exercise for a Dandy Horse" *
JUNGLE BOOK
THE BELLE OF AMHERST
(Mason/Olsen)
1979 - 1980
A MIDSUMMER NIGHT'S DREAM
THE CRUCIBLE
(CERT) THE CHILDREN'S HOUR
MASS APPEAL
(Davis/Bolling) *
\ [A er Old Coat prod., yet before
Off-Broadway & Broadway]
WILLY WONKA
1980 - 1981
CABARET
THE DIARY OF ANNE FRANK
(CERT)
WAIT UNTIL DARK
FESTIVAL OF SHORT PLAYS: "When
Opportunity Pounds," "ThePaisley
Picador," "The College Years,"
"Thin Walls," "Someone's Sleeping
In My Bed," "Midsta on" * (all)
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DOCTOR DOOLITTLE
1981 - 1982
GRAFFITI **
THE EFFECT OF GAMMA RAYS ON
MAN IN-THE-MOON
MARIGOLDS (CERT)
THE ODD COUPLE
THE PENNY STEALERS *
FESTIVAL OF SHORT PLAYS: "Here
We Are," "When Shakespeare's
Ladies Meet," "The Ugly
Duckling," "Curse You Jack
Dalton," "Cathleen Ni Houlihan"
MARY POPPINS
1982 - 1983
GODSPELL
THE TUG OF WAR *
BUS STOP
THE DRUNKARD
FESTIVAL OF SHORT PLAYS: "A
Moment of Silence," "Thicker
Than Water," "The Bonds of
Obedience," "Sisters," "Taking to
the Streets" * (all)
SNOW WHITE
1983 - 1984
"The Weatherman" *
"The Scholar's Wife" *
"The Bonds of Obedience" *
THE GLASS MENAGERIE (CERT)
THREEPENNY OPERA
LEAD ME HOME *
THE FANTASTICKS
YOU CAN'T TAKE IT WITH YOU
FESTIVAL OF SHORT PLAYS:
"Gi ed," "Abandoned Treasures,"
"House of Mirrors," "What Are
Friends For," "Saints or Sinners,"
"Seen But Not Heard," "Playing
Against the House" * (all)
THE FROG PRINCE
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1984 - 1985
GREASE
SEASONS' GREETINGS AT HOBART
ARMS *
BLITHE SPIRIT
THREE AT SEVEN: "Acts of
Contri on," * "Sorry, Wrong
Number," "More Than
Remembrances" *
FESTIVAL OF SHORT PLAYS:
"Milestones," "Payment of Dues,"
"Have a Good Life," "Me and
Brian," "Money to Burn," "The
Game," "Grendel" * (all)
BACK TO BACK BAKKE: "A er All"
* & "16 Pages from Scene Three"
*
THE WIZARD OF OZ
1985 - 1986
"The Bonds of Obedience" *
THE DARK OF THE MOON
THE TRUTH OF THE MATTER *
ONE FLEW OVER THE CUCKOO'S
NEST
FESTIVAL OF SHORT PLAYS: "A
Tangled Web," "Gatekeeper,"
"Engine's Heat," "Life'seyes,"
"Drugs, Sex and Rock & Roll" * (all)
PETER PAN
1986 - 1987
"The Scholar's Wife" *
DRACULA
GODSPELL
BLOOD KNOT (New Day Rep.)
DANCING IN THE END ZONE *
FIFTH OF JULY
FESTIVAL OF SHORT PLAYS: "Chop
Suey," "Late Ending," "Dinner for
Three," "Upstage," "Romeo &
Julio," "Second Sight,"Katy's Bag,"
"In a Lonely Place" * (all)
CINDERELLA
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1987 - 1988
"Via Humanitas" *
CONSTRUCTIVE CRITICISM *
HAIR
HARVEY
FESTIVAL OF SHORT PLAYS: "Dear
Ann," "Nagged to Death,"
"Wedded Bliss," "To Fit the Cloth,"
"Sketches," "To Be Remembered,"
"My Brother's Keeper,"
"Insecuri es" * (all)
WILLY WONKA
1988 - 1989
TWO FOR ONE: "The Guerdon or a
St. Luke's Summer Recompense" *
& "The Bonds of Obedience" *
DEATHTRAP
LITTLE SHOP OF HORRORS
TWO CAN PLAY (New Day Rep.)
DON'T DRINK THE WATER
SCENES FROM SHAKESPEARE(On
tour)
BOESMAN & LENA (New Day Rep.)
AN EVENING WITH EDGAR ALLAN
POE (On tour)
DEAR LIAR (Garrison Art Center)
FESTIVAL OF SHORT PLAYS:
"Without Humor," "An Ordinary
Travel through Time," "It's a Dog's
Life," "The Game," "A Bite to Eat,"
"We Are Companions on a
Journey," "Straight Up Please" *
(all)
THE VELVETEEN RABBIT
1989 - 1990
BRIGHTON BEACH MEMOIRS "Via
Humanitas" *
JESUS CHRIST SUPER STAR
PICNIC
ALICE IN WONDERLAND (non-
musical)
FESTIVAL OF SHORT PLAYS: "Death
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Meets the Lovebug," "Final
Judgement," "Piece of Mind,"
"Backstage," "The Honeymooners
Get Divorced," "Unsuspec ng
Characters," "The F-Word,"
"Complica ons," "The Shark
Tank," "Cars" * (all)
1990 - 1991
ANTIGONE"The Scholar's Wife" *
STEEL MAGNOLIAS (Queen City
Stage Company)
COMPANY
THE ANGEL'S SHARE *
THE HOUSE OF BLUE LEAVES
PINOCCHIO "Vows" *
FESTIVAL OF SHORT PLAYS: "True
Confessions," "The Bridal Shower,"
"Truth Game," "Trashed," "Life at
20," "Known But to God,"
"In mate Rela ons," "Farewell
Tour" * (all)
1991 - 1992
BURN THIS
WINTER RAIN (Life of Thomas
Merton) [On tour]
EVITA
FOOLS
STRANGER THAN FICTION
MY CHILDREN! MY AFRICA! (New
Day Repertory Co.)
THE WIZARD OF OZ
DOUBLEBILL: "The B.S. Formula" *
and "Forever and a Day" *
FESTIVAL OF SHORT PLAYS:
"Blackout," "The Card Shop,"
"Charlie's Independence Day,"
"Check, Please!," "Cu ng
Remarks," "Dreamah," "From the
Porch," "The Last Visit," "Madness
to My Method," "Wagner's
Tempta on" * (all)
1992 - 1993
THE FRONT PAGE "The Guerdon,
or a St. Luke's Summer
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Recompense"*
GOOD NEWS
KING LEAR
THE MISS FIRECRACKER CONTEST
THE SPELL OF SLEEPING BEAUTY
DOUBLE BILL: "The X Factor, "
"72nd Street Messiah" * (both)
FESTIVAL OF SHORT PLAYS:
"Dream Maker," "Family Affairs,"
"Jake's Ladder," "Knockin' On
Heaven's Door," "One Fish, Two
Fish," "Red Tape for the Boa
Constrictor," "A Room With No
View," 'Sean Morgan's Family
Solu on," "Second Chances,"
"Truman," "The Year the Real
World Began" * (all)
TRIPLE BILL: "Imagina on,"
"Un tled," and "The Hay Is On
Fire" * (all)
1993 - 1994
LEND ME A TENOR
A FUNNY THING HAPPENED ON
THE WAY TO THE FORUM
DOUBLE BILL: "The Farther to Fall"
& "The Show Must Go On"
THE NEW ODD COUPLE (Joint
Alumni & MCCTA produc on)
ETG TRIPLE BILL: “The
Room,†The Actor’s
Nightmare†and “
’Den ty Crisisâ€
A DOLL'S HOUSE
THE GLASS SLIPPER
FESTIVAL OF SHORT PLAYS: "Jack
In the Box," "Scenes From An
Italian Restaurant," "The Further
Adventures of Hamlet," "As Time
Goes By," "Escapin’ Reality," "A
Modern Fairy Tale," "Ninety-six
Dollars," "Movin' In" * (all)
1994 - 1995
I HATE HAMLET
ME AND MY GIRL
TRIPLE BILL
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NOISES OFF
LOVE'S LABOUR'S LOST
ROBIN HOOD
FESTIVAL OF SHORT PLAYS: "Deja
Vu," "My Life," "The Possibility,"
"Family Dinner," "God Games,"
"The Blisters of the Suburbs,"
"Going Up" LOVE LETTERS (Joint
Alumni & MCCTA produc on)
This marked the end of the first thirty years of use of the campus
center/student center theatre. Following the Jennifer Dressel
Memorial Scholarship Fund produc on, LOVE LETTERS, renova ons
began within the theatre, preparing to turn it into the Nelly Gole
Theatre.
1995 - 1996
LOVE, SEX AND THE I.R.S.
FIDDLER ON THE ROOF
DOUBLE BILL: "Dateline" * & "The
Machine" *
PRELUDE TO A KISS
THE MOUSETRAP
RUMPELSTILTSKIN IS MY NAME
CARPE DIEM: THE FESTIVAL OF
STUDENT PLAYS: "Tombstones" by
Roseanne Saracino; "Forgiveness"
by Tauren L. Hagans; "The Wait"
by Andrew Tokash; "Blue" by
Andrew Tokash; "One Thousand &
One Oranges" by Bryon Cahill; "A
Prisoner of the Mind" by Erica
Feick; "Rain" by Ben Fishelman *
(all)
1996 - 1997
RUMORS by Neil Simon
GUYS & DOLLS by Damon Runyon,
Abe Burrows, Jo Swerling; music
and lyrics, Frank Loesser
TRIPLE BILL, 2 + 1: "Bedfellows" by
Ben Fishelman; "Bumping the
Cover" by Andrew Tokash;
"Playing Against the House" by
Gerard A. Cox *(all)
SIX CHARACTERS IN SEARCH OF
AN AUTHOR by Luigi Pirandello
MARVIN'S ROOM by Sco
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McPherson
THE EMPEROR'S NEW CLOTHES by
Karen Boe cher-Tate
FESTIVAL '97, STAGE ONE,
STUDENT PLAYS-IN-PROGRESS:
"Nihl" by Shannon McNamara;
"Armageddon Vs. Joe Shmoe" by
Bryon Cahill; "How Li le They
Know" by Michelle C. White; "A
Man in a Chair, a Woman at the
Window" by Ben Fishelman; "Of
Brass Rings & Finer Things" by
Tom Gallagher *(all)
1997 - 1998
MOON OVER BUFFALO
JOSEPH AND THE AMAZING
TECHNICOLOR DREAMCOAT
AN EVENING OF ONE ACT PLAYS:
"Real Estate" by Bryon Cahill;
"What the Wind Won't Blow
Away" by Tom Gallagher;
"Premoni on" by Jef E. Freydl;
"Pizza and Chinese" by Jason
Scheringer *(all)
MACHINAL
DANCING AT LUGHNASA
SIDE BY SIDE BY SONDHEIM
STONE SOUP
MACBETH
AS GRAPES UPON THE VINE,
FESTIVAL '98: "All the Dips Are
Dancing" by Erin Scully; "Ashes to
Ashes" by Kim Rescorla;
"Convulsing Twins" by Bryon
Cahill; "Decisions, Decisions" by
Ka e Tracy; "Famous Men: An Act
of Mizzling" by Michael James
Feurstein; "In Brother I Trust" by
Alex Heineman; "The
Engagement" by Heather Lynch;
"Tuesday" by Bryon Cahill;
"Whatever Happened to Long
Island Mike?" by Daniel Curry *
(all)
1998 - 1999
[Mainstage] PRESENT LAUGHTER
[Mainstage] WEST SIDE STORY
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(MCCTA & Marist Singers)
[ETG] EVENING OF ONE ACTS
[ETG’s Mainstage] DOUBLE
BILL: SHANLEY & FORNES
[ETG] THE VAGINA MONOLOGUES
( MCCTA & Gender Equality)
[Mainstage] CAT ON A HOT TIN
ROOF
[Children’s] ALICE IN
WONDERLAND
[Mainstage] MUCH ADO ABOUT
NOTHING (MCCTA & English
Department)
[Special] FESTIVAL ’99: A
TOUCH OF HARRY: “A Quiet
Sabbath in Amherst†by S.
Randall Thompson; “Freshman
Year in Life†by Alex Heineman;
“Lucra ve†by Brian
Ketcham; “Mama’s Boyâ€
by Ben I. Hecht; “Pickles†by
Giovanna Coppola; “The Devil
and Mike Faust†by John
Sullivan; “The Journey†by
Keisha Mason; “The Pale Eggs
of the Beast†by Bryon Cahill
(MCCTA & Theatre Workshop)
1999 - 2000
[Mainstage] PROPOSALS
[Musical] CITY OF ANGELS
[ETG Mainstage] THE CHOICE
[Mainstage] A VIEW FROM THE
BRIDGE
[Musical Revue] THE WORLD
GOES ROUND
[Children's Theatre] RAPUNZEL
[Standup Comedy] HuMarists Skits
(Comedy Nights)
[Special] FESTIVAL 2000: EARLY
LIGHT (Student-wri en Short
Plays) "A Night in the Park" by
Dean Orgera; "Act IV: Richard,
Once and Future King of England"
by Sco Randall Thompson;
"Elbow Room" by Sam Moorman;
"Gramma's Treasure Chest" by
Shelly Napoli; "Icing on the
Wedding Cake" by Alex
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Heinenman; "Power Lunch" by
Daniel Tyburski; "Ridiculous" by
Chris Clemens; "South of Sunrise"
by Kimberly S. Genesi; "The Paper
War" by Ben I. Hecht; "The
Restless Nights of Roxy Thrill" by
John Sullivan
2000 - 2001: MCCTA'S 25th
Season
[Mainstage] THE IMPORTANCE OF
BEING EARNEST
[Musical] DAMN YANKEES
[ETG] DOUBLE BILL: "Fool for
Love" and "What I Meant Was"
[ETG Mainstage] HOW I LEARNED
TO DRIVE
[Special] THE VAGINA
MONOLOGUES
[Mainstage] ROMEO AND JULIET
[Children's] KING MIDAS AND THE
TOUCH OF GOLD
[Special] SWIFT AS A SHADOW:
Fes val of Student Plays "Angel
Down" by Benjamin Hecht;
"Closure´ by George Luis Garcia,
Jr.; "Dinner With Cactus" by
Jeremy D. Smith; "Is Ignorance
Bliss: An Explora on of Ebeneezer
Pudd" by Lori Musorrafi ; "That
Girl" by Ma hew Ryan *(all) On
the final night of fes val, a special
performance of "In the Name of
the Mother" by Gerard Anthony
Cox was performed under the
direc on of David Laffin in
recogni on of the writer's years as
an administrator at Marist College
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Marist Home
Cannavino Library
Library Catalog
Home
A Short Dra for a Longer History of
Marist College Theatre
by Gerard A. Cox
Based on oral tradi on and anecdotes from a variety of sources, we
know that theatre ac vi es were in evidence throughout the first
decade and a half of the history of Marian College. One-act and full-
length plays by established playwrights and produc ons of
Shakespeare's plays were among the accomplishments of the
student body, then a small assemblage of male religious preparing to
become educators. (Among the present faculty of the college are
several cast members from a 1950s produc on of HENRY V.) The
playbills from these years show that their programs also included
student wri en short and full-length plays such as "The Lame
Donkey," a short play based on a Christmas fable and LUX ET
TENEBRAE, a full length play portraying the final hours in the life and
death of Christ..
According to a 1958 edi on of the student newspaper, in response to
urgings of the college's newly installed president, Linus R. Foy, a
theatre organiza on for students was formed, crea ng what is now
"the college's oldest student club." By 1959 the group was known as
the Theatre Guild. (The designa on as "the oldest club" first appears
in print in THE RECORD in 1961. In 1960 the college's name had been
changed to Marist College.) During the start-up years of this
organiza on it existed side-by-side with a separate set of in-house
theatre produc ons staged by the young religious a ending the
college and, within their structure, student directors were common
from earliest days.
The ini al a empt to permit "lay" students to direct Guild
produc ons came in December, 1961, when Richard Kearney, a 21
year old undergraduate, directed a one-act play by Eugene O'Neill as
the first student assignment under "The Student Director Program."
The program was begun by James Bri , Guild Director, "to foster a
finer understanding of the Drama c Arts," as well as deploying
leadership quali es in students . The drive to create alterna ves
approaches to theatre through new student clubs was par ally
caused by the desire to have more opportuni es to direct.: Children'
Theatre (c1968) and Experimental Theatre (c.1970) A later trial
program sponsored by the Guild for student directors came in 1974
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when a repertory company was formed. The annual fes val of
student wri en plays (1981) eventually became a major opportunity
for students to gain experience as directors.
The Theatre Guild persisted as the Guild un l 1976 when it merged
with Children's Theatre (c. 1968) and Experimental Theatre (c. 1970)
to become the Marist College Council on Theatre Arts (MCCTA).
Children's Theatre had been founded as a separate organiza on
since the Guild did not want to take on extra produc ons. Also, the
student founders of Children's Theatre wanted to direct the plays,
themselves. And it was at about the same me that other students
expressed a desire "to experiment with new works." There was
something of a rebellion abroad against the Guild's commitment to
draw its bills exclusively from those plays which had enjoyed, if not
commercial, at least cri cal success on Broadway. Two factors came
into play. There was a new openness to staging original works by
both students and faculty and there was a renewal of the push to
create more chances for students to learn about direc ng in the
theatre.
The college's first children's produc on was given on March 21-23,
1969. In the beginning, a few performances were given on campus;
o en more performances were performed "on the road" than on
campus. Elementary schools, hospitals, and, even every now and
then, prisons were the loca ons at which the road-shows were
given. Funding for these trips came from community agencies.
Eventually these external dollars became more difficult to obtain and
student academic schedules became more disparate making travel
arrangements Impossible, even when money was secured. Touring
ended and the number of on-campus performances increased to a
week, seven performance schedule. Performances have since
doubled within the one-week format thereby requiring two casts of
characters to avoid having students miss too many classes. Today
Children's Theatre is performed annually for several thousand
children who come to the campus.
Consistent efforts to encourage student wri ng for theatre are noted
in 1970 under what then were called "experimental produc ons."
Although these early efforts originated as class projects in one
professor's theatre course, the Theatre Guild encouraged and
financially supported the class efforts. At first the plays were
presented both on and off-campus. The most o en used off-campus
site was the historic Vassar Ins tute which, at that me, housed the
Marist College administered Poughkeepsie College Center. At the
same me some independent produc ons of original works
appeared.
Eventually the format for original works began to change, the class
projects resulted in programs of mul ple works, such as DOUBLE BIL
(1978) and TWO FOR THE SHOW (1979). Since 1980 the natural
extension of this prac ce has been an annual fes val of short plays
wri en, directed and acted by students.
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Today, theatre produc ons at Marist College are s ll being funded
through student government's alloca on of money derived from the
student ac vity fee. The students' drama club, MCCTA, submits a
budget request to student government on a semester by semester
basis.
The sole structural change within MCCTA since the 1976 unifica on
came with the addi on of HuMarists. In the early 90s some
undergraduates branched out into the arena of stand-up comedy. At
first their performances were high points in students' talent contests
Then, slowly at first, but with persistence, a group of comedians
came together and searched for recogni on as an organiza on. The
earliest effort was to incorporate with MCCTA which was prepared to
sponsor the humorists as an adjunct ac vity. But student
government eventually decided that this group should find its
permanent home within the MCCTA organiza on, as another
performance unit. Final cons tu onal unifica on came about in
1998.
The tradi onal approach of relying on the faculty adviser(s) to supply
professional guidance was effec ve through the 1960s and for a
short me in the 1970s. It was during the '70s that the involvement
of full- me faculty began to disappear, here due to some of the most
suppor ve faculty turning to college administra on, while on other
campuses it may have been due to faculty withdrawal from
involvement with extra-curricula ac vi es. Today's faculty advisor is
a vo ng member of MCCTA's Execu ve Board. Yet it is quite different
from when two or more faculty met with a small group, three or fou
student officers of the Guild, to make all the administra ve decisions
for the season.
While dependence upon semester by semester budget alloca ons
from student government worked when fewer produc ons were
staged, planning an en re theatre season became vastly more
complicated star ng with the late '70s because from one semester to
the next, there's no guarantee of the level of allocated funding. Even
a semester plan is troublesome today since it is impossible to hire
professional directors, choreographers, musicians when there is no
me to do a search a er budgets are announced or, worse yet, to
make adjustments when the money for professional staff is
disallowed.
Finally, there is a comment in one of the more popular na onal
college guides that helps to describe the role played by the theatre
organiza on on campus today. "In the cultural arena, the Marist
College Council on Theatre Arts is a favorite, producing several plays
each year, some of them wri en by students and now appearing in
the new 350-seat Nelly Gole Theatre located in the $27 million
student center."
On October 16, 2001 the Marist College Council for Theatre Arts was
presented with the Dutchess County Execu ve's "Art in Educa on"
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Award. This honor was given in recogni on for the ac vi es MCCTA
has presented for a variety of audiences through the years. :
History of College Produc ons
Retrievable records, primarily the college's student newspapers
(names of the newspaper over the years: Greystone GAZETTE, The
Reynard's RECORD, The Marist College RECORD, THE CIRCLE) and
yearbooks (THE GREYSTONE, THE REYNARD), along with memorabilia
provided by theatre alumni, have made it possible to compile the list
given below of produc ons staged by the college's staff and
students.
Produc ons by external groups (when recorded) have been noted;
these are listed to the right on each page. When an asterisk (*)
appears it indicates the play was wri en by a Marist College student
or alumnus.
Expand All
Collapse All
1960 - 1961
WAITING FOR GODOT
THE WISE HAVE NOT SPOKEN
1961 - 1962
AN EVENING WITH EUGENE
O'NEILL: "The Voyage Home" & "In
the Zone"
TWO BLIND MICE
1962 - 1963
THE VISIT
1963 - 1964
MY THREE ANGELS
A HATEFUL OF RAIN
1964 - 1965
THE MISER
THE WALL
LUTHER
1965 - 1966
TWELVE ANGRY MEN
HIGH TOR
ROSS
A MAN FOR ALL SEASONS
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1966 - 1967
THE BEST MAN
THE GANG'S ALL HERE
THE APPLE CART
ENEMY OF THE PEOPLE
THE FANTASTICKS
1967 - 1968
LOOK HOMEWARD ANGEL
KNIGHT OF THE BURNING PESTLE
110 IN THE SHADE
MARAT/SADE
1968 - 1969
DETECTIVE STORY
BETWEEN TWO THIEVES
DEATH OF A SALESMAN (County
Players)
CINDERELLA
1969 - 1970
INCIDENT AT VICHY
THE DARK AT THE TOP OF THE
STAIRS
CALCULATED RISK
COME BLOW YOUR HORN
THE WIZARD OF OZ
1970 - 1971
HOW TO SUCCEED IN BUSINESS
WITHOUT REALLY TRYING
EVERYMAN REVISITED *
MEDEA
PETER PAN
1971 - 1972
THE PETRIFIED FOREST
JOAN OF LORRAINE
J.B.
SNOW WHITE
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1972 - 1973
THE PRIME OF MISS JEAN BRODIE
ROMANOFF AND JULIET
BUT NOT JUST EVERYMAN *
CELEBRATING THE FIRST FEW
MONTHS *
PINOCCHIO
1973 - 1974
AN EVENING OF THE ABSURD:
"The Room," "The Orchestra," &
"The Lesson"
MOURNING BECOMES ELECTRA
METANOIA *
THE BEEPLE
1974 - 1975
THE LARK
GENTLE CATAPULTS *
IN REPERTORY: WHO'S AFRAID OF
VIRGINIA WOLF, PLAZA SUITE, THE
EFFECTS OF GAMMA RAYS ON
MAN-IN-THE-MOON MARIGOLDS
GEORGE M
ALICE IN WONDERLAND
1975 - 1976
"The Emperor Jones" & "Chamber
Music"
LEAVE IT TO JANE
BAREFOOT IN THE PARK
ALLADIN AND THE WONDERFUL
LAMP
1976 - 1977
THE MOUSETRAP
WINNIE THE POOH
1976 - 1977
THE MOUSETRAP
WINNIE THE POOH
1977 - 1978
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PLAZA SUITE
STREETCAR NAMED DESIRE
THE MIRACLE WORKER
DOUBLE BILL: "At Laura's Locker"
* & "Althea's Throne" *
THE WIZARD OF OZ
1978 - 1979
PLAZA SUITE
STREETCAR NAMED DESIRE
THE MIRACLE WORKER
DOUBLE BILL: "At Laura's Locker"
* & "Althea's Throne" *
THE WIZARD OF OZ
1978 - 1979
I REMEMBER MAMA
TWO FOR THE SHOW--TWO NEW
PLAYS: "A Soldier's Song" * &
"Exercise for a Dandy Horse" *
JUNGLE BOOK
THE BELLE OF AMHERST
(Mason/Olsen)
1979 - 1980
A MIDSUMMER NIGHT'S DREAM
THE CRUCIBLE
(CERT) THE CHILDREN'S HOUR
MASS APPEAL
(Davis/Bolling) *
\ [A er Old Coat prod., yet before
Off-Broadway & Broadway]
WILLY WONKA
1980 - 1981
CABARET
THE DIARY OF ANNE FRANK
(CERT)
WAIT UNTIL DARK
FESTIVAL OF SHORT PLAYS: "When
Opportunity Pounds," "ThePaisley
Picador," "The College Years,"
"Thin Walls," "Someone's Sleeping
In My Bed," "Midsta on" * (all)
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DOCTOR DOOLITTLE
1981 - 1982
GRAFFITI **
THE EFFECT OF GAMMA RAYS ON
MAN IN-THE-MOON
MARIGOLDS (CERT)
THE ODD COUPLE
THE PENNY STEALERS *
FESTIVAL OF SHORT PLAYS: "Here
We Are," "When Shakespeare's
Ladies Meet," "The Ugly
Duckling," "Curse You Jack
Dalton," "Cathleen Ni Houlihan"
MARY POPPINS
1982 - 1983
GODSPELL
THE TUG OF WAR *
BUS STOP
THE DRUNKARD
FESTIVAL OF SHORT PLAYS: "A
Moment of Silence," "Thicker
Than Water," "The Bonds of
Obedience," "Sisters," "Taking to
the Streets" * (all)
SNOW WHITE
1983 - 1984
"The Weatherman" *
"The Scholar's Wife" *
"The Bonds of Obedience" *
THE GLASS MENAGERIE (CERT)
THREEPENNY OPERA
LEAD ME HOME *
THE FANTASTICKS
YOU CAN'T TAKE IT WITH YOU
FESTIVAL OF SHORT PLAYS:
"Gi ed," "Abandoned Treasures,"
"House of Mirrors," "What Are
Friends For," "Saints or Sinners,"
"Seen But Not Heard," "Playing
Against the House" * (all)
THE FROG PRINCE
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1984 - 1985
GREASE
SEASONS' GREETINGS AT HOBART
ARMS *
BLITHE SPIRIT
THREE AT SEVEN: "Acts of
Contri on," * "Sorry, Wrong
Number," "More Than
Remembrances" *
FESTIVAL OF SHORT PLAYS:
"Milestones," "Payment of Dues,"
"Have a Good Life," "Me and
Brian," "Money to Burn," "The
Game," "Grendel" * (all)
BACK TO BACK BAKKE: "A er All"
* & "16 Pages from Scene Three"
*
THE WIZARD OF OZ
1985 - 1986
"The Bonds of Obedience" *
THE DARK OF THE MOON
THE TRUTH OF THE MATTER *
ONE FLEW OVER THE CUCKOO'S
NEST
FESTIVAL OF SHORT PLAYS: "A
Tangled Web," "Gatekeeper,"
"Engine's Heat," "Life'seyes,"
"Drugs, Sex and Rock & Roll" * (all)
PETER PAN
1986 - 1987
"The Scholar's Wife" *
DRACULA
GODSPELL
BLOOD KNOT (New Day Rep.)
DANCING IN THE END ZONE *
FIFTH OF JULY
FESTIVAL OF SHORT PLAYS: "Chop
Suey," "Late Ending," "Dinner for
Three," "Upstage," "Romeo &
Julio," "Second Sight,"Katy's Bag,"
"In a Lonely Place" * (all)
CINDERELLA
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1987 - 1988
"Via Humanitas" *
CONSTRUCTIVE CRITICISM *
HAIR
HARVEY
FESTIVAL OF SHORT PLAYS: "Dear
Ann," "Nagged to Death,"
"Wedded Bliss," "To Fit the Cloth,"
"Sketches," "To Be Remembered,"
"My Brother's Keeper,"
"Insecuri es" * (all)
WILLY WONKA
1988 - 1989
TWO FOR ONE: "The Guerdon or a
St. Luke's Summer Recompense" *
& "The Bonds of Obedience" *
DEATHTRAP
LITTLE SHOP OF HORRORS
TWO CAN PLAY (New Day Rep.)
DON'T DRINK THE WATER
SCENES FROM SHAKESPEARE(On
tour)
BOESMAN & LENA (New Day Rep.)
AN EVENING WITH EDGAR ALLAN
POE (On tour)
DEAR LIAR (Garrison Art Center)
FESTIVAL OF SHORT PLAYS:
"Without Humor," "An Ordinary
Travel through Time," "It's a Dog's
Life," "The Game," "A Bite to Eat,"
"We Are Companions on a
Journey," "Straight Up Please" *
(all)
THE VELVETEEN RABBIT
1989 - 1990
BRIGHTON BEACH MEMOIRS "Via
Humanitas" *
JESUS CHRIST SUPER STAR
PICNIC
ALICE IN WONDERLAND (non-
musical)
FESTIVAL OF SHORT PLAYS: "Death
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Meets the Lovebug," "Final
Judgement," "Piece of Mind,"
"Backstage," "The Honeymooners
Get Divorced," "Unsuspec ng
Characters," "The F-Word,"
"Complica ons," "The Shark
Tank," "Cars" * (all)
1990 - 1991
ANTIGONE"The Scholar's Wife" *
STEEL MAGNOLIAS (Queen City
Stage Company)
COMPANY
THE ANGEL'S SHARE *
THE HOUSE OF BLUE LEAVES
PINOCCHIO "Vows" *
FESTIVAL OF SHORT PLAYS: "True
Confessions," "The Bridal Shower,"
"Truth Game," "Trashed," "Life at
20," "Known But to God,"
"In mate Rela ons," "Farewell
Tour" * (all)
1991 - 1992
BURN THIS
WINTER RAIN (Life of Thomas
Merton) [On tour]
EVITA
FOOLS
STRANGER THAN FICTION
MY CHILDREN! MY AFRICA! (New
Day Repertory Co.)
THE WIZARD OF OZ
DOUBLEBILL: "The B.S. Formula" *
and "Forever and a Day" *
FESTIVAL OF SHORT PLAYS:
"Blackout," "The Card Shop,"
"Charlie's Independence Day,"
"Check, Please!," "Cu ng
Remarks," "Dreamah," "From the
Porch," "The Last Visit," "Madness
to My Method," "Wagner's
Tempta on" * (all)
1992 - 1993
THE FRONT PAGE "The Guerdon,
or a St. Luke's Summer
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Recompense"*
GOOD NEWS
KING LEAR
THE MISS FIRECRACKER CONTEST
THE SPELL OF SLEEPING BEAUTY
DOUBLE BILL: "The X Factor, "
"72nd Street Messiah" * (both)
FESTIVAL OF SHORT PLAYS:
"Dream Maker," "Family Affairs,"
"Jake's Ladder," "Knockin' On
Heaven's Door," "One Fish, Two
Fish," "Red Tape for the Boa
Constrictor," "A Room With No
View," 'Sean Morgan's Family
Solu on," "Second Chances,"
"Truman," "The Year the Real
World Began" * (all)
TRIPLE BILL: "Imagina on,"
"Un tled," and "The Hay Is On
Fire" * (all)
1993 - 1994
LEND ME A TENOR
A FUNNY THING HAPPENED ON
THE WAY TO THE FORUM
DOUBLE BILL: "The Farther to Fall"
& "The Show Must Go On"
THE NEW ODD COUPLE (Joint
Alumni & MCCTA produc on)
ETG TRIPLE BILL: “The
Room,†The Actor’s
Nightmare†and “
’Den ty Crisisâ€
A DOLL'S HOUSE
THE GLASS SLIPPER
FESTIVAL OF SHORT PLAYS: "Jack
In the Box," "Scenes From An
Italian Restaurant," "The Further
Adventures of Hamlet," "As Time
Goes By," "Escapin’ Reality," "A
Modern Fairy Tale," "Ninety-six
Dollars," "Movin' In" * (all)
1994 - 1995
I HATE HAMLET
ME AND MY GIRL
TRIPLE BILL
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NOISES OFF
LOVE'S LABOUR'S LOST
ROBIN HOOD
FESTIVAL OF SHORT PLAYS: "Deja
Vu," "My Life," "The Possibility,"
"Family Dinner," "God Games,"
"The Blisters of the Suburbs,"
"Going Up" LOVE LETTERS (Joint
Alumni & MCCTA produc on)
This marked the end of the first thirty years of use of the campus
center/student center theatre. Following the Jennifer Dressel
Memorial Scholarship Fund produc on, LOVE LETTERS, renova ons
began within the theatre, preparing to turn it into the Nelly Gole
Theatre.
1995 - 1996
LOVE, SEX AND THE I.R.S.
FIDDLER ON THE ROOF
DOUBLE BILL: "Dateline" * & "The
Machine" *
PRELUDE TO A KISS
THE MOUSETRAP
RUMPELSTILTSKIN IS MY NAME
CARPE DIEM: THE FESTIVAL OF
STUDENT PLAYS: "Tombstones" by
Roseanne Saracino; "Forgiveness"
by Tauren L. Hagans; "The Wait"
by Andrew Tokash; "Blue" by
Andrew Tokash; "One Thousand &
One Oranges" by Bryon Cahill; "A
Prisoner of the Mind" by Erica
Feick; "Rain" by Ben Fishelman *
(all)
1996 - 1997
RUMORS by Neil Simon
GUYS & DOLLS by Damon Runyon,
Abe Burrows, Jo Swerling; music
and lyrics, Frank Loesser
TRIPLE BILL, 2 + 1: "Bedfellows" by
Ben Fishelman; "Bumping the
Cover" by Andrew Tokash;
"Playing Against the House" by
Gerard A. Cox *(all)
SIX CHARACTERS IN SEARCH OF
AN AUTHOR by Luigi Pirandello
MARVIN'S ROOM by Sco
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McPherson
THE EMPEROR'S NEW CLOTHES by
Karen Boe cher-Tate
FESTIVAL '97, STAGE ONE,
STUDENT PLAYS-IN-PROGRESS:
"Nihl" by Shannon McNamara;
"Armageddon Vs. Joe Shmoe" by
Bryon Cahill; "How Li le They
Know" by Michelle C. White; "A
Man in a Chair, a Woman at the
Window" by Ben Fishelman; "Of
Brass Rings & Finer Things" by
Tom Gallagher *(all)
1997 - 1998
MOON OVER BUFFALO
JOSEPH AND THE AMAZING
TECHNICOLOR DREAMCOAT
AN EVENING OF ONE ACT PLAYS:
"Real Estate" by Bryon Cahill;
"What the Wind Won't Blow
Away" by Tom Gallagher;
"Premoni on" by Jef E. Freydl;
"Pizza and Chinese" by Jason
Scheringer *(all)
MACHINAL
DANCING AT LUGHNASA
SIDE BY SIDE BY SONDHEIM
STONE SOUP
MACBETH
AS GRAPES UPON THE VINE,
FESTIVAL '98: "All the Dips Are
Dancing" by Erin Scully; "Ashes to
Ashes" by Kim Rescorla;
"Convulsing Twins" by Bryon
Cahill; "Decisions, Decisions" by
Ka e Tracy; "Famous Men: An Act
of Mizzling" by Michael James
Feurstein; "In Brother I Trust" by
Alex Heineman; "The
Engagement" by Heather Lynch;
"Tuesday" by Bryon Cahill;
"Whatever Happened to Long
Island Mike?" by Daniel Curry *
(all)
1998 - 1999
[Mainstage] PRESENT LAUGHTER
[Mainstage] WEST SIDE STORY
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(MCCTA & Marist Singers)
[ETG] EVENING OF ONE ACTS
[ETG’s Mainstage] DOUBLE
BILL: SHANLEY & FORNES
[ETG] THE VAGINA MONOLOGUES
( MCCTA & Gender Equality)
[Mainstage] CAT ON A HOT TIN
ROOF
[Children’s] ALICE IN
WONDERLAND
[Mainstage] MUCH ADO ABOUT
NOTHING (MCCTA & English
Department)
[Special] FESTIVAL ’99: A
TOUCH OF HARRY: “A Quiet
Sabbath in Amherst†by S.
Randall Thompson; “Freshman
Year in Life†by Alex Heineman;
“Lucra ve†by Brian
Ketcham; “Mama’s Boyâ€
by Ben I. Hecht; “Pickles†by
Giovanna Coppola; “The Devil
and Mike Faust†by John
Sullivan; “The Journey†by
Keisha Mason; “The Pale Eggs
of the Beast†by Bryon Cahill
(MCCTA & Theatre Workshop)
1999 - 2000
[Mainstage] PROPOSALS
[Musical] CITY OF ANGELS
[ETG Mainstage] THE CHOICE
[Mainstage] A VIEW FROM THE
BRIDGE
[Musical Revue] THE WORLD
GOES ROUND
[Children's Theatre] RAPUNZEL
[Standup Comedy] HuMarists Skits
(Comedy Nights)
[Special] FESTIVAL 2000: EARLY
LIGHT (Student-wri en Short
Plays) "A Night in the Park" by
Dean Orgera; "Act IV: Richard,
Once and Future King of England"
by Sco Randall Thompson;
"Elbow Room" by Sam Moorman;
"Gramma's Treasure Chest" by
Shelly Napoli; "Icing on the
Wedding Cake" by Alex
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A Short Draft for a Longer History of Marist College Theatre
https://dev.lb.marist.edu/archives/writtenHistory/shortHistoryOfMaristCollegeTheatre.html#
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Heinenman; "Power Lunch" by
Daniel Tyburski; "Ridiculous" by
Chris Clemens; "South of Sunrise"
by Kimberly S. Genesi; "The Paper
War" by Ben I. Hecht; "The
Restless Nights of Roxy Thrill" by
John Sullivan
2000 - 2001: MCCTA'S 25th
Season
[Mainstage] THE IMPORTANCE OF
BEING EARNEST
[Musical] DAMN YANKEES
[ETG] DOUBLE BILL: "Fool for
Love" and "What I Meant Was"
[ETG Mainstage] HOW I LEARNED
TO DRIVE
[Special] THE VAGINA
MONOLOGUES
[Mainstage] ROMEO AND JULIET
[Children's] KING MIDAS AND THE
TOUCH OF GOLD
[Special] SWIFT AS A SHADOW:
Fes val of Student Plays "Angel
Down" by Benjamin Hecht;
"Closure´ by George Luis Garcia,
Jr.; "Dinner With Cactus" by
Jeremy D. Smith; "Is Ignorance
Bliss: An Explora on of Ebeneezer
Pudd" by Lori Musorrafi ; "That
Girl" by Ma hew Ryan *(all) On
the final night of fes val, a special
performance of "In the Name of
the Mother" by Gerard Anthony
Cox was performed under the
direc on of David Laffin in
recogni on of the writer's years as
an administrator at Marist College
Marist Home
Cannavino Library
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Revised: 2011 March 21