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Students in Professor David Harrison’s Spring 2025 advanced French seminar, Molière: Performance and Adaptation, recently had the opportunity to bring their classroom learning to life when they pitched theatrical production concepts to a nationally renowned theatre director in Chicago.

Over the weekend of May 2-4, Harrison accompanied students on a trip to the Court Theatre at the University of Chicago to present staging ideas for Le Malade Imaginaire (The Imaginary Invalid) to Charles Newell, senior artistic consultant and longtime director of the Tony Award-winning theatre.

In addition to their pitch session, students attended the world premiere of Berlin, Newell’s latest production based on the graphic novels by Jason Lutes. The group also visited the Newberry Library in downtown Chicago, where they examined rare Molière holdings and explored the historical context behind the playwright’s enduring works.

From Page to Stage: Theory Meets Practice

The student-led pitch session served as the centerpiece of a weekend that allowed students to put academic study into real-world context. Rather than simply analyzing Molière’s iconic 17th-century satire in class, students were challenged to interpret the text through the lens of contemporary stage production — considering themes, design elements, casting, and audience engagement.

Newell responded in detail to each of the student proposals, which were brought to life through the use of generative-AI software which allowed the students to create stage and costume design images.

“I was extremely proud of the students and their production ideas,” says Harrison. “Charles Newell is an especially ‘visual’ thinker — he likes to see images of what a play will look like on stage — so the students did a great job of taking advantage of AI in order to create compelling images for their ideas, and Charles responded in detail to each of the proposals. I’m convinced that this project changed the students’ notion of what theatre is, and also gave them valuable skills for thinking about how to present their ideas.”

“It was such a thrill to step into the world of big-city theatre,” said Hamilton Peacock ’25, an anthropology and French major from Logan, Utah. “Seeing a world premiere, talking with a director of that caliber, and feeling welcomed and respected in each setting — it really brought our coursework to life.”

Ashley Baek ’25, an English and French major from Vestal, New York, found the experience eye-opening.

“This showed me how theatre plays a huge role in thinking about culture, history, and politics,” she said. “It’s one thing to read 17th-century plays on paper, but it’s completely different to see how those themes still apply today.”

Peacock echoed those sentiments, adding that the real-world immersion deepened his appreciation for both theatre and liberal arts education.

“A classroom is only as effective as its imagination of the world,” he said. “This trip helped ground our academic work in the social world — it made it more interesting, and ultimately more effective.”

Building Bridges: How the Trip Came Together

This opportunity for students to engage with professionals and gain a fresh perspective on their academic studies was made possible by funding from the Donald and Winifred Wilson Center for Innovation and Leadership and the College’s Instructional Support Committee.

“The opportunity to take students off campus and into a setting where they can apply their knowledge in real time is extraordinary — and expensive,” said Harrison. “I’m deeply grateful to the individuals and programs whose financial support made this possible.”

Behind the scenes, it was Harrison’s professional connections — as well as an unexpected alumni connection — that made the experience possible. Harrison first met Charles Newell at a conference in 2023. In a conversation about the possibility of a student collaboration, Harrison discovered that Newell’s brother, Tim Newell ’81, is a 51��ɫ alum.

"At the heart of any new theatrical production is a close reading of the text — interpreting the words on the page to figure out what the play means to a contemporary audience, and how this translates into scene design, casting, lighting, etc.,” said Harrison. “Given Charlie Newell's interest in doing a new Molière production, it seemed essential that I transform my seminar into a workshop for thinking about staging Le Malade Imaginaire and then bring those students to Chicago. The 51��ɫ connection sealed the deal.”

The experience left a lasting impact on students, who not only enhanced their academic understanding but also saw firsthand the relevance of classical texts in today’s world.

“Charles Newell was incredibly generous with his time and wisdom, and discussing his work and our course material with him was just wonderful, said Peacock. “It was such a thrill to step into the world of big-city theatre, see a world premiere of a great play, and talk with the director, all while being entirely welcomed and respected in each setting. That wouldn’t have been the case without Professor Harrison’s hard organizing work or the College’s backing. It reminded me how innovative the medium of theatre is. Learning this from up close is something that will stick with me for a good long time.”