A.R.T. Presents the World Premiere of In The Body of the World

For Immediate release: April 22, 2016

Contact: Kati Mitchell 617.495.2668


American Repertory Theater


the World Premiere of


Written and Performed by Eve Ensler

Directed by Diane Paulus

May 10 - 29, 2016

Loeb Drama Center


Cambridge, MA — The American Repertory Theater (A.R.T.) at Harvard University, under the leadership of Artistic Director Diane Paulus and Executive Director Diane Quinn, presents the world premiere of IN THE BODY OF THE WORLD, written and performed by Eve Ensler and directed by Diane Paulus. Performances begin on Tuesday, May 10 and run through Sunday, May 29 at the Loeb Drama Center, 64 Brattle Street, Cambridge. 


Performance dates: May 10 - 14, May 17 - 21, May 25 - 28 @ 7:30PM; May 15, 22, 28, 29 @ 2PM

Press opening: Thursday, May 19 at 7:30PM. Press invitations will be sent out in late April.

Audio Described performances: Thursday, May 26 @ 7:30 PM & Saturday, May 28 @ 2PM

Open Captioned performances: Thursday, May 12 @ 7:30PM & Sunday, May 15 @ 2PM


Ticket prices from $25, now on sale by phone at 617.547.8300, in person at Ticket Services at 64 Brattle Street, or online AmericanRepertoryTheater.org


In this world-premiere adaptation of her critically acclaimed 2013 memoir of the same name, activist and artist Eve Ensler (The Vagina Monologues, Emotional Creature, The Good Body, O.P.C.) celebrates the strength and joy that connect a single body to the planet. While working in the Congo, where war continues to inflict devastating violence on women, Ensler was diagnosed with stage III/IV uterine cancer. This diagnosis erased the boundaries between Ensler’s art, her work, and her own body. This production charts the connections between the personal and the public, inviting and challenging all of us to come back into our bodies, and thus the world. 


Set and costume design is by Myung Hee Cho, lighting design by Jen Schriever, sound design by M.L. Dogg, projections by Finn Ross, and movement by Jill Johnson.


Each performance of In the Body of the World will be followed by a post-show discussion with doctors, experts, and activists from Harvard University and beyond. Guest speakers will include Dr. Eric Dozois, Program Director, Colon and Rectal Surgery, Mayo Clinic; Dr. Sean Dowdy, Professor and Chair, Division of Gynecologic Surgery, Deputy Director of Practice, Robert D. and Patricia E. Kern Center for the Science of Health Care Delivery; Dr. Ned Friedman, Arnold Professor of Organismic and Evolutionary Biology; Director, Arnold Arboretum at Harvard University; Dr. Annekathryn Goodman, Associate Professor of Obstetrics, Gynecology and Reproductive Biology at Harvard Medical School; Fellow, American College of Surgeons; Judith Lewis Herman, M.D., Professor of Psychiatry Emerita at Harvard Medical School; Suzanne Koven, Primary Care Physician and Writer in Residence in the Division of General Internal Medicine at Massachusetts General Hospital; Susan Pories, MD, FACS, Associate Professor of Surgery at Harvard Medical School and the Medical Director of The Hoffman Breast Center at Mount Auburn Hospital; Dr. Christopher Reddy, Senior Scientist at the Woods Hole Oceanographic Institution; Dr. Deborah Rhodes, Director, Executive Health Program, Mayo Clinic; Daniel P. Schrag, Sturgis Hooper Professor of Geology at Harvard University, Professor of Environmental Science and Engineering, and Director of the Harvard University Center for the Environment.  

Other guests will be announced at a later date. Check AmericanRepertoryTheater.org for details and an updated list of speakers. 


Community members are invited to engage in free In the Body of the World: Self-Care @ A.R.T. events before select matinee performances of In the Body of the WorldPresented in partnership with the Harvard Center for Wellness, Self-Care @ A.R.T. offers skill-building opportunities ranging from physical health to mental and spiritual resiliency. These events require hands-on participation, and advance registration is required. Event topics, dates, and times will be updated regularly on our website [americanrepertorytheater.org/self-care]americanrepertorytheater.org/self-care.  Events are free and open to the public. 

For more information contact A.R.T. Education & Community Programs: education@amrep.org



About the Creative Team: 


Eve Ensler is a Tony Award winning playwright, activist, author of the theatrical phenomenon and Obie Award winning, The Vagina Monologues, which has been published in 48 languages and performed in over 140 countries. Eve’s plays include O.P.C. (which premiered at A.R.T. in 2014), Necessary Targets, The Good BodyEmotional Creature, and The Fruit Trilogy, which just premiered at the WOW Festival in London and the West Yorkshire Playhouse. Her books include Insecure At Last: A Political Memoir; the New York Times best seller I Am An Emotional Creature, and her critically acclaimed memoir In the Body of the World on which this play is based. She has written numerous articles for The GuardianTime, Elle France and the International Herald Tribune. Ensler’s film credits include an HBO film version of The Vagina Monologues. She also co-produced the film What I Want My Words to Do to You, winner of the Freedom of Expression Award at the Sundance Film Festival and premiered on PBS’s “P.O.V.” Ensler was a consultant on the 2016 Oscar nominated film Mad Max Fury Road. In 1998 Ensler founded V-Day, the global activist movement to end violence against women and girls and in 2013, its evolution, One Billion Rising, a global mass action campaign linking racial, gender, economic and climate injustice in over 200 countries. She was named one of Newsweek’s “150 Women Who Changed the World” and The Guardian’s “100 Most Influential Women.”


Diane Paulus is the Artistic Director of the A.R.T. Her directing credits at the A.R.T. include the world premiere musical Waitress (now playing on Broadway), Matthew Aucoin’s world premiere opera CrossingFinding Neverland (now playing on Broadway), Matt Gould and Griffin Matthews’ Witness Uganda (ran off-Broadway in November 2015 as Invisible Thread); Stephen Schwartz and Roger O. Hirson’s Pippin (2013 Tony Award-winner for Best Revival of a Musical, currently on an international tour); The Gershwins’ Porgy and Bess, adapted by Suzan Lori-Parks and Deidre Murray (2012 Tony Award-winner for Best Revival of a Musical, national tour in 2015); Prometheus Bound, a new musical written by Tony Award-winner Steven Sater (Spring Awakening) with music by Grammy Award-winner Serj Tankian; Tod Machover’s Death and the Powers: The Robots’ Opera (finalist for the 2012 Pulitzer Prize in Music, performed at Dallas Opera in 2015); The Donkey Show, a disco adaptation of A Midsummer Night’s DreamBest of Both Worlds, with book and lyrics by Randy Weiner and music by Diedre Murray; and Johnny Baseball, by Robert Reale, Willie Reale, and Richard Dresser. Her other recent work includes Cirque du Soleil’s Amaluna, which had its world premiere in Montreal in April 2012; The Public Theater’s Tony Award-winning revival of HAIR on Broadway and London’s West End. As an opera director, her credits include The Magic FluteIl mondo della lunaDon GiovanniLe nozze di Figaro, and the Monteverdi trilogy L'incoronazione di Poppea, Il ritorno d’Ulisse in patria, and Orfeo. Diane is a Professor of the Practice in Theater in Harvard University’s English Department. She was named one of Boston Magazine’s "50 Most Powerful Bostonians" in 2012 and was awarded the 2012 Founders Award for Excellence in Directing from the Drama League. Recently, Diane was selected as one of Variety’s “Trailblazing Women in Entertainment for 2014” and Boston Magazine’s “50 Thought Leaders of 2014” and was named one of the "50 Most Powerful Women in New York" by the New York Daily News, as well as TIME Magazine’s annual list of the 100 most influential people in the world. 


Set and Costume Designer Myung Hee Cho’s credits include The Marriage of Figaro for Washington National Opera, The Magic Flute (under the direction of Diane Paulus) for Canadian Opera Company, and the upcoming The Thieving Magpie for Glimmerglass Opera. Off-Broadway and regional credits include Emotional Creature, Linney Theatre (Berkeley Repertory Theatre), Stuck Elevator, American Conservatory Theater; Black Odyssey, Denver Center; Miss Julie, Geffen Playhouse; Yellow Face, Mark Taper Forum and Public Theater; The Piano Teacher, South Coast Repertory. International: The Good Person of Szechuan, Landestheater, Austria; Awaking, Singapore Theatre Festival. She is the recipient of a Princess Grace Awards and is a Professor of Design at UCLA.


Lighting Designer Jenn Schriever’s recent credits include The Pearlfishers and Die Fledermaus at the Metropolitan Opera in New York, The Pearlfishers at English National Opera, La Traviata, Faust and A Midsummer Night’s Dream at the Mariinsky Theatre in St. Petersburg, and Eclipsed at The Public Theater and on Broadway, and multiple productions at the Public Theater and Second Stage, among others. She is an Adjunct Professor at Purchase College.


Sound Designer M.L. Dogg has designed for such companies as Actors Theatre Of Louisville, Cherry Lane Theatre, the Huntington Theatre, Colt Coeur, New Group, MCC Theatre, Geffen Playhouse, Roundabout Theatre Company, Royal National Theatre, Debate Society, Ars Nova, Joey Parnes Productions, South Coast Repertory, Signature Theatre, Pearl Theatre, Williamstown Theatre Festival, Public Theatre, Second Stage Theatre, Playwrights Horizons, Nicholas Ward Productions, Scott Sanders Productions, and Women’s Project. His awards include Drama Desk, IRNE, and IT nominee; Lortel award for Here Lies Love, fringeNYC award for Go-Go Kitty, GO!.


Projection Designer Finn Ross created projections for Crossing at the A.R.T.  His Broadway credits include American Psycho (also at Almeida Theater, West End), The Curious Incident of the Dog in the Night-Time (also West End), Betrayal. Other London credits include Frankenstein, Royal Ballet; The Rise and Fall of the City of Mahagonny, Royal Opera House; Chimerica, Almeida; Closer, Donmar Warehouse; Master and MargaritaAll My SonsShunkin, Complicite; Top Girls, West End. Opera: The Feeling of Going, Skånes Dansteater and Malmö Opera; Death of KlinghofferDeath in VeniceOneginSimon BoccanegraDamnation of FaustDon GiovanniMagic Flute, ENO; Hansel and Gretel, A Dog’s HeartMagic Flute, Netherlands Opera; La clemenza di TitoMr Brouček, Opera North; Theatre an der Wien; Imago; Glyndebourne; RNT; Scottish Opera; LA Phil; Chicago Symphony Orchestra; Schauspielhaus, Köln; Traverse; Gothenburg Opera; Bregenz. 


Jill Johnson previously created movement for the A.R.T.’s production of O.P.C. and Crossing.  She is Director of Dance, Dance Program (OFA), Senior Lecturer in Music and Theater, Dance & Media and Artistic Director of the Harvard Dance Project, at Harvard University. Ms. Johnson is a graduate of Canada’s National Ballet School, a 28-year veteran of the dance field; choreographs for film, television and the stage; has danced in over 50 tours on 5 continents; was a soloist with the National Ballet of Canada and a principal dancer and researcher in William Forsythe’s company Frankfurt Ballet. She stages Forsythe’s work worldwide, including for Paris Opera Ballet, La Scala, Batsheva Dance Company, Norwegian National Ballet, Lyon Opera, Netherlands Dance Theater, and American Ballet Theater. Johnson is a founding collaborator of The Movement Invention Project in New York, and has served on the faculties of and created choreographic work for Princeton University, Columbia University, the Juilliard School and NYU; and has created 12 new works at Harvard since 2011Recent collaborations include those with the Harvard Choruses, Harvard Mahindra Humanities Center, Boston Ballet, San Francisco Ballet, American Repertory Theater, Dries Van Noten and the Louvre Musée des Arts Décoratifs, Ryuichi Sakamoto, and Mikhail Baryshnikov. 


The American Repertory Theater (A.R.T.) at Harvard University is a leading force in the American theater, producing groundbreaking work in Cambridge and beyond. The A.R.T. was founded in 1980 by Robert Brustein, who served as Artistic Director until 2002, when he was succeeded by Robert Woodruff. Diane Paulus began her tenure as Artistic Director in 2008. Under the leadership of Paulus and Executive Director Diane Quinn, the A.R.T. seeks to expand the boundaries of theater by programming events that immerse audiences in transformative theatrical experiences.


Throughout its history, the A.R.T. has been honored with many distinguished awards, including the Tony Award for Best New Play for All the Way (2014); consecutive Tony Awards for Best Revival of a Musical for Pippin (2013) and The Gershwins’ Porgy and Bess (2012), both of which Paulus directed; a Pulitzer Prize; a Jujamcyn Prize for outstanding contribution to the development of creative talent; the Tony Award for Best Regional Theater; and numerous Elliot Norton and IRNE Awards.


The A.R.T. collaborates with artists around the world to develop and create work in new ways. It is currently engaged in a number of multi-year projects, including a new collaboration with Harvard's Center for the Environment that will result in the development of new work over several years. Under Paulus’s leadership, the A.R.T.’s club theater, OBERON, has been an incubator for local and emerging artists and has attracted national attention for its innovative programming and business models.


As the professional theater on the campus of Harvard University, the A.R.T. catalyzes discourse, interdisciplinary collaboration, and creative exchange among a wide range of academic departments, institutions, students, and faculty members, acting as a conduit between its community of artists and the university. A.R.T. plays a central role in Harvard's newly launched undergraduate Theater, Dance, and Media concentration, teaching courses in directing, dramatic literature, acting, voice, design, and dramaturgy. The A.R.T. Institute for Advanced Theater Training, run in partnership with the Moscow Art Theatre School and the Harvard Extension School, offers graduate training in acting, dramaturgy, and voice.


Dedicated to making great theater accessible, the A.R.T. actively engages more than 5,000 community members and local students annually in project-based partnerships, workshops, conversations with artists, and other enrichment activities both at the theater and across the Greater Boston area.


Through all of these initiatives, the A.R.T. is dedicated to producing world-class performances in which the audience is central to the theatrical experience.


Release Date:
April 22, 2016

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