{"id":4480,"date":"2019-09-11T20:33:57","date_gmt":"2019-09-11T20:33:57","guid":{"rendered":"https:\/\/www.hamptontheatre.org\/?page_id=4480"},"modified":"2020-11-05T21:29:18","modified_gmt":"2020-11-05T21:29:18","slug":"admissions","status":"publish","type":"page","link":"https:\/\/hamptontheatre.org\/?page_id=4480","title":{"rendered":"Admissions"},"content":{"rendered":"<!--\r\n\r\n<div style=\"text-align: center;\">\r\n<div><a href=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Attention-High-School-1-scaled.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"849\" class=\"aligncenter size-large wp-image-4709\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Attention-High-School-1-1024x849.jpg\" alt=\"\" srcset=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Attention-High-School-1-1024x849.jpg 1024w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Attention-High-School-1-300x249.jpg 300w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Attention-High-School-1-768x637.jpg 768w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Attention-High-School-1-1536x1273.jpg 1536w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Attention-High-School-1-2048x1698.jpg 2048w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Attention-High-School-1-640x531.jpg 640w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><\/div>\r\n<\/div>\r\n\r\n-->\r\nPlaying the diversity card cuts both ways in this \u201chilarious and provocative drama\u201d by Joshua Harmon, author of \u201cBad Jews\u201d and \u201cSignificant Other.\u201d Sherri Rosen-Mason is head of the admissions department at a New England prep school, fighting to diversify the student body.\u00a0 She and her husband, the school\u2019s Headmaster, have largely succeeded in bringing a stodgy institution into the 21st century. But when their only son sets his sights on an Ivy League university, personal ambition collides with progressive values, with convulsive results. Winner of the Drama Desk and Outer Critics Circle Awards for Best Play. <br \/>\r\n<br \/>\r\n<strong><em>\u201cAstonishing and daring. An extraordinarily useful and excruciating satire\u2014of the left, by the left, for the left\u2014for today.\u201d \u2013 New York Times<\/em><\/strong> \n<div class=\"organic-accordion\"><p><a href=\"#general-info\">GENERAL INFO<\/a><\/p>\n            <div id=\"general-info\">\n            \t\r\n<div class=\"organic-column one-half\"> <!--<a href=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/09\/Poster-Admissions-BLAST.jpg\" data-rel=\"lightbox-image-1\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" width=\"194\" height=\"300\" class=\"alignleft size-medium wp-image-4441\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/09\/Poster-Admissions-BLAST-194x300.jpg\" alt=\"\" srcset=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/09\/Poster-Admissions-BLAST-194x300.jpg 194w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/09\/Poster-Admissions-BLAST-768x1187.jpg 768w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/09\/Poster-Admissions-BLAST-663x1024.jpg 663w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/09\/Poster-Admissions-BLAST-414x640.jpg 414w\" sizes=\"auto, (max-width: 194px) 100vw, 194px\" \/><\/a>-->\r\n<img loading=\"lazy\" decoding=\"async\" width=\"194\" height=\"300\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/11\/Poster-Admissions-FINAL-194x300.jpg\" alt=\"\" class=\"alignleft size-medium wp-image-5078\" srcset=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/11\/Poster-Admissions-FINAL-194x300.jpg 194w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/11\/Poster-Admissions-FINAL-663x1024.jpg 663w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/11\/Poster-Admissions-FINAL-768x1187.jpg 768w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/11\/Poster-Admissions-FINAL-994x1536.jpg 994w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/11\/Poster-Admissions-FINAL-1325x2048.jpg 1325w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/11\/Poster-Admissions-FINAL-414x640.jpg 414w, https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/11\/Poster-Admissions-FINAL.jpg 1650w\" sizes=\"auto, (max-width: 194px) 100vw, 194px\" \/>\r\n<h5>January 16 &#8211; February 2, 2020<\/h5>\r\n<h5>by Joshua Harmon<\/h5>\r\n<!--&#091;button color=\"dark-red\" size=\"small\" align=\"left\" link=\"https:\/\/web.ovationtix.com\/trs\/pr\/1017348\"&#093;Buy Tickets&#091;\/button&#093; &#091;button color=\"dark-red\" size=\"small\" align=\"left\" link=\"https:\/\/hamptontheatre.org\/?page_id=599\"&#093;Audition&#091;\/button&#093; &#091;br&#093;\r\n&#091;br&#093;\r\n&#091;br&#093;\r\n<strong>or purchase tickets at OvationTix: 866.811.4111<\/strong> <br \/>-->\r\n<\/strong> Playing the diversity card cuts both ways in this \u201chilarious and provocative drama\u201d by Joshua Harmon, author of \u201cBad Jews\u201d and \u201cSignificant Other.\u201d Sherri Rosen-Mason is head of the admissions department at a New England prep school, fighting to diversify the student body.  She and her husband, the school\u2019s Headmaster, have largely succeeded in bringing a stodgy institution into the 21st century. But when their only son sets his sights on an Ivy League university, personal ambition collides with progressive values, with convulsive results.\r\n\r\nWinner of the Drama Desk and Outer Critics Circle Awards for Best Play. \u201cAstonishing and daring. An extraordinarily useful and excruciating satire\u2014of the left, by the left, for the left\u2014for today.\u201d \u2013 New York Times <br \/>\r\n\r\n<br \/>\r\n\u201cAdmissions\u201d is presented with no intermission <\/div>\r\n\r\n\r\n<div class=\"organic-column one-half last\"> <strong>CAST:<\/strong>\r\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-4480 gallery-columns-2 gallery-size-thumbnail'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Ian-Hubbard-Headshot.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-1\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Ian-Hubbard-Headshot-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-4701\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-4701'>\n\t\t\t\tIan Hubbard &#8211; CHARLIE\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Diana-Marbury-copy-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-1\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Diana-Marbury-copy-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-4700\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-4700'>\n\t\t\t\tDiana Marbury &#8211; ROBERTA\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Minerva-Perez-Headshot.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-1\"><img loading=\"lazy\" decoding=\"async\" width=\"147\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Minerva-Perez-Headshot-147x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-4702\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-4702'>\n\t\t\t\tMinerva Perez &#8211; GINNIE\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Morgan-Vaughan2-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-1\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Morgan-Vaughan2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-4703\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-4703'>\n\t\t\t\tMorgan Vaughan* &#8211; SHERRI\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Tristan-for-playbill-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-1\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2019\/12\/Tristan-for-playbill-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-4704\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-4704'>\n\t\t\t\tTristan Vaughan* &#8211; BILL \n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\r\n*appearing courtesy of Actors\u2019 Equity Association\r\n<\/div><div class=\"clearboth\"><\/div> \r\n\n            <\/div>\n<p><a href=\"#production-staff\">PRODUCTION STAFF<\/a><\/p>\n            <div id=\"production-staff\">\n            \t \r\n<div class=\"organic-column one-half\"> \r\nDirector &#8211; ANDREW BOTSFORD<br \/>\r\nSet Design &#8211; SEAN MARBURY<br \/>\r\nLighting Design &#8211; SEBASTIAN PACZYNSKI<br \/>\r\nSet Decor &#8211; DIANA MARBURY<br \/>\r\nCostume Design &#8211; TERESA LEBRUN<br \/>\r\nRehearsal Stage Manager &#8211; GEORGE LOIZIDES<br \/>\r\nProduction Stage Manager &#8211; NICK FITZGERALD<br \/>\r\n<\/div> \r\n\r\n<div class=\"organic-column one-half last\"> \r\nSet Construction &#8211; NICK FITZGERALD, AARON LEVINE,SEAN MARBURY, FRANKLIN SENGARIMA, PETER YORK<br \/>\r\nSound Design &#8211; ANDREW BOTSFORD, SEAMUS NAUGHTON<br \/>\r\nLighting\/Sound Tech &#8211; AARON LEVINE<br \/>\r\nBackstage Crew &#8211; KEN MORSCH<br \/>\r\nBox Office &#8211; LISA CARR\/SONYA HUBBARD<br \/>\r\nProduction Graphics &#8211; <a href=\"http:\/\/www.designingjoe.com\">JOE PALLISTER<\/a><br \/>\r\nHouse Manager &#8211; JULIA MORGAN ABRAMS<br \/>\r\nProduction Photographer &#8211; TOM KOCHIE<br \/>\r\n<\/div><div class=\"clearboth\"><\/div> \r\n\n            <\/div>\n<p><a href=\"#reviews\">REVIEWS<\/a><\/p>\n            <div id=\"reviews\">\n            \t\r\n<h4>East End Theater Review: &#8220;Admissions&#8221; Is A Successful Lit Stick Of Dynamite Of A Comedy<\/h4>\r\n<strong>T.J. Clemente<br \/>\r\nHamptons.com<\/strong>\r\n<br \/>\r\n<br \/>\r\nWhat I love about the Hampton Theatre Company is that every production they produce is of Broadway quality. The production of Admissions, a play by Joshua Harmon, was on opening night a lit stick of dynamite of a comedy that is timely, important, and a must see. The Hampton Theatre Company once again has shined its unique bright light on live theater excellence.<br \/>\r\n<br \/>\r\n\r\nThe special ambiance of the Quogue Community Hall accented some of what I considered to be special theater moments as I watched the opening night performance of Admissions. This Andrew Botsford directed play had my full attention laughing, wincing, and thinking, all at the edge of my seat.<br \/>\r\n<br \/>\r\n\r\nIan Hubbard has a &#8220;Ferris Bueller&#8221; break out performance with one scene so amazing I almost stood and applauded while he was still ripping through the lines. His youth and his stage presence power has future star on stage and beyond written on his forehead. He was magical, mercurial, believable, as he seemed to effortlessly handle what I believe are the integral lines of this production.<br \/>\r\n<br \/>\r\n\r\nI have long been a fan of Minerva Perez since her Romeo and Juliet performance years back, but she truly surprised me with a new range of acting skills that made her almost unrecognizable to me in her role as Ginnie. In a quiet and dignified way, she added a certain depth and humanity to what I felt was a difficult role.<br \/>\r\n<br \/>\r\n\r\nMorgan Duke Vaughan was fascinating with her interpretation of Sherri. She handles this complicated role handily and wins the audience with her honest broker approach, perhaps with an assist from director Andrew Botsford whose pinpoint approach to excellence was stamped in every scene of the many scenes in this play.<br \/>\r\n<br \/>\r\n\r\nTristan Vaughan is excellent as Bill and delivers some great lines with the right touches. He and Morgan Duke Vaughan have some great stage chemistry perhaps for obvious reasons.<br \/>\r\n<br \/>\r\n\r\nLastly, I love everything and anything Diana Marbury because she is an epic icon of East End live theater! I hung onto every syllable of her very nuanced lines. Her bubbling talent pours out through facial expressions, pauses, and variation of tones that is her gift and mastery of her craft. I am truly a fan of her talent.<br \/>\r\n<br \/>\r\n\r\nThere are many scene changes back and forth and I believe the backstage crew of Ken Morsch deserve a shout out. As the sets appeared, disappeared and reappeared flawlessly throughout the production.<br \/>\r\n<br \/>\r\n\r\nGo see this show; it&#8217;s money and time well spent, because it is everything wonderful about live theater.<br \/>\r\n<br \/>\r\n\r\nHTC&#8217;s Admissions will run through Sunday, February 2. Performances will take place on Thursdays and Fridays at 7 p.m., Saturdays at 8 p.m. and Sundays at 2:30 p.m. An additional matinee performance will be offered during the final weekend of the production, on Saturday, February 1, prior to the regular 8 p.m. performance that evening. Talkbacks with the cast will be offered after the Thursday, January 23, and Friday, January 24 performances.<br \/>\r\n<br \/>\r\n\r\nSpecial dinner and theater packages will be available in collaboration with the Westhampton, Southampton, Hampton Bays and Quogue libraries. A special lunch and theater package is also available for the Saturday matinee on February 1, with lunch before the show at the Quogue Club at the Hallock House.<br \/>\r\n<br \/>\r\n\r\nTickets are $30. Discount tickets are available for veterans, Native Americans, under 35, students, and groups.<br \/>\r\n<br \/>\r\n\r\nQuogue Community Hall is located at 125 Jessup Avenue in Quogue. For tickets, call 1-866-811-4111<br \/>\r\n<br \/>\r\n<hr>\r\n<br \/>\r\n<br \/>\r\n<h4>A-Plus For \u2018Admissions\u2019 At HTC<\/h4>\r\n\r\n<strong>Bridget Leroy<br \/>\r\nThe Independent<\/strong>\r\n<br \/>\r\n<br \/>\r\nThis review could be as short as one sentence: Go see this play.<br \/>\r\n<br \/>\r\n\r\nIn fact, go see it twice, as this writer did.<br \/>\r\n<br \/>\r\n\r\nHampton Theatre Company describes its second show of the 35th season this way: \u201cSherri Rosen-Mason is head of the admissions department at a New England prep school, fighting to diversify the student body. She and her husband, the school\u2019s headmaster, have largely succeeded in bringing a stodgy institution into the 21st Century. But when their only son sets his sights on an Ivy League university, personal ambition collides with progressive values, with convulsive results.\u201d<br \/>\r\n<br \/>\r\n\r\nIt goes deeper than that. In Joshua Harmon\u2019s play, which was produced off-Broadway in 2018, but set in 2015, there was still an African American president, and although he is never mentioned by name or even referred to, liberal thinking still ruled the day without a lot of pushback.<br \/>\r\n<br \/>\r\n\r\nBut how liberal is liberal when your own son is denied \u201ca seat at the table\u201d \u2014 a phrase used regularly throughout the show \u2014 yet his \u201cquarter-black\u201d friend gets a seat?<br \/>\r\n<br \/>\r\n\r\nThe play contains enough twists and turns in perspective to keep everyone interested, no matter where your interests may lie, although it seems to strike those who have been through the college application process with their own kids particularly strongly.<br \/>\r\n<br \/>\r\n\r\nAndrew Botsford has done a masterful job directing, casting Minerva Perez, best known in these parts as the executive director of the Organizaci\u00f3n Latino-Americana of Eastern Long Island, in an unrecognizable straight wig, playing the white mother of a biracial child.<br \/>\r\n<br \/>\r\n\r\nMorgan and Tristan Vaughan perfectly play the married head of admissions and headmaster of Hillcrest, a New Hampshire prep school, with all the dynamics of a married couple who are stressed out about their son\u2019s college decisions. Diana Marbury represents the old guard; trying to keep up with the times, not understanding why \u201cMoby Dick\u201d (a book by a white guy about a white whale) is no longer read in class (substituted, perhaps, by Toni Morrison\u2019s \u201cThe Bluest Eye,\u201d mentioned in another scene). Marbury provides most of the evening\u2019s laughs.<br \/>\r\n<br \/>\r\n\r\nBut Ian Hubbard, a 17-year-old Hampton Bays High School senior, steals the show. His smarts and sensibility shine through as Charlie, a good kid who got a bad break. And kudos to the cast and crew for giving Hubbard the room to hold his angry-young-man rants and regrets, as well as the audience\u2019s attention. He is absolutely terrific.<br \/>\r\n<br \/>\r\n\r\n\u201cAdmissions,\u201d as most titles of plays are, is twofold. It\u2019s about more than the admissions process. It\u2019s truly about what we are willing to admit to ourselves in times of crisis.<br \/>\r\n<br \/>\r\n<hr>\r\n<br \/>\r\n<br \/>\r\n<h4>Opinion: A Woke New World<\/h4>\r\n \r\n<strong>By Kurt Wenzel<br \/>\r\nEast Hampton Star<\/strong>\r\n<br \/>\r\n<br \/>\r\nDo white liberals hate themselves? Are quota systems fair, or even logical? How dark must your skin be to be considered a \u201cperson of color\u201d? These are just some of the questions raised by \u201cAdmissions,\u201d a satire about education and diversity now in revival by the Hampton Theatre Company in Quogue.\r\n<br \/>\r\n<br \/>\r\n\u201cAdmissions\u201d is a kind of companion piece to \u201cSafe Space,\u201d another satire about student life, which was produced so successfully last summer at Bay Street Theater in Sag Harbor. \u201cAdmissions\u201d is less searing than \u201cSafe Space,\u201d though the satire is no less biting. Joshua Harmon, the playwright, takes us to a brave new world where parents, children, and faculty are obliged to navigate the often confusing, often flawed \u2014 and sometimes downright illogical \u2014 climate of enforced liberal diversity.\r\n<br \/>\r\n<br \/>\r\nThe setting is Hillcrest, an elite preparatory school in New Hampshire. (All the characters in \u201cAdmissions,\u201d it needs to be said, are white.) Sherri, the director of admissions (Morgan Vaughan), is hell-bent on making Hillcrest less white. Proudly, and precisely, she tracks the rise in the percentage of minority students during her tenure. When she hits 20 percent, her equally \u201cwoke\u201d husband, Bill (Tristan Vaughan), who also works at the school, brings home a bottle of wine to celebrate. Sherri\u2019s friend Ginnie, who is married to an African-American, also decries how white Hillcrest is and praises Sherri for her work.\r\n<br \/>\r\n<br \/> \r\nIf this sounds a little self-righteous, it\u2019s because it is. Minerva Perez is especially adept at embodying Ginnie\u2019s aura of sanctimony.  Though it\u2019s never stated, her character\u2019s subtext is that being married to a black man gives her a moral superiority, and thanks to Ms. Perez, Ginnie\u2019s piety is almost unbearable to watch.\r\n<br \/>\r\n<br \/> \r\nEnter Charlie, Sherri and Bill\u2019s son. He has just been deferred by Yale, though his grades and SATs more than exceed the requirements. Distraught that Ginnie\u2019s half-black son, Perry, has been accepted at Yale with lesser scores, Charlie delivers a blistering monologue on the stupidities of diversity-mania. As Charlie, Ian Hubbard (a senior at Hampton Bays High School) delivers a show-stealing performance, capped by this 15-minute soliloquy in which the character eviscerates racial talking points one by one, finally ending with a shocking \u201cSieg Heil\u201d salute.\r\n<br \/>\r\n<br \/>\r\nUgly as this is, we know Charlie doesn\u2019t really mean it, first because he is half Jewish, and because we already know he is far too intelligent to engage in hateful gestures without irony. Rather it is a symbol of his exasperation \u2014 at having been rejected by Yale for being in the wrong racial pool, at having to endure the culture\u2019s constant insults of being, yuck, a white male.\r\n<br \/>\r\n<br \/>\r\nOf course, good satire always bites its own tail, and \u201cAdmissions\u201d certainly does that. After his speech, Charlie is excoriated by his father for being a spoiled, privileged brat (another irony). A few days later, he confronts his mother in the admissions office. Charlie has had a change of heart. Upon reflection, he argues \u2014 quite convincingly \u2014 that there are plenty of undeserving white kids at Hillcrest as well, subpar students of wealthy parents who have given endowments to the school, for example, or are admitted for reasons of \u201clegacy,\u201d among other unfair advantages. Quota systems are useful, he concludes.\r\n<br \/>\r\n<br \/> \r\nSherri seems pleased until Charlie comes up with a scheme to follow his parents\u2019 ideals to their logical conclusion, putting his own college career in jeopardy in the name of diversity. His parents hit the roof, of course, and their own hypocrisy is laid bare.\r\n<br \/>\r\n<br \/> \r\nThe director, Andrew Botsford, wisely asks his cast to completely buy in on their characters\u2019 smugness, even at the risk of being unlikable. And as usual with this company, the performances are uniformly strong.\r\n<br \/>\r\n<br \/>\r\nDiana Marbury has an especially nice turn as Roberta, the photographer for the school catalog, who is upbraided by Sherri for not taking enough pictures of \u201ceasily identifiable\u201d minority students. \u201cYou mean more dark-skinned?\u201d Roberta frankly asks, and is told no, though that is exactly what she is being asked to do. Roberta is the kind of \u201cboomer\u201d who was always on the right side of racial issues, but never thought much about it until it was foisted on her by people like Sherri.\r\n<br \/>\r\n<br \/> \r\nThere are numerous set changes in \u201cAdmissions.\u201d This is, of course, dictated by Mr. Harmon\u2019s text. But in this production the changes can take what seems like several minutes, and this can sometimes sacrifice valuable momentum as the audience sits waiting patiently in the dark for the next scene.\r\n<br \/>\r\n<br \/>\r\nBut there\u2019s no spoiling what is otherwise a top-notch production of a timely drama. In \u201cAdmissions,\u201d Mr. Harmon takes aim not at  diversity itself, but rather the sanctimony of its proponents, who cower under the shadow of white guilt and then strut their \u201cwokeness\u201d like a badge of honor.\r\n<br \/>\r\n<br \/>\r\nIt\u2019s a target so big he almost couldn\u2019t miss.\r\n\r\n\r\n\n            <\/div><\/div>\n\r\n\r\nGallery &#8211; photos by Tom Kochie\r\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 25%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-2' class='gallery galleryid-4480 gallery-columns-4 gallery-size-thumbnail'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0582-General-Morgan-Tristan-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-2\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0582-General-Morgan-Tristan-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0655-General-Minerva-Morgan-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-2\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0655-General-Minerva-Morgan-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0676-General-Tristan-Morgan-Ian-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-2\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0676-General-Tristan-Morgan-Ian-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0704-General-Tristan-Morgan-Ian-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-2\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0704-General-Tristan-Morgan-Ian-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0859-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-2\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0859-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0929-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-2\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0929-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0932-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-2\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0932-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/1146-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-2\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/1146-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/1157-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-2\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/1157-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0632-General-Diana-Morgan-scaled.jpg' title=\"\" data-rl_title=\"\" class=\"rl-gallery-link\" data-rl_caption=\"\" data-rel=\"lightbox-gallery-2\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/hamptontheatre.org\/wp-content\/uploads\/2020\/01\/0632-General-Diana-Morgan-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n","protected":false},"excerpt":{"rendered":"Playing the diversity card cuts both ways in this \u201chilarious and provocative drama\u201d by Joshua Harmon, author of \u201cBad Jews\u201d and \u201cSignificant Other.\u201d Sherri Rosen-Mason is head of the admissions department at a New England prep school, fighting to diversify the student body.\u00a0 She&#8230;","protected":false},"author":1,"featured_media":4482,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-full.php","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-4480","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/pages\/4480","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/hamptontheatre.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4480"}],"version-history":[{"count":34,"href":"https:\/\/hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/pages\/4480\/revisions"}],"predecessor-version":[{"id":5085,"href":"https:\/\/hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/pages\/4480\/revisions\/5085"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hamptontheatre.org\/index.php?rest_route=\/wp\/v2\/media\/4482"}],"wp:attachment":[{"href":"https:\/\/hamptontheatre.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4480"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}