The poetry of the script, combined with its deep connection to a sense of culture, was what first drew Theatre Director Faith Lawson “Flawson” into the story of these sisters, whose personalities are as different as their aspirations in life. “I've always thought theatre can lend itself to educate and expose us to diverse cultures, types of people, and customs,” Flawson says. “With this show, I love the way that the writer segued language (Portuguese) into the piece. Opportunities are so rare in theatre to showcase people of color in general, but specifically for a Latina who is a poet by nature. This was also a chance to tap into my love of music and to curate a song playlist highlighting the impact of the African diaspora on Brazilian music as it was an ever present ‘heartbeat’ guiding the characters as they transitioned from scene to scene.”

As a part of her special project in the arts, Assistant Director Renata L. ’26 had been looking forward to being a part of “The River Bride” since coming across the script her first year at Emma. “I loved how the drama was played up in my head from years of [watching] telenovelas. In every scene, I had a different reaction that kept adding up. The only place I could see it [happening] was in the new space,” Renata says, referring to the Alice Dodge Wallace ’38 Center for the Performing Arts. “The red fence that had been up since my start at Emma meant a show for the future me.”

And so the story goes: While Belmira (Kirsten R. ’25) prepares to marry Duarte (Gisele N. ’26), who she hopes will take her away from their village to experience the world, Helena (Maya L. C. ’25) pines over the love she once shared with him. As their dilemma unfolds, a mysterious stranger, Moises (Macy C. ’25), is drawn to shore in the fishing nets of their father, Sr. Costa (Comet D. ’26). Their mother, Sra. Costa (Lisa B. ’27), tries unsuccessfully to ease the tension between her daughters, hoping that they both will find the love and happiness she has found with their father. Woven throughout the scenes are veiled references to an urgent need to find true love and a legend surrounding those who do (no spoilers here). 

 

Like Renata, Flawson had been waiting on just the right space for the production, and they found it in the new Bennack Studio Theater. A fishing pier, created by a simple set of modular platform pieces, and a small boat were the primary set, backdropped by jungle greenery. Engulfed by the sounds and rhythmic motion of the Amazon River, the pier is frequented by botos, dolphins found in the murky waters. 

The creation of this environment was up to the lighting, sound, and stage crew, headed by Technical Theatre Director Rachael Robison and comprised of Annie P. ’27 (stage manager), Lada S. ’27 (assistant stage manager), Chloe Y. ’25 (lighting assistant, light board operator, build crew), Bella L. ’28 (sound board operator and build crew), Helen L. ’28 (props and build crew), Catherine S. ’28 (props assistant, deck crew, and build crew), Eden K. ’27 (deck crew, build crew).

Given the simple stage set, the heavy lift for this show was not on building set pieces, but rather creating the lights and sounds of the Amazon. “Our focus was on this new lighting technology and on the new sound technology,” Mx. Robison shares. “The play has a realist ending, where life happens, actions have consequences, and that's what a lot of the whole process felt like—it was thematically great for the process of moving into the new space and putting together a show in a month. When I first read the script, I was so invested in the story. It was like a good book. I couldn't put it down, which also helped with choosing this for the new space.”

Lighting Assistant Chloe Y. ’25 was up for the challenge of executing on the lighting design on the new equipment, finding it to be a great opportunity to explore her limits. “The professional fixtures in the new studio theater have narrowed the distance between my vision and reality,” Chloe says. “Whether it’s mimicking the shape of water or the motion of the sun and moon, from the warm light of the morning to the lingering blue light of the night, the new space offers many opportunities to realize ideas. The only limit to working in the Bennack Theater is my creativity.”

Another important aspect of the show design was that the characters themselves, rather than the stage setting, provided the color on stage. “I didn't want a set with bright colors or flowers in it because the performers are the colors in the piece. They are the flowers,” Flawson says. “The overall vision I had for the set was that it would be as minimal as possible, allowing the colorful flowers (the actors) to stand out to the audience, beckoning them to follow their journey through the play.” The vibrant costuming was brought to life by Renata as assistant costume designer, Katya B. ’27 (costume stylist), Sophia M. ’27 (hair and makeup stylist), and Abena A. ’25 (costume, hair, and makeup assistant). 

 

Beyond the stage settings, lights, sounds, and colors, the actors themselves delivered an emotional performance that had the audience deeply invested in their plight. “The way it's written is so beautiful and poetic—the actors want you to feel the emotions and channel those emotions,” Flawson reflects. “It took a lot of dedication in terms of finding a connection with each of these characters, especially knowing how it was going to turn out every time they got to the end of the piece. There's something to love and even despise about every character.”

“I'm very proud of our students and of ourselves to have put this together in such a short amount of time and for it to be so seamless,” Mx. Robison adds. “So much is due to the kids and their commitment.”

Flawson echoes that sentiment. “The cast and crew wanted the audience to have the most engaging experience possible, and they really cared about their audience. They wanted to make sure that it was an experience they would not soon forget—and they definitely accomplished what they set out to do.”

 

 

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