Though difficult to follow at times, The Other Shore is vindicated by its high production quality and magnetic performances.
On Nov. 14, the DAN School of Drama and Music debuted its Fall Major, The Other Shore, directed by Craig Walker. Performed at the Isabel Bader Centre for the Performing Arts, the production runs from Nov. 14 to 24. The show features a dynamic cast of 18 talented actors, each bringing a vibrant energy to breathe life into Gao Xingjian’s The Other Shore.
READ MORE: Fall DAN School Major ‘The Other Shore’ is coming soon
Particular stand-outs include seasoned performer Jake Henderson, ArtSci ’25. The play isn’t a leisure viewing—its non-linear, episodic structure requires focus and patience, but those willing to delve into its symbolic and layered storytelling are rewarded with a unique theatrical experience that leaves a lasting impact.
The production opens on a blank stage, decorated with vines and greenery, with a crowd of actors clad in simple, nondescript clothing. At the top of the show, the “Rope Leader,” played by Quinn Carter, ArtSci ’27, introduces the crowd to a basket of ropes, which become tools for connection, manipulation, and eventual entanglement.
Each vignette that follows brings out a new aspect of human connection—sometimes joyous, other times deeply troubling—as characters struggle between the desire for connection and fear of losing themselves.
The true heartbeat of The Other Shore is the ensemble. In the role of “Crowd,” these actors work in perfect harmony to carry the narrative forward—even in its most abstract moments. The chemistry among them brings fluidity and a sense of unity, acting as a grounding presence for the audience. The ensemble’s performance is
an emotional tether, even as the play drifts into sometimes surreal territory.
As a viewer, this cohesion was key, as the ensemble’s interactions with each other embody the play’s underlying themes—they bring life to scenes that might otherwise feel detached or overly conceptual. Henderson captivates audiences with a stellar performance as the character “Man,” demonstrating remarkable depth and range. His emotional versatility, especially during a powerful monologue directed toward the “Crowd,” showcases his command of the role and highlights why he was chosen for such a challenging part. His presence on stage became a true focal point of the production.
The set and lighting design also deserve special mention. They create distinct atmospheres that adapt to the varied
emotional tones of each vignette. The lighting, in particular, underscores the intense shifts in mood, guiding both serene and unsettling moments. These technical elements help to visually interpret Xingjian’s poetic language, adding a layer of accessibility to the abstract themes. Though it may not appeal to audiences seeking a straightforward narrative, The Other Shore is a bold, memorable work that reminds me of theatre’s capacity to provoke, challenge, and resonate on a personal level.
Xingjian’s vision, brought to life by a talented cast under the thoughtful direction of Walker offers a rare opportunity to examine the boundaries of individuality and collectivity in a world that often demands conformity.
This is theatre at its most daring, and for those open to the journey, The Other Shore is an unforgettable experience.
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