Virginia Woolf’s Orlando
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adapted by Sarah Ruhl
Directed by A.Nora Long

Season Sponsored by Lee & Diana Humphrey and Bank of America
Production sponsored by Joseph Richard & René Morrissette
Director A. Nora Long sponsored by Mary K. Eliot

Approximately 90 minutes with one intermission.
Box Office: 617-585-5678 |
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Click Here for a Synopsis Filled with Spoilers!


In this joyful romance of gender roles and expectations, Orlando the man wakes up, after a particularly wild night in 17th-century Constantinople, to find himself a woman! She abandons herself to three centuries of navigating love, desire, and the world from an entirely different perspective.  Oft described as the most charming love letter in literature – written by Woolf to Vita Sackville-West – Sarah Ruhl brings the novel to life on stage in a grand, epic adventure that transcends time, place, and gender.

“Deliciously frolicsome!  Depths of sheer pleasure!”  — NY Times

Parental Advisory: Virginia Woolf’s Orlando contains one scene of silhouetted nudity. While we don’t suggest ages, please call the Box Office (617.585.5678) if you have questions about appropriateness for your child.



Press & Reviews

“This production keeps the running time down to a tight 90 minutes, propelled by an energetic cadre of actors… with enthusiastic acting the six-person ensemble “paints” a series of picaresque adventures.” “This is a clever and fitting approach.”

Virginia Woolf’s Orlando   —Edge Media Network


A. Nora Long directs this delightfully propulsive and clear-headed production, wittily steering an outstanding six-person cast through the sort of precise physical choreography that disguises itself as effortless. Caroline Lawton is indefatigably charming as Orlando Each actor in the chorus — also including Michael Hisamoto, Rory Lambert-Wright, Jeff Marcus, and Elise Arsenault — is similarly excellent and indispensable to the rapid-fire storytelling and scene-shifting.

Subverting gender in Lyric Stage’s sly ‘Orlando’   —The Boston Globe


“In this fast-moving, ambitious and farcical fairy tale, Orlando – played impressively by Caroline Lawton… is entertaining and often funny, showing a gift for physical comedy and imagination.”

“As audiences ponder the complexity of Orlando’s identity, one thing is clear – they won’t be bored.”

Bending time and gender in ‘Orlando’   —Wicked Local


“On the surface, Orlando is delightful and fun,” says Jared, “but it’s the depths wisely plumbed just beneath that turn cheek into something altogether arresting.”

Arts This Week: ‘Virginia Woolf’s Orlando’   —WGBH Arts Editor Jared Bowen


This attractive, jam-packed production bursts from the compact LYRIC STAGE. Sets and costumes are stripped down, beautiful, and efficient– allowing for the fleet passage of time!

It’s a tricky show to stage, but director on speed A.Nora Long and this game cast of five who play an exponential number of parts– keep this timely transgender romp moving at a cool 90 minutes–through March 25!

WOKE THEATRE ROUND UP!   —Joyce’s Choices


Real genius is often way ahead of its time. This may be the case with Orlando and with each new adaptation, each new pair of eyes looking at the original and molding it to its own times. One can only wonder what audiences fifty years from now may make of this wonderful evening in the theater.

Theater Review: “Orlando” — Asking What Gender Really Means   —The Arts Fuse



“I think the time is right for ‘Orlando,’” says Ruhl. “Virginia Woolf couldn’t have imagined the trans movement, but she relished the idea that the mind of the artist is androgynous and wanted to open people up to possibilities.”

‘Orlando’ crosses centuries, continents, genders   —The Boston Globe


Theater major Rory Lambert-Wright is one of six chorus members described by the Boston Globe as “excellent and indispensable to the rapid-fire storytelling and scene-shifting” of Virginia Woolf’s Orlando at the Lyric Stage Company.

“As a chorus, we narrate, provide exposition, and work together to build the story,” says Lambert-Wright, Class of 2019. “You always have to be engaged in what’s going on, because it’s not the responsibility of the chorus to play characters, but to communicate the story to the audience.”

Taking His Cues from the Pros   —Suffolk University News


Despite Woolf’s highbrow reputation, “Orlando” is a wild, fun and sexy tale rich in time-travel and gender bending romance. “It’s a fast-paced play,” says Long. In the intimate confines of the Lyric, she hopes “Orlando” feels “like a party that will end too soon.”

Who’s Afraid of Woolf’s Orlando? 

  —Boston Spirit Magazine

Cast & Crew




* denotes member of Actor’s Equity Association
** denotes member of United Scenic Artists (USA-Locat 829)
*** denotes member of Stage Directors and Choreographers Society (SDC)

More Information

February 13 — March 25
11:20 am

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