When twenty-one year old Bennet Caffee is admitted to a psych ward they have his name wrong as Dayle Bennet and he’s sure it’s a sign. From now on he’s just “Bennet” and he knows why he’s there. He just can’t talk about it.

A Submarine Named Shoebox is a one-act chamber play about a voyage taken by an honors student searching for a mysterious creature and the captain of the vessel, a grizzled, retired explorer who seeks solitude in the Shoebox, a small two person operated submarine. It is an intimate play which handles themes such as finding one’s meaning of masculinity, homosexuality, and the continuous search for understanding and bond.

Baggage unpacks an innovative take on the impacts of trauma, toxic people, and travel. In this cathartic memoir, writer/performer, Melissa Rose relives the story of her experiences as a touring spoken word artist in the United States and Europe. Originally written as a healing exercise to cope with shame, Rose blends travel memoir, dramatic monologue, and poetry together into a story of vulnerability, connection and accountability.

After witnessing horrific crimes against women, before, during and after the pandemic, Emerald A. Behrens took the name JD, for Jane Doe, a name given to murdered women who are unidentified. This work, "The Stand" speaks out about these crimes. She is dedicating her name to the victims she couldn't save. This performance is dedicated to the victims of violence, when there is no justice, we have only ourselves. Take a stand now!

Murder ballads are a traditional form of folk music; musical retellings of notorious crimes as part of an oral tradition that stretches back centuries. However, most were told from the perspective of a third party, or that of the killer. Ghost Ballads is a literary songwriting collection that flips the script on the traditional murder ballad, by using the form to recount crimes from the perspective of the ghosts of the victims; exploring their experiences and the implications of their death, rather than the killer’s justifications.

Juliet and Desdemona, two characters canonically destined for tragic endings, break away from their scripts and attempt to find happiness in each other. Desdemona battles duty with love while Juliet struggles to let it consume her entirely. When confronted with their scripted ends, they must advocate for one another and prove that love is worth fighting for.

LIKE A THOUSAND PEARLS (2024) offers eight songs on the themes of self love, romantic love, and divine love. The album mixes Casey’s ethereal vocals, harp, ukulele, and sansula melodies with Eden’s autobiographical lyrics and spoken word. Stories are told through upbeat, hopeful romantic ukulele sounds alongside angelic harp, loving fractured pieces of self toward a cosmic identity. The album was recorded with the help of Namid Wolf at tiny choir productions in Ashland, OR.

"You're Saltwater / I'm Chlorine" is Rubin's third poetry collection—It's a muddy distillation of his childhood, growing up alone in his queerness in a small town in rural Oregon. The title grabs at the central feeling of the collection—when someone feels so much bigger than you—the ocean personified—in the locker room, comparing depths with the community pool. The collection yearns for love even as the world ends, even as the yearning has long transformed into bitter frustration.

…to the FULLEST…is a collaborative project between esteemed change catalyst and equity seeker Matthew Reynolds, and the Southern Oregon University Percussion Ensemble, directed by Terry Longshore. The project is inspired by the music of composer Julius Eastman, and Reynolds’ book, “Biggest Fullest Brightest – Shifting the Consciousness of Humanity.” Our goal is to inspire all who participate in this performance – performers and audience alike – to live their lives “to the FULLEST.”

RETURN AND RECALL and INITIATIVES AND REACTIONS (composed by Stuart Smith) are studies in group composition. These pieces allow artists to perform in different disciplines while carefully maintaining a relationship between each other. In our performance, a group made of mimes and musicians will thread the line between abstraction and relation in interdisciplinary performance.