NIU’s theater program is resurrecting a play from over 200 years ago. The author of “The Mourning Bride,” William Congreve, was alive during the age of Shakespeare and, at the time, was considered his rival.

“The Mourning Bride” centers around the kingdoms of Granada and Valencia. The King of Valencia captures the princess of Granada and attempts to end the conflict between the two kingdoms by marrying the captured princess and his son.

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Although director Alexander Gelman breathes new life into the play, he doesn’t change any of the dialogue (except for the extremely obscure references) because he wants to “take his audience to a place where they are not.” Gelman adds his own touch by reinventing the clothing, the set and the musical score, consisting of mainly Swedish heavy metal.

According to the “The Mourning Bride” press release, scenic designer Terrence McClellan cast “The Mourning Bride” against sixteen-foot mirrors and 3,000 linear feet of square steel tubing.

“It took three grad students and myself about four weeks to weld it all together,” said Doug Pokorny, assistant technical director.

The industrial-style costumes have a “Matrix”-like feel to them, ranging from tight spandex, gas masks and revealing halter tops.

“I resemble a Blad-esque character,” said a leather-caped Eltony Williams, who plays Garcia, the son of Gonsalez.

Many of the actors found themselves preparing for their roles in different ways. David Morrison, a junior acting major who has worked in plays such as “Alice and Wonderland” and “Guys and Dolls,” prepared himself by listening to music backstage.

Prior to the performance, the actors warm themselves up by participating in Shapeflow, a surreal technique that forces the performers to move with their bodies. As the players move about the stage, they stress different styles of breathing and moving while spouting off lines their characters might say.

Scott Brown, a second-year M.F.A., encourages the student body to see “The Mourning Bride.”

“It’s rich with many different levels of emotion,” he said. “This play attacks the political soul of the world state of affairs.”