Stanford’s Continuing Studies Program is bringing one of history’s most reclusive poets into the public light, putting on a three-part series of performances in memory of Emily Dickinson. The series kicked off last night with a play about Dickinson’s correspondence with her mentor.

Three actresses played the often-misunderstood 19th century poet in Drama Department Artist in Residence Amy Freed’s play, “Soul at the White Heat.” Throughout the piece, composer David Giovacchini and son Lido played songs from Dickinson’s time on 19th century instruments.

“Not every poet or piece of literature lends itself well [to a performance],” said Associate Director for Honors Writing and Continuing Studies Prof. Hilton Obenzinger, an organizer of the event. “Her portrayal in the first evening [was] very different than what people think of her, as genteel. It [was] very dramatic and rebellious.”

“[Having three actresses] allows different voices in Dickinson,” added Emeritus English Prof. Albert Gelpi, who has devoted much of his studies to Dickinson’s work. “It makes for a dramatic tension and contrast.”

Dickinson was depressed and oppressed, intellectual and religious, according to Obenzinger. Nonetheless, she was confident in her poetic skills.

“Despite being a recluse in her father’s house,” Gelpi said, “she was intensely aware of and engaged with her culture. [In the early 1860s] she was finding herself bursting with poetry.”

It was then that Dickinson began her correspondence with Thomas Higginson, a well-known critic, abolitionist and social commentator in the late 1800s. He had written an article in The Atlantic Monthly to aspiring writers, an essay called “Letter to a Young Contributor.” When Dickinson read this, she — uncharacteristically — took the opportunity to respond to Higginson, asking him to critique her poetry. He accepted.

“She later said that it was the gesture that saved her life,” Gelpi said. “Higginson got a number of responses from fledgling poets, but he didn’t know what he was getting with Dickinson.”

Dickinson and Higginson communicated via letters until her death in 1886, meeting face-to-face only twice.

“Amy Freed took this connection and correspondence between them and used that as a sort of narrative thread to construct the play,” Gelpi said.

Freed, Gelpi and Obenzinger held a panel following the show. The late Stanford English professor Diane Middlebrook was slated to be another panelist, and last night’s performance was dedicated to her memory.

To continue the celebration of Dickinson’s work, Giovacchini is producing a musical celebration with more 19th century instruments on Feb. 13 at Campbell Auditorium. For the third part of the series, Freed will direct another play entitled “The Ghoul of Amherst,” which gives a gothic, comic look at the 19th century obsession with death. It will be held on Mar. 12 at the Roble Studio Theater.