As the lights dim and the audience’s murmurs cease, Master Yoda’s classic line from “Star Wars: The Empire Strikes Back” echoes throughout the Robert Dubbs Auditorium: “Do or do not; there is no try.” Soon, a line from “The Princess Bride” does the same. Then “E.T.” And “Titanic.” And “Back to the Future.” With each, it becomes clear that the audience is in for a stunning, truly singular, utterly thrilling experience.

The Drama Society showcased “A Series of Fortune Events” on Wednesday, March 8 and Thursday, March 9, the second entry in its “Triples” series of performances. Directed by performing arts instructors Mary Mastandrea and Mark VanDerzee and written by its cast and crew, the play served as a masterclass in accomplished acting and thematic brilliance.

Set in 2005, the play centers around three students employed at a rather successful video store called “Cinema City:” the driven-yet-slightly-reserved Connie DiMarco (senior Maya Shavit), who grieves the death of her mother from a year prior; the effervescent Alice Gumble (senior Maya Pontes), who secretly harbors a romantic interest in Sabrina (sophomore Abby Mitchell), a delivery woman; and the sophisticated Expo Alexović (junior Mihailo Stevanović), whose fascination with philosophy leads him to produce a thesis concerning the colonialist roots of the pronunciations of sneaker brands.

As the play progresses, each protagonist finds themself envisioning their fantasies (in a series of delightfully imaginative moments featuring everything from ancient Greek philosophers to motorcycle-driving, leather jacket-donning dancers) and fulfilling their aims, with the conspicuous exception of Connie. Despite attempting to conjure images of her already-planned-out future, she instead recalls memories of her mother, struggling to let go of the past that she holds so very dear.

The performances of the play’s central characters, particularly that of Shavit, anchor its emotional foundation. Shavit convincingly portrays her character’s grief-stricken arc, immersing herself in denialism of her mental wounds until she eventually breaks down in a flood of despair.

Yet, the torment that envelops Connie’s storyline is not mirrored in those of her counterparts. Alice and Sabrina, in a whimsical musical number brimming with expertly-acted teen awkwardness, discover their mutual attraction and initiate a relationship. Meanwhile, Expo earns high marks on his thesis and decides to pursue philosophy. Their comedic and lighthearted moments work to provide balance to the onslaught of anguish that populates Connie’s scenes, making the presence of each more effective and simultaneously offering a lesson in seamlessly fusing both seriousness and buoyancy into a piece of work.

I’d be remiss if I did not acknowledge the value of the play’s supporting performances. The presence of each customer in the video store affords an opportunity for backstory, which is wholly appreciated. For instance, sophomore Jesse Waters-Malone and junior Sean O’Halloran turn in devilish, delightful performances as 12-year-olds in search of a racy film. The characterizations could so easily have been overlooked, yet they unquestionably yielded fits of laughter from the audience.

The play, while featuring near-professional acting, derives its brilliance in large part from the thematic subtlety. Throughout the show, the motif of messages from fortune cookies illustrates the promise of the future and the hope of tomorrow. Consequently, one of the most intelligently crafted moments in the production arrives when Connie receives a blank message. Initially puzzled as to any plausible interpretation, she soon realizes that it is an indication that she must forge her own path. As she comes to understand, such an act is unattainable without letting go of her scarred past.

The scene is a deeply affecting portrayal of grief at its rawest, encompassing a level of sophistication mirrored by only the finest of professional productions. Yet, its poignancy does not yield emotional inaccessibility. Rather, the audience is able to meaningfully connect with Connie, eliciting empathy drawn from our own experiences. After all, I’d be hard pressed to find a single individual who has never, in some manner, shared Connie’s emotional arc.

The production was, without a sliver of doubt, one of the best that I have witnessed thus far at the high school and rivals even professional ones, too. I will certainly be unable to forget the magic I observed in the Robert Dubbs Auditorium on Wednesday afternoon, but like Connie, I await the future, eager to see what the Drama Society has to offer next.