ASSASSINS ILLINOIS THEATRE Music and Lyrics by Stephen Sondheim, composer | Book by John Weidman J.W. Morrissette, director | Justin M. Brauer, music director | Philip Johnston, choreographer Thursday-Saturday, February 1-3, 2018, at 7:30pm Tuesday-Saturday, February 6-10, 2018, at 7:30pm Sunday, February 11, 2018, at 3pm Studio Theatre labs for our students, who use them to prepare as professional theatre artists. Our first two, All the King’s Men and Travesties, are perhaps the most educational. They are both about historical moments of resistance to the political status quo as well as the limits of that resistance.
Of all the revolutions, I think the sexual revolution might be the best. Sarah Ruhl’s funny, feminist In the Next Room, or the vibrator play takes the invention of the vibrator as a starting point for the revolution in how women conceived of their sexuality, RESISTANCE maternity, relationships, and labor. Barbecue is also revolutionary, though in a REVOLUTION more Brechtian sense. It demands we rethink what we “know” and then act on our new RESURGENCE knowledge. I’ve been making, studying, and teaching We also transport audiences to a better theatre for most of the last 40 years. And world. Twelfth Night invites us to imagine I’m often asked about the role of theatre. a kingdom of filial and romantic love Is it meant to entertain and educate, as (sometimes thwarted) and offers wonder Roman philosopher Horace wrote in the Ars and joy. My hope is always resurgent after Poetica? Or do we follow the Sanskrit Nātya seeing Shakespeare. Śāstra, which suggests that the primary goal of theatre is to transport the audience to a Of course, we entertain. Assassins, Steven parallel reality of wonder and joy? And what Sondheim’s history of the men and women about Brecht, who wanted to create a 20th- who’ve failed and succeeded in killing a century theatre that spurred its audience president, is a darkly comic but always to action? For me, the best theatre—the exuberant song-and-dance extravaganza. theatre we offer this season—does all three. I am thrilled to be part of a department We are obviously a theatre that educates. determined to make relevant, revolutionary Our productions are basic texts for theatre. Thank you for being with us as well. students in a variety of courses, including Dr. Kirsten Pullen the thousands in THEA101: Introduction to Head, Department of Theatre Theatre Arts. Productions are also research
2 3 PROGRAM ASSASSINS ILLINOIS THEATRE Music and Lyrics by Stephen Sondheim Book by John Weidman J.W. Morrissette, director Justin M. Brauer, music director Philip Johnston, choreographer
Thursday-Saturday, February 1-3, 2018, at 7:30pm Tuesday-Saturday, February 6-10, 2018, at 7:30pm Sunday, February 11, 2018, at 3pm Studio Theatre
TIME: The time varies PLACE: The place varies
The story continues on.
SONGS Everybody’s Got the Right The Ballad of Booth How I Saved Roosevelt Gun Song The Ballad of Czolgosz Unworthy of Your Love The Ballad of Guiteau Another National Anthem Something Just Broke Everybody’s Got the Right
This production will be presented with no intermission.
This production contains adult language and content and is intended for mature audiences only, and includes the smoking of tobacco products, haze and smoke effects, strobe lighting, and gun shots.
Assassins is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI (www.MTIShows.com).
Assassins is based on an idea by Charles Gilbert, Jr. Playwrights Horizons, Inc.—New York City Produced Assassins Off-Broadway in 1990. Orchestrations by Michael Starobin ASSASSINS MUSIC AND LYRICS SOUND DESIGNER Stephen Sondheim Tyler Knowles
BOOK PROPERTIES MASTER John Weidman Kristen Nuhn
ORCHESTRATIONS HAIR/MAKEUP MASTER Michael Starobin Samantha C. Jones
DIRECTOR VOCAL COACH J.W. Morrissette Sigrid Sutter
MUSIC DIRECTOR VIOLENCE DESIGNER Justin M. Brauer Zev Steinberg
CHOREOGRAPHER STAGE MANAGER Philip Johnston Adeline Snagel
SCENIC DESIGNER TECHNICAL DIRECTOR Daniela Cabrera Travis Smith
COSTUME DESIGNER DRAMATURG Paul Kim Teresa Kilzi
LIGHTING DESIGNER Robert Perry
5 CAST SARA JANE MOORE ENSEMBLE Jacklyn Ovassapian Katelin Dirr Brian Kim LEON CZOLGOSZ Nick Lannan Ethan Miles Perry Zoe Nemetz Kyle Norbut SAMUEL BYCK Alejandro Mata KEYBOARD JOHN WILKES BOOTH Jeeson Eun Jordan Coughtry* GUITAR LYNETTE ”SQUEAKY” FROMME Chris Hartley Allie Wessel HORN JOHN HINCKLEY Jancie Philippus Brad Wiedrich PERCUSSION BALLADEER/LEE HARVEY OSWALD Mike Minarcek Mark Tyler Miller REED PROPRIETOR Jordan VanHemert Vincent Williams Robert Brooks
GUISEPPE ZANGARA TROMBONE Yvon Streacker Nick Wurl
CHARLES GUITEAU TRUMPET Kevin Woodrow Barkey Bryant Keven Lewis
*Appears through the courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
6 DIRECTOR’S NOTE Assassinating a president represents one of the Giving voice to the assassins’ reasons and most extreme, most sensational, perhaps most convictions in a way that crystallizes their audacious actions imaginable. The pain inflicted, experience plunges us into discomfort and the horror and chaos created, the violence amazement, which is what Stephen Sondheim enacted, as well as the political turmoil that stem and John Weidman have created in Assassins. from such acts have the potential to bring about You’ll not find nuanced explorations of conspiracy an entire nation’s downfall. And yet—despite theories or overly detailed historic recreations over 20 assassination attempts (four of them fatal) in the stories of Assassins, but you will find the throughout the 45-person history of the office of essence of the assassins themselves. The people the United States President—that office and the behind these violent acts live in the world of this nation endure. What, then, compels someone to production in ways that might be completely believe assassination will solve something? As our unfamiliar. In fact, you might begin to see these balladeer pointedly observes (in 4/4 time no less), assassins as real people who led real lives and ”Angry men don’t write the rules and guns don’t not the mythic figures wrapped (and sometimes right the wrongs. Hurts a while, but soon the lost) in the distant history retold for the effect country’s back where it belongs . . .” From this of high drama from a gruesome act. Perhaps perspective, an earth-shattering act of violence that is the power of this piece of theatre. A upsets normalcy but only for a short, fleeting piece not created intending to glorify violence moment. The audacity of assassination certainly or commemorate a nation’s great suffering, but has its limits, so ”why would a person do such a rather to challenge us to consider the ”whys” thing?” behind the human capacity for audacity.
Setting the stories of presidential assassins —J.W. Morrissette, director (both would-be and successful) to music for an entertaining night at the theatre also represents a particular form of audacity. It requires an unbelievable boldness—a sort of dark humor—to sing and dance through assassination history.
7 DRAMATURG’S NOTE Assassins is a musical that thrives in moments of and ambiguous. Protection against gun violence transformative unrest. The original production is considered a political platform rather than a premiered Off-Broadway at Playwrights Horizons social imperative, and the distinction between in 1990—as the Cold War neared its final days. homicide and assassination lies only in the Roundabout Theatre Company’s plans for the power and privilege of the victim. The death of a New York revival on Broadway began well before first-grader in a mass shooting is an unfortunate its opening in 2004, scheduling it for Fall 2001. casualty. A surrendered, unarmed black man The devastating events of 9/11 prompted the unlawfully detained and killed by a police officer company and the artistic team to respectfully is the victim of an act of self-defense. Murdering postpone the production. a President, however, is an assassination: a tragic incident in the collective memory of his In a public statement, composer-lyricist constituents, the impetus for changes in security Stephen Sondheim and librettist John Weidman protocol and access to public spaces, and the acknowledged that, ”Assassins is a show which justification for reckless patriotism. asks audiences to think critically about various aspects of the American experience. In light of Assassins does not endorse killing the President Tuesday’s murderous assault on our nation and of the United States, but it is a harrowing exercise on the most fundamental things in which we all in empathy. The musical is a call to humanize the believe, we, the Roundabout, and director Joe way we view violence as well as the people who Mantello believe this is not an appropriate time to are compelled to incite it, while also recognizing present a show which makes such a demand.” how prejudice and racism remain unjust.
Presenting the narrative through song and When the cause for their unrest is the same, the highlighting transitional moments in the assassins' difference between a disheartened citizen and an relationships with their targets, Sondheim and assassin can be the presentation of a gun. Weidman invite the audience to grapple with the identities of the assassins (or would-be —Teresa Kilzi, dramaturg assassins). The characters are like the people who are sitting next to you in this theatre: parents, entrepreneurs, factory workers, immigrants, teenagers, activists, and lawyers. We all want the American Dream, but when we encounter its illusory and elusive nature we must manage our desperation and frustration. The people profiled in the musical, however, decide that the drastic solution to their frustration is a radical exercise of power: eliminating the symbol of the system that is oppressing them.
In the United States, violence feels polarizing 8 PROFILES Jordan Coughtry (John Brian Kim (Ensemble) is a Wilkes Booth) is in the MFA sophomore in the BFA acting acting program at the program at the University of University of Illinois. Illinois Illinois. His recent theatre Theatre credits include In The involvement includes Pippin Next Room, Iago’s Plot, Mr. (Theo) with Illini Student Burns: a post-electric play, and Musicals, Driving Miss Daisy John Steinbeck’s The Grapes (Gas Station Attendant) with of Wrath. New York credits Hope Summer Repertory include Very Very (J, J & Z), Murder in the Theatre, and Trifles(Mr. Henderson) with the Cathedral (Hoi Polloi), Be Story Free (InVerse Armory Free Theatre. His high school credits Theatre), and Winter Journey (P.S. 122). Regional include, Into the Woods (Narrator/ Mysterious credits include Godspell (Olney Theatre Center); Man), Our Town (Simon Stimson), and As You Like Twelfth Night (Westport Country Playhouse); Red It (Silvius). (TheatreWorks); Emma (Pioneer Theatre); Candida Nick Lannan (Ensemble) has (Two River Theatre); Cymbeline, Failure: A Love appeared at Krannert Center Story, Macbeth, The Comedy of Errors (Illinois in In the Next Room, or the Shakespeare Festival); All’s Well that Ends Well vibrator play (Mr. Daldry); (Alabama Shakespeare Festival); Love’s Labour’s Failure: A Love Story (Chorus/ Lost (The Shakespeare Theatre/RSC); Amadeus, Pal/Front Door), Mr. Burns: a Our Town, Wittenberg, Romeo and Juliet post-electric play (Matt) and (Shakespeare Theatre of NJ); and Hamlet and John Steinbeck’s The Grapes Richard III (Arkansas Shakespeare Theatre). of Wrath (first Agricultural Composing credits include The Two Gentlemen of Officer/Deputy Sheriff). He has also performed at Verona, Twelfth Night, and A Midsummer Night’s the Armory Free Theatre and the Illini Ballroom as Dream (AST and ISF). Deputy Figgle in A Midsummer’s Nightmare, Katelin Dirr (Ensemble), from Third Shepherd in Second Shepherd’s Play, Bloomington-Normal, Illinois, Priceps 3 in The Assumption of Mary, Michael is a sophomore in the BFA Doyle in Listen, ”FAP-App” Developer in acting program at the Moonside Manners, and at Parkland College’s University of Illinois. She Second Stage Theatre as The Mute in The recently made her debut at Fantasticks. This is Nick’s final semester as an Krannert Center for the acting student at the University of Illinois. Prior to Performing Arts as Cecily in acting, Nick served six years in the United States Travesties, and appeared in St. Marine Corps. Lucy’s Home for Girls Raised by Wolves at the Armory Free Theatre.
9 Alejandro Mata (Samuel Byck) Kyle Norbut (Ensemble) is is a junior in the BFA acting making his debut at Krannert program at the University of Center in this production of Illinois. He is from the Assassins with Illinois Theatre. northwest side of Chicago Prior to enrolling at the where he took an interest in University of Illinois, Kyle acting while attending Lane performed in both high school Tech High School. This will be productions and with Chicago- Alejandro’s second production based theatre companies. at Krannert Center for the Performing Arts. His Some of his performance credits include The Beast previous credit at Krannert Center was in Romeo in the Nazareth Academy production of Beauty and Juliet as the County Paris. and the Beast, Gomez in a production of The Addams Family, and as a cast member for the Mark Tyler Miller (Balladeer/ All-State production of RENT for the Illinois High Lee Harvey Oswald) is School Theatre Festival (IHSTF). currently finishing the MFA acting program here at Jacklyn Ovassapian (Sarah University of Illinois. He holds Jane Moore) is a sophomore in his BFA in Theatre from the acting BFA program at the Cornish College of the Arts. University of Illinois. At the U Past roles include Orsino in of I, Jacklyn has appeared in In Twelfth Night, Capulet in I the Next Room, or the vibrator Heart Juliet, and Slank/Hawking Clam in Peter and play (Annie) with Illinois the Starcatcher (Illinois Shakespeare Festival); Mike Theatre; Spring Awakening in 33 Variations and Claude in HAIR (ArtsWest (Ilse); and student Playhouse); Richard Mason in Jane Eyre (Taproot presentations of Things We Want (Stella) and Theatre Company); and Bobby in Postcards from Circle Mirror Transformation (Theresa). She also Hotel Cassiopeia (NYC Strawberry Theatre Festival). recently served as an Intern at Citadel Theatre in Lake Forest, Illinois. Zoe Nemetz (Ensemble) is a sophomore pursuing a BFA in acting at the University of Illinois at Urbana-Champaign. Prior to acting, Zoe was a competitive dancer. She recently appeared as Daphna in Bad Jews by Joshua Harmon with the Unit 14 Theatre Company, Min in the Armory Free Theatre’s production The Cage, and William Larsen in Illinois Theatre’s production of All the King’s Men.
10 Ethan Miles Perry (Leon (Ruth), Rockman (Roll), and Call Me Woman at the Czolgosz) is a junior actor from Armory Free Theatre. Allie was seen as Devil in the Detroit, Michigan. He has 12th-century English translation of the Play of previously appeared at Adam at the Met Cloisters in New York City. She is Krannert Center in Illinois also the president and founder of OKNow Ladies Theatre’s productions of Sketch Comedy, the first and only all-female sketch Romeo and Juliet (dir. Robert comedy troupe on the University of Illinois campus. G. Anderson) and Mr. Burns: a Bradley Wiedrich (John post-electric play (dir. Lisa Hinckley) is a senior in the BFA Gaye Dixon). Outside of Krannert Center, he has acting program at the appeared in She Smashes Screens and We Are University of Illinois. Proud to Present. . . in the Armory Free Theatre. Assassins Outside of hist theatre studies, Ethan is one of is Bradley’s fourth and final the core members of Protagonist Pizza production at Krannert Center. Productions, a Champaign-Urbana-based film Previous performance credits production company dedicated to spreading a at Krannert Center include passion for filmmaking. Romeo and Juliet (Peter), John Steinbeck’s The Grapes of Wrath (Used Car Man) Yvon Streacker (Giuseppe and The Other Shore (Crowd). Other favorite Zangara) is a junior Acting credits include The Cage and An Iliad (Armory major. Previous acting credits Free Theatre), The Flick (Penny Dreadful Players), include December in Failure: A You Can’t Take It With You and Sweeney Todd Love Story, Actor 3 in We Are (New Trier High School), and numerous original Proud To Present. . . in the plays and short films produced by the Young Armory Free Theatre, Michal Actors’ Theatre Camp. in The Pillowman, Connor in Vincent Willams (Proprietor) Good Kids, and We Beseech is a senior from Chicago who is Thee Soloist in Godspell. pursuing his BFA in acting at Allie Wessel (Lynette the University of Illinois. Vincent ”Squeaky” Fromme) is a participated in a reading for graduating senior pursuing her Ford Bower’s Man of the BFA in acting at the University Century, Marcus Gardley’s The of Illinois. Previous Illinois Box, and has worked with Theatre credits include Mercy Street Theatre in their Kingdom City (Crystal), Mr. devised production Rotpeter. Vincent has also Burns: a post-electric play appeared in Illinois Theatre’s productions of 1984; (Quincy/Bart), Romeo and John Steinbeck’s The Grapes of Wrath; Dontrell, Juliet (Balthazar), and All the King’s Men (Jack Who Kissed The Sea; Romeo and Juliet; The Brown Burden). Other credits from the Champaign- Theatre Collective’s staged reading of Topdog/ Urbana area include a reading of Naomi Iizuka’s Underdog; and the Funny or Die video Humans of Good Kids (Amber), Might (Sabrina), The Effects Hollywood. of Gamma Rays on Man-in-the-Moon Marigolds 11 Kevin Woodrow (Charles Philip Johnston Guiteau) is a junior in the BFA (Choreographer) trained as a acting program at the dancer with Helen Lewis in University of Illinois, hailing Belfast where he also acted in from the north shore of productions for the Arts and Chicago. Kevin previously Lyric Theatres as a member of appeared with Illinois Theatre British Actors Equity. Philip is a in Romeo and Juliet (Friar graduate of The London John). Other credits include School of Contemporary Lysander in A Midsummer Night’s Dream (Loyola Dance. He performed and choreographed in Academy) and The Grown-Up (NHSI Cherubs). He Europe and across the globe for 15 years before also recently directed We Are Proud to Present. . . at relocating to the United States. Philip was the the Armory Free Theatre. Artistic Director for the Norwegian Modern Dance Company in Oslo, Norway, and has Justin M. Brauer (Music appeared on film and television for the BBC, Director) returns to Illinois Channel Four, and NRK Norway. He has received Theatre after serving as music numerous choreographic and dance fellowships supervisor on last season’s from The Arts Council of Northern Ireland, the production of Failure: A Love British Council, the Norwegian Fund for Story, as well as music director Performing Artists, the Norwegian Culture of the junior-level acting Council, the London School of Contemporary studio from 2016-2017. His Dance, and the Skinners Guild of London. He was career as a director, musician, the recipient of the Charles and Harriet Luckman and educator spans a decade, including work with Distinguished Teaching Award at the U of I. He Parkland College (Anything Goes, A Charlie continues to work and teach in Ireland, most Brown Christmas), Krannert Center (Dreamgirls), recently in a theatre production for Theatre at the Station Theatre (Floyd Collins), Illinois Summer Mill and the Courthouse Theatre and for the Youth Music, Urbana High School, Barrington Dublin Dance House. High School, Mundelein High School, and the Champaign-Urbana Theatre Company (among Philip has been the Movement/Choreographic others). As a keyboard player, Justin’s recent director for ten productions for Illinois Theatre at appearances include the Champaign-Urbana the U of I and has also choreographed numerous Symphony Orchestra, R&B artist Kvn Tajzea, and works for Dance at Illinois and Lyric Theatre @ roots rock band Whiskey Shadows (for whom he Illinois at the U of I. Publications include The Lost also serves as background vocalist, arranger, and Tribe in the Mirror: Four Playwrights of Northern songwriter). Justin holds an MM in Musicology Ireland (Lagan Press, 2009), and Nina Fonaroff: and a BME in Choral Music Education from the Life and Art in Dance (Celtic Cat Publishing, 2015). University of Illinois at Urbana-Champaign. He is a Philip is a certified teacher of the Alexander member of the American Federation of Musicians Technique. Local 301.
12 J.W. Morrissette (Director) Paul Kim (Costume Designer), currently based has served in Illinois Theatre in Chicago and the resident costume designer for 22 years. Currently the at Lake Forest’s Citadel Theatre, is returning to assistant head for academic Illinois Theatre for Assassins. His design credits programs, his directing spans include Shakin’ The Mess Outta Misery (Pegasus over 60 productions Theatre); Scrooge and the Ghostly Spirits and throughout the community. He Light Up The Sky (Citadel Theatre); The Light in has directed the Repertory the Piazza (Lyric Theatre @ Illinois); and Dontrell, Theatre Program for the past Who Kissed the Sea and John Steinbeck’s The 20 years with the Summer Theatre Department at Grapes of Wrath (Illinois Theatre). Paul graduated Interlochen Center for the Arts. For the University from the Helmerich School of Drama at the of Illinois—in addition to overseeing the BFA University of Oklahoma (BFA) and University of Theatre Studies Program—he teaches acting, Illinois at Urbana-Champaign (MFA). directing, and an introductory course in theatre arts. He has been integral in developing Tyler Knowles (Sound Designer) is a third-year components for the online course offerings in the MFA candidate in sound design and technology. department as well as supervising all senior theatre He earned is BFA from the University of Illinois at studies thesis projects. He has spent several Urbana-Champaign in 2015. Some of his previous summers acting with the Utah Shakespeare credits include Travesties, Failure: A Love Story, Festival and the Interlochen Shakespeare Festival. John Steinbeck’s The Grapes of Wrath, and Mr. Burns: a post–electric play. Tyler has previously Daniela Cabrera (Scenic Designer) was born in worked at Hope Summer Repertory Theatre as Cusco, Perú. She is enrolled in her second year in the audio/visual supervisor while designing sound the MFA scenic design program at the University for Driving Miss Daisy; The Cat in the Hat; and of Illinois. She has recently worked in Argentina Go, Dog. Go! as a scenic designer for Flotante, Bigolates de Chocote, and Masha y el Oso. Daniela’s most Kristen Nuhn (Properties Master) is in her final recent credit was the scenic designer for Travesties year of the MFA theatrical properties design and at Krannert Center for the Performing Arts. management program. She received a BA with Honors in Theatre from the University of Windsor Teresa Kilzi (Dramaturg) is a dramaturg and in Ontario, Canada. Kristen’s previous work as musical theatre scholar focusing on dramatic a properties manager with Krannert Center and theoretical analyses of the works of Stephen includes In the Blood; Dontrell, Who Kissed the Sondheim. Past dramaturgy credits include Sea; Romeo and Juliet; and the opera Hansel and Arcadia, Do Patent Leather Shoes Really Reflect Gretel. Elsewhere, she has been the prop shop Up?, The Divine Sister, and The Understudy. Kilzi manager at Peninsula Players in Wisconsin, and is working on an MA in theatre studies at the properties artisan at the Williamstown Theatre University of Illinois, where she is also affiliated Festival in Massachusetts. with the Unit for Criticism and Interpretive Theory. She received her BA in Theatre Studies and her BA in Music from the University of Central Florida.
13 Christina Rainwater (Scenic Charge) is a McCarter, Hartford Stage, Milwaukee Rep, The member of United Scenic Artists Local 829, Shakespeare Theatre (DC), Intiman Theatre, Triad and has been a professional Scenic Artist for Stage, Philadelphia Theatre Company, and Yale 16 years. She received a BFA in Theatre from Rep. Robert holds an MFA from the Yale School Missouri State University, and an MFA in Scenic of Drama and a BFA from the University of North Art from University of North Carolina School of Carolina School of the Arts. He is a member of the Arts. There, she developed the workshop ”A United Scenic Artists local #829 and is currently Distress-ing Subject” on distressing techniques for the Chair of the Lighting Design and Technology scenery, properties, and costumes. She was the program and Co-Director of Level 21 at the Scenic Charge Artist at the Flat Rock Playhouse in University of Illinois. He is represented by the Flat Rock, North Carolina for two years. She has Agency for the Performing Arts, NYC. an ongoing working relationship at Goodspeed Musicals, where she had the pleasure of working Travis Smith (Technical Director) is a first-year on the musicals Camelot, Carnival, Carousel, Hello scenic technology MFA student at the University Dolly!, and La Cage aux Folles. She also worked for of Illinois. He obtained his BFA in theatre design Feld Entertainment in Palmetto, Florida, including and technology from the University of Evansville Disney’s Princesses on Ice and Disney’s Playhouse in 2015. Some of his previous credits include a Tour II. This summer she worked for six weeks at staff carpenter at Williamstown Theatre Festival The Muny, St. Louis, as a journeyman Scenic Artist. in Massachusetts, master carpenter at Aspen Opera in Colorado, assistant technical director Robert Perry (Lighting Designer)—having at Perseverance Theatre in Alaska, and technical previously designed Lost Lake and Long Lost director at Saratoga Opera in New York. This is directed by Daniel Sullivan and Much Ado Travis’ first show as technical director at Krannert About Nothing directed by Kathleen Conlin— Center. is marking his fourth collaboration for Illinois Theatre with Assassins. Off-Broadway designs Adeline Snagel (Stage Manager) has served as include: the New York premieres of David stage manager for a number of productions. She Mamet’s Boston Marriage (The Public Theatre) worked on the BEAR iteration of The Unreliable and Reefer Madness (Variety Arts Theatre), Lost Bestiary—a lifelong performing arts project Lake (Manhattan Theatre Club), Iphigeneia at by Art and Design professor Deke Weaver. At Aulis (Pearl Theatre Company), Kingdom of Earth Krannert Center, she has worked as an assistant (The Drama Dept.). Robert has also had a long stage manager for John Steinbeck’s The Grapes standing relationship with David Mamet’s and of Wrath, Failure: A Love Story, Studiodance I William H. Macy’s Atlantic Theater Company (2017), and All the King’s Men. This past summer, in New York, having designed eighteen shows Adeline interned with Storycatchers Theatre for them including Sexual Perversity in Chicago at the Juvenile Temporary Detention Center (starring Clark Gregg) and The Hothouse and (JTDC) in Chicago, as well as served as an The Water Engine (for which he received a Assistant Stage Manager for the 2017 Intensive Drama Desk Nomination). Regionally Robert Development Lab (IDL) Dance Residency with has designed for numerous theatres including the Jonah Bokaer Dance Company at Krannert the Goodman Theatre, Chicago Shakespeare Center. Theater, Arena Stage, La Jolla Playhouse, the
14 Sigrid Sutter (Voice and Dialect Coach) has travelled abroad and across the United States for her work and studies. In Chicago, she worked with A Red Orchid Theatre, Steep, Jackalope, Northlight, Back Room Shakespeare Project, and many others. Her voice and dialect coaching credits include a dozen productions for The Repertory Theatre of St. Louis, including the world premiere of The Invisible Hand by Ayad Ahktar, Sense and Sensibility adapted and directed by Jon Jory, and Pulitzer Prize-winning Clybourne Park. Her film credits include Colma: The Musical and Strange Culture, and her television credits include Chicago Justice and Ellen. She has taught courses and workshops in acting Shakespeare, voice and speech, and movement at The Guthrie Theatre, The Theatre School at DePaul University, The Conservatory at Webster University, The University of Chicago, Washington University, Gustavus Adolphus College, and other top institutions. She is a certified teacher of Fitzmaurice Voicework and Pilates. Ms. Sutter trained at The Shakespeare Theatre Company/George Washington University, earning an MFA in classical acting.
Zev Steinberg (Violence Designer) is a visiting professor of stage combat, movement, and acting at the University of Illinois. Zev has choreographed violence in theatres all over the Midwest and has been recognized 11 times for his artistic achievements. Zev is a certified teacher and recipient of the Paddy Crean Award with the Society of American Fight Directors. Zev is also a certified yoga teacher. Zev holds his MFA in acting from Michigan State University, after graduating with a BFA from the Department of Theatre at the University of Illinois.
15 PRODUCTION STAFF ASSISTANT TO THE DIRECTOR COSTUME TECHNICIAN Kara Hynes Chanté Knight Caitlin Leyden ASSISTANT STAGE MANAGER Zeenah Hussein WEAPONS MASTERS Kevin Troy Elizabeth Schapmann Savanna Rung ASSISTANT SCENIC DESIGNER Villale Liang PRODUCTION RUNNING CREW Sky Arend ASSISTANT COSTUME DESIGNER Melissa Hall WARDROBE HEAD Melissa Hall ASSOCIATE LIGHTING DESIGNER David Krupla WARDROBE RUNNING CREW Ruge Li ASSISTANT LIGHTING DESIGNER Alena Samoray MAKEUP RUNNING CREW HEAD Sharné van Ryneveld ASSISTANT CHOREOGRAPHER Zoe Replinger MAKEUP RUNNING CREW Claire Katz-Mariani ASSISTANT VIOLENCE DESIGNER Brad Porter Madison Freeland LIGHT BOARD OPERATOR SCENIC ARTIST Omri Schwartz Christina Rainwater SOUND BOARD OPERATOR MASTER ELECTRICIAN Daniel Massey Stuart Wilson MIC TECH AUDIO TECHNICIAN Yuxin Hao Lorna Chavez Matt Powell SPOT OPERATOR Jordan Ratliff
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