GREAT SCENES FROM AMERICAN KITCHEN SINK THEATRE ILLINOIS THEATRE Lisa Gaye Dixon, artistic director/producer Latrelle Bright, Genesee Spridco, Jordan Coughtry, and Nisi Sturgis, directors Recorded Wednesday-Sunday, April 14-18, 2021 On-demand viewing available Friday-Sunday, April 30-May 2, 2021 WELCOME TO THIS (MOSTLY VIRTUAL) We have done some industry-leading work to SEASON OF ILLINOIS THEATRE! put the shows you’re seeing this year on stage and on screen—and to do it safely. We are very This has been a very fortunate to be a theatre production team in a strange—truly era- research university, because it gives us the chance defining—time to be to find solutions to problems that theatres around making theatre. The global the world are facing. We have developed a set of pandemic has come home protocols that draw on the work of major industry in particularly significant organizations and on the campus and state ways for everyone involved epidemiological and public health expertise. It is in live performance. How remarkable what we can do when the full range of do you produce art when expertise in theatre—stage managers, designers, much of the basis of that technicians, actors, directors, and dramaturgs—are art becomes a danger to in it together. In the end, those protocols not only the very communities for and with whom you offer us the chance to make this work, but also give make that art? When singing, playing instruments, direction to our peers across academic theatre. declaiming, and even breathing heavily carries the risk of transmitting a respiratory virus? When Human stories, the stories smiles, frowns, grimaces, and looks of surprise are Illinois Theatre tells, are a covered by masks? When the numbers of people beacon of hope in dark and needed not only on stage but also backstage and unsettled times. Whether in production shops must be limited to maintain satirical or sentimental, the community’s health? polemical or philosophical, reflective or action-packed, For us, you seek creative new approaches, theatrical art can reveal because the core, underlying need to find human and produce our connection and illumination through stories is as connections to each other strong as it has ever been. And you keep a close when we need them most. eye on the spot where live performance meets So welcome, and thank you. We are glad you are digital media. As our future unfolds in theatre, we here—even if “here” is on your computer. We are increasingly aware of the value of media to help look forward to being with you now and in the us tell those stories and to get them to you, our years to come. audiences. But we are also continuously reminded of the value of liveness, of the unique, ever- —Lisa Gaye Dixon, Producer, vanishing present and the ways that live theatre can Department of Theatre place us in that present like nothing else. —Gabriel Solis, Professor and Head, Department of Theatre
2 PROGRAM GREAT SCENES FROM AMERICAN KITCHEN SINK THEATRE ILLINOIS THEATRE Lisa Gaye Dixon, artistic director/producer Latrelle Bright, Genesee Spridco, Jordan Coughtry, and Nisi Sturgis, directors Recorded Wednesday-Sunday, April 14-18, 2021 On-demand viewing available Friday-Sunday, April 30-May 2, 2021
August Wilson’s The Piano Lesson August Wilson, playwright
Curse of the Starving Class Sam Shepard, playwright
’Night, Mother Marsha Norman, playwright
References to Salvador Dalí Make Me Hot José Rivera, playwright
There will be a 20-minute intermission following Curse of the Starving Class.
3 ARTISTIC DIRECTOR/PRODUCER’S NOTE Hello to all, and welcome to our first LIVE audience Great Scenes from American Kitchen Sink Theatre performance of the spring semester 2021! is a collaborative, jointly conceived effort by faculty, staff, and students in the Level 21/ I shall try to avoid the too oft-used phrase “in design and acting areas and gives many of our these unprecedented times” and simply say how students opportunities wherein they may put into happy we are here at Illinois Theatre to be able to production all the things they have been working give a warm and enthusiastic “Welcome back!” on in classes throughout the past year. These to those in attendance for our first LIVE AND IN scenes are full and fully realized (with COVID-19 PERSON show of the 2021-22 season! protocols), onstage, and our faculty directors and Alas, while currently we are only able to I are excited to give you a taste of some of the welcome those folks in the Champaign-Urbana most iconic and beloved scenes that represent community who are a part of the University of a range of the American Experience as told Illinois COVID-19 testing protocols (currently through the eyes of some of our most revered U of I students/faculty/staff), we have our and beloved playwrights. fingers crossed that ALL will be welcome in I hope you enjoy the journey through time and attendance come this fall semester. Also, the place and that it whets your appetite for more to entire community may view these pieces through come this fall! live streaming/recording on the Krannert Center digital delivery platform. For more information, Best, please check the Krannert Center website. Lisa Gaye Dixon Producer, Illinois Theatre
4 DRAMATURG’S NOTE Great Scenes from American Kitchen Sink Theatre an “American Dream.” The play explores identity, is a compilation of four scenes derived from home, family, and what it feels to hope desperately the work of playwrights who helped define the for something better, or maybe just something landscape of American 20th-century theatre. It else. Shepard’s combative characters and brutal serves up a potent dose of Americana through dialog incite both humor and horror, locking our vignettes that provide a rich, shared iconography attention with the intensity and familiarity of these and deeply specific, personal voices. The kitchen characters’ needs and grievances. Are they literally setting grounds these disparate stories in a way hungry, or are they simply starving for more in life? that delineates the heart of the home, exploring More food, more choice, more opportunity; what the unpolished intimacy of the place that can offer will give them sustenance? solace and comfort or crudely expose vulnerability. In Marsha Norman’s ‘Night, Mother, time, August Wilson’s The Piano Lesson, one of 10 represented by an actual ticking clock, proves plays from his “Century Cycle,” explores the Black to be the ultimate antagonist. The play’s central American experience through each decade of question revolves around choice and power over the 20th century. It takes place in 1936 in the Hill one’s own life. What happens when you find District of Pittsburgh, Pennsylvania. Like many clarity and it doesn’t align with what society or of Wilson’s plays, The Piano Lesson dives deeply your loved ones expect? At its most basic level, into ancestral memory. Wilson centers the play this play is a conversation between a mother on the family heirloom piano, which brings pride, and her daughter. Norman, though, saturates beauty, and music into the home. The history their dialogue with shared history and layers of carved into the piano’s body also represents a meaning that only two people with profound lived, inherited trauma—a history haunted by familiarity can share. Like Wilson and Shepard, choices and consequences that literally emerge Norman’s characters are trapped, struggling as ghosts in the play. Moreover, selling the to communicate, and desperate to escape and piano could provide Boy Willie with the money define their lives on their own terms. to purchase the land that once enslaved his ancestors. In our selection, we venture into the best References to Salvador Dalí Make Me Hot by of Wilson’s storytelling. The characters gather in the José Rivera closes out this era of American kitchen to share drink and stories as they discuss theatre and brings us hurtling into the 21st their aspirations to leave the past behind, while century. The play, which was first produced confronting its enduring imprint on their lives. in 2000, takes place near the Mojave Desert during the height of summer 1991. It centers Sam Shepard’s Curse of the Starving Class is often on the life of Gabriela, a woman fighting to find considered one of his seminal plays from the meaning and passion as she fills the lonely role 1970s and 1980s centering on the unraveling of of an army wife. Her husband Benito, a United the American family and questioning the notion of States soldier who recently fought in the Persian
5 Gulf War, is struggling to maintain the status representations of the American family and quo while grappling with post-traumatic stress American trauma. The diversity of the playwrights disorder. Inspired by magical realism and the offers a breadth of experience and exploration of surrealist paintings of Dalí, this play investigates identity that still resonates today, perhaps with the point of no return within the backdrop of a even more nuance and reflective understanding. dreamscape. It explores what it means to grow Who are we, and what can we call home? Are we up in an America that is both for you and against defined by our ancestry, or are we free to create you. Rivera’s language is poetic and sensual and our own legacy? Does our history hold us back forces the extremes of the physical world to crash or drive us forward? These scenes raise these with the emotional. questions in richly inventive ways, allowing us to experience the urgent desires of these breathing, Witnessing these four scenes together allows us wanting, supremely human beings. to see some of America’s greatest playwrights exploring new forms and challenging traditional —Mariana Seda, dramaturg
6 DIRECTOR’S NOTE: AUGUST WILSON’S THE PIANO LESSON If the past is present, so then are its ghosts. We Our relationship to land is fraught with injustice, remember them, try to forget them, acknowledge and many of us have run away from it seeking city them, rebuke them, conjure them. Sometimes life and the work in the factories and on the rails. we call them up in the form of story. Tonight, we But what is it to wish to return to the land? To witness an impromptu family reunion of men— purchase it, own it, work it on our own terms and oral historians—keepers of family and community reap the benefits thereof? What is it to wrestle history and a world view born of experience from with the ghosts there? within, not from without. These stories paint the environment of a time, and within this time sit a —Latrelle Bright, director piece of land and a piano.
7 AUGUST WILSON’S THE PIANO LESSON Time: 1936 SOUND DESIGNER Dakota Erickson Place: Pittsburgh ASSOCIATE SOUND DESIGNER PLAYWRIGHT Walter Koonce August Wilson MEDIA DESIGNER DIRECTOR M Ospina–López Latrelle Bright* DIRECTOR OF PHOTOGRAPHY CAMERA DIRECTOR Leojae Payton Leojae Payton PROPERTIES MASTER SCENIC DESIGNER Timothy Swift Blaine Fuson STAGE MANAGER COSTUME DESIGNER Kaetlyn Allen Hannah Haverkamp DRAMATURG LIGHTING DESIGNER Mariana Seda Gillian Frame
*Member of Stage Directors and Choreographers (SDC)
This scene contains adult language and is intended for mature audiences only.
8 CAST: AUGUST WILSON’S THE PIANO LESSON WINING BOY BOY WILLIE Latrel Crawford Nathan M. Ramsey
DOAKER LYMON Haven Janeil Crawley Antwaun Allen
9 DIRECTOR’S NOTE: CURSE OF THE STARVING CLASS We inherit more than items from our parents and but the fridge continues to be what it is—a fridge lineage: habits (both good and bad), perspectives . . . and a mostly empty one at that. on the world around us, perspectives of worth, morals, and more. In Curse of the Starving Class, Despite taking place in 1978, this play Shepard explores the Tate family’s journey in exemplifies the dwindling middle class and failing inherited poverty and perpetual self-sabotage. family farms across America, gutted by predatory The family mimics its failing avocado farm— capitalism today. Each of them crafts their escape its rotting out at the root. In this scene, the from this cycle with an echo of the American refrigerator becomes a place of counsel where Dream held so dear. But these dreams of escape each member of the family seeks out something will not remove them from themselves and the to satisfy their physical and spiritual starvation, curse that they have inherited. —Genesee Spridco, director
10 CURSE OF THE STARVING CLASS Time: 1978 SOUND DESIGNER Dakota Erickson Place: California Central Valley ASSOCIATE SOUND DESIGNER PLAYWRIGHT Walter Koonce Sam Shepard MEDIA DESIGNER DIRECTOR M Ospina–López Genesee Spridco DIRECTOR OF PHOTOGRAPHY ASSISTANT TO THE DIRECTOR Leojae Payton Rebecca Goodman PROPERTIES MASTER SCENIC DESIGNER Timothy Swift Blaine Fuson STAGE MANAGER COSTUME DESIGNER Matthew Rohan Hannah Haverkamp DRAMATURG LIGHTING DESIGNER Mariana Seda Gillian Frame
This scene contains references to alcoholism, domestic violence, and adult language and is intended for mature audiences only.
There will be a 20-minute intermission following this scene.
11 CAST: CURSE OF THE STARVING CLASS ELLA UNDERSTUDY FOR ELLA Rachael Fox* Greer Nicole Durham
EMMA UNDERSTUDY FOR EMMA Destiny Jording Sarah Clement
WESLEY UNDERSTUDY FOR WESLEY Destin Sorin David Stasevsky
*Member of Actors’ Equity Association (AEA)
12 DIRECTOR’S NOTE: ’NIGHT, MOTHER If it will happen, it will happen here To claim a jot of truth before goodnight If it will happen, it will happen now Cancel the subscriptions, wind the clocks A mother and a daughter at the end Stock the fridge and wipe the counter down In a kitchen in mid-America Maybe we live for others, or, perhaps The mingled yarn that knits a family We cling to life because it’s all we know The ravel of unspoken sentiment Tonight, two little lives in a kitchen The tying and untying of a knot A teapot’s tempest is no less a storm —Jordan Coughtry, director
13 ‘NIGHT, MOTHER Time: 1983 SOUND DESIGNER Dakota Erickson Place: Not Far from Here ASSOCIATE SOUND DESIGNER PLAYWRIGHT Walter Koonce Marsha Norman MEDIA DESIGNER DIRECTOR M Ospina–López Jordan Coughtry* DIRECTOR OF PHOTOGRAPHY SCENIC DESIGNER Leojae Payton Blaine Fuson PROPERTIES MASTER COSTUME DESIGNER Timothy Swift Hannah Haverkamp STAGE MANAGER LIGHTING DESIGNER Jenna Keefer Gillian Frame DRAMATURG Mariana Seda
*Member of Actors’ Equity Association (AEA)
This production contains adult content and is intended for mature audiences only.
14 CAST: ‘NIGHT, MOTHER MAMA/THELMA UNDERSTUDY FOR MAMA/THELMA Charlee Amacher Dominique E. Allen
JESSIE Alex George
15 DIRECTOR‘S NOTE: REFERENCES TO SALVADOR DALÍ MAKE ME HOT In the farther reaches and later depths of Gabriella and Benito are such wanderers, not isolation—as the tethers to home, to love, and to knowing if home is a place, a person, or a dream. self fray—the line between sleeping and waking Belonging to each other, but not knowing how. shudders like heat on dry earth. —Nisi Sturgis, director "I’m very fascinated with the idea of home and what home is. Puerto Rico, where I was born, is in the back of my mind, and a lot of my characters are wanderers without a place to call home." —José Rivera
16 REFERENCES TO SALVADOR DALÍ MAKE ME HOT Time: 1991 ASSOCIATE SOUND DESIGNER Walter Koonce Place: Barstow, California MEDIA DESIGNER PLAYWRIGHT M Ospina–López José Rivera DIRECTOR OF PHOTOGRAPHY DIRECTOR Leojae Payton Nisi Sturgis* † INTIMACY DIRECTORS CO-DIRECTOR Anastasia Kasimos Zev Steinrock Zev Steinrock
ASSISTANT TO THE DIRECTOR PROPERTIES MASTER Tonatiu Ruiz-Escobedo Timothy Swift
SCENIC DESIGNER HAIR AND MAKEUP COORDINATOR Blaine Fuson Necole Bluhm
COSTUME DESIGNER STAGE MANAGER Hannah Haverkamp Greg Mueller
LIGHTING DESIGNER DRAMATURG Gillian Frame Mariana Seda SOUND DESIGNER Dakota Erickson
*Member of Actors’ Equity Association (AEA)
†Member of Screen Actors Guild —American Federation of Television and Radio Artists (SAG/AFTRA)
Special thanks to Anastasia Kasimos, Zev Steinrock, Dane Brandon, Jess Prichard, Professor Leslie Looney, Craig Sutter, and Sergeant First Class Tyrone J. Ramsey Jr.
This scene contains adult language, partial nudity, and a theatrical firearm and is intended for mature audiences only.
17 CAST: REFERENCES TO SALVADOR DALÍ MAKE ME HOT BENITO UNDERSTUDY FOR BENITO/CAT Daniel Alexander Rivera Fabian Alejandro Guerrero
GABRIELA UNDERSTUDY FOR GABRIELA/COYOTE Amy Toruño Bree Kazinski
18 PROFILES Antwaun Allen (Lymon- Charlee Amacher (Mama/ August Wilson’s The Piano Thelma-’Night, Mother) is a Lesson) is currently a junior senior BFA acting student. She pursuing a BFA in acting at the previously performed in University of Illinois. He has Pshitter! A Drinking Song for performed locally at the the Year of Our Lord 2020 Armory Free Theatre starring (Witch 1/Queen Wictoria/Lady in productions such as Macduff), Lysistrata (Chorus RUMO(U)RS in Motion and Woman #1), Because I am Your Emmanuel. Also, along with his acting career Queen (Lucretia Borgia), and A Funny Thing under the stage name Smokey Doc, Allen Happened on the Way to the Forum (Protean) with participates in the art form and performance of Illinois Theatre; Metamorphoses (Ensemble) and drag ([email protected]). The Princess Play (Cinderella) at the Armory Free Theatre; and has appeared on NBC’s Chicago P.D. Dominique E. Allen (Housekeeper). Amacher attended Interlochen (Understudy-’Night, Mother) is Arts Camp and graduated high school from currently a junior transfer Interlochen Arts Academy where her credits pursuing a BFA in acting at the included A Little Princess (Becky), Henry V University of Illinois Urbana (Canterbury/Fluellen), Failure; A Love Story Champaign. Her recent credits (Grandfather Clock/Ensemble), Barefoot in include The Messenger Project Nightgown by Candlelight (Alicia), The Light in the (Therese) at the Krannert Piazza (Signora Naccarelli), and Cardenio (The Center Amphitheatre, Tragedy Widow Camilla). of Johnny and Lisa (Mark/Florist) at the Armory Free Theatre, and Marisol (June) and Men on Sarah Clement (Understudy- Boats (John Wesley Powell) at the Station Theatre Curse of the Starving Class), in Urbana. After graduation, Allen hopes to dive from Lindenhurst, Illinois, is a into intimacy directing and work on getting her junior pursuing her BFA in certification for directing scenes of intimacy in acting at the University of theatre and film. She would like to thank the cast Illinois Urbana-Champaign. This and crew of ’Night, Mother for their vital work on production of Great Scenes creating art in a troubling time when we need to from American Kitchen Sink be reminded of what is and isn’t important to us. Theatre is her third performance with Illinois Theatre. Clement has recently been seen as The Commentator in Illinois Theatre’s production of Pshitter! A Drinking Song for the Year of Our Lord 2020, Eurydice in Eurydice at the Armory Free Theatre, as well as a Female Chorus Member in Illinois Theatre’s production of
19 Lysistrata. She is also featured in the student- Greer Nicole Durham directed musical Gay Card, which will be released (Understudy-Curse of the this spring. Starving Class) is currently a junior pursuing a BFA in acting Latrel Crawford (Wining and minors in art and design Boy-August Wilson’s The Piano and art history at the Lesson) is currently a senior University of Illinois. Her candidate in the BFA acting Illinois Theatre credits include program at the University of The Wolves (#00). She has Illinois. His Illinois Theatre performed locally at the Armory Free Theatre, the credits include Marat/Sade by Art Theater, and with the Penny Dreadful Players Peter Weiss, by Hit the Wall theatre company in roles such as Annelle in Steel Ike Holter, August Wilson’s Magnolias, Toni in Hazelwood Jr. High, and as Eli, and a virtual production Gem of the Ocean Columbia in The Rocky Horror Picture Show. She of Pshitter! A Drinking Song for the Year of Our has studied at the Yale Summer Conservatory for Lord 2020 in the fall semester of 2020. Great Actors and will be traveling to Italy to attend the Scenes from American Kitchen Sink Theatre marks Summer Physical Theatre Intensive at the his fifth production with Illinois Theatre. Past Accademia dell’Arte this May. productions and projects include Orfeo ed Euridice (Armory Free Theatre), Impulse 24/7 Rachael Fox (Ella-Curse of the (Armory Free Theatre), and Zora Neale Hurston’s Starving Class) is a third-year one-acts (Illinois High School Theatre Festival), MFA actor at the University of among others. Professional theatre credits include Illinois. Her Illinois Theatre Chicago Jeff Award-nominated truth and credits include Why Did reconciliation (Sideshow Theatre Company), The Desdemona Love the Moor? Project(s) by PJ Paparelli and Joshua Jaeger (in collaboration with the (American Theatre Company), and This Beautiful Provincetown Tennessee City by The Civilians (American Theatre Company). Williams Festival), Lysistrata, Titus Andronicus, Because I am Your Queen, and Haven Janeil Crawley Tame That. Off-Broadway credits include The (Doaker- August Wilson’s The Inferno, The King’s Masquerade and The Forgotten is currently a Piano Lesson) (Sleep No More). Regional credits include Much junior pursuing a BFA in acting Ado About Nothing, The Learned Ladies, Tovarich, at the University of Illinois. As You Like It, Trelawny of the Wells, Measure for This is their third performance Measure, Macbeth, and A Midsummer Night’s with Illinois Theatre, having Dream (Shakespeare Theatre of New Jersey); King previously worked on Titus Lear, Much Ado About Nothing, and Tame That Andronicus and Cabaret. (Arkansas Shakespeare Theatre). Film credits They’ve participated in several productions include Campus Life (with Martin Scorsese and Ray through Chicago Youth Shakespeare, including a Liotta); independent filmsMike & Lucy, The Sound role as Prospero in performed at The Tempest of Ill Days, and Manhattan, as well as the recurring The Joffrey Ballet. They are also a poet, visual role of Charlie on the award-winning web series artist, and amateur community activist. Here We Wait. 20 Alex George (Jessie-’Night, Destiny Jording (Emma-Curse Mother) is a sophomore of the Starving Class) is a pursuing a BFA in acting from sophomore pursuing her BFA the University of Illinois. They in acting at the University of made their debut with Illinois Illinois. She is a transfer Theatre last semester in the student from Illinois Central digital production of Pshitter! College where she earned her A Drinking Song for The Year associate degree in acting. of Our Lord 2020 (Ross/ She has previously performed Puppets on the Heath.) George proudly hails from in six shows at Illinois Central College including southeastern Kentucky, the hub of the universe. One Man Two Guvnors (Pauline), Columbinus They are a founding member of the nonprofit (Perfect), Blue Window (Emily), 1984 (Gladys), The theatre group Flashback Theatre Co. in Somerset, Revenants (Karen), and A Macbeth (Witch 3). Kentucky, where they worked as an actor, Great Scenes from American Kitchen Sink Theatre teaching artist, and administrator. George is also will be her first performance at the University of a proud alumnus of Interlochen Arts Camp, where Illinois. they performed in Twelfth Night (Malvolio) and Alice (March Hare). Bree Kazinski (Understudy- References to Salvador Dali Fabian Guerrero (Benito/ Make Me Hot) is a Wisconsin Understudy-References to native and a junior at the Salvador Dali Make Me Hot) University of Illinois working is a senior, proudly from toward her BFA in acting. Her Aurora, Illinois, pursuing a BFA past shows include Pshitter! A in acting from the University of Drinking Song for the Year of Illinois. Some of his favorite Our Lord 2020 (Understudy) university credits include and Lysistrata, which was unfortunately canceled Cabaret (Herr Schultz) and in March 2020 due to COVID-19. She continues to Crazy for You (Bela Zangler) with Lyric Theatre @ train with the Society of American Fight Directors Illinois and Titus Andronicus (Marcus Understudy) as an actor combatant and has been assistant and A Funny Thing Happened on the Way to the fight choreographer for Titus Andronicus and Forum (Senex) with Illinois Theatre. His most firearms handler for Hit the Wall, both with Illinois passionate project and work was Red (Rothko), Theatre. Kazinski has performed with many which he appeared in at the Armory Free Theatre. theatres in the Milwaukee area such as Milwaukee Repertory Theater, First Stage Children’s Theater, and collaborations with Skylight Music Theatre and Milwaukee Chamber Theatre to name a few. Breekazinski.com
21 Nathan M. Ramsey (Boy Destin Sorin (Wesley-Curse of Willie-August Wilson’s The the Starving Class) Piano Lesson) is in his third and is currently a junior pursuing a final year as an MFA acting BFA in acting at the University student at the University of of Illinois. His Illinois theatre Illinois. He is a Bronx, New credits include Titus York, native and United States Andronicus (Mutius) and the Air Force veteran with a Armory Free Theatre penchant for making things production of Eurydice that in no small way reflect his experiences, (Orpheus). When not acting on the stage, Sorin beliefs, and curiosities in life thus far. New York pursues his musical interests, which include City training credits include The Barrow Group singing and guitar, and works on student projects and the American Academy of Dramatic Arts. He in Champaign-Urbana. has performed with Illinois Theatre, Montana Shakespeare in the Parks, The Duplex Cabaret David Stasevsky (Wesley Theatre and Piano Bar (New York City), New York (Understudy-Curse of the University, Lehman Stages, and has appeared in Starving Class) is currently a numerous independent films, one of which sophomore pursuing his BFA recently premiered at the American Black Film in acting at the University of Festival. Ramsey has also been studying clown Illinois. Great Scenes from during the pandemic via Zoom with clown guru American Kitchen Sink Theatre Christopher Bayes. Although he’s not on social is his debut production with media, check out his website (www.nathanmramsey. Illinois Theatre. com) to see what he’s up to sometime. Amy Toruño (Gabriela- Daniel Alexander Rivera References to Salvador Dali (Benito-References to Salvador Make Me Hot) is a Nicaraguan Dali Make Me Hot) is in his native raised in Miami, Florida. third year as an MFA actor at She is a third-year MFA theatre the University of Illinois. A Los candidate and holds a BA from Angeles native, Rivera has a the University of Iowa. She was BA in theatre arts from recently seen as Fräulein Kost California State University, in Cabaret at Krannert Center. Northridge. Prior U of I Her favorite credits include Miss B in Back in the productions include Titus Andronicus (Demetrius) Day at the Chopin Theatre (Chicago), Gypsy in and Hit the Wall (Tano). Notable Los Angeles Zorro: The Musical at Miami Theater Center, and a theatre credits include The Last Days of Judas finalist inNew York’s Got Talent at the Elektra Iscariot (Judas) and Eurydice (Big Stone). Theatre (New York City). Toruño is also a published author of a collection of poems, The F*ckboy Chronicles, as well as a winner of the 2021 Kennedy Center’s Latinx Playwriting Award.
22 Lisa Gaye Dixon (Artistic Latrelle Bright (Director- Director/Producer) is a August Wilson’s The Piano Professor of Theatre, Producer Lesson) is a theatre maker, arts for Illinois Theatre, and advocate, and educator. professional actress. She has Credits include Cabaret, The worked professionally across Curious Incident of the Dog in the country and around the the Nighttime and No Child. . . globe, beginning her career (Illinois Theatre); Dreamgirls with the renowned (Krannert Center for the Steppenwolf Theatre Company of Chicago in a Performing Arts); Elephant’s Graveyard (Parkland revival of Ntozake Shange’s For Colored Girls College), Top Dog/Underdog (Hattiloo Theatre); Who Have Considered Suicide When the Rainbow Otherwise Occupied (Jump Start); Fun Home and is Enuf. She has had the good fortune to Men on Boats (Station Theatre). In recent years, experience work on the stages of the Royal she has directed an immersive opera piece with Shakespeare Company and the New Globe Opera on Tap (Brooklyn, New York); an Theatre in London and at various regional interdisciplinary piece on the quantum world with theatres including The Attic Theatre, Performance professor Smitha Vishveshwara; performance Network, Lost Nation Theatre, Kitchen Theatre pieces about water: The Water Project and her Company, the GEVA Theatre Center, Illinois solo piece Stories in the Water premiered at Shakespeare Festival, Milwaukee Shakespeare, Memphis Fringe. and Goodman Theatre, where she appeared as the Ghost of Christmas Present in the 40th- Jordan Coughtry (Director- anniversary production of A Christmas Carol and ’Night Mother) is a graduate Lucy in The America Play. She premiered her of the University of Illinois’ one-woman show, entitled My Case Is Altered: MFA acting program. Illinois Tales of a 21st Century Roaring Girl, under the Theatre credits: Assassins, In direction of internationally recognized the Next Room, Iago’s Plot, choreographer and director Struan Leslie at Mr. Burns, and The Grapes of Willamette University in Salem, Oregon. Wrath. He also directed Red Professional directing credits include Detroit ’67 for the Armory Free Theatre (Clarence Brown), Ladyish, and King Lear. Film and has helped adapt plays and write original credits include The Trouble with Men and music for productions at the Illinois Theatre Women (BBC/IFC), Leading Ladies, and USING Festival and the Arkansas Shakespeare Theatre and her most recent starring role in the short where he is a member of the Artistic Collective. film Ruby Love. As poet, playwright and devisor, He has helped develop new work for Manhattan Dixon finds interest in the intersections of Theatre Club and OSF’s PlayOn! Project. As an humanity—where we may find universality of actor, he has worked all over the country experience inside the specificity of identity. including the Alabama Shakespeare Festival, Denver Center, Human Race Theatre, Theater at Monmouth, Olney Theatre Center, Pioneer
23 Theatre Company, Royal Shakespeare Company, Nisi Sturgis (Director-Curse of Theatreworks, Two River Theater, Westport the Starving Class) is proud to Country Playhouse, Williamstown Theatre serve as assistant professor of Festival, nine seasons at the Shakespeare Theatre acting in the Department of of New Jersey, and on television, has had spots Theatre. Most recently, she on Chicago P.D. and several commercials. directed The Wolves at Krannert Center in 2020. In Genesee Spridco (Director- 2019, she directed The Winter’s Curse of the Starving Class) Tale at the Arkansas teaches movement in the Shakespeare Theatre where she is also a founding acting program. University of member of its Artistic Collective. As a member of Illinois credits include the Actors’ Equity Association for 18 years, she has movement director of Curious performed on Broadway (The 39 Steps) and Incident of the Dog in the Off-Broadway (Intimate Apparel, The Pretty Trap, Nighttime (Illinois Theatre), Dysphoria, The Less We Talk). As an actor, she has movement director/associate worked at numerous theatres including Goodman director of Pshitter! A Drinking Song for the Year Theatre, Berkeley Rep, Seattle Rep, Chautauqua of Our Lord 2020 (Illinois Theatre) and movement Theatre Company, Pioneer Theatre Company, San director of The Adventures of Little Sharp-Ears Jose Rep, The Olney Theatre Center, Capital Rep, (Lyric Theatre @ Illinois). She is co-vice chair for Geva Theatre Center, Theatre at Monmouth, the National Playwriting Program and coordinator Merrimack Rep, The Williamstown Theatre Festival, for the Devised Theatre Initiative for the Kennedy three seasons with the Cleveland Play House, three Center American College Theatre Festival Region with The Illinois Shakespeare Festival, three with the III. She is also a guest respondent to Regions IV Arkansas Shakespeare Theatre, four seasons with and VIII. Spridco was founding artistic director for The Old Globe, five with Denver Center for the Chicago-based physical theatre ensemble Performing Arts, and seven seasons with The Suitcase Shakespeare, and co-founding artistic Shakespeare Theatre of New Jersey. She has helped director of Imaginez. She led Imaginez develop new work for Manhattan Theatre Club, Lark throughout the Midwest and into Canada touring Theatre, New Harmony Project, Dramatist Guild, their original productions Take Flight: An Colorado New Play Summit, and OSF’s PlayOn! Adventure in Cirque and Miranda: One Woman’s Project. Sturgis won a Bay Area Theatre Award for Tempest. She received her BFA in directing and her performance as Emily Kapoor in Ayad Aktar’s BS in theatre education from Viterbo University Disgraced, a Rose Bruford Award from the and her MFA in ensemble devised physical Chautauqua Institute for her work as Maggie Dalton theatre from Dell’Arte International School for in George Brant’s Into the Breeches, was included Physical Theatre in California. She is a member of as one of the top 40 actors in 40 years at the Illinois the Theatre Communication Group, Association Shakespeare Festival, and won the National Irene for Theatre Movement Educators, Alexander Ryan Award at the Kennedy Center for the Technique International, and the Network of Performing Arts. As a member of the Screen Actors’ Ensemble Theatres. Guild, she played June Thompson in all five seasons of HBO’s Boardwalk Empire and was included in a SAG Award for Best Ensemble nomination. Sturgis holds an MFA from the Old Globe USD Professional Actor Program. Kaetlyn Allen (Production Stage Manager- Trade Love, Good Friday, Ajax), Mesa Community August Wilson’s The Piano Lesson), from Crystal College (Good ‘N’ Plenty, Top Girls), Desert Lake, Illinois, is a senior pursuing a BFA in stage Stages (The Bad Seed) and Mesa Encore Theatre management. Her academic credits include (Legally Blonde). Past credit for summer stock Tryon Scenes (Lyric Theatre @ Illinois), Amor positions includes Contemporary American Perdido/Lost Love: A Collection of Stories by Theater Festival (Intern), Black Hills Playhouse Tennessee Williams (Illinois Theatre, Station (Designer), and Utah Lyric Rep (Engineer). Theatre), and Studiodance II (Dance at Illinois) Erickson also received national recognition at as the stage manager. Allen has also recently the Kennedy Center American College Theater served as the assistant stage manager for Lyric Festival for sound design in 2016. Future projects Theatre Under the Stars (Lyric Theatre @ Illinois), include The Marriage of Figaro (Designer) and The Wolves (Illinois Theatre), Crazy for You (Lyric The MacHadyn Theatre’s 2021 Season (Designer). Theatre @ Illinois), Marat/Sade (Illinois Theatre), and February Dance 2018 (Dance at Illinois). Gillian Frame (Lighting Designer) is a graduate She is also the social media ambassador for @ assistant studying lighting design at the illinoistheatre. University of Illinois Urbana-Champaign. She grew up in Skaneateles, New York, and moved to Dane Brandon (COVID-19 Rehearsal Monitor) Chicago in 2017 to pursue professional design. graduated from the University of Illinois Urbana- While at U of I, she has designed Studiodance Champaign with a BFA in acting and the Robin’s II in 2019 and is looking to continue her work at Hood Scholarship for Excellence in Stage Combat Krannert Center and in the professional world. in 2020. During his time with Illinois Theatre, Outside of the U of I, she has done lighting he appeared as an actor and fight captain in design for shows such as Big Fish, The Last Five several productions and developed a close Years, Panic, and has assisted on many shows relationship with Lyric Theatre @ Illinois. He has at The Rev Theatre Company. In her free time, since worked as an actor, teaching artist, and Frame enjoys sketching, cooking, and playing fight choreographer in the Atlanta area and board games with friends. returned to his alma mater this past fall to serve as COVID-19 rehearsal monitor and associate Blaine Fuson (Scenic Designer) is a junior fight choreographer for Illinois Theatre’sPshitter! pursuing a BFA in scenic design at the University A Drinking Song for the Year of Our Lord 2020. of Illinois Urbana-Champaign. Great Scenes from Brandon is a member of the Society of American American Kitchen Sink Theatre is her first realized Fight Directors. design with Illinois Theatre. Previous credits include scenic design for She Kills Monsters and Dakota Erickson (Sound Designer) is currently assistant scenic designer for Titus Andronicus and a second-year MFA candidate in the theatre Because I Am Your Queen. sound design and technology program. This is his first design with Illinois Theatre, but he has also participated in November Dance 2019 (audio engineer), The Wolves (audio engineer), and Pshitter! A Drinking Song for the Year of Our Lord 2020 (A1). Being from Arizona, past productions have been from Arizona State University (Trade 25 Hannah J. Haverkamp (Costume Designer) is a Walter Koonce Jr (Associate Sound Designer) second-year MFA candidate in costume design at is a senior from Calumet City, Illinois, pursuing the University of Illinois. She received her BA in a sound design major at the University of Illinois history and studio art from Beloit College in 2014 Urbana-Champaign. He was the co-sound and still takes an interdisciplinary approach to her designer for Studiodance II in the Studio Theatre designs. During her seven years of professional venue, the A2 audio staff hand for Crazy for You theatre, she has worked for companies such as in the Tyron Festival Theatre, and sound designer American Players Theatre, Central City Opera, for the “Allerton Project” at the Allerton Estate. and the Eau Claire Children’s Theatre. Recent design credits include My Dear Watson at the M Ospina-López (Co-Media Designer) is a Chicago Musical Theatre Festival (2019), which videographer and multimedium artivist from was nominated for Best Costume Design, Deliver Bogotá, Colombia. They are currently a second- Me, Pride and Prejudice, and Gays, thesis films year MFA candidate in media design and for Columbia Film School, and went on to run the technology at the University of Illinois Urbana- digital festival circuit throughout the 2020 season. Champaign. Ospina- López is a graduate of Despite the rigors of graduate school, Haverkamp the University of Los Andes (2013-18) with a maintains a steady stream of freelance illustration BA in design and a BA in electronic and media work and recently illustrated a children’s book arts. They are the resident video designer at La The Boy Who Was Too Much Trouble by Mary Compañía Estable, a Colombian Theatre and Jurmain, coming in 2021. Opera Company. They have designed for The Magic Flute, Candide, Dido and Aeneas, María Jenna Keefer (Stage Manager-’Night Mother) is de Buenos Aires, and Habrá que cantar en los a senior at the University of Illinois Urbana tiempos difíciles. With images from a production Champaign and is currently pursuing a BFA in field trip through the Amazon, Ospina-López stage management. So far in her time at Krannert designed video projections for Florencia en el Center, she has stage-managed A Suite from Amazonas and performed at the Teatro Colón in Psalm, the student-run productions of Sunshine Bogotá and the XXI Amazonas Opera Festival in and Broken Glass and Red at the Armory Free Manaus, Brazil, as an international guest. In 2019, Theatre, as well as co-stage-managed the they designed the live show for Cimarrón Joropo world premiere of The Surrogate. Additionally, Ensemble. Most recently, Ospina-López was the Keefer has spent three summers working with media designer and editing supervisor for Illinois the Urbana Park District Youth Summer Theatre Theatre’s production of Pshitter! A Drinking Song where she stage-managed Into the Woods for the Year of Our Lord 2020 at Krannert Center and accumulated a number of assistant stage for the Performing Arts. management credits. She also served as the assistant production coordinator for the Illinois High School Theatre Festival 2019 (IHSTF) and expanded her events experience on projects such as Ellnora | The Guitar Festival (co-hospitality coordinator) and the Playful by Design Festival: Fall 2020 (co-logistics coordinator).
26 Matthew Rohan (Stage Manager-Curse of the Mariana Seda (Dramaturg) is pursuing a master’s Starving Class), originally from Orland Park, degree in theatre studies at the University of Illinois, is a junior pursuing dual degrees in stage Illinois Urbana-Champaign. Her research centers management and history. At Krannert Center, on United States Latinx theatre history, experience, he has served as the stage manager for Endalyn and representation on the American stage. Taylor’s dance work Boxed in November Dance 2020 (Dance at Illinois) and Songs for a New Timothy Swift (Properties Master) is currently World and Senior Showcase 2021 (Lyric Theatre a first-year graduate student pursuing a degree @ Illinois). He has also been the assistant stage in properties design and management at the manager for Studiodance I and Studiodance University of Illinois Urbana-Champaign. He Extended 2019 (Dance @ Illinois), the production previously completed his bachelor’s degree in stage manager for the Armory Free Theatre, and communication science at Troy University in Troy, a production assistant for Marat/Sade (Illinois Alabama. Swift aspires to own his own prop rental Theatre). Professionally, Rohan has also worked as house as well as create a local makers’ space back an assistant stage manager for Oak Park Festival in Alabama. Theatre’s production of Elizabeth Rex.
27 PRODUCTION STAFF PRODUCTION MANAGER ASSISTANT STAGE MANAGER MEDIA ENGINEER Maria Miguens (REFERENCES TO SALVADOR Tanner Funk DALÍ MAKE ME HOT) TECHNICAL DIRECTOR Katie FitzPatrick COVID-19 REHEARSAL Imani McDaniel MONITOR ASSISTANT STAGE MANAGER Dane Brandon SCENIC CHARGE (AUGUST WILSON’S THE Christina Rainwater PIANO LESSON) DECK/PROPS CREW Meghan Kegeris Gina White HAIR AND MAKE-UP Josh Graff COORDINATOR ASSISTANT TECHNICAL Maya Cornejo Colin Grice DIRECTOR Konstanza Stormont Devin Richard ASSISTANT DIRECTOR WARDROBE/HAIR & MAKE- (CURSE OF THE STARVING ASSISTANT SCENIC UP CREW CLASS) DESIGNER Jai Torres Rebecca Goodman Katie Owen Hayley Stachniak David Sommer ASSISTANT TO THE CO-ASSISTANT COSTUME DIRECTOR (REFERENCES TO DESIGNER SWING SALVADOR DALÍ MAKE ME Sarah Havens Jackie Moreno HOT) Khetag Tsabolov Tonatiu Ruiz-Escobedo SOUND BOARD OPERATOR ASSISTANT LIGHTING Will Mixter ASSISTANT DRAMATURG DESIGNER Gina Maggio Yingman Tang LIGHTING BOARD OPERATOR Brian Runge ASSISTANT STAGE MANAGER MASTER ELECTRICIAN AND (‘NIGHT, MOTHER) CO-PROGRAMMER CAMERA OPERATORS Grecia Bahena Zack Saunders William Burke Kim Fernandez ASSISTANT STAGE MANAGER CO-PROGRAMMER (CURSE OF THE STARVING Brian Runge SWITCH/FILE MANAGER CLASS) Logan Dirr AUDIO ENGINEER Michaela Dillon Daniel Massey
28 Land Acknowledgement
The University of Illinois System carries out its mission in its namesake state, which includes the traditional territory of the Peoria, Kaskaskia, Piankashaw, Wea, Miami, Mascoutin, Odawa, Sauk, Mesquaki, Kickapoo, Potawatomi, Ojibwe, Menominee, Ho-Chunk, and Chickasaw Nations. These lands continue to carry the stories of these Nations and their struggles for survival and identity.
As a land-grant institution, the University of Illinois has a particular responsibility to acknowledge the peoples of these lands, as well as the histories of dispossession that have allowed for the growth of this institution for the past 150 years. We are also obligated to reflect on and actively address these histories and the role that this university has played in shaping them. This acknowledgement and the centering of Native peoples is a start as we move forward for the next 150 years.
Krannert Center affirms the commitment by the university to move beyond these statements, toward building deeper relationships and taking actions that uphold and preserve Indigenous rights and cultural equity.
As we gather to experience this performance, we have an opportunity to reflect on the ways that systems of oppression have shaped our society. We can work together to create systems that support human dignity, establish equity, strengthen cross-cultural relationships, and draw upon the creative capacity of all people that make up this community, state, nation, and world.
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FRIENDS OF ILLINOIS THEATRE
MAKING THEATRE MAKERS SINCE 1967 We are living through history. In the midst of it, Illinois Theatre continues to be a leader in producing art that helps us know ourselves and the world we live in. We are training students today to imagine the art of tomorrow. If you’d like to help, we welcome you as a Friend of Illinois Theatre. We’ll use your financial contributions to support our students through scholarships, visiting artist residencies, new work development, and production. Help Illinois Theatre make theatre that matters today, tomorrow, and beyond.
Contributions to Friends of Illinois Theatre can be made by visiting theatre.illinois.edu/giving, scanning the QR code, or by check payable to UIF/Friends of Illinois Theatre and sent to: University of Illinois Foundation, PO Box 3429, Champaign, IL 61826-3429.
30 ILLINOIS THEATRE DONOR SUPPORT The Illinois Department of Theatre is grateful to those who support us in providing opportunities for our theatre students to grow and develop their skills in all facets of production and performance.
Thanks to all of the 2020-21 donors listed below for your generous contributions. Carolyn Anderson Bruce and Jean Hutchings Richard and Misaho Berlin Robert Jenista Hannah and Justin Brauer Dr. Ah-Jeong Kim Robert Caciopoli Katherine and Michael Kolodzie Candice Chirgotis Brian LaDuca Susan Cohen and George Monahan Dr. Jane Lin and Ang Lee Karen and Matthew Dettmer Alan Lindahl Diana and Robert Dignan Patricia and Mark Mallett J. Doolen Robin McFarquhar Nancy and Harold Drake Sherry and Karl Newton Stephanie Drake Timothy Ortmann Eileen and David Dunlap Adam Rowe Kaibo Feng Jon and Emily Salvani Angela and Todd Florence Gabriel and Ellen Solis Richard and Cindy Hall Katherine Van Dyck-Oxford Susan and Michael Haney Carl Wisniewski Claire Zinnes
31 DEPARTMENT OF THEATRE
FACULTY Affiliate Theatre Faculty Dakota Erickson Gabriel Solis (Head) Robert Barrett (English) Rachael Fox Lisa Gaye Dixon (Producer) Jeffrey Magee (Music) Zia Fox Robert G. Anderson Sandra Ruiz (Latina/Latino Studies & Gillian Frame Latrelle Bright English) Tanner Funk Kim Curtis Andrea Stevens (English) Katie Greve Jośe Díaz-Soto Carol Symes (History) Emily Goodell Jeffrey Eric Jenkins Ariana Traill (Classics) Colin Grice Rose Kaczmarowski Deke Weaver (Art+Design) Sarah Havens Olga Maslova Hannah Haverkamp Thom Miller Counseling Center/Theatre Faculty Christina Hermosillo Tom Mitchell Lisa Fay Charence Higgins Allison Moody Katayoun Hosseinzadeh Salmasi J.W. Morrissette (Associate Head) EMERITUS FACULTY Conner Jones Aaron Muñoz John Ahart Julia Kalvaitis Brant Murray Kathleen F. Conlin Marcus Kennedy Robert Perry (Co-director, Level 21) James Berton Harris Dan Kipp Kirsten Pullen David Knight Vivian Krishnan Christina Rainwater Wendy McClure Knight Minghan Ma Valleri Robinson Robin McFarquhar Imani McDaniel Genesee Spridco Kathy Perkins Maria Miguens Zev Steinrock Shozo Sato Andrew Morrill Nisi Sturgis Michelle Ospina Lopez Daniel Sullivan (Swanlund Chair Taylor Pfenning ADMINISTRATION in Theatre) Ryan Prendergast Assistant to the Head: Cathy Feely Treasure Radice Krannert Center/Theatre Faculty Business Services Manager: Cindi Howard Nathan Ramsey Andrea Bouck Business Services Support: Lynn Bierman, Devin Richard Debbie Delaney, Stacey Elliott, Tara Terri Anne Ciofalo (Co-director, Level 21) Daniel Rivera Heiser, Shanitera Walker Megan Dietrich Jennifer Leigh-Sears Scheier Office Administrator: David Swinford Andriane Binky Donley Quinn Schuster Photographer: Darrell Hoemann Richard Gregg Mariana Seda Tatsuya “Tito” Ito Kayla Sierra-Lee Lisa Kidd GRADUATE STUDENTS Sidney Sprunger Cynthia Kocher Kelsea Andrade Patrick Storey Alec LaBau Monique Arabie Eric Swabey-Keith Rick Scholwin Emily Baker Yingman Tang Amber Dewey Schultz Tracee Bear Alyssa Thompson Ryan Schultz Kat Blakeslee Amy Toruño Andrea Stewart Emma Brutman Alexis Webb Michael Williams Brandon Burditt Yu Wu Vincent Carlson Danny Yoerges Megan Coffel Nick Yovina Julia Colpitts Shuyu Zhang Erica Cruz-Hernandez
32 KRANNERT CENTER VOLUNTEERS With gratitude we recognize our 2019-20 volunteers and look forward to when you can rejoin us at the Center. COMMUNITY Andrea Fierro Jennifer Lin Renee Potter Liesel Wildhagen VOLUNTEERS Peter Floess Fei Lin Carolyn Presley Diane Wilhite Paula Abdullah Patricia Floess Feikai Lin Robbie Pulliam Ed Wilhite Nisha Aggarwal B. Jean Flood Xiao Lin James Quisenberry Douglas Williams Elizabeth Allison Richard Flood Sheila Loosevelt Jill Quisenberry Susie Wright Harold Allston Elizabeth Frankie Penny Lopez Anne Raczak Lei Xia Brant Asplund Roger Fredenhagen Lynda Lopez Beverly Rauchfuss Yu Xia Tammy Asplund Bianca Galvez Robert Lou Sam Reese Nancy Yeagle Mike Atkinson Zeidy Garcia Ginger Lozar Victoria Rice Sally Zahos Debora Avelino Inga Giles Michelle Lynn Gill Monique Rivera Jennie Zermeno Ron Baker Emma Glezer Janice Maddox Marcelo Rosa Mazzocato Nicole Zhang Jane Barry Robin Goettel Marguerite Maguire Laurel Rosch Rui Zhao Heather Baseler Michelle Gonzales Mary Manley Joyce Ruder Jackson Wenbin Zhou Pam Bedford Gene Grass Marina Marjanovic Tanya S Bruce Zimmerman Paul Beinhoff Sandy Haas Nenad Marjanovic Faaiza Saif KRANNERT CENTER Janice Bellington Catherine Haney Nicole Martinez Corinne Saldeen STUDENT ASSOC. Ann Bergeron Katherine Hansen Bobbi McCall Uriel Sanchez Administrative Board Susan Hansen Teri McCarthy Jean Sandall Kathy Bergeron Michelle Burns, President Tonya Hartman Sarah McDougal Christian Sarol Priya Bhatt Lily Reardon, Vice President Mike Havey Jim McEnerney Barbara Schleicher Shohan Bhattacharya Meagan Schaffer, Treasurer Kathy Havey Linda McEnerney Dawn Schultz Karen Bojda Rochelle Tham, Internal Judith Haydel Liz McMillen Izzy Scott Brunna Bozzi Operations James Hayes Jr. Susan Meinkoth Christel Seyfert George Brock Fie Lin, Marketing & Events Jonne Brown Kate Heiberger Kathy Metcalf Lei Shanbhag Krishni Burns Cynthia Helms Sharron Mies Edward Snyder Members Mark Casco Kathy Henry David Mies Isaac Soloveychik Aki Akhauri Felix Chan Abby Heras Martha Milas Jennifer Steele Michelle Burns Yoline Chandler Joan Hood Carol Miles Carolyn Stewart Jingwen Dai Coco Chen Peter Hood Carol Miller Margaret Stillwell Rowan Frantz Wen-Chi Chen Mary Hosier Michael Miller Carrie Storrs Elena Gonzalez Kathleen Corley Betsy Hunter Julie Mills Judy Swiger Jessica Gossen Kathleen Correa Ingrid Hutchings Patrick Mills Weifeng Sun Stanley Gu Jessica Crane Elizanena Ibarra Jihyeon Min Casey Tan Ally Guo Jessica Dager Janice Impey Margrith Mistry John Taylor Hayley Kelleck Millie Davis Laurie Jacob Frank Modica Alice Taylor Haley Kennedy Cara Day Roland Jean Martha Moore Adrian Testo Ryan Lin Kasandra Delafuente Cynthia Jean Thom Moore Jamie Thomas-Ward Xiao Lin Lori Deyoung Sten Johansen Pnina Motzafi -Haller Lee Trail Jenny Liu William Dick Diana Johnsn Christina Myers Pat Tuchman Seren Liu David Dorman Marcy Joncich Jane Myers Allan Tuchman Sian Liu Astrid Dussinger Carlton Kagawa Manisha Naganatanahalli Barbara Turner Yuanze Luo Kathy Dwyer Debra Karplus Linda Neider Julia Ulen Christine Millins Sheryl Dyck Karan Keith Michael Nelson Lynda Umbarger Samantha Moran Peter Dyck Janeane Keller Peter Newman Valeria Vargas Jess Nathan Debra Eichelberger Patti Ketchmark Jerome Ng Dianna Visek Daniel Oster Stacey Elliott Ashley Kirby Johnson Nguyen Frank Vivirito Yueting Su Beth Engelbrecht-Wiggans Daniel Krehbiel Dick Norton Kathy Vivirito Fu Sun Richard Engelbrecht Spencer Landsman Saray Ocampo Louise Walczak Haley Van Patten -Wiggans Linda Larson Alejandra Ochoa Spencer Walden Claire Wu Roger Epperson Diane Lassila Marjorie Olson Anna Maria Watkin Xuan Yi Vennie Ewing Warren Lavey Carol Osgood Jean Weigel Andy Yoon Elizabeth Faulkinberry Josephine Lee Brenda Pacey Whitney Welsh Menghao Yu Judy Federmeier Hannah Lee Cynthia Perez Linda Wessels Yangxue Yu Cliff Federmeier Eunsun Lee Pezz Pezz Jasmine White Lucia Zhang Dee Feickert Vincent Leonard Joel Plutchak Kathy Wicks Valerie Zhao KRANNERT CENTER STAFF Mike Ross, Director Building Operations Joycelynn Trask, Director’s Assistant John O. Williams, Facility Manager PRODUCTION Tony Mapson, Assistant Facility Manager Terri Anne Ciofalo, Associate Director Terri Anne Ciofalo, Associate Director Joe Butsch, Building Electrician for Production for Production Jared Painter, Assistant Chief Building Cindi Howard, Associate Director Amber Dewey Schultz, Assistant Operations Engineer for Finance and Operations Production Director Jerry Bonam, Eric Carr, Emmett Catlin, Tammey Kikta, Associate Director Joe Domain, John Ekstrom, Bryan Audio Department for Artistic Services Franzen, Mark Lashbrook, Jacob Maureen V. Reagan, Associate Director Rick Scholwin, Audio Director Lerch, Kevin Logue, Jessica Fancher, for Marketing Alec LaBau, Assistant Audio Director/ Attendants Video Director Glenda Dalton, Offi ce Support Associate Keith Norton, Theatre Audio and ARTISTIC SERVICES Media Specialist Tammey Kikta, Associate Director MARKETING for Artistic Services Costume Shop Maureen V. Reagan, Associate Director Jason Finkelman, Artistic Director of Andrea Bouck, Costume Director for Marketing Global Arts Performance Initiatives Richard Gregg, Costume Rentals Director Andrew Giza, Events Director Creative Services Studio Tonya Bernstein, Assistant Costume Shop Andrew Almeter, Senior Production Manager Vanessa Burgett, Creative Director Coordinator for Events April McKinnis, EB McTigue, Janet Huber, Program and Web Editor Bree Brock, Production Coordinator Cutters/Drapers Nicholas Mulvaney, Senior Designer for Events Julianna Steitz, Theatrical Stitcher Seth Wheeler, Technical Coordinator Engagement for Events Lighting Department Emily Laugesen, Co-Director of Michael W. Williams, Lighting Director Engagement Lisa Kidd, Associate Lighting Director ADVANCEMENT Monique Rivera, Co-Director of Cheryl Snyder, Director of Advancement Engagement Properties Department Bethany Whoric, Assistant Director Sam Smith, Director of Civic Engagement Adriane Binky Donley, Properties Director of Advancement and Social Practice Megan Dietrich, Assistant Properties Ellen Fred, Advancement Offi ce Manager Crystal Womble, Outreach Director Director and Rentals Coordinator Patron Services FINANCE AND OPERATIONS Scene Shop Kaitlin Higgins, Co-Director of Cindi Howard, Associate Director Ryan Schultz, Technical Director Patron Services for Finance and Operations Tatsuya Ito, Associate Technical Director Lisa Lillig, Co-Director of Patron Services Andrea Stewart, Associate Technical Kelly Darr, Evening Intermezzo and Business Offi ce Director Stage 5 Bar Manager Lynn Bierman, Katie Brucker, Debbie Bill Kephart, Scene Shop Chief Clerk Elizabeth Henke, Catering Manager Delaney, Stacey Elliott, Shelly Dylan Kind, Theatrical Scene Shop Michael Bunting, Intermezzo Supervisor Thomas-Eichorn, Accounting Staff Coordinator Chuck Hanson, Intermezzo Assistant Tara Heiser, Gina Moton, Human Vincent Meade, Theatrical Scene Shop Taylor McCoy, Snack Bar Attendant Resources Support Zia Moon, Patron Services Assistant Assistant Stage Management Ticket Services Cynthia Kocher, Production Stage Manager Whitney Havice, Ticket Services Director Bunny Berg, Ty Mingo, Jon Proctor, Barbara Schoenoff, Ticket Offi ce Supervisors
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