PROGRAM PSHITTER! a DRINKING SONG for the YEAR of OUR LORD 2020 ILLINOIS THEATRE by Henry Wishcamper Lisa Gaye Dixon, Director Thursday-Saturday, December 3-12

PSHITTER! A DRINKING SONG FOR THE YEAR OF OUR LORD 2020 ILLINOIS THEATRE By Henry Wishcamper Lisa Gaye Dixon, director Thursday-Saturday, December 3-12 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 PSHITTER! A DRINKING SONG FOR THE YEAR OF OUR LORD 2020 ILLINOIS THEATRE By Henry Wishcamper Lisa Gaye Dixon, director Thursday-Saturday, December 3-12

TIME: Now

PLACE: Here

This production is intended for mature audiences only and includes strobe lighting, stage weaponry, violence, loud noises, partial nudity, and profuse swearing.

Pshitter! A Drinking Song For the Year of Our Lord 2020 was developed, in part, with assistance from the Orchard Project (www.orchardproject.com), Ari Edelson, Artistic Director.

3 PSHITTER! A DRINKING SONG FOR THE YEAR OF OUR LORD 2020 PLAYWRIGHT MEDIA DESIGNER Henry Wishcamper M Opsina-Lopez

DIRECTOR PROPERTIES DESIGNER Lisa Gaye Dixon Wendy Wu

STAGE MANAGER DRAMATURG Tom Zhang Katayoun Salmasi

SCENIC DESIGNER FIGHT DIRECTOR Yvonne Tessman David Sterritt*

COSTUME DESIGNER ASSOCIATE DIRECTOR/ MOVEMENT Melissa Hall-Reynolds DIRECTOR Genesee Spridco LIGHTING DESIGNER Tanner Funk VOICE AND SPEECH COACHES Robert Anderson SOUND DESIGNER Allison Moody Miyka’el Hutchins

*Member of Stage Directors and Choreographers Society (SDC)

4 CAST DADDY UBU OLD MAN/PEASANT/JUNKHERR MATHIAS Charlie Bauer VON KÖNIGSBERG Gabe Ortiz MOMMA UBU Emma L. Anderson BOUGRELAS/MACDUFF’S SON Alex Parámo COMMENTATOR Sarah Clement FOOKWOD/SHIP CAPTAIN/ PEASANT BANQUO/MACDUFF Latrél Crawford Nathan M. Ramsey SOLDIER/MESSENGER/PEASANT/ FOLEY ARTIST 2ND WITCH/2ND MURDERER Daniel Rivera Antwaun Allen

QUEEN WICTORIA/LADY MACDUFF/ ROSS/PUPPETS ON THE HEATH 1ST WITCH Alex George Charlee Amacher UNDERSTUDY #1 KING VENCESLAS/LITTLE RENSKY/ Bree Kazinski 1ST MURDERER/3RD WITCH Corey Barlow UNDERSTUDY #2 Josh Gaff

5 PLAYWRIGHT’S NOTE I first started working on a mash-up ofMacbeth Now, six months later, we live in a completely and Ubu Roi in 2005. At the time, it was different world than we did when many of these principally a theatrical romp through two classic actors, designers, and other theatre artists dramatic texts. It didn’t have much political first explored the text of this play. Our lives edge or urgency. I returned to the play after are completely different on a personal level, the 2016 election. Suddenly, a theatrical world a departmental level, a university level, and a that portrayed a political leader who was equal national level. No one has any idea how our lives parts grotesque, absurd, and despotic felt like it could change, how our nation could change, how explained changes happening in our body politic the world could change in the few short weeks that I had never imagined might be possible in that the company will rehearse and record this my lifetime. I started working on the play a few production. months after the peaceful transition of power that occurred in January of 2017. In the months I am grateful that Lisa and Illinois Theatre have and years since that inauguration, the political selected, again, to explore this text this fall. I environments of our country and Walachia have had the opportunity to sit in on a Zoom reading become more and more similar. the other day, and it was remarkable how the changes that have happened in our world over It has been incredibly meaningful to me that the last six months change the way the play lands, Lisa Gaye Dixon and Illinois Theatre chose to the conversations it sparks, and the connections produce this play last year. While the production it makes to our constantly shifting world. I have last spring was unfortunately canceled as part of no idea what a streaming presentation of the the initial response to our current pandemic, the play will look like or feel like. I hope and trust that final invited dress rehearsal was one of the most what Lisa, the cast, the creative team, and the cathartic and joyous evenings of theatre I have many artists working on this piece create will be experienced. In some ways, that one rehearsal/ a uniquely cathartic, joyous, and urgent call to performance captured the spirit of the play and action that will capture this absurd, grotesque, the times more perfectly than a full, traditional run. tragic, terrifying moment in history.

Be safe. Take Care. Vote. —Henry Wishcamper

6 DRAMATURG’S NOTE Henry Wishcamper’s Pshitter! A Drinking Song for population. Power appears to be collapsing on the Year of Our Lord 2020 is a dramatic collage itself, madness and farce are abroad in the land, that uses William Shakespeare’s Macbeth and and harbingers of war appear on the horizon. Alfred Jarry’s Ubu Roi. Ubu Roi was a parody itself of Shakespeare’s Macbeth and some parts Pshitter! is a grotesque journey through the of Hamlet, Julius Caesar, Richard III, and The history of broken and corrupt political systems Winter’s Tale. Alfred Jarry’s Ubu Roi, or Ubu the with disintegrating populations, whose anger King, opened and closed in Paris on December has been nurtured through mass media. 10, 1896. A pioneering effort in avant-garde satire Wishcamper’s play is the story of Daddy Ubu’s on power and self-indulgent leaders, it caused hunger for power and sovereignty. The character a riot in the theatre and a national scandal. The is tempted to commit devilish acts to satisfy play was banned for years due to the way Jarry his desire after three witches predict his future. targets all manner of authoritarian and corrupt Momma Ubu supports his quest and is even more regimes. From South African apartheid to post- ravenous than her husband. Hoping to become communist Poland and the militarism of many queen, she tempts Daddy Ubu to kill the king and other countries, Jarry’s satire has had a profound remove everyone who stands in his path. Perhaps international impact. In its structure, it has also when Daddy Ubu’s time is up, the road will be influenced the development of modern theatrical clear for her to sit atop the heap. styles such as realism and naturalism. Unlike Jarry’s play, which eliminates Jarry once claimed that his play was “an Shakespeare’s witches, Pshitter! has supernatural, exaggerated mirror” of the society. It appears weird sisters whose prophecies, in contrast to that this exaggeration is a part of our reality those in Macbeth, may be changed or undone. today, or perhaps it is the dreadful but factual The witches can decide to end the story of the replication of what we have created as a Commentator as they wish: they can go against

7 the rules and write new scripts. In Pshitter!, we dishonesty, and no fear of his own murderous have a Momma Ubu, who is not only a prime intent. He marches increasingly toward autocracy, seducer, but also represents a woman in pursuit putting his own needs ahead of his people. of money and power. This review of savage royalty affirms the idea that justice is nothing but In the early moments of this “drinking song for an illusion. Wishcamper’s adaptation untangles the year of our Lord 2020,” the Commentator knots from Macbeth and Ubu Roi, creating a cautions that what we are about to see has wider diversity of consequences that reflect our no “resemblance” to “actual, contemporary current condition. political leaders.” Should we believe her? The question is for the audience member to answer, In this parody, Daddy Ubu’s tool for sending but there are other questions provoked when messages to his political critics, opponents, and the Commentator later asks us what we will do “subscribers” is a pshitter hook. When he tries to about the challenges before us. We know there create financial reform, he finds himself alone and are difficult questions ahead. Will we have good must go door-to-door to collect taxes. This anti- answers? Or any answer at all? democratic leader has stolen something sacred— the people’s trust. He relentlessly punishes his —Katayoun Salmasi opponents, incessantly breaks agreements, and does it all in a heartbeat, without shame.

Ubu’s greedy nature, along with that of his wife, leads him down a path to dictatorship with no respect for norms or rules, no shame for

8 PROFILES Antwaun Allen (Messenger/ Emma L. Anderson (Momma Peasant/2nd Witch/2nd Ubu) is a recent graduate of Murderer) is currently a junior the BFA acting program at the pursuing a BFA in acting at the University of Illinois. While University of Illinois. He has attending the U of I, she was performed locally at the in the Illinois Theatre Armory Free Theatre starring productions of A Funny Thing in productions such as Happened on the Way to the RUMO(U)RS in Motion and Forum and Because I Am Your Emmanuel. Also, along with his acting career Queen. She directed a staged reading of her under the stage name Smokey Doc, Allen one-act play cutman. and devised a movement participates in the art form and performance of dance piece set to Fleetwood Mac’s Rumours at drag ([email protected]). the Armory Free Theatre. Since March, Emma has been in the U of I’s first Virtual Senior Showcase, Charlee Amacher (1st Witch/ which was highlighted in The Hollywood Reporter, Queen Wictoria/ Lady and a virtual new play festival with the Women’s Macduff) is a senior BFA Theatre Alliance of Chicago. emmalanderson.com acting student. She previously performed in Lysistrata Corey Barlow (King (Chorus Woman #1), Because I Venceslas/Little Rensky/1st am Your Queen (Lucretia Murderer/3rd Witch) is a junior Borgia), and A Funny Thing BFA acting major. He most Happened on the Way to the recently appeared as Emcee in Forum (Protean) with Illinois Theatre; Illinois Theatre’s joint Metamorphoses (Ensemble) and The Princess Play production of Cabaret. (Cinderella) at the Armory Free Theatre; and has Additional past credits include appeared on NBC’s Chicago P.D. (Housekeeper). Young Lucius in Titus Amacher attended Interlochen Arts Camp and Andronicus with Illinois Theatre, Chip Tolentino in graduated high school from Interlochen Arts The 25th Annual Putnam County Spelling Bee, the Academy where her credits included A Little Busboy in She Loves Me, Don Ottavio cover/ Princess (Becky), Henry V (Canterbury/Fluellen), Ensemble in Don Giovanni with Lyric Theatre @ Failure; A Love Story (Grandfather Clock/ Illinois, and Che in Cary-Grove High School’s Ensemble), Barefoot in Nightgown by Candlelight production of Evita. Barlow is also a singer/ (Alicia), The Light in the Piazza (Signora songwriter and has released an EP, titled Naccarelli), and Cardenio (The Widow Camilla). Reinvention, comprised of original songs. He plans on releasing much more!

9 Charlie Bauer (Daddy Ubu) is Impulse 24/7 (Armory Free Theatre), and Zora currently a senior pursuing his Neale Hurston’s one-acts (Illinois High School BFA in acting at the University Theatre Festival), among others. Professional of Illinois. His other Krannert theatre credits include Chicago Jeff Award- Center credits include Titus nominated truth and reconciliation (Sideshow Andronicus (Bassianus), The Theatre Company), The Project(s) by PJ Paparelli Curious Incident of the Dog in and Joshua Jaeger (American Theatre Company), the Night-Time (Reverend and This Beautiful City by The Civilians (American Peters/Station Policeman), and Theatre Company). Marat/Sade (Coulmier). His other stage credits include Red (Ken), Amor Perdidio (Man 2), and I’m Alex George (Ross/The So Proud of You (Finn). Puppets on the Heath) is a sophomore pursuing a BFA in Sarah Clement acting from the University of (Commentator) from Illinois. They are making their Lindenhurst, Illinois, is a junior debut performance with pursuing her BFA in acting at Illinois Theatre in Pshitter! A the University of Illinois at Drinking Song for The Year of Urbana-Champaign. This Our Lord 2020. George production of Pshitter! A proudly hails from southeastern Kentucky, the Drinking Song for the Year of hub of the universe. They are a founding member Our Lord 2020 is her second of the nonprofit theatre group Flashback Theatre performance with Illinois Theatre. Clement has Co. in Somerset, Kentucky. From its founding in recently been seen as Eurydice in Eurydice at the 2015 to 2019, George earned numerous stage Armory Free Theatre as well as a Female Chorus credits with Flashback as well as coordinating the Member in Illinois Theatre’s production of company’s community outreach and educational Lysistrata this past spring. programming as the Let’s Play! company manager. George is also a proud alumnus of Latrel Crawford (Fookwod/ Interlochen Arts Camp, having spent three Ship Captain/Peasant) is summers studying theatre with the pre- currently a senior pursuing a professional actor training program. BFA in acting at the University of Illinois. His Illinois Theatre credits include Marat/Sade by Peter Weiss, Hit the Wall by Ike Holter, and August Wilson’s Gem of the Ocean as Eli. Pshitter! marks his fourth production with Illinois Theatre. Past productions and projects include Orfeo ed Euridice (Armory Free Theatre),

10 Josh Gaff (Understudy) is a Student Musicals. He also had the opportunity to sophomore pursuing a BFA in travel to Boston with a devised theatre piece acting at the University of entitled Quantum Voyages under the direction of Illinois. This is his first Latrelle Bright. production at U of I after transferring from Illinois Alex Paramo (Bourgrelas/ Central College (ICC). Other MacDuff’s Son) is currently a theatre credits at ICC include junior pursuing a BFA in acting columbinus (Freak/Eric), The at the University of Illinois at Cripple of Inishmaan (Billy), and The Revenants Urbana-Champaign. He was (Gary). born and raised in Chicago, Illinois. He has performed Bree Kazinski (Understudy) is locally at the Armory Free a Wisconsin native. She is a Theatre playing the role of 3rd junior at the U of I, working Chorus Member in Emmanuel. This will be his first toward her BFA in acting. Her production that he is involved with as an actor at past performance with Illinois Krannert Center. In his free time, he is a freelance Theatre was Lysistrata, which model and makeup artist in Chicago. was unfortunately canceled in March 2020 due to COVID-19. Nathan M. Ramsey (Banquo/ She continues to train with the MacDuff) is in his final year of Society of Fight Directors as an Actor Combatant the MFA acting program at and has been the assistant fight choreographer the University of Illinois. A for Titus Andronicus and firearms handler inHit Bronx native and United States the Wall, both at the U of I. Kazinski has Air Force veteran, he received performed with many theatres in the Milwaukee his BS in exercise science from area such as Milwaukee Repertory Theater, First Lehman College in the Bronx. Stage Children’s Theater, and collaborations with New York City training Skylight Music Theater, to name a few. includes The Barrow Group and the American BreeKazinski.com Academy of Dramatic Arts. Since COVID-19 quarantine, he’s been fortunate enough to study Gabe Ortiz Gabriel Ortiz (Old clown on Zoom with the Head of Physical Acting Man/Peasant/Junkherr Christopher Bayes at Yale School of Drama. Mathias von Königsberg) is Illinois Theatre credits include August Wilson’s from Park Ridge, Illinois, and is Gem of the Ocean, The Curious Incident of the a junior pursuing a BFA in Dog in the Night-Time, and Tame That B!#@H. He acting at the University of has performed with Montana Shakespeare in the Illinois at Urbana-Champaign. Parks, The Duplex Cabaret in NYC, New York His previous Illinois Theatre University, and Lehman College. Ramsey has also credits include Cabaret appeared in numerous independent films and (Bobby) and Titus Andronicus (Alarbus/Goth). web series, the most recent of which premiered at Ortiz has been seen before in Mamma Mia as the American Black Film Festival. Harry Bright and Garvin in Footloose with Illini 11 Daniel Rivera (Foley Artist) is credits include The Trouble with Men and Women a third-year MFA actor from (BBC/IFC), Leading Ladies, USING, and her most Los Angeles, California. Past recent starring role in the short filmRuby Love. As University of Illinois credits poet, playwright, and devisor, Dixon finds interest include Hit the Wall (Tano) and in the intersections of humanity—where we may Titus Andronicus (Demetrius). find universality of experience inside the specificity of identity.

Henry Wishcamper (Playwright) is a member of Lisa Gaye Dixon (Director) is a the Goodman’s Artistic professor of theatre, producer Collective where he has for Illinois Theatre, and directed The Little Foxes, professional actress. She has Animal Crackers, seven worked professionally across seasons of A Christmas Carol, the country and around the and others. His directing globe, beginning her career credits include Writers with the renowned Theatre, Steppenwolf, Chicago Children’s Steppenwolf Theatre Theatre, Manhattan Theatre Club, LCT3, the Company of Chicago in a revival of Ntozake Atlantic, Katharsis Theater Company, Keen Shange’s For Colored Girls Who Have Considered Company, Williamstown Theatre Festival, the Suicide When the Rainbow Is Enuf. She has had Guthrie, and The Old Globe. His adaptation of the good fortune to experience work on the Animal Crackers was produced at Denver Center stages of the Royal Shakespeare Company and for the Performing Arts, Baltimore Center Stage, the New Globe Theatre in London and at various and Oregon Shakespeare Festival. regional theatres including The Attic Theatre, Performance Network, Lost Nation Theatre, The Tanner Funk (Lighting Designer) is a second- Kitchen Theatre, The GEVA Center, Illinois year MFA candidate in lighting design at the Shakespeare Festival, Milwaukee Shakespeare, University of Illinois at Urbana-Champaign. He has and The Goodman Theatre (where she appeared worked as a lighting designer at companies such as the Ghost of Christmas Present in the 40th- as Eye Knee Coordination (Salt Lake City), Old anniversary production of A Christmas Carol and Lyric Repertory Company and The Ellen Eccles as Lucy in The America Play). She premiered her Theatre (Logan, Utah), and as the resident lighting one-woman show, entitled My Case Is Altered: designer at Pickleville Playhouse (Garden City, Tales of a 21st Century Roaring Girl, under the Utah). Funk has also had the opportunity to work direction of internationally recognized professionally on many crews such as Tuacahn choreographer and director Struan Leslie at Center for the Performing Arts (Ivins, Utah) Willamette University in Salem, Oregon. and the Hilberry Repertory Company (Detroit, Professional directing credits include Detroit ’67 Michigan). He has a BFA in lighting design from (Clarence Brown), Ladyish, and King Lear. Film Utah State University.

12 Melissa Hall-Reynolds (Costume Designer) is LORT and SPT theatres across the Midwest, an MFA graduate of the University of Illinois at and most recently in the critically acclaimed Urbana-Champaign, now based in Columbus, production of Twelve Angry Men at Indiana Ohio. She is pleased to return as a guest artist to Repertory Theatre. She also travels nationally and continue designing this production of Pshitter! internationally to coach financial professionals Most recently, she has worked at Chicago Opera in public speaking, networking, and executive Theatre as an assistant designer for Everest impact. Moody is one of the founding members and Aleko. Her past design works include Amor of Chicago’s Brown Couch Theatre Company and Perdido (Station Theatre and Illinois Theatre), is an artistic associate for Project: Theater in New Eurydice (Armory Free Theatre), Crazy for You York City. She is also a Guild Certified Feldenkrais (Lyric Theatre @ Illinois), A Funny Thing Happened Practitioner and is a Designated Linklater Teacher on the Way to the Forum and The Syringa Tree Trainee. Her professional affiliations include (Illinois Theatre), In the Fullness Thereof (Dance Actors’ Equity Association, Voice and Speech at Illinois), and Am I Worth It? (Royal National Trainers Association, and the Feldenkrais Guild of Theatre of London). North America.

Miyka’el Amiyn Hutchins (Sound Designer) is a M Ospina-Lopez (Media Designer) is a senior BFA theatre student with a focus in sound videographer from Bogotá, Colombia, and is design. During his time at the University of Illinois currently a second-year MFA candidate in media he has found Champaign-Urbana to be somewhat design and technology at the University of Illinois of a second home alongside his original residency at Urbana-Champaign. Ospina-Lopez received in Atlanta, Georgia. He continues to maneuver their bachelor’s degree as designer and their BA through the world of theatre discovering the in electronic and media arts from the University of harmonious relationship between life and sound. Los Andes. They are the resident video designer This exploration has proven to heighten his and communications designer at La Compañía understanding of sound, not only in the classroom Estable, a Colombian theatre and opera company. but in his exterior endeavors as well, implicating They have designed for The Magic Flute, Candide, his knowledge of sound across the various sectors Dido and Aeneas, María de Buenos Aires, and of sound. Habrá que cantar en los tiempos difíciles. With images from a production field trip through Allison Moody (Voice and Speech Coach) is the Amazon, Ospina-Lopez designed video currently on faculty in the Department of Theatre projections for Florencia en el Amazonas and as the visiting assistant professor of voice and performed at the Teatro Colón in Bogotá and the speech. Previous Illinois Theatre productions XXI Amazonas Opera Festival in Manaus, Brazil, include dialect direction for August Wilson’s Gem as an international guest. They are permanently of the Ocean and The Curious Incident of the experimenting with different mediums and Dog in the Night-Time and voice/text coaching working as an artivist, creating content and for Titus Andronicus, Because I Am Your Queen, making art with communities and social justice Marat/Sade, A Funny Thing Happened on the organizations. Way to the Forum, and An American Daughter. She has worked as an actor, director, and voice/ David Sterritt (Fight Choreographer) is an actor dialect coach in New York City on numerous and fight choreographer originally from the Atlanta Off-Off Broadway shows, as well as at many area. He is a Certified Teacher through the Society 13 of American Fight Directors and founded the (A Man in a Case), Chekhov (The Proposal), A-Town Throw Down in 2011. He also has served Goethe (Faust), and Euripides (Medea). Salmasi’s as the Southeast Regional Representative for the work as a cultural critic has appeared in many Society of American Fight Directors. Sterritt has an publications including Javan, Afarinesh, Hayat e MFA in acting from Wayne State University through No, Neda, Aftab, Resalat, Sahne Review, Namayesh the Hilberry Repertory Theatre. He also received Review, and the international journal Critical Stages. his Advanced Theatre Training Certificate while Her service to the theatre has been honored by training in Russia at the Moscow Art Theatre and awards for her critical work and leadership in the received his BFA in performing arts from Savannah theatre arts. Salmasi is a former vice president College of Art and Design. He also is a member of the Iran Theatre Critics Association, served of Stage Directors and Choreographers Society. five years as an executive committee member of Selected Atlanta fight credits includeCardboard the International Association of Theatre Critics, Piano, Serial Black Face, Slasher, Les Liaisons and managed international events for the Fadjr Dangereuses, Appropriate (Actor’s Express); International Theatre Festival. For the past three Hand to God, Edward Foote (Alliance); Complete years, she has informally advised student members Works of William Shakespeare Abridged and Two of the Iranian Cultural Alliance at the University of Noble Kinsmen (Shakespeare Tavern); As You Illinois at Urbana-Champaign while leading a weekly Like It (Georgia Shakespeare); Between Riverside extracurricular workshop on drama and theatre. and Crazy, King Hedley II (True Colors); Beauty Salmasi has also organized local cultural events and the Beast (Lyric); and Dracula (Gainesville related to the annual celebration of Nourouz. Over Theatre Alliance). Selected Atlanta acting credits the past year, she moderated a discussion of Iranian include The Three Musketeers, A Midsummer director Jafar Panahi’s Taxi at the Art Theatre Night’s Dream, Hamlet the Musical, Macbeth, (October 2015), and Rakhshan Banietemad’s Twelfth Night, Richard III, Henry VI Parts I-III at the Under the Skin of the City (October 2018); spoke Shakespeare Tavern; Slasher at Actor’s Express; on “Traditional Theatre in Iran” in a well-received James and the Giant Peach at Georgia Ensemble talk (April 2016) for the Center for South Asian and Theatre; The 25th Annual Putnam County Spelling Middle Eastern Studies (CSAMES); and directed Bee at Fabrefaction Theatre Company; and acclaimed Persian-language productions of Barefoot in the Park at Gypsy Theatre Co. Sterritt two Iranian dramas by Bahram Beyza’i—Arash, was also in the Michigan premier of Detroit by Lisa presented in the Illini Union (May 2016), Death of D’Amour. Yazdgerd in the Illinois Stock Pavilion (December 2016), and Four Boxes in the Temple Hoyne Buell Katayoun H. Salmasi (Dramaturg) is an Iranian Hall (May 2017). She is currently a second-year critic, playwright, dramaturg, and director living PhD student at the University of Illinois at Urbana- in the United States. Before moving to the US in Champaign. She was the dramaturg of Because I 2012, Salmasi taught for 11 years as a lecturer at am Your Queen in 2019, a production in the Studio Azad University of Tehran and Art University of Theatre at Krannert Center for the Performing Tehran in theatre history, criticism, playwriting, Arts. Also, she was dramaturg of Noises Off and dramatic literature. In addition to her teaching directed by JW Morrissette. Currently she is duties, Salmasi translated works by Edward Albee, working on her PhD dissertation “Restoration of August Strindberg, Billy Wilder, Wendy Wasserstein, ‘Modern American Drama’ in ‘American Immigrant and Joyce Carol Oates into dramatic works for the Drama’ Influenced By American Dream, 2001-2018.” Iranian stage. As a director, she has staged nine of14 her own plays as well as works by Wasserstein Genesee Spridco (Associate Director/Movement Yvonne Tessman (Scenic Designer) is a graduate Director) teaches movement for the acting of the scenic design program at the University of programs at Illinois Theatre. She received her Illinois. She earned her BA in theatre arts from BFA in directing and BS in theatre education Lawrence University at Appleton, Wisconsin, from Viterbo University and her MFA in where she designed Gint and First Night. Her ensemble devised physical theatre from Dell’Arte credits at the University of Illinois include scenic International School. Past movement direction design for An American Daughter and The at Krannert Center includes The Curious Incident Curious Incident of the Dog in the Night-Time. of the Dog in the Night-Time with Illinois Theatre Tessman has also designed shows locally for the and The Adventures of Little Sharp-Ears with Armory Free Theatre and the Station Theatre. Lyric Theatre @ Illinois. In addition to teaching, Spridco is co-artistic director of Imaginez, whose Tom Zhang (Stage Manager) is currently a physical theatre integrates circus skills into their second-year MFA student in stage management critically acclaimed original productions that at the University of Illinois. He comes from tour throughout the Midwest and into Canada. Beijing, China. Pshitter! is his debut production Spridco currently serves as head of the Devised at Illinois Theatre. He’s also worked as the Theatre Initiative for Kennedy Center American assistant stage manager in The Adventures of College Theatre Festival-Region III. She is a Little Sharp-Ears, produced by Lyric Theatre @ member of the Association for Theatre Movement Illinois. Before coming to the United States, he Educators, the Theatre Communication Group, worked as an assistant project manager in an and the Network of Ensemble Theatres. She arts and tour management company in Beijing. currently teaches yoga at Amara Yoga & Arts and Zhang’s past stage management credits include trains toward her Alexander Technique Teacher Avenue Q (Zhejiang University (ZJU) Musical Certification at Soma Studios. Group) and Macbeth (Institute of World Theater and Film of Peking University). His assistant stage Wendy Wu (Properties Master) is pursuing management credits include Man of La Mancha her MFA degree in properties design and (ZJU Musical Group) and Bad Kids (Beijing management at the University of Illinois at Normal University). His dream is to work in a Les Urbana-Champaign. She worked on Illinois Misérables production during his career life. Theatre’s spring show, Lysistrata, as the prop master. She was also the assistant prop master for The Adventures of Little Sharp-Ears for Lyric Theatre @ Illinois in 2019. Wu enjoys painting and crafts in her spare time and has been using her skills in various show projects.

15 PRODUCTION STAFF FLOOR MANAGER ASSISTANT LIGHTING GRIP Mary Kate Baughman DESIGNER Nicholas Yovina Zack Saunders ASSISTANT STAGE PROPS/DECK CREW MANAGERS ASSISTANT TO THE Alayna Hester Lou Williams DIRECTOR Jacqueline Moreno Katie FitzPatrick MacKenzie Sinta WARDROBE/HAIR CREW COVID-19 MONITOR SCENIC CHARGE Hanna Bowen AND ASSOCIATE FIGHT Jia Zengpeng Jaylon Muchison CHOREOGRAPHER Dane Brandon MASTER ELECTRICIAN DECK CREW Elliot Hubiak Caitlin McDermott TECHNICAL DIRECTOR Nicole Rataj Imani McDaniel AUDIO ENGINEER Kayla Lee DECK CONTINUITY CREW PROPERTIES MASTER Kim Fernandez Wendy Wu COSTUME CRAFTS HEAD Samantha Shaw Tracee Bear HAIR/MAKEUP FILE MANAGERS COORDINATOR STAGE CARPENTER Jesse McKenzie Colin Grice Emily Baker Sophia Urban

ASSISTANT TECHNICAL SOUND BOARD OPERATOR DIRECTOR Will Mixter Eric Swabey-Keith LIGHT BOARD OPERATOR ASSISTANT SCENIC Brian Runge DESIGNER Blaine Fuson MEDIA OPERATOR Olivia Lee ASSISTANT COSTUME DESIGNER CAMERA OPERATORS Kelsea Andrade Sarah Calvert Addie Hoegberg WARDROBE SUPERVISOR Allie Vogelmeier Katie Greve

16 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.

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.

18 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

19 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 Steinberg 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 Jessica Steinrock Alec LaBau Monique Arabie Patrick Storey Rick Scholwin Emily Baker Eric Swabey-Keith Amber Dewey Schultz Tracee Bear Yingman Tang Ryan Schultz Kat Blakeslee Alyssa Thompson Andrea Stewart Emma Brutman Amy Toruño Michael Williams Brandon Burditt Alexis Webb Vincent Carlson Yu Wu Megan Coffel Danny Yoerges Julia Colpitts Nick Yovina Erica Cruz-Hernandez Shuyu Zhang

20 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 Ticket Services Joycelynn Trask, Director’s Assistant John O. Williams, Facility Manager Whitney Havice, Ticket Services Director Tony Mapson, Assistant Facility Manager Bunny Berg, Ty Mingo, Jon Proctor, Terri Anne Ciofalo, Associate Director Joe Butsch, Building Electrician Barbara Schoenoff, Ticket Offi ce for Production Jared Painter, Assistant Chief Building Supervisors Cindi Howard, Associate Director Operations Engineer for Finance and Operations Jerry Bonam, Eric Carr, Emmett Catlin, Tammey Kikta, Associate Director PRODUCTION Joe Domain, John Ekstrom, Bryan for Artistic Services Franzen, Mark Lashbrook, Jacob Terri Anne Ciofalo, Associate Director Maureen V. Reagan, Associate Director Lerch, Kevin Logue, Jessica Fancher, for Production for Marketing Attendants Amber Dewey Schultz, Assistant Glenda Dalton, Offi ce Support Associate Production Director ARTISTIC SERVICES Audio Department Tammey Kikta, Associate Director MARKETING Rick Scholwin, Audio Director for Artistic Services Maureen V. Reagan, Associate Director Alec LaBau, Assistant Audio Director/ Jason Finkelman, Artistic Director of for Marketing Video Director Global Arts Performance Initiatives Keith Norton, Theatre Audio and Andrew Giza, Events Director Advertising and Publicity Media Specialist Andrew Almeter, Senior Production Coordinator for Events Bridget Lee-Calfas, Advertising Costume Shop Bree Brock, Production Coordinator and Publicity Director for Events Andrea Bouck, Costume Director Creative Services Studio Seth Wheeler, Technical Coordinator Richard Gregg, Costume Rentals Director for Events Vanessa Burgett, Creative Director Tonya Bernstein, Assistant Costume Shop Janet Huber, Program and Web Editor Manager Nicholas Mulvaney, Senior Designer April McKinnis, EB McTigue, ADVANCEMENT Cutters/Drapers Cheryl Snyder, Director of Advancement Engagement Linda Follmer, Julianna Steitz, Bethany Whoric, Assistant Director Emily Laugesen, Co-Director of Theatrical Stitchers of Advancement Engagement Ellen Fred, Advancement Offi ce Manager Monique Rivera, Co-Director of Lighting Department Engagement Michael W. Williams, Lighting Director FINANCE AND OPERATIONS Sam Smith, Director of Civic Engagement Lisa Kidd, Associate Lighting Director and Social Practice Cindi Howard, Associate Director Properties Department for Finance and Operations Crystal Womble, Outreach Director Adriane Binky Donley, Properties Director Business Offi ce Patron Services Megan Dietrich, Assistant Properties Director and Rentals Coordinator Lynn Bierman, Katie Brucker, Debbie Kaitlin Higgins, Co-Director of Patron Services Delaney, Stacey Elliott, Shelly Scene Shop Thomas-Eichorn, Accounting Staff Lisa Lillig, Co-Director of Patron Services Ryan Schultz, Technical Director Tara Heiser, Gina Moton, Shanitera Dean Brian Carlson, Food and Tatsuya Ito, Associate Technical Director Walker, Human Resources Support Beverage Director Kelly Darr, Evening Intermezzo and Andrea Stewart, Associate Technical Stage 5 Bar Manager Director Elizabeth Henke, Catering Manager Bill Kephart, Scene Shop Chief Clerk Michael Bunting, Intermezzo Supervisor Dylan Kind, Theatrical Scene Shop Chuck Hanson, Intermezzo Assistant Coordinator Taylor McCoy, Snack Bar Attendant Vincent Meade, Theatrical Scene Shop Zia Moon, Patron Services Assistant Assistant

Stage Management Cynthia Kocher, Production Stage Manager