181 WHITE STREET, DANBURY, CONN. WCSU. EDU/ SVPA WCSU DEPARTMENT OF THEATRE ARTS PRESENTS Hedda Freeman a contemporary adaptation of Ibsen’s Hedda Gabler

Directed by Justin P. Cowan

Adapted by Kamilah Bush and Dr. Justin P. Cowan

Video Editor Lead Video Editor Production Stage Manager Jakob Kelsey Kimille Howard Isabel Salazar Theresia Young

Sound & Video Composer/Original Music Scenic Design/Visual Art Elias Levy Amanda D’Archangelis Clifton Chadick

Head Costumer Hair & Makeup Props Master Sammi Rosen Julia Bussel Reagan Smith

Production Manager Assistant Production Manager Assistant Production Manager Frank Herbert Jenna Atherton Abbey Murray

Producer Associate Producer Pam McDaniel Dr. Justin P. Cowan

Please join us for a talkback session on Monday, May 10th from 7:00 – 8:00 PM EST, featuring director & adaptor Justin P. Cowan, adaptor Kamilah Bush, and members of the cast.

https://zoom.us/j/92222188026?pwd=d1ZqdjhRaGtwOTR1UGgzNzlSaCtydz09

In recognition of truth, history, and the enduring relationship between Indigenous Peoples and their sacred lands, we acknowledge that western Connecticut is the traditional homelands of the Schaghticoke, Weantinock, and other Native Peoples. The WCSU community seeks to foster greater knowledge of Connecticut’s tribal nations, other Indigenous residents, and those forcibly removed.

VISUAL & PERFORMING ARTS CENTER, WCSU WESTSIDE CAMPUS, 43 LAKE AVE. EXTENSION, DANBURY, CONN. 06811 WCSU.EDU/SVPA DIRECTOR’S NOTE

Henrik Ibsen’s Hedda Gabler has always been one of those plays that’s haunted me. Not haunting in a ghost story kind of way, but haunting in the many ways in which it seems impossible to fully understand. From the first time I read the play in grad school to the first time I saw a staged production, I always empathized with Hedda. For me, her longing for a different and more fulfilling life stood at the forefront. Yes, the problematic decisions that she makes throughout the play and the ways in which she manipulates people in search of power are there, but I recognized all of that as merely a result of her larger state of being. Imagine my surprise when many of my classmates didn’t read or see the same Hedda that I read and saw. Imagine my further surprise years later when a female student said to me, “Ugh, I hate Hedda. She’s such a b*tch. Why should I care about her?” After picking my jaw up off the floor and really thinking about her statement, I realized that she might be right. Not about all of it, but about that last question: “Why should I care about her?” The answer, of course, is centered in context. The original play was written and first performed in 1891 Norway, a time and place in which women existed for marriage and motherhood with little to no autonomy of their own. What was Hedda to do? This modern and contemporary woman that’s resigned to a future, a marriage, a life, and maybe even a child that she never imagined for herself. It is very difficult with our contemporary and American lens to fully understand Hedda as she was originally written and performed, as that time and audience are both very distant and foreign to us.

Once I made the decision to direct Hedda Gabler, I started reading various adaptations of the play in an effort to find one that might help me contemporize this particular story for a modern audience. Through all of this reading, I found only one adaptation that I liked. But the more I read it, and the more I began to imagine how I might cast it, the more questions that started to arise. I knew almost immediately that I wanted to cast a woman of color in the role of Hedda. I told myself, “It’s 2021; there’s absolutely no reason why a woman of color shouldn’t have the opportunity to tackle one of the most complex and challenging roles ever written for the stage.” But the more I imagined this contemporary production coming to life, the more I realized that by casting a woman of color in this particular role I was actually telling an even more complex story. A story that deserved further thought, nuance, and a voice other than my own. I immediately called one of the most talented playwrights I know, Kamilah Bush, and I said, “Hey! I have an idea. What do you think?” I will be forever grateful that she shared this vision for a newly imagined piece.

Through a lot of conversation, a lot of long hours over Zoom, a lengthy shared Google doc, and the joy that comes from reconnecting and collaborating with a friend, Kamilah and I developed our own adaptation: a contemporary retelling that we believe honors Ibsen’s original intent for the play.

“It was not my desire to deal in this play with so-called problems. What I principally wanted to do was to depict human beings, human emotions, and human destinies, upon a groundwork of certain of the social conditions and principles of the present day."

-Henrik Ibsen

So, what are the social conditions and principles of the present day? How do those conditions and principles inform our actions? Our emotions? Our destinies? Like Ibsen, Kamilah and I didn’t seek to definitively answer any of these questions for you, or to solve any “so-called problems.” We merely sought to start, or rather continue, a conversation.

And as the centerpiece of that conversation, Kamilah and I offer you a Hedda for the 21st century. A strong black woman aware of the power of her blackness. Aware of the danger of her blackness. Surrounded by whiteness. Carrying the expectations of those who’ve come before her. Struggling with depression and suicidal ideation. Burdened by the stigma surrounding blackness and mental health. A strong black woman with nothing to lose.

It should be stated that Kamilah and I view Hedda Gabler at its core, as a suicide play. If you search for any one thing that causes Hedda to do what she inevitably does, you’ll come up empty-handed. It’s an avalanche. A rolling tide. Her depression, combined with her propensity for suicidal thought, provides her with an everlasting escape route. And if you’re unafraid of such an escape, how much more willing would you be to flirt with danger? To push that envelope right to the edge? Perhaps even over it.

You’ll notice that the artwork for this production boasts a black American flag waving boldly in the wind. For centuries, black flags have been flown by opposing forces in battle to announce that “no quarter will be given.” In other words, they’d rather be killed than taken prisoner.

Enjoy the play.

-Justin P. Cowan

DRAMATURG NOTE

A Note From the Dramaturgs:

Hello, and welcome to the official dramaturgical page for WCSU’s Hedda Freeman.

Hours of research have been put into the resources of this website, from both the cast and the creative team. Included in this website, you will find links to historical information, set design, original music, and more extensive information on this groundbreaking adaptation of Henrik Ibsen’s Hedda Gabler—a play that challenged sociocultural beliefs about women and power in Norway, starting with its premier in 1891. However, adapters Justin Cowan and Kamilah Bush show that it has a lot to say about the world of 2021 as well.

The goal of this site is to provide important information and context so that you, the audience, can get the most of your viewing experience via your own navigation—which seems appropriate for a play about people who are making choices to serve their own interests and concerns. This show has several motifs at its core, one of those being power and control. As you watch, try to identify who has the power in each scene, and how these characters react to and interact with each other in their attempts to secure greater power. How far are they willing to go for what they want? What are they willing to sacrifice? Are they willing to risk their lives for their motivations? Perhaps most of all, how does it reflect contemporary political and personal struggles that we find ourselves negotiating in an attempt to secure some control over our futures?

For even more insights, please join the cast, directors, and other members of our creative team for a talkback on May 10th, from 7-8 p.m. We hope to see you there.

Best,

Bella Bosco, Student Dramaturg

Prof. Donald P. Gagnon, Faculty Dramaturg https://wcsutheatre.wixsite.com/wcsuheddafreeman

CAST

Liam McGrath Rachel Faria Sean Gorman

Zachary Brown Alexis Reda

Bella Bosco Raissatou Karim

Cast

Hedda Thompson….………………..…………………………...……………………….……………..…….……RACHEL FARIA George Thompson.……………………………………………………….…………………………………………LIAM MCGRATH Elliott Lewis…….………………….…………….………………………………………………..……………………SEAN GORMAN Jack.…………………………….…………………………………………………………………..…………….….ZACHARY BROWN Thea Everett..……………………………………..………………………..……………..…….………..……….……ALEXIS REDA Julie Thompson..………………………………….………….…………………………………...…..……….…..…BELLA BOSCO Briona Pittman.…..……………………………………………………………….……….……….……………RAISSATOU KARIM

PRODUCTION TEAM WCSU THEATRE Director…….………….…………JUSTIN P. COWAN FACULTY Adaptor………………………….……KAMILAH BUSH Adaptor………………..…………JUSTIN P. COWAN Dean, School of Visual and Performing Arts….. Producer……………………..………PAM MCDANIEL ………………………………………BRIAN T. VERNON Associate Producer…..……….JUSTIN P. COWAN Chair/Professor……………..……. PAM MCDANIEL Production Manager…………...FRANK HERBERT Assoc. Chair/Assistant Professor………………….. Asst. Production Manager…JENNA ATHERTON ……………………………….DR. JUSTIN P. COWAN Asst. Production Manager……..ABBEY MURRAY Professor……………………DR. DONALD GAGNON Production Stage Manager….ISABEL SALAZAR Professor……………………..……FRANK HERBERT Asst. Stage Manager……..……....IZIAH BARNES Professor……………………....ELIZABETH POPIEL Asst. Stage Manager……..REBECCA DONAGHY Professor……………………..………...SAL TRAPANI Faculty Dramaturg………DR. DONALD GAGNON Associate Professor/Coordinator of Musical Student Dramaturg……….……..…BELLA BOSCO Theatre………………………..………. TIM HOWARD Lead Video Editor………..……KIMILLE HOWARD Assistant Professor………..JONI JOHNS LERNER Video Editor…………………………..JAKOB KELSEY Adjunct Professors…………..PHILLIP BALDWIN, Video Editor…………….....……THERESIA YOUNG MICHAEL BARTOLI, CHRISTOPHER BOLAN, Sound & Video….…………..……………ELIAS LEVY MEGAN BOLAN, LOUISA BURNS-BISOGNO, Sound Liaison…………….…..ARIELLE EDWARDS ANTHONY DEPOTO, ARIELLE EDWARDS, Composer/Original Music…………………………….. ANDREW GUSCIORA, KORI HANSEN, JOHN ……………………………AMANDA D’ARCHANGELIS HICKOK, KIMILLE HOWARD, HOPE KATCHER- Scenic Design/Digital Art…..CLIFTON CHADICK STRIANO, JAN MASON, ROBIN MCGEE, Props Master……………………..…REAGAN SMITH JAMES NICOLORO, ELIZABETH PARKINSON, Asst. Props…………………..…...JENNA DRAHOTA HEATHER PATTERSON KING, JEREMY Props Liaison……………….….ELIZABETH POPIEL POWELL, JANELLE ROBINSON, LINDSEY Costume Supervisor………JONI JOHNS LERNER TIMMINGTON, SCOTT WISE Costume Shop Supervisor…..CHRISTINA BEAM Head Costumer.……………….……SAMMI ROSEN UNIVERSITY Asst. Costumer………………..BROOKE WALLACE Hair & Makeup…………………..……JULIA BUSSEL PUBLICATIONS AND DESIGN Director…………………………….JEFFREY TALBOT UNIVERSITY SUPPORT Assistant Director…………..………ELLEN MYHILL PERSONNEL Photographer……….……………PEGGY STEWART University Assistant………...…CHRISTINA BEAM JOHN BONANNI UNIVERSITY …………………………………….….JOSEPH BREWER …………………………………………MARK FOCARILE RELATIONS VPAC Events Coordinator……..…..ERIC GOMEZ Director……………………………PAUL STEINMETZ VPAC Technical Coordinator…….KORI HANSEN Associate Director…………………….SHERRI HILL VPAC Audio and Information Tech Coordinator …………………………………….SHELDON STEIGER Theatre Dept. Secretary….…....ABIGAIL BUETI

SPECIAL THANKS JC Barone, Reval Martinez, Teagan La’Shay, Dominick Walch, WCSU Music Department

WHO’S WHO IN THE CAST

BELLA BOSCO (Julie Thompson, Student include Mr. Burns, a Post-Electric Play (Mr. Dramaturg) is a sophomore BFA Musical Burns/Gibson) and Love/Sick (Bill/Jake) at Theatre major from Delaware, OH. WCSU Naugatuck Valley Community College. credits include In The Open (Madolyn), Hand Outside credits include Macbeth (Angus) to God (Margery u/s, performed), and The and A Midsummer Night’s Dream Resistible Rise of Arturo Ui (Clark). Other (Demetrious) at Brookfield Theatre of the credits include Shrek (Fiona), Arts. @seangorman98 (Lola), and Mary Poppins (Mrs. Banks). RAISSATOU KARIM (Briona Pittman) is a Instagram: @thebellabosco sophomore Theatre Performance major from ZACHARY BROWN (Jack) is a junior Stratford, CT. WCSU credits include in the In major from Griswold, CT. The Open (Christina) and the one-act play WCSU credits include Dognap on Dekalb Death Valley DQ (Jo). Instagram: (Ilir), Hand to God (Timmy), and Much Ado @raissakarim About Nothing (Claudio). Other credits LIAM MCGRATH (George Thompson) is a include Jesus Christ Superstar (Pontius junior Theatre Performance major from New Pilate) and Little Shop of Horrors (Audrey II Fairfield, CT. WCSU credits include The voice). Instagram: @zachabrown Resistible Rise of Arturo Ui (Butcher), Be RACHEL FARIA (Hedda Thompson) is a More Funny (Barry), and the student-made junior Musical Theatre major from Brooklyn, short film Dead End Love NY. WCSU credits include Covid 19 & Other (Director/Murderer). Lessons (Naomi) and The Who’s Tommy ALEXIS REDA (Thea Everett) is a junior (Ensemble Dancer/Specialists Assistant). Musical Theatre major from Trumbull, CT. Outside credits include Electra (Electra) at WCSU credits include The Radium Girls: A LGCC and Columbus is Happening (Yoga Jaw-Dropping New Musical (Olive Witt), The instructor/Preacher’s Wife/Ensemble) at Who’s Tommy (Ensemble Dancer), A Little LGCC. Night Music (Anne Egerman), and Crazy For SEAN GORMAN (Elliott Lewis) is a junior You (Tess, u/s Polly Baker). Outside credits Theatre Performance major from Bethel, CT. include She Loves Me (Amalia Balash) at WCSU credits include Be More Funny, and Regional Center for the Arts. Other Short Plays (Jon). Outside credits

FACULTY PRODUCTION TEAM AND DESIGNERS

JUSTIN P. COWAN (Director, Co-Adaptor, “never cease warring with it” and she takes Producer, Associate Chair/Associate Professor) this responsibility very seriously. As a Producer/Director: Producing Artistic Director of North Carolina Summer Rep in CLIFTON CHADICK (Scenic Design) Ella es Greensboro, NC. Producing Artistic Director of Tango; Tia Julia Y El Escribidor; Perro Del Big Arts Herb Strauss Theatre, in Sanibel, FL. Hortelano; Exquisita Agonia; Fame (GALA The Santaland Diaries (Paper Lantern Theatre Hispanic Theatre); Matilda (Axelrod); The Company). Melancholy Play: A Chamber Tempest (R.Evolucion Latina); Only You Can Musical, A New Brain, The Piano Lesson Prevent Wildfires (Ricochette Collective); (UNCG School of Theatre). Single Rider (The Polaroid Stories (New School); Popesical The University of Alabama). As a Conductor/Music Musical (Fringe NYC); The 20th Century Way Director: New York regional credits include (Rattlestick); In Fields Where They Lay (New , The Producers, Hairspray, Ohio); Mr. Landing Takes A Fall (The Flea); Cabaret, and Annie Get Your Gun. Other Little Women (OSTC);The Last Cyclist (West regional credits include Sweeney Todd, End Theatre); Jesus Hopped the A Train Sunday in the Park with George (North (Atlantic Stage 2); Accidentally, Like a Martyr Carolina Summer Rep), Damn Yankees, (Wild Project); We Are All In Paradise Avenue Q, , , Legally (NYU); Grace McLean Live (); Blonde, How To Succeed... (Ocean State Associate Design: Oprah’s The Life You Want Theatre Company), South Pacific, Man of La Tour (EVNT), Sense and Sensibility (Folger Mancha, Pump Boys and Dinettes, Dirty Shakespeare Library/A.R.T.); Blonde, A Christmas Carol (Triad Stage), The (McCarter); Tribes (Barrington Stage); The Fantasticks (Florida Repertory Theatre), The Brat Pack Live (Norwegian Cruise Line); Pride Drowsy Chaperone (Maples Repertory and Prejudice ( Rep). Clifton’s work can Theatre), Always…Patsy Cline, Ethel Waters’ be viewed at CliftonChadick.com. His Eye is on the Sparrow (Florida Studio Theatre), Little Shop Of Horrors, Something’s AMANDA D’ARCHANGELIS (Music and Afoot, A Grand Night For Singing (the Book) is a composer and actress in NYC. She Schoolhouse Theatre), The Secret Garden, holds a B.F.A. in Musical Theater from The Into the Woods (The Gallery Players), Zombie Conservatory. She is a composer in Prom, The Best Little Whorehouse in Texas the renowned BMI Lehman Engel Musical (North Carolina Theatre Alliance), Caroline, or Theatre Workshop. With Anderson Cook, she Change, Heathers, Hairspray, Into the Woods, has written two musicals: The Disembodied Monty Python’s Spamalot, Mr. Burns: A Post- Hand That Fisted Everyone to Death--The Electric Play, A Year With Frog and Toad, Dani Musical! and Blatantly Blaine--A “Family” Girl, Cabaret (UNCG School of Theatre). Musical. Both were listed as “Best Things to Church Basement Ladies, Are We There Yet?, See This Week” by TimeOut New York. She is The Winter Wonderettes (Prather the resident composer of Bluelaces Theater Entertainment Group), Little Women, Single Company, which provides theater and Rider (University of Alabama), Dirty Rotten outreach for people with developmental Scoundrels, Ain’t Misbehavin’, Das Barbecü, differences. Her new musical The Radium Songs For A New World and The 25th Girls: A Jaw-Dropping New Musical, Annual…Spelling Bee (BIG ARTS Herb Strauss written with Sami Horneff and Lisa Mongillo, Theatre). He holds D.M.A. and M.M. degrees was one of the winners of in Conducting, a B.A. in Voice, and a Doctoral Short Play and Musical Festival. This past fall, Cognate in Stage Directing from the University she had an Equity reading of Fat Kid Rules the of North Carolina at Greensboro. World written with Anderson Cook and Ben Lapidus. Fat Kid… is an adaptation of a young KAMILAH BUSH (Co-adaptor) is the current adult novel of the same name, and was Literary Manager for Portland Center Stage in originally commissioned by Marc Eardley. Portland, OR, and the former Artistic Assistant for Two River Theatre in Red Bank. NJ. A KIMILLE HOWARD (Director, Visual graduate of The University of North Carolina Director/Editor) is a New York-based director, at Greensboro where she earned a BFA in deviser, writer and filmmaker. She is an Theatre Education, Kamilah is a homegrown Assistant Stage Director at the Metropolitan North Carolinian who is committed to telling Opera and recently worked on the new James the varied and complex stories of Black Robinson production of Porgy and Bess. She is women through playwrighting and the newly appointed Artistic Director of the dramaturgy. James Baldwin said that an Theatre’s NYC Public High School artist’s responsibility to their society is to Playwriting Fellowship. Select directing credits include Soil Beneath by Chesney Snow Critics Circle Award for Outstanding Sound (Primary Stages/59E59), $#!thole Country Design for dance of the holy ghosts at Yale Clapback by Pascale Armand (Loading Dock Repertory Theatre. She holds a B.A. from Theatre), The Fellowship Plays (Lucille Lortel Vassar College and an M.F.A. from Yale Theatre Foundation), A Light Staggering by School of Drama. Jeesun Choi (Ensemble Studio Theatre), Tidwell: or the Plantation Play by Rodney DR. DONALD GAGNON (Professor) holds a Witherspoon II (Samuel French OOB Short dual appointment as Professor of Theatre Play Festival -winner), Low Power by Jon Kern Arts and Professor of English. Originally from (EST), BLACK GIRLS ARE FROM OUTER New England, he received his B.S. in Public SPACE by Emana Rachelle (National Black Relations from the University of Florida, his Theatre), Skeleton Crew by Dominique M.A. in English from the University of Central Morisseau (TheatreSquared) and TRIGGERED Florida and his Ph.D. in English/Literature, by Gabriel Jason Dean (). with an emphasis on modern American and Her work has also been seen at The Circle in British drama, from the University of South the Square Theatre Circle Series, The Flea, Florida. His research, publications and The Lark, JAGFest, NYU, Sea Dog Theater, presentations range from African American and Atlantic Acting School among others. drama to LGBTQ+ drama to musical theatre Broadway: Ain’t Too Proud: The Life and and more. The inaugural recipient of the Times of the Temptations (Assistant Director). WCSU Provost’s Award for Teaching, he is She has worked with Des McAnuff, Rebecca currently compiling an academic anthology Frecknall, Ruben Santiago Hudson, Emily on the politics of Oscar Hammerstein II, and Mann, Stephen Wadsworth, Lorca Peress and he serves as a respondent for the Kennedy more. Recent Fellowships: New Center American College Theatre Festival. Workshop 2050 Fellowship and the Manhattan Theatre Club Jonathan Alper Directing KORI HANSEN (Technical Coordinator, Fellowship. Currently a Resident Director at Adjunct Professor) is responsible for the The Flea Theater. She has produced shows at training and maintenance of the equipment the HERE Arts Center, FIAF, and more. for the Art, Music and Theatre Arts departments in the building. She is also an CHRISTINA BEAM (Costume Shop adjunct professor in the Theatre Arts Supervisor) is a freelance costume designer Department, teaching techniques in lighting and technician working in New York and New and rigging. Hansen received her B.F.A. in England. Beam graduated from UMass Theatre Design Technology from SUNY Amherst in May 2019 with an M.F.A. in Purchase and has spent more than 30 years costume design, after completing an working in live entertainment production and assistantship that also included rigorous work management. Her early work includes in costume construction. Her recent design touring as an electrician for the Big Apple credits include The Revolutionists by Lauren Circus and working on the lighting crew at Gunderson (Silverthorne Theater), Queer and Harrah’s Casino in Atlantic City. From there, Now: Sync or Swim (NYPOP), She Loves she went on to work for Kliegl Brothers Me (UConn Opera) and Taylor Mac’s The Lily’s Lighting and was exposed to theatrical Revenge: A Flowergory Manifold (UMass). Her lighting from the manufacturing of fixtures designs for The Lily’s Revenge were included to the design for some of the first computer as part of the 2019 Emerging and digital lighting systems. Before arriving Artist/Imagination Exhibit at the 2019 USITT at WCSU, she worked for a production Prague Quadrennial. Since graduation, she company as a technical director for has devoted much of her time to working as a corporate events and most recently spent 12 draper for Connecticut Repertory Theatre and years as the production manager for the as a stitcher for Hartford Stage. She is Paramount Center for the Arts in Peekskill, thrilled to be joining the WCSU family in her New York, where she managed more than new role as Costume Shop Supervisor. 500 shows including children’s shows, dance and countless rock-and-roll performances. ARIELLE EDWARDS (Sound Liaison) is a former assistant audio supervisor for the FRANK HERBERT (Production Manager, Public Theater and Shakespeare In the Park, Professor) has spent 45-plus years in theatre working on shows there from 2008 through production and management, with some 2013. As a freelance sound engineer off- design, direction and performing throughout Broadway, she worked on productions of Altar his career. As owner of the Corner Shop Boyz at , Walmartopia at Scenic Studios, he served most of New York’s Minetta Lane, and Jack Goes Boating starring off-Broadway theatres, dance and opera Philip Seymour Hoffman with LAByrinth companies, trade, industrials and television. Theater Company. Winner of the Connecticut Some of those credits include work on the original production of Miguel Pinero’s Short Merit award as Outstanding Associate Eyes, the Broadway premiere of Medea and Production for Region 1, and her production Jason, David Mamet’s A Life in the Theatre of Sweeney Todd was chosen for the Kennedy (the marquis display sits in his office to this Center American College Theater Festival day) and David French’s Leaving Home. (KCACTF). Prior to coming to WCSU, McDaniel Herbert served on the staff of the Performing produced and directed extensively in San Arts Center at SUNY, where he joined the Francisco and /Fort Worth. She was a design/tech faculty and was the associate co-founder and artistic director of San producer of the internationally acclaimed Francisco’s Annual Working Women Festival, Pepsico Summerfare bringing music, theatre spotlighting outstanding female theatre and dance from Japan, Indonesia, Australia, artists, and she has worked with new plays for Europe and throughout the United States and the New York Chapter of the National Canada to the newly created arts center. He Academy of Television Arts and Sciences. Her has been on the WCSU faculty since 1990 and M.F.A in Directing is from the University of served as the Theatre Arts Department’s first Texas-Austin with additional study at the chairman. He originated the department’s American Conservatory Theatre in San productions for Ives Concert Park’s Summer Francisco, the Royal Academy of Dramatic Concert Series in 2008 with Shalamazoo, Arts in London, Actors Theatre of Louisville, which was later taken to Edinburgh. He has and New York City casting with Daniel Swee enjoyed guest assignments with the Aspen at Theatre Communication Group. Music Festival, as a scenic and lighting designer at the University of Pennsylvania, ELIZABETH POPIEL (Props Liaison, and as lighting designer for modern dance at Professor) holds an M.F.A. in Scenic Design TRC. (Costume second concentration) from SUNY Purchase where she was the first M.F.A. JONI JOHNS LERNER (Costume Shop Scenic Design graduate in 1988. She is a Manager, Professor) has been working in the proud member of United Scenic Artists Local New York professional costume industry for 829 (SD) and Local 52 IATSE and has been more than 35 years. As a textile artist, her teaching at Western since 2001. Selected work can be seen on the stages of the design credits in theatre include Edinburgh Broadway, National Tours, European and Fringe for WCSU, Lambs Theatre (New York), Asian companies of The Lion King for the last Trinity Rep, SoHo Rep (New York), Durham 23 years. Other examples of her work have Summer Rep, Open Eye (New York), been seen on the Broadway and National Tour Neighborhood Playhouse (New York) and EFX of Thoroughly Modern Millie and Wicked. at MGM Grand (), and most recently Multiple projects have included New York City The Sharon Playhouse (Connecticut). Film art Ballet, American Ballet Theater, San Francisco department credits include Meet Joe Black, Ballet and Kansas City Ballet, and Bette Book of Henry, The Devil’s Own, Bait and The Midler’s Kiss My Brass and Las Vegas shows Seagull. TV design credits include The as well as the Spider-Man costumes at View (original design) and ABC Good Morning Universal Studios Theme Park in Florida. America Weekend since 2005 (five Emmy and Lerner was co-owner of Fabric Effects in New one Morrow awards). She has designed and York, a fabric dyeing, painting and silk painted more than 40 productions at Western. screening company serving the theatre, film She is very proud of all her students who have and fashion industries. She has collaborated advanced to great places in the theatre design with numerous designers of stage, screen and world. The classes taught in the theatre ballet, including Maurice Sendak on several design areas at WCSU have been developed opera projects and an exclusive hand painted by Popiel over a period of 19 years. She scarf series. teaches Set Design, Costume Design, Design Fundamentals, Scenic Art, Decoration and PAM MCDANIEL (Producer, Associate Decor, Allied Crafts and Puppetry. Chair/Professor) is a professor of acting, www.popieldesigns.com directing and play production, and chair of the WCSU Department of Theatre Arts. At WCSU, she has directed productions of Major Barbara, Sweeney Todd, The Best Little Whorehouse in Texas, City of Angels, Cabaret, A full list of WCSU Department of Theatre The Cherry Orchard, Nine, The Full Monty, Faculty is available on The Mystery of Edwin Drood and Kiss Me, www.wcsu.edu/theatrearts/faculty Kate. She also directed Two Nights Near Doolin, a play written by WCSU faculty member Louisa Burns-Bisogno. Her production of The Cherry Orchard received a STUDENT PRODUCTION TEAM

JENNA ATHERTON (Asst. Production Stage Manager), Dognap on Dekalb Manager) is a enior Theatre Management (Production Stage Manager) and Crazy for and Design/Tech major from Bethel, CT. You (Head Scenic Charge). Outside credits WCSU credits include Organizing In The include Pippin and The Light Princess Time of COVID-19...(PSM), Evita (ASM) and (Assistant Stage Manager) at Summer Company (Properties Master). Outside Theatre of New Canaan, The Great Cat credits include What of The Night (PSM, Lee Massacre at NYU Frigid Festival (Production Strasberg Theatre and Film Institute), Stage Manager), and the Hunter College Asphodel’s (PSM/Sound Designer, New York Pocket Operas (Production Stage Manager). Theatre Festival) and Upright Citizens SAMI ROSEN (Head Costumer) is a Brigade (ASM, Long Wharf Theatre). sophomore Performance and Design/Tech IZIAH BARNES (Assistant Stage Manager) major from Middlebury, CT. WCSU credits is a sophomore Management major from include In the Open (Props Master) and A Bridgeport, CT. WCSU Credits include In the Little Night Music (Wardrobe Crew). Open (Assistant Stage Manager). ISABEL SALAZAR (Production Stage JULIA BUSSELL (Hair and Makeup Head) is Manager) is a sophomore a junior theatre performance major from Design/Tech/Management major from Westfield, MA. WCSU credits include Crazy Woodbridge, CT. WCSU Credits include A for You (Costume Crew), A Little Night Little Night Music (Props Assistant), SVPA Music (Assistant to the Scenic Charge), Gala (Stage Manager), The Who’s Tommy and Hand to God (Hair/Makeup/SFX Head). (Assistant Stage Manager), and In the Open REBECCA DONAGHY (Assistant Stage (Production Stage Manager). Outside credits Manager) is a sophomore include Sondheim Awards (Assistant Stage Performance/Management major from Manager) at Shubert Theatre, The Little Larchmont, NY. WCSU credits include In the Mermaid (Assistant Stage Manager) at Open (Anna). Outside credits include Westport Country Playhouse, and Newsies Chitty Chitty Bang Bang (Production Stage (Assistant Stage Manager) at Westport Manager) at the Westchester Sandbox Country Playhouse. Theater, Madagascar Jr. (Assistant Stage REAGAN SMITH (Props Master) is a Manager) at the Westchester Sandbox sophomore Performance and Design/Tech Theater, and the SUNY Purchase Youth major from Wolcott, CT. Summer Program (Assistant Stage Manager). BROOKE WALLACE (Asst. Costumer) is a JENNA DRAHOTA (Props Assistant) is a senior Theatre Studies major from sophomore Performance major from New Poughkeepsie, New York. WCSU credits Milford, CT. WCSU credits include In the include Animal Farm (Asst. to the Costume Open (Nina). Designer), and The Resistible Rise of Arturo Ui (Wardrobe Crew). Outside credits ELIAS LEVY (Audio/Video Editor) is a junior include In the Heights (Assistant Vocal Performance major from Monroe, CT. Choreographer), DCC Show WCSU credits include In the Open Choir (Choreographer), (Dramaturg), UBU (Violin), and Crazy for #Lysistratatoo (Stage Manager). You (Violin 3). THERESIA YOUNG (Video Editor) is ABBEY MURRAY (Production Stage a sophomore Design/Tech major from New Manager, Asst. Production Manager) is a Rochelle NY. WCSU credits include In the senior Theatre Management and Open (Sound/Video), Hand to God (Assistant Design/Tech major from Peekskill, NY. WCSU Master Electrician), and A Little Night Music credits include Hand to God (Production (Follow Spot Operator).

WCSU.EDU/SVPA About the School of Visual and Performing Arts

Western Connecticut State University’s School of Visual and Performing Arts (SVPA) establishes Western as the premier regional center for cultural, intellectual and artistic excellence. SVPA brings together the departments of Art, Theatre Arts and Music, allowing the university to better promote and grow all three creative disciplines.

Mission Statement • To offer the highest-quality educational, pre-professional and professional programming within a liberal arts environment.

• To utilize fully our regional advantage in the arts and arts-related professions, including access to outstanding faculty, guest artists and resources of New York City.

• To recruit the most talented students in the arts disciplines. • To fulfill the role of designated center for the arts of the Connecticut State Colleges and Universities system. • To attract major funding for scholarships and endowed faculty chairs. • To enhance the cultural life and image of the university. • To provide significant experiences in the arts for all students in academic programs across the university.

Contact Us For more information about the school and its programs, please contact the Office of the Dean at (203) 837-8851 or visit wcsu.edu/svpa.

Giving to the School For information on giving opportunities to the SVPA, please contact the Office of Institutional Advancement at (203) 837-8279. The Marian Anderson Naming Campaign Please help us achieve our goal to name the School of Visual and Performing Arts at Western Connecticut State University in honor of the legendary Marian Anderson. Your gift will bring us one step closer to naming both the School and Visual and Performing Arts Center in recognition of this cultural icon and longtime Danbury resident. The Anderson School will be committed to excellence, opportunity and inclusion. All contributions to the Marian Anderson Fund will go to the naming, development and enhancement of the School of Visual and Performing Arts and community programming. A donation envelope may be found at the box office.

FOLLOW US…

FACEBOOK: www.facebook.com/WCSUDepartmentofTheatreArts

INSTAGRAM: @wcsu_theatre