Supporting Our Students Our theatre students are some of the hardest working students on campus. They depend on scholarship support to keep up rigorous academic and creative schedules, and to balance the various aspects of student life. You can help support our hardworking student citizen artists by making a donation online today!
auburngiving.org/theatre
334.844.4748
Our Generous Donors Carol Luther
Rick and Mary Zellmer
Paul Kyle Butler
Ms. Melissa Brown Herkt
We thank all our patrons for any contribution made during the 2021-2022 season. Your generous gift is in support of the student scholarship fund.
Department of Theatre and Dance Administrative Staff
Our Mission
Department Chair: Chase Bringardner Office Administrators: Becky Henderson, Hannah Herndon Marketing Coordinator: Magali Zaslabsky Graphic Designer: Ashley Butler
Theatre has the potential to foster dialogue, alter perceptions, and inspire social change. The Auburn University Department of Theatre is dedicated to the education and professional training of theatre artists, scholars, and audiences within a liberal arts environment.
Student Staff: Production Assistant: Anna Vu Sound & Lighting Assistant: Bailey Fenn Scenic Studio Assistants: Matthew Smith, Katie Wolfe Costume Studio Assistants: Bailey Hammett, Julianna Devaney, Rynnie Chapman Wig Assistant: Ashley Digiovanni Paints and Props Assistant: Mal Waggoner Box Office Assistants: Nisi Collins, Sydney Pereira, Addison Peacock, Lauren Selvia Marketing/Recruitment Assistants: Jenna Viana, Katie Pappas, Nikki Ahlf
The Department champions the interaction between theory and practice and produces citizen artists who advocate for the arts through their own work in local, national, and international communities. Auburn University theatre students think critically, creatively, and collaboratively and carry their knowledge from rehearsal spaces and classrooms to stages, campuses, and communities worldwide.
Learn more about our department and degree tracks at:
auburnuniversitytheatre.org Social icon
Rounded square Only use blue and/or white. For more details check out our Brand Guidelines.
Follow us on Facebook, Instagram, and Twitter
More Tales of Grit and Grace ... A Doll's House Part 2 (Free Staged Reading) October 21~23, 2022 • Telfair B. Peet Black Box Theatre Lucas Hnath's fresh, contemporary “sequel” to Ibsen's classic tale
Spring Awakening November 11~19, 2021 • Telfair B. Peet Mainstage Theatre Sater & Sheik’s Tony Award-winning pop/rock musical Spring Awakening is intended for mature audiences.
theatretickets.auburn.edu 334.844.4154
Artistic Team
Company Biographies
Artistic Director: Chase Bringardner Director: Scott Phillips Assistant Director: Brantley Waller Costume Designer: Tracy Oleinick Assistant Costume Designer: Mary Grace Sullivan Lighting Designer: Fereshteh Rostampour Projection Designer: Fereshteh Rostampour Scenic Designer: Fereshteh Rostampour Assistant Scenic Designer: Katie Wolfe Sound Designer/Engineer: Bailey Fenn Choreographer: Adrienne Wilson
Rynnie Chapman (Female Swing) is a junior BFA performance and visual media studies major with a concentration in costumes from Auburn, AL. She recently played Sandy in New Horizons Theatre Company’s performance of Grease. Her AU Theatre credits include Bring It On (Truman Cheerleader). Rynnie is so excited for you to see this beautiful show!
Production Team Director of Production: Bram Sheckels Staff Technical Director: Matt Gist Assistant Technical Director: Cameron Lucas Assistant Student Technical Director: Matthew Smith Costume Shop Manager: Jennifer Salter Assistant Costume Shop Manager: Alyssa Allen Stage Manager: Annabell Mallard Assistant Stage Manager: Madison Todd Wardrobe Supervisor: Julianna Devaney Assistant Wardrobe Supervisor: Sydney Pereira Wardrobe Crew: Whitley Adams, Navi Collins, Lauren Northcutt Wig Master: Ashley Digiovanni Wig Crew: Fox Snead Props Coordinator: Edward Ortego Charge Artist: Mal Waggoner Scenic Artists: Claudia Peeples, Katie Wolfe Master Electrician: Olivia Price Assistant Master Electrician: Bailey Fenn Light Board Operator: Kate Harrington Fly Rails: Matthew Smith Co-House Managers: Hali Everette, Carson Huerta
Production Crews Scenic Studio: Lisa Alfa, Nisi Collins, Jonny Dickey, Torlexcia Dixon, Bailey Fenn, Sydney Golden, Kate Harrington, Kaci Henders, Clay Hodges, Morgan Hogans, Mary Keyton, Maddie Maradik, Holden Mathison, Addison Peacock, Claudia Peeples, Olivia Price, Lauren Selvia, Danielle Simmons, Matthew Smith, Madison Todd, Mal Waggoner, Duoer Ye
Costume Studio: Whitley Adams, Ashleigh Avallone, Navi Collins, Jordan Denson, Nick DiJulio, Shelby Dupree, Bailey Hammett, Elle Hartman, Charlcie Hathorn, Grace Moebes, Lauren Northcutt, Katie Pappas, Meredith Rice, Adam Stremmel, Mary Grace Sullivan, Anna Turpen, Jenna Viana, Avonlea Yeakley
Glimmers in the Dark
Antonisia Collins (Kristine Linde) is a junior BFA music theatre major from Montgomery, AL. Previous credits include Bring It On (Brittany), Together Apart (Ensemble), New Day Dawning (Ensemble), Eat Dessert First (Mother). She loves the stage and loves to bring joy to an audience. She has been cast in six shows here at Auburn including this one. She is excited to continue her journey as an actress at Auburn University. Nick DiJulio (Male Swing) is a sophomore double major in Theatre performance and Visual Media Studies from Auburn, AL. Previous Auburn Theatre credits include Little Women (John Brooke), Recess (Lucas), and Requesting Leave (Jeremy). He is a proud member of the Auburn University Players, the AU New Media Club, and Mosaic Theatre Company. He is happy to be participating in his 3rd show at Auburn. Bella Hardin (Helene) is a freshman psychology major and theatre minor from Auburn, AL. Bella has a background of show choir and competitive dance. This is her first role at Auburn University, and she is excited to continue her theatre journey on the Auburn University stage. Annabell Mallard (Stage Manager) is a junior BFA theatre management major from Norcross, GA. Previous Auburn credits include: Together Apart (Sound Designer), New Day Dawning (Sound Assistant), The Future is Here student festival (Management Team). Mauricio Montanez (Dr. Rank) is a junior psychology major and theatre minor from Mexico City, Mexico. He has a law degree from Universidad Iberoamericana and attended The Neighborhood Playhouse of the Theatre in ’17 and The Lee Strasberg Theatre & Film Institute in ’18, ’20 and ’21 in New York City. Anna Katherine Pappas (Nora Helmer) is a senior BFA performance major from Daphne, AL. Some of her Auburn University Theatre credits include Little Women (Meg), Marion Bridge (Agnes Understudy), and The Belle’s Stratagem (Masquerader/Servant). She is excited that live theatre is back and to be a part of the first show of the season. Dexter Pilcher (Nils Krogstad) is a senior BFA performance major. His favorite past roles include Caliban from Shakespeare’s The Tempest and Napoleon from Ian Wooldridge’s adaptation of Animal Farm. Dexter is also an active member of the Auburn University Mosaic Theatre Company. Outside of theatre, he enjoys writing and cosplaying, attending several conventions and charity events, most often recognized as the Star Wars villain Kylo Ren. Madison Todd (Assistant Stage Manager) is a theatre major from Wetumpka, AL. Madison’s credits include being the Stage Manager in Tuck Everlasting, Arkansaw Bear, and Newsies. Brantley Waller (Assistant Director) is a senior who graduated with her BFA in theatre performance last year and, because she liked it so much, will graduate again this year with a BA in visual media and a minor in Spanish. Some of her directing credits include Progress, a oneact performed as part of last year’s student festival, The Future is Here, and Sally Cotter and the Censored Stone, produced at the Auburn Area Community Theatre last spring. Jackson Wells (Torvald Helmer) is a sophomore BFA musical theatre major from Dothan, AL. This is his first production with Auburn University Theatre. Jackson is also an active member of the fencing club on campus. Avonlea Yeakley (Anne Marie) is a sophomore theatre major from Fulshear, TX. This is her second production at Auburn University, previously being cast in Butch and the Fairy (Fairy) and Aurora (Halen). She would like to thank her Auburn family for all of their support.
Auburn University Theatre and Dance • 2021-22 Season
A Doll’s House By Henrik Ibsen
Translated by Christopher Hampton Directed by Scott Phillips Scene Breakdown
The Cast
The action takes place at the Helmer's flat.
Nora Helmer . . . . . . . . . . . . Anna Katherine Pappas
Act 1 — Christmas Eve 10 minute intermission
Torvald Helmer. . . . . . . . . . . . . . . . . . . Jackson Wells Kristine Linde. . . . . . . . . . . . . . . . Antonisia Collins Dr. Rank. . . . . . . . . . . . . . . . . . . . Mauricio Montanez Nils Krogstad. . . . . . . . . . . . . . . . . . . . Dexter Pilcher
Act 2 — Christmas Day 10 minute intermission Act 3 — The Day After Christmas
Anne Marie . . . . . . . . . . . . . . . . . . . Avonlea Yeakley Helene. . . . . . . . . . . . . . . . . . . . . . . . . . . . Bella Hardin Female Swing . . . . . . . . . . . . . . . . Rynnie Chapman Male Swing. . . . . . . . . . . . . . . . . . . . . . . . Nick DiJulio
Director’s Note When Henrik Ibsen addressed the Norwegian League for Women’s Rights in 1898, he claimed he did not write A Doll’s House with “any conscious thought of making propaganda,” and he had never “consciously worked for the women’s rights movement.” He then went on to admit that he wasn’t “even quite clear as to what the women’s rights movement really [was].” Critics sometimes cite, presumably as evidence of Ibsen’s hostility to the cause, his exhortation to the League that women could best contribute to society in their capacity as mothers. But Ibsen’s unfamiliarity with the specific platform of the Norwegian League doesn’t imply a hostility to their broader goals. As feminist scholar Katherine Rogers pointed out in 1974, Ibsen was not against the movement, but extremely supportive of its larger message: [H]aving disposed of the easy oversimplifications, Ibsen went on [in that same speech] to make clear that his real purpose was actually what the women were campaigning for, seen from a broader perspective, since rights for women are ‘a problem for mankind in general.’ Ibsen fought for human rights rather than specifically for women’s rights—but, unlike so many libertarians, never forgot that the first include the second. The playwright, writing two decades before his address to the League, made very clear his views on the inequities that women faced. “A woman,” he held, “cannot be herself in modern society. It is an exclusively male society, with laws made by men and with prosecutors and judges who assess female conduct from a male standpoint.” He recognized the conventional conception of motherhood as a cultural fact with which women had to contend, but he also observed, pointedly and critically, that “[a] mother in modern society, like certain insects, goes away and dies once she has done her duty by propagating the race.” Can a woman be herself in our society? It is an open question. We live in a time where gender roles remain highly contested, and in a state in which many traditional aspects of marriage and relationships between men and women go uncontested or are even championed. The current culture wars have extended our conversations and debates on gender norms in ways inconceivable to Ibsen, the women of the Norwegian League or their nineteenth century critics, but I think a revisitation of A Doll’s House has strong resonance. Nora’s gradual realization that her marriage is a sham and that she can never assert her own identity within the boundaries of her relationship with Torvald Helmer reflects both 19th century patriarchal conventions as well as the societal and economic constraints that many contemporary women face, including access to abortion services, workplace sexual harassment, and the many structural inequities, too numerous to mention, that inhibit equality of opportunity and pay. “There is something timeless about [Doll’s House],” Hattie Morahan remarked while playing the role of Nora in London at the Duke of York’s Theatre in 2013. “[And that] is what's so shocking. You try to keep it in its box of 19th-century Scandinavia, but the things Ibsen writes mean it ceases to be about a particular milieu and becomes about marriage (or partnership) and money. These are universal anxieties, and it seems from talking to people that it resonates in the most visceral way, especially if they are or have been in a difficult relationship. Someone said to me the other night, ‘That’s the play that broke my parents’ marriage up.’ It shines a very harsh light on the messy heart of relationships, and how difficult it can be to be honest with another human being even if you love them.”
Auburn University Theatre and Dance gratefully acknowledges support for this production from the Office of the Provost of Auburn University. A Doll's House (Hampton, trans.) is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
auburnuniversitytheatre.org
Artistic Team
Company Biographies
Artistic Director: Chase Bringardner Director: Scott Phillips Assistant Director: Brantley Waller Costume Designer: Tracy Oleinick Assistant Costume Designer: Mary Grace Sullivan Lighting Designer: Fereshteh Rostampour Projection Designer: Fereshteh Rostampour Scenic Designer: Fereshteh Rostampour Assistant Scenic Designer: Katie Wolfe Sound Designer/Engineer: Bailey Fenn Choreographer: Adrienne Wilson
Rynnie Chapman (Female Swing) is a junior BFA performance and visual media studies major with a concentration in costumes from Auburn, AL. She recently played Sandy in New Horizons Theatre Company’s performance of Grease. Her AU Theatre credits include Bring It On (Truman Cheerleader). Rynnie is so excited for you to see this beautiful show!
Production Team Director of Production: Bram Sheckels Staff Technical Director: Matt Gist Assistant Technical Director: Cameron Lucas Assistant Student Technical Director: Matthew Smith Costume Shop Manager: Jennifer Salter Assistant Costume Shop Manager: Alyssa Allen Stage Manager: Annabell Mallard Assistant Stage Manager: Madison Todd Wardrobe Supervisor: Julianna Devaney Assistant Wardrobe Supervisor: Sydney Pereira Wardrobe Crew: Whitley Adams, Navi Collins, Lauren Northcutt Wig Master: Ashley Digiovanni Wig Crew: Fox Snead Props Coordinator: Edward Ortego Charge Artist: Mal Waggoner Scenic Artists: Claudia Peeples, Katie Wolfe Master Electrician: Olivia Price Assistant Master Electrician: Bailey Fenn Light Board Operator: Kate Harrington Fly Rails: Matthew Smith Co-House Managers: Hali Everette, Carson Huerta
Production Crews Scenic Studio: Lisa Alfa, Nisi Collins, Jonny Dickey, Torlexcia Dixon, Bailey Fenn, Sydney Golden, Kate Harrington, Kaci Henders, Clay Hodges, Morgan Hogans, Mary Keyton, Maddie Maradik, Holden Mathison, Addison Peacock, Claudia Peeples, Olivia Price, Lauren Selvia, Danielle Simmons, Matthew Smith, Madison Todd, Mal Waggoner, Duoer Ye
Costume Studio: Whitley Adams, Ashleigh Avallone, Navi Collins, Jordan Denson, Nick DiJulio, Shelby Dupree, Bailey Hammett, Elle Hartman, Charlcie Hathorn, Grace Moebes, Lauren Northcutt, Katie Pappas, Meredith Rice, Adam Stremmel, Mary Grace Sullivan, Anna Turpen, Jenna Viana, Avonlea Yeakley
Glimmers in the Dark
Antonisia Collins (Kristine Linde) is a junior BFA music theatre major from Montgomery, AL. Previous credits include Bring It On (Brittany), Together Apart (Ensemble), New Day Dawning (Ensemble), Eat Dessert First (Mother). She loves the stage and loves to bring joy to an audience. She has been cast in six shows here at Auburn including this one. She is excited to continue her journey as an actress at Auburn University. Nick DiJulio (Male Swing) is a sophomore double major in Theatre performance and Visual Media Studies from Auburn, AL. Previous Auburn Theatre credits include Little Women (John Brooke), Recess (Lucas), and Requesting Leave (Jeremy). He is a proud member of the Auburn University Players, the AU New Media Club, and Mosaic Theatre Company. He is happy to be participating in his 3rd show at Auburn. Bella Hardin (Helene) is a freshman psychology major and theatre minor from Auburn, AL. Bella has a background of show choir and competitive dance. This is her first role at Auburn University, and she is excited to continue her theatre journey on the Auburn University stage. Annabell Mallard (Stage Manager) is a junior BFA theatre management major from Norcross, GA. Previous Auburn credits include: Together Apart (Sound Designer), New Day Dawning (Sound Assistant), The Future is Here student festival (Management Team). Mauricio Montanez (Dr. Rank) is a junior psychology major and theatre minor from Mexico City, Mexico. He has a law degree from Universidad Iberoamericana and attended The Neighborhood Playhouse of the Theatre in ’17 and The Lee Strasberg Theatre & Film Institute in ’18, ’20 and ’21 in New York City. Anna Katherine Pappas (Nora Helmer) is a senior BFA performance major from Daphne, AL. Some of her Auburn University Theatre credits include Little Women (Meg), Marion Bridge (Agnes Understudy), and The Belle’s Stratagem (Masquerader/Servant). She is excited that live theatre is back and to be a part of the first show of the season. Dexter Pilcher (Nils Krogstad) is a senior BFA performance major. His favorite past roles include Caliban from Shakespeare’s The Tempest and Napoleon from Ian Wooldridge’s adaptation of Animal Farm. Dexter is also an active member of the Auburn University Mosaic Theatre Company. Outside of theatre, he enjoys writing and cosplaying, attending several conventions and charity events, most often recognized as the Star Wars villain Kylo Ren. Madison Todd (Assistant Stage Manager) is a theatre major from Wetumpka, AL. Madison’s credits include being the Stage Manager in Tuck Everlasting, Arkansaw Bear, and Newsies. Brantley Waller (Assistant Director) is a senior who graduated with her BFA in theatre performance last year and, because she liked it so much, will graduate again this year with a BA in visual media and a minor in Spanish. Some of her directing credits include Progress, a oneact performed as part of last year’s student festival, The Future is Here, and Sally Cotter and the Censored Stone, produced at the Auburn Area Community Theatre last spring. Jackson Wells (Torvald Helmer) is a sophomore BFA musical theatre major from Dothan, AL. This is his first production with Auburn University Theatre. Jackson is also an active member of the fencing club on campus. Avonlea Yeakley (Anne Marie) is a sophomore theatre major from Fulshear, TX. This is her second production at Auburn University, previously being cast in Butch and the Fairy (Fairy) and Aurora (Halen). She would like to thank her Auburn family for all of their support.
Auburn University Theatre and Dance • 2021-22 Season
A Doll’s House By Henrik Ibsen
Translated by Christopher Hampton Directed by Scott Phillips Scene Breakdown
The Cast
The action takes place at the Helmer's flat.
Nora Helmer . . . . . . . . . . . . Anna Katherine Pappas
Act 1 — Christmas Eve 10 minute intermission
Torvald Helmer. . . . . . . . . . . . . . . . . . . Jackson Wells Kristine Linde. . . . . . . . . . . . . . . . Antonisia Collins Dr. Rank. . . . . . . . . . . . . . . . . . . . Mauricio Montanez Nils Krogstad. . . . . . . . . . . . . . . . . . . . Dexter Pilcher
Act 2 — Christmas Day 10 minute intermission Act 3 — The Day After Christmas
Anne Marie . . . . . . . . . . . . . . . . . . . Avonlea Yeakley Helene. . . . . . . . . . . . . . . . . . . . . . . . . . . . Bella Hardin Female Swing . . . . . . . . . . . . . . . . Rynnie Chapman Male Swing. . . . . . . . . . . . . . . . . . . . . . . . Nick DiJulio
Director’s Note When Henrik Ibsen addressed the Norwegian League for Women’s Rights in 1898, he claimed he did not write A Doll’s House with “any conscious thought of making propaganda,” and he had never “consciously worked for the women’s rights movement.” He then went on to admit that he wasn’t “even quite clear as to what the women’s rights movement really [was].” Critics sometimes cite, presumably as evidence of Ibsen’s hostility to the cause, his exhortation to the League that women could best contribute to society in their capacity as mothers. But Ibsen’s unfamiliarity with the specific platform of the Norwegian League doesn’t imply a hostility to their broader goals. As feminist scholar Katherine Rogers pointed out in 1974, Ibsen was not against the movement, but extremely supportive of its larger message: [H]aving disposed of the easy oversimplifications, Ibsen went on [in that same speech] to make clear that his real purpose was actually what the women were campaigning for, seen from a broader perspective, since rights for women are ‘a problem for mankind in general.’ Ibsen fought for human rights rather than specifically for women’s rights—but, unlike so many libertarians, never forgot that the first include the second. The playwright, writing two decades before his address to the League, made very clear his views on the inequities that women faced. “A woman,” he held, “cannot be herself in modern society. It is an exclusively male society, with laws made by men and with prosecutors and judges who assess female conduct from a male standpoint.” He recognized the conventional conception of motherhood as a cultural fact with which women had to contend, but he also observed, pointedly and critically, that “[a] mother in modern society, like certain insects, goes away and dies once she has done her duty by propagating the race.” Can a woman be herself in our society? It is an open question. We live in a time where gender roles remain highly contested, and in a state in which many traditional aspects of marriage and relationships between men and women go uncontested or are even championed. The current culture wars have extended our conversations and debates on gender norms in ways inconceivable to Ibsen, the women of the Norwegian League or their nineteenth century critics, but I think a revisitation of A Doll’s House has strong resonance. Nora’s gradual realization that her marriage is a sham and that she can never assert her own identity within the boundaries of her relationship with Torvald Helmer reflects both 19th century patriarchal conventions as well as the societal and economic constraints that many contemporary women face, including access to abortion services, workplace sexual harassment, and the many structural inequities, too numerous to mention, that inhibit equality of opportunity and pay. “There is something timeless about [Doll’s House],” Hattie Morahan remarked while playing the role of Nora in London at the Duke of York’s Theatre in 2013. “[And that] is what's so shocking. You try to keep it in its box of 19th-century Scandinavia, but the things Ibsen writes mean it ceases to be about a particular milieu and becomes about marriage (or partnership) and money. These are universal anxieties, and it seems from talking to people that it resonates in the most visceral way, especially if they are or have been in a difficult relationship. Someone said to me the other night, ‘That’s the play that broke my parents’ marriage up.’ It shines a very harsh light on the messy heart of relationships, and how difficult it can be to be honest with another human being even if you love them.”
Auburn University Theatre and Dance gratefully acknowledges support for this production from the Office of the Provost of Auburn University. A Doll's House (Hampton, trans.) is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
auburnuniversitytheatre.org
Supporting Our Students Our theatre students are some of the hardest working students on campus. They depend on scholarship support to keep up rigorous academic and creative schedules, and to balance the various aspects of student life. You can help support our hardworking student citizen artists by making a donation online today!
auburngiving.org/theatre
334.844.4748
Our Generous Donors Carol Luther
Rick and Mary Zellmer
Paul Kyle Butler
Ms. Melissa Brown Herkt
We thank all our patrons for any contribution made during the 2021-2022 season. Your generous gift is in support of the student scholarship fund.
Department of Theatre and Dance Administrative Staff
Our Mission
Department Chair: Chase Bringardner Office Administrators: Becky Henderson, Hannah Herndon Marketing Coordinator: Magali Zaslabsky Graphic Designer: Ashley Butler
Theatre has the potential to foster dialogue, alter perceptions, and inspire social change. The Auburn University Department of Theatre is dedicated to the education and professional training of theatre artists, scholars, and audiences within a liberal arts environment.
Student Staff: Production Assistant: Anna Vu Sound & Lighting Assistant: Bailey Fenn Scenic Studio Assistants: Matthew Smith, Katie Wolfe Costume Studio Assistants: Bailey Hammett, Julianna Devaney, Rynnie Chapman Wig Assistant: Ashley Digiovanni Paints and Props Assistant: Mal Waggoner Box Office Assistants: Nisi Collins, Sydney Pereira, Addison Peacock, Lauren Selvia Marketing/Recruitment Assistants: Jenna Viana, Katie Pappas, Nikki Ahlf
The Department champions the interaction between theory and practice and produces citizen artists who advocate for the arts through their own work in local, national, and international communities. Auburn University theatre students think critically, creatively, and collaboratively and carry their knowledge from rehearsal spaces and classrooms to stages, campuses, and communities worldwide.
Learn more about our department and degree tracks at:
auburnuniversitytheatre.org Social icon
Rounded square Only use blue and/or white. For more details check out our Brand Guidelines.
Follow us on Facebook, Instagram, and Twitter
More Tales of Grit and Grace ... A Doll's House Part 2 (Free Staged Reading) October 21~23, 2022 • Telfair B. Peet Black Box Theatre Lucas Hnath's fresh, contemporary “sequel” to Ibsen's classic tale
Spring Awakening November 11~19, 2021 • Telfair B. Peet Mainstage Theatre Sater & Sheik’s Tony Award-winning pop/rock musical Spring Awakening is intended for mature audiences.
theatretickets.auburn.edu 334.844.4154