Yoga Play Program Guide

“Yoga Play” is presented by special arrangement with Concord Theatricals on behalf of Samuel French Inc. www.concordtheatricals.com

Creative Team Director

Reena Dutt Scenic Designer Vivian Mulvihill Hair & Makeup Designer Ella McDonald

Costume Designer Ashley Gabrielle Corachea Sound Designer Nick Johnson

Lighting Designer Andrew Padilla Props Designer Ellie Montenegro

Intimacy Choreographer Mateo Limas Yoga Consultant Andy Rines

Company Manager Perla Barajas

Vocal Coach Jessica Woollen

Stage Manager Chris Osborne For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

A Note from the Director Being the child of immigrants of the ‘60s, my progressive parents (who met in Connecticut) never forced me to learn about my culture. Being from two different parts of India, their own two cultures were quite different already.

The common ground was Elvis Presley and The Beatles.

Instead of going to Indian dance classes, I learned to figure skate. I was allowed to match my Science Olympiad studies with acting in school plays. Reading YOGA PLAY made me relate so fully with the character of ‘Raj’. Growing up, it was all about fitting in. I gravitated to the theatre department where people never judged my culture or my lunchbox – we talked about poetry, and stories, and celebrated our Speech and Debate events. I felt the furthest thing from Othered.

As an adult, particularly in the entertainment industry where being pigeonholed is commonplace if you look a specific way, I have a love-hate relationship with identity. Although I am by definition, all-American, I also don’t want my heritage to be misinterpreted. It’s like a Spidey Sense to witness misinterpretation of the culture from which my parents came.

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I was raised to accept all people, ask questions when curious, and learn through (and about) the experiences of others… Not point fingers, value fear over curiosity, or push away experiences we don’t understand. Diversity is the beauty of being American. In YOGA PLAY this diversity – as an Indian-American, as a women, as spiritual and corporate leaders – is celebrated, scrutinized, laughed at, and laughed with.

We’re diving into nuance with two feet. This play, albeit funny as all heck, also has a lot of heart that works in conjunction with self-realization. Your playwright Dipika has crafted something that could really hold a mirror up and speak volumes about who we are, who we want to be and who we choose to empathize with. Have a good laugh, and an uncomfortable sigh after… it’s what makes our complicated lives more interesting.

Put on your seatbelt, enjoy the whirlwind, and don’t forget to breathe.

Reena Dutt, Director Yoga Play CalRep at CSULB

For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

A Note from the Chair I am delighted to welcome you to CalREP for our second showof the Spring 2025 Season, Dipika Guha’s sharp and insightful comedy Yoga Play.

A celebrated Los Angeles-based playwright, Ms. Guha brings us a world that is both hilariously absurd and deeply human—a witty examination of the wellness industry, corporate ambition, and the search for authenticity in a world obsessed with perfection.

It has been a treat to welcome Ms. Guha into the process, joining the cast via zoom during rehearsals, and connecting her early on with the show’s director Reena Dutt, an esteemed local theatre director who we are pleased to have joining us for the first time at CSULB. Following Yoga Play, our CalREP season continues with Red Bike by Caridad Svich, an evocative journey of selfdiscovery, and Alice in Slasherland by Qui Nguyen, a wildly fun and darkly comic horror adventure.

For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

We invite you to join us for these productions as we celebrate this season’s theme “laughing together,” celebrating diverse voices through comedy.

In a time when gathering together feels more essential than ever, we are grateful to share this experience with you. Thank you for supporting live theatre and for being part of CalREP. Now, sit back, turn off your phone, and enjoy the show!

Warmly, Ezra LeBank Artistic Director Theatre Arts Department Chair

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Cast

Aidan McGuiness (John Dale/ Alan Carr/ Guruji) This is Aidan’s 7th production with CalRep. Past credits include “Bobby Strong” in Urinetown, “Brad Majors” in The Rocky Horror Show, and “Noel Gruber” in Ride the Cyclone. He is very grateful for the opportunity to continue creating meaningful artwork and he hopes you enjoy the show.

Instagram: @aidan.mcguiness

Amelia Priestley as “Joan”

Aidan McGuiness as “John Dale/ Alan Carr/ Guruji”

Amelia Priestley (Joan) Amelia Priestley is making her second appearance on the Main Stage as the dynamic, Joan. Congratulations to the cast, crew, and creative team for bringing this chaotic world to life.

She would like to thank her incredible support system and dedicate her performance to all the tired women in her life.

For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

Cast

Ved Banerjee as “Raj Kappor”

Ved Banerjee (Raj Kappor) Ved Banerjee is a recently switched 1st year Theater Arts major. He has no prior experience in theater or drama, but was nevertheless excited to take on the role of Raj. Many thanks to everyone on the team who has mentored and guided him towards his stage debut.

Terance Kissel (Fred) Terance Kissel is a 4th year Theater Performance Major and is excited to be performing as part of this production. His past credits include; The Jukebox Musical: The Musical (Dick), and Wrong Formula (Clark). He would like to extend his most sincere thanks to the cast, crew, artistic team, and friends he made along the way.

Terance Kissel as “Fred”

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Cast

Kayla Lincoln as “Romola/Lucy”

Kayla Lincoln (Romola/Lucy) Kayla is so excited to be a part of this production! Kayla, a 1st year Theater Major is ready for many more shows during her time at CSULB! She would like to thank her family for always encouraging her to follow her dreams and passion!

She hopes you enjoy the show!

Cole Dahlia Prekoski (Lauren Lily Clark Rose) Cole Dahlia Prekoski is a sophomore Theatre/Philosophy Major and is thrilled to share this production with everyone. She has previously been a part of Frantic Assembly: Long Beach and Out West here at CSULB. She is grateful to everyone involved who helped bring together this important and entertaining show.

Cole Dahlia Prekoski as “Lauren Lily Rose Clark”

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Cast

Olivia Truninger as “Nooyi”

Olivia Truninger (Nooyi) Olivia is a 2nd year Theatre performance major. She’s excited to be a part of her first Mainstage production at CSULB! Her past credits include Bottoms and Bones: A Heterosexual Horror (Brittany Bones) and Up/Downstairs (God). She hopes the cast and crew has an amazing show!

Featuring the voice talents of: Pragya Verma as “Mrs. Kapoor” Aryan Chhabra as “Mr. Kapoor”

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Crew Assistant Directors

Assistant Stage Manager

Jazmine Cordero Chloe Ward

Gray Nathan

Assistant Scenic Designers Niko Flores Ellie Montenegro

Production Assistants Aleks Marquez Bryan Tiglio

Assistant Lighting Designer Assistant Costume Designer Quinn O'Kelly

Kyle Matsuda

Assistant Make-up Designer Tianti Mhonaé

Programmer Apollo Artry

Costume Crew

Tayric Elliott Gilberto Garcia Lily Guo Peyton Johnson Ellia Kabba Andy Melgar Janani Nair Rozhina Rostampour Dana Sandoval Kendall Webb

Light & Sound Board Operators Vannessa Leal Noelle Smith Jazmine Martinez Jamie McLean

Scenic Crew

Sarai Aman Jeremy Fauni Zoey Martin Gissele Navarro Lee Rodriquez Maria Stewart

Hair & Makeup Crew Christina Bell Grace Jacobson Melisa Odabas Emily Quintero Brianna Sanchez

For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

Study Guide Dipika Guha originally wrote Yoga Play as a commission for South Coast Repertory in Costa Mesa.

She and her husband had recently relocated to California, and she became fascinated with the remarkably dichotomous cultural values of the state.

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Synopsis At its core, Yoga Play explores corporate responsibility, cultural appropriation, and the hunger for authenticity in an era of branding and spin. With consumers demanding more transparency than ever—whether it’s how products are made or whose voices are being centered—Yoga Play’s storyline about a yoga apparel company scrambling to “fix” its image in the face of scandal hits close to home.

The play humorously exposes how Western businesses often commodify Eastern spiritual practices to drive sales, raising uncomfortable questions about profit, identity, and the tension between genuine belief and marketable packaging.

Its characters scramble to find a “true” guru, the audience sees how the corporate world can misunderstand or commercialize ancient traditions, something we still see in popular wellness culture.

Yoga Play underscores a universal desire for meaning in a world saturated with consumerism. By the end, the protagonist’s impromptu, heartfelt realization makes the play not just a comedy about brand image, but also a reflection on sincerity, personal conviction, and the possibility of redeeming flawed institutions.

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Yoga Play Characters JOHN DALE John Dale founded Jojomon in his fifties, yet still carries himself with the swagger of an aging rock star. When conflict arises, he leans on what he calls “peaceful corporate” strategies — methods that project calm but often serve to gloss over deeper tensions.

Beneath his laid-back exterior, John harbors a fierce passion for his brand, though he’s more skilled at avoiding trouble than confronting it head-on.

JOAN A white American woman in her early fifties (or close in appearance), Joan has navigated the corporate sphere long enough to become Jojomon’s new CEO. She’s intimately familiar with the burden of being a female leader in a predominantly male-dominated business culture. While Joan strives to maintain a collected front, the relentless pressure to fix Jojomon’s public image tests her composure at every turn.

For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

Yoga Play Characters RAJ Raj, in his mid-thirties, is South Asian by heritage and American by upbringing. Born into privilege, he rarely stops to consider how that privilege shapes his perspective.

Ironically, despite knowing next to nothing about his cultural roots, he’s often pigeonholed as the “South Asian expert” at Jojomon—an expectation he’s neither prepared for nor entirely comfortable with.

FRED Fred, a Singaporean in his mid-thirties, balances professional ambition with the anxieties of a tenuous work visa. He keeps a low profile but is the one who truly understands Indian culture, languages, and customs. Overlooked and overshadowed, Fred quietly proves to be the real authority on what Jojomon claims to stand for — if only anyone thought to ask him.

For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

Yoga Play Characters ROMOLA Romola, in her mid-twenties, comes from a Latina (or similarly non-South Asian) background and is devoted to yoga both in principle and practice. She can be fiery in her passion, blending genuine spiritual interest with a practical awareness of yoga’s lucrative potential. Torn between mindfulness and monetization, Romola navigates the blurred lines where personal growth meets corporate gain.

LAUREN LILLY CLARK ROSE Lauren Lilly Clark Rose embodies the ultimate American influencer. As Jojomon’s lead brand ambassador, she’s made a career out of turning her every pose into a marketing opportunity.

Beneath the sunshine-filtered selfies, Lauren is savvy and ambitious, always searching for the next boost in likes, shares, and followers—especially when it can drive Jojomon’s image forward.

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Yoga Play Characters GURUJI In his early forties or fifties, Guruji stands out not only because he’s white, but because he has genuinely dedicated himself to yogic traditions for decades.

Having immersed himself in meditation and spiritual practice, he radiates a calm that instantly contradicts any skepticism about his authenticity. When he speaks of yoga’s deeper philosophies, it’s with a quiet conviction that suggests he’s not just playing a part—he’s truly living the lifestyle.

LUCY A highly educated American in her midtwenties, Lucy joined Jojomon with idealistic notions of blending mindful living and progressive commerce.

Spirited and intelligent, she yearns to make a real impact. Yet, every so often, she finds herself caught in a whirlwind of corporate demands, leaving her to question whether her academic background prepared her for the realities of workplace politics.

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Yoga Play Characters NOOYI As Joan’s dedicated secretary, Nooyi brims with optimism — sometimes to the point of over-enthusiasm. In her early to midtwenties, she approaches each task with an eagerness that borders on the frantic, desperate to prove her worth in the highstakes world of Jojomon. Her genuine desire to help others often shines through, reminding everyone that her earnestness is fueled by sincere devotion.

MR. / MRS. KAPOOR Matching her husband’s social status and accent, Mrs. Kapoor is every bit as dignified —though in her early sixties, she’s far softer in her demeanor. Her accent and bearing reflect an upbringing in India’s upper crust, and she often frets over her son in ways both loving and overbearing.

Where Mr. Kapoor shouts, she soothes, yet she remains unwavering in her convictions about family honor.

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Meet the Playwright: Dipika Guha

Dipika Guha is an accomplished playwright who has transitioned into TV writing for shows on various networks and streaming platforms. Her background is in playwriting, with fellowships and commissions from prestigious institutions.

She was born in Calcutta, India and raised in India, Russia, and the United Kingdom Her plays include Yoga Play, The Art of Gaman, and Unreliable She is the inaugural recipient of the Shakespeare's Sister Playwriting Fellowship, a Hodder Fellow at Princeton University, and a Venturous Fellow with the Lark Play Development Center For television, she has written for American Gods, Sneaky Pete, projects at AMC and Netflix.

She is currently writing for The Marvelous Mrs. Maisel on Amazon and Black Monday for Showtime.

She received her BA in English Literature from University College London, was a Frank Knox Fellow at Harvard University, and earned her MFA in Playwriting from Yale School of Drama under Paula Vogel

For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

An Interview with Dipika Guha on Yoga Play

“It’s a play about yoga and Capitalism and what it means to be yourself.”

“The tensions of world views in this play, of yoga, which is buried in an Indian religion and Hinduism, and the way it is interpreted, I hope there is a space and generosity in looking at appropriation and space for questioning it and laughing at it.”

Displacement and the different languages of displacement and the theatrical language of displacement have always been in my work, but this is the first time it has been through the lens of comedy.”

(Interview with South Coast Repertory) For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

What inspired the writing of Yoga Play?

“The Crossroads Commission provides resources for writers to come to Orange County and nose around researching topics that might interest us. I had a short list of subjects to explore but when I arrived and found the proliferation of yoga, wellness and meditation studios, I knew I’d found my subject. The last time I had done yoga with others was as an 11 year-old in India.

I had never been to a yoga class in the United States so it was a shock to the system-a good shock, one that felt productive and exciting as I tried to make sense of the juxtaposition of the often (high) cost of feeling spiritual or good with the true benefit it seems to do people.

I started asking what was left out in this commercialization of yoga? And that question felt deep enough to ask in a play. I was was inspired to look deeper into the history of yoga in Hinduism.

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What inspired the writing of Yoga Play?

It led me to think about what is ancient and new, about eastern and western philosophy and about the multiplicity of our allegiances in the modern world Many of us feel at home in places where we are not from. The ease of movement has meant that our eyes have been opened to the farthest reaches of the world and yet our desire to connect with each other is still as raw as ever.”

(Joel Beers, OC Weekly April 30, 2017)

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YOGA

Yoga’s roots stretch back at least 5,000 years to the Indus-Sarasvati civilization in Northern India, with some suggesting it may be even older. Teachings were passed down orally and early writings were on fragile palm leaves, much of yoga’s precise origins remain uncertain.

The Bhagavad-Gîtâ, composed around 500 BCE, is considered a central yogic text, yet it wasn’t until the second century that Indian sage Patanjali compiled the Yoga Sutras—195 statements forming a cohesive guide toward enlightenment, commonly called “classical yoga” or “Raja Yoga.”

In the following centuries, practices like Tantra Yoga emerged, leading to Hatha Yoga, which many associate with the physical postures widely taught today.

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YOGA By the late 19th and early 20th centuries, yoga masters such as Swami Vivekananda introduced these teachings to the West, culminating in the first Hatha Yoga school in 1924. Since then, yoga has grown globally, celebrated for its ability to promote health and well-being.

Over 40 million yoga studio business existed in the U.S. at the end of 2021 (Pandya)

With a global market worth more than $100 billion dollars a year, yoga is a massive industry. With its origins in India, Yoga is often considered to be part of the Hindu tradition, as well as being influenced by other religions including Buddhism and Islam. Yet with modern studios and teachers offering a plethora of styles from fitness to beer yoga, has it become disconnected from its spiritual roots? And is the surge in social media trends diluting its authenticity? Geeta Pendse meets Tejal Patel in the United States, and Jasminder Bahia in the UK, two women on personal missions to ‘reclaim yoga’ whilst balancing the demands of business with the spiritual roots of this ancient practise.

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Religious Literacy “Yoga is a Sanskrit word, deriving from a verb meaning ‘to yoke’ or ‘to join.’ It is both physical and spiritual discipline to which one freely ‘yokes’ oneself; at the same time, it is a regimen which ‘joins’ body and mind in the project of spiritual transformation. Yoga presupposes the ‘mind-body’ link that has now become a widely shared ‘holistic’ view of the person. Exploring this ‘mind-body’ connection is an integral part of the world view known as the New Age. As described in the ancient Yoga Sutras of Patanjali, said to have been written in about the 2nd century BCE, the path of yoga begins with ethical restraints and observances. In other words, the practice of yoga rests on a foundation of morality” (The Pluralism Project, 2020).

Athleisure “Athletic” and “leisure,” beget the portmanteau Athleisure; a term that dates back to the 1970s, describing clothing designed for those who wanted to appear athletic. In the late ‘70s and early ‘80s, the clothing was designed to look like exercise clothing, but did not actually function as clothes to work out in.

Before that, “sportswear” was tied to the activity or sport. Throughout the rise of sportswear and athleisure, many of the most successful designers were women, including designers Gabrielle “Coco” Chanel, Claire McCardell, and Bonnie Cashin. By the end of the 20th century, sportswear had become a norm and was worn outside of athletics.

As a result, designers have started athleisure lines (like Stella McCartney partnering with Adidas to create a women’s sports performance collection) and celebrities have worked with brands to craft their visions of athleisure (i.e Rihanna’s collaboration on Fenty Puma.)

The Global Athleisure Market is projected to reach $393.7 Billion in 2024 (Dimension Market Research)

Ethical Leadership at CSULB

The prominent corporate ethical lapses of the early 2000s had devastating social and economic consequences. They also led to increased discussion surrounding corporate social responsibility. Regulations like Sarbanes-Oxley were designed to promote corporate governance – aligning interests of corporate management with other stakeholders in a way that would discourage such failures in the future.

From this renewed interest in the role of businesses beyond profit maximization, we have learned that social responsibility and earning the highest return are not mutually exclusive. In fact, studies show that in the long-run, companies that are more socially responsible tend to also perform better financially. This is for several reasons; younger generations are more inclined to purchase from companies with a social conscience, and with the advent of social media, the public is more likely to become aware of poor behavior. Further, companies with transformational leadership tend to have lower employee turnover and higher employee engagement, creativity, and loyalty. Businesses that wish to achieve these benefits must invest in strong ethical leadership. As John Wooden stated, “[t]he leader’s attitude, conscious and subconscious, inevitably becomes the attitude of those (s)he leads.”

Ethical Leadership at CSULB To that end, it is imperative that companies articulate clearly defined values and regularly align their decisions towards those values. On a personal level, it is equally important that individuals do the same. While there may not be the same financial returns from individual dedication to ethical behavior, many argue that there are real benefits to be experienced (both in this life and, depending on your belief system, the next). Some say ethical behavior is important for avoiding cognitive dissonance and guilt, allowing them to sleep peacefully. Others say it simplifies life – they don’t have to spend time scheming, defending, and looking over their shoulder. I think that ethical behavior allows us to build stronger bonds, both interpersonally and as a society. There cannot be connection without trust, and it is hard to trust people who are ingenuine. Whether you question the importance of ethics from a corporate perspective or a personal perspective, I would in turn pose the question “what do you want your legacy to be?” Once you answer that, go live life accordingly.

Celeste Ahl, Esq. Instructor, Student Leadership Institute Ukleja Center for Ethical Leadership at CSUL 562.985.8600 ucel@csulb.edu Office COB 200 Janey Roeder Director Dr. Kathleen A. Lacey Faculty Director Emeritus

Ms. Guha on Theater & Spirituality I suppose I see who we think we are as a kind of elaborate fiction. Our personas seem to me to be so temporary. I think theater is a place where we openly acknowledge that “who we are” is, at best, a loose assemblage of things. It’s so loose, in fact, that you can put it down to become someone else for a time.

This is very freeing to me because it acknowledges what I believe is a spiritual fact: We all contain playful multitudes or aspects, and our “self” is really a collection of narratives about past experiences. None of these stories about who we are need be permanent. The theater allows for this very direct truth to be unarguably present.

That has always felt fun and real and liberating.”

(BOMB Jan 19, 2023 Jen Silverman)

Curious to hear more?

Listen to an AmericanTheater.Org Interview with Dipika Guha

For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

Yoga Play at CALREP

an interview with director Reena Dutt:

Click here to view the full Interview

”I’m hoping people leave after a really good laugh and maybe dream a little bit about what it is they want out of life and how to breathe through it and get exactly that.”

-Reena Dutt in the Director’s Interview

Student Discussion Questions

How does the play critique corporate ethics and cultural appropriation in the wellness industry? Do you think the play offers any solutions, or does it simply expose the problem?

How do the characters—Joan, Raj, Fred, and others— struggle with authenticity, and how does this connect to broader discussions about cultural identity?

How does Yoga Play use satire and humor to highlight the contradictions within corporate wellness culture?

Are there moments where the humor forces the audience to confront uncomfortable truths?

For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

Student Discussion Questions How does Joan’s character reflect the pressures of being a woman in a high-powered corporate position? Does she grow or change by the end of the play?

How do characters "perform" their roles, and what does this say about the intersection of capitalism and spirituality Does the play accurately or effectively critique the Western commercialization of Eastern traditions like yoga? How does the portrayal of figures like Guruji contribute to this conversation?

Do you think the ending suggests any real change in the characters or the industry they work in? Why or why not?

For any questions about our Program Guide info please email: cota-calrep@csulb.edu.

Parking Information Parking for the Studio Theater is available adjacent to the Theater Arts building in lot E8.

E8 parking is available Mon-Fri after 5:30pm, on weekends parking is available all day.

To park at E8, one must have a CSULB Parking pass, purchase timed parking, or purchase a daily pass for $15 from the kiosk.

Studio Theater

E8 Lot

More Parking Information

CSULB Campus Map

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Theater Etiquette Reminders WE DO NOTE OPERATE LIKE A MOVIE THEATER. YOU ARE A PART OF THE SHOW. YOUR THEATER ETIQUETTE IS A PART OF THE SHOW, EVERYONE IS ABLE TO SEE EVERYONE. LATE SEATING IS NOT PERMITTED: Patrons are not guaranteed seats unless they are on time and have a purchased ticket in hand. The show will start without you, no matter the reason you are late! As house managers we are trained to operate as a professional theater, and professional theaters do not allow late seating.

Walk-up Tickets and Waitlists: Any remaining tickets will be sold at the production's box office, which opens one hour before curtain. Sold-out performances begin waitlists one hour before curtain. You must arrive in person to put your name on a waitlist.

Food & Drink are not allowed in the theater: Patrons will be asked to finish their consumables before entering the theater.

Skateboards & Scooters are not allowed in the theater.

House Managers can direct you to a place for you us to hold your items during the show.

Content Advisory This show is recommended for Ages 13+ It contains racial and culturally sensitive themes.

This show also contains the use of low frequency sound.

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Class Passport Find Clues, Help PerLac, Win Prizes

All students, faculty, and staff are invited to play CalRep’s NEWEST Scavenger Hunt Visit the Game Website

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Land Acknowledgement CSULB is located on the sacred site of Puvungna. We acknowledge that we are on the land of the Tongva/Gabrieleño and the Acjachemen/Juaneño Nations who have lived and continue to live here.

We recognize the Tongva and Acjachemen Nations and their spiritual connection as the first stewards and the traditional caretakers of this land.

We thank them for their strength, perserverance, and resistance. We pay our respects to the Ancestors, Elders, and our relatives, past, present, and emerging.

To learn how you can help, please visit: www.csulb.edu/puvungna

About CALREP CALREP is the producing arm of the Theatre Arts Department at CSULB. Over the past three decades, CALREP has a history of creating new work, devised theatre and adaptations of classics.

Meet the CalRep Team

Visit our Website

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CALREP TEAM Department Chair Ezra LeBank MFA Theatre Management Faculty Jeff Janisheski Megan Wanlass Managing Director Meg Imamoto Production Manager Ashley Boehne Ehlers Technical Director Robert Waltz Master Carpenter Mitchell Domingo Scenic Student Assistants Saul Diaz Bledar Gashi Ellie Montenegro Tori Morones Arianna Echavarria Jesse Robles Costume Shop Manager Lalena Hutton Costume Shop Cutter/Draper Denise Barry Costume Shop Stitchers Vivian Mullvihill Saba Nabaeighahroudi Kelsi Haverkroft Toia Taylor Abigail Alva Mikayla McCulley Master Electrician Jasmine Flores Lighting Student Assistants/Hang & Focus Crew Aaliyah Artry Mya Baldwin Saul Diaz Kaison Edwards Sonia Giansiracusa Julia Juarez Kaitlyn Madrid Melissa Mejia-Rodriguez Deshawn Mims

Lighting Student Assistants (cont.)

Quinn O'Kelly Sean Ryder Elizabeth Sanchez Noah Stein Aiden Vice Austin Willis-Roberts Mike Zavala Media & Sound Engineer David Goyette Box Office Manager Randall Belyea Box Office Student Assistants Ashley Holguin Vincent Monastrial William Runnels Charli Southall Katie Tran Fiscal and Personnel Analyst Katie Speer Safety Technical Supervisor Tony Martinez Theatre Arts Graduate Advisor Josh Nathan Theatre Arts Academic Advisor Adriane Howze Videographer Nick Neira Production Photographer Cynthia Price Graduate General Manager Claire Pearson Management Graduate Students Amanda Anderson Perla Barajas Paula Eagleman Drew Olvey Chaunsa Oyos Claire Pearson Bob Williamson

Faculty Gayle Baizer Chris Bange Jody Berger Trevor Biship-Gillespie Ashley Boehne Ehlers Josh Breeding Collin Bressie Erin Caron Andrea Caban Martha Carter Adrian Centeno Bonnie Dolan Alana Dietze Ramy Electreby Sharna Fabiano Michelle Gibbs Rebecca Guzzi Rich Hutchman Jeff Janisheski Nipper Knapp Ezra LeBank Bradley Lock Patricia Loughrey Emily MacDonald Josh Nathan Hugh O'Gorman Robert Prior Jen Richardson Tyler Seiple Medina Senghore Anna Steers Tom Trudgeon Sarah Underwood Megan Wanlass David Ward Jessica Woollen

Yoga Play BY Dipika Guha

Yoga Play is presented by special arrangement with Concord Theatricals on behalf of Samuel French Inc. www.concordtheatricals.com

Any video and/or audio recording of this production is strictly prohibited.