CreativeTeam
Director
Reena Dutt
ScenicDesigner
VivianMulvihill
Hair&MakeupDesigner
EllaMcDonald
PropsDesigner
EllieMontenegro
CostumeDesigner
AshleyGabrielleCorachea
SoundDesigner
NickJohnson
LightingDesigner
AndrewPadilla
IntimacyChoreographer
MateoLimas
YogaConsultant
AndyRines
CompanyManager
PerlaBarajas
StageManager
ChrisOsborne
VocalCoach
JessicaWoollen
ForanyquestionsaboutourProgramGuideinfopleaseemail: cota-calrep@csulb.edu.
ANotefromtheDirector
Beingthechildofimmigrantsofthe‘60s,myprogressive parents(whometinConnecticut)neverforcedme tolearnaboutmyculture.Beingfromtwodifferentparts ofIndia,theirowntwocultureswerequitedifferentalready.
ThecommongroundwasElvisPresleyandTheBeatles. InsteadofgoingtoIndiandanceclasses,Ilearnedtofigure skate.IwasallowedtomatchmyScienceOlympiadstudies withactinginschoolplays.ReadingYOGAPLAYmademe relatesofullywiththecharacterof‘Raj’.Growingup,itwasall aboutfittingin.Igravitatedtothetheatredepartmentwhere peopleneverjudgedmycultureormylunchbox–wetalked aboutpoetry,andstories,andcelebratedourSpeechand Debateevents.IfeltthefurthestthingfromOthered.
Asanadult,particularlyintheentertainmentindustrywhere beingpigeonholediscommonplaceifyoulookaspecific way,Ihavealove-haterelationshipwithidentity.AlthoughI ambydefinition,all-American,Ialsodon’twantmyheritage tobemisinterpreted.It’slikeaSpideySensetowitness misinterpretationoftheculturefromwhichmyparents came.
ForanyquestionsaboutourProgramGuideinfopleaseemail: cota-calrep@csulb.edu.
Iwasraisedtoacceptallpeople,askquestionswhen curious,andlearnthrough(andabout)theexperiencesof others…Notpointfingers,valuefearovercuriosity,orpush awayexperienceswedon’tunderstand.Diversityisthe beautyofbeingAmerican.InYOGAPLAYthisdiversity–as anIndian-American,asawomen,asspiritualand corporateleaders–iscelebrated,scrutinized,laughedat, andlaughedwith.
We’redivingintonuancewithtwofeet.Thisplay,albeit funnyasallheck,alsohasalotofheartthatworksin conjunctionwithself-realization.YourplaywrightDipika hascraftedsomethingthatcouldreallyholdamirrorup andspeakvolumesaboutwhoweare,whowewanttobe andwhowechoosetoempathizewith.Haveagoodlaugh, andanuncomfortablesighafter…it’swhatmakesour complicatedlivesmoreinteresting.
Putonyourseatbelt,enjoythe whirlwind,anddon’tforgetto breathe.
Director
ANotefromtheChair
IamdelightedtowelcomeyoutoCalREPforoursecond showoftheSpring2025Season,DipikaGuha’ssharpand insightfulcomedyYogaPlay.
AcelebratedLosAngeles-basedplaywright,Ms.Guha bringsusaworldthatisbothhilariouslyabsurdand deeplyhuman awittyexaminationofthewellness industry,corporateambition,andthesearchfor authenticityinaworldobsessedwithperfection.
IthasbeenatreattowelcomeMs.Guhaintotheprocess, joiningthecastviazoomduringrehearsals,and connectingherearlyonwiththeshow’sdirectorReena Dutt,anesteemedlocaltheatredirectorwhoweare pleasedtohavejoiningusforthefirsttimeatCSULB.
FollowingYogaPlay,ourCalREPseasoncontinueswithRed BikebyCaridadSvich,anevocativejourneyofselfdiscovery,andAliceinSlasherlandbyQuiNguyen,awildly funanddarklycomichorroradventure.
ForanyquestionsaboutourProgramGuideinfopleaseemail: cota-calrep@csulbedu
Weinviteyoutojoinusfortheseproductionsaswecelebrate thisseason’stheme“laughingtogether,”celebratingdiverse voicesthroughcomedy.
Inatimewhengatheringtogetherfeelsmore essentialthan ever,wearegratefultosharethisexperiencewithyou.Thank youforsupportinglivetheatreandforbeingpartofCalREP.
Now,sitback,turnoffyourphone,andenjoytheshow!
Warmly, EzraLeBank ArtisticDirector TheatreArtsDepartmentChair
ForanyquestionsaboutourProgramGuideinfopleaseemail: cota-calrep@csulbedu
AidanMcGuiness (JohnDale/AlanCarr/Guruji)
ThisisAidan’s7thproduction withCalRep.Pastcreditsinclude “BobbyStrong”inUrinetown,“Brad Majors”inTheRockyHorrorShow, and“NoelGruber”inRidethe Cyclone.Heisverygratefulforthe opportunitytocontinuecreating meaningfulartworkandhehopes youenjoytheshow.
Instagram:@aidan.mcguiness
AmeliaPriestley as“Joan”
AidanMcGuiness as“JohnDale/Alan Carr/Guruji”
AmeliaPriestley(Joan)
AmeliaPriestleyismaking hersecondappearanceonthe MainStageasthedynamic, Joan.Congratulationstothe cast,crew,andcreativeteamfor bringingthischaoticworldtolife. Shewouldliketothankher incrediblesupportsystemand dedicateherperformancetoall thetiredwomeninherlife.
ForanyquestionsaboutourProgramGuideinfopleaseemail: cota-calrep@csulb.edu.
VedBanerjee as “RajKappor”
Cast
VedBanerjee (RajKappor)
VedBanerjeeisarecently switched1styearTheaterArts major.Hehasnopriorexperience intheaterordrama, butwas neverthelessexcited totakeon theroleofRaj. Manythanksto everyoneontheteamwhohas mentoredandguidedhim towardshisstagedebut.
TeranceKissel(Fred)
TeranceKisselisa4thyear TheaterPerformanceMajorand isexcitedtobeperformingas partofthisproduction.Hispast creditsinclude;TheJukebox Musical:TheMusical(Dick),and WrongFormula(Clark).Hewould liketoextendhismostsincere thankstothecast,crew,artistic team,andfriendshemade alongtheway.
TeranceKissel as“Fred”
ForanyquestionsaboutourProgramGuideinfopleaseemail: cota-calrep@csulb.edu.
KaylaLincoln as“Romola/Lucy”
KaylaLincoln(Romola/Lucy) Kaylaissoexcitedtobeapart ofthisproduction!Kayla,a1st yearTheaterMajorisready formanymoreshowsduring hertimeatCSULB!Shewould liketothankherfamilyfor alwaysencouragingherto followherdreamsandpassion! Shehopesyouenjoytheshow!
ColeDahliaPrekoski (LaurenLilyClarkRose)
ColeDahliaPrekoskiisasophomore Theatre/PhilosophyMajorandis thrilledtosharethisproductionwith everyone.Shehaspreviouslybeena partofFranticAssembly:Long BeachandOutWesthereatCSULB. Sheisgratefultoeveryoneinvolved whohelpedbringtogetherthis importantandentertainingshow.
ColeDahliaPrekoski as“LaurenLilyRoseClark”
ForanyquestionsaboutourProgramGuideinfopleaseemail: cota-calrep@csulb.edu.
OliviaTruninger as “Nooyi”
OliviaTruninger(Nooyi)
Oliviaisa2ndyearTheatre performancemajor.She’s excitedtobeapartofherfirst Mainstageproductionat CSULB!Herpastcreditsinclude BottomsandBones:A HeterosexualHorror(Brittany Bones)andUp/Downstairs (God).Shehopesthecastand crewhasanamazingshow!
Featuring thevoicetalentsof: PragyaVermaas“Mrs.Kapoor” AryanChhabraas“Mr.Kapoor”
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Crew
AssistantDirectors
JazmineCordero
ChloeWard
AssistantScenicDesigners
NikoFlores
EllieMontenegro
AssistantLightingDesigner
QuinnO'Kelly
AssistantStageManager
GrayNathan
ProductionAssistants
AleksMarquez
BryanTiglio
AssistantCostumeDesigner
KyleMatsuda
AssistantMake-upDesigner
TiantiMhonaé
Programmer
ApolloArtry
CostumeCrew
TayricElliott
GilbertoGarcia
LilyGuo
PeytonJohnson
ElliaKabba
AndyMelgar
JananiNair
RozhinaRostampour
DanaSandoval
KendallWebb
Light&SoundBoardOperators
VannessaLeal
NoelleSmith
JazmineMartinez
JamieMcLean
ScenicCrew
SaraiAman
JeremyFauni
ZoeyMartin
GisseleNavarro
LeeRodriquez
MariaStewart
Hair&MakeupCrew
ChristinaBell
GraceJacobson
MelisaOdabas
EmilyQuintero
BriannaSanchez
ForanyquestionsaboutourProgramGuideinfopleaseemail: cota-calrep@csulb.edu.
StudyGuide
DipikaGuhaoriginallywroteYogaPlayasa commissionforSouthCoastRepertoryinCostaMesa. Sheandherhusbandhadrecentlyrelocatedto California,andshebecamefascinatedwiththe remarkablydichotomousculturalvaluesofthestate.
Synopsis
Atitscore,YogaPlayexplorescorporateresponsibility, culturalappropriation,andthehungerforauthenticityin aneraofbrandingandspin.Withconsumersdemanding moretransparencythanever—whetherit’showproductsare madeorwhosevoicesarebeingcentered YogaPlay’s storylineaboutayogaapparelcompanyscramblingto“fix” itsimageinthefaceofscandalhitsclosetohome.
TheplayhumorouslyexposeshowWesternbusinessesoften commodifyEasternspiritualpracticestodrivesales,raising uncomfortablequestionsaboutprofit,identity,andthe tensionbetweengenuinebeliefandmarketablepackaging.
Itscharactersscrambletofinda“true”guru,theaudience seeshowthecorporateworldcanmisunderstandor commercializeancienttraditions,somethingwestillseein popularwellnessculture.
YogaPlayunderscoresauniversaldesireformeaningina worldsaturatedwithconsumerism.Bytheend,the protagonist’simpromptu,heartfeltrealizationmakestheplay notjustacomedyaboutbrandimage,butalsoareflection onsincerity,personalconviction,andthepossibilityof redeemingflawedinstitutions.
YogaPlayCharacters
JOHNDALE
JohnDalefoundedJojomoninhisfifties, yetstillcarrieshimselfwiththeswagger ofanagingrockstar.Whenconflict arises,heleansonwhathecalls “peacefulcorporate”strategies— methodsthatprojectcalmbutoften servetoglossoverdeepertensions.
Beneathhislaid-backexterior,John harborsafiercepassionforhisbrand, thoughhe’smoreskilledatavoiding troublethanconfronting ithead-on.
JOAN
AwhiteAmericanwomaninherearly fifties(orcloseinappearance),Joan hasnavigatedthecorporatesphere longenoughtobecomeJojomon’snew CEO.She’sintimatelyfamiliarwiththe burdenofbeingafemaleleaderina predominantlymale-dominated businessculture.WhileJoanstrivesto maintainacollectedfront,therelentless pressuretofixJojomon’spublicimage testshercomposureateveryturn.
YogaPlayCharacters
RAJ
Raj,inhismid-thirties,isSouthAsianby heritageandAmericanbyupbringing.Born intoprivilege,herarelystopstoconsider howthatprivilegeshapeshisperspective. Ironically,despiteknowingnexttonothing abouthisculturalroots,he’soften pigeonholedasthe“SouthAsianexpert” atJojomon anexpectationhe’sneither preparedfornorentirelycomfortablewith.
FRED
Fred,aSingaporeaninhismid-thirties, balancesprofessionalambitionwiththe anxietiesofatenuousworkvisa.He keepsalowprofilebutistheonewho trulyunderstandsIndianculture, languages,andcustoms.Overlooked andovershadowed,Fredquietlyproves tobetherealauthorityonwhatJojomon claimstostandfor ifonlyanyone thoughttoaskhim.
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YogaPlayCharacters
ROMOLA
Romola,inhermid-twenties,comesfrom aLatina(orsimilarlynon-SouthAsian) backgroundandisdevotedtoyogaboth inprincipleandpractice.Shecanbefiery inherpassion,blendinggenuinespiritual interestwithapracticalawarenessof yoga’slucrativepotential.Tornbetween mindfulnessandmonetization,Romola navigatestheblurredlineswhere personalgrowthmeetscorporategain.
LAURENLILLYCLARKROSE
LaurenLillyClarkRoseembodiesthe ultimateAmericaninfluencer.As Jojomon’sleadbrandambassador,she’s madeacareeroutofturningherevery poseintoamarketingopportunity.
Beneaththesunshine-filteredselfies, Laurenissavvyandambitious,always searchingforthenextboostinlikes, shares,andfollowers especiallywhenit candriveJojomon’simageforward.
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YogaPlayCharacters
GURUJI
Inhisearlyfortiesorfifties,Gurujistands outnotonlybecausehe’swhite,but becausehehasgenuinelydedicated himselftoyogictraditionsfordecades.
Havingimmersedhimselfinmeditation andspiritualpractice,heradiatesacalm thatinstantlycontradictsanyskepticism abouthisauthenticity.Whenhespeaks ofyoga’sdeeperphilosophies,it’switha quietconvictionthatsuggestshe’snot justplayingapart he’strulylivingthe lifestyle.
LUCY
AhighlyeducatedAmericaninhermidtwenties,LucyjoinedJojomonwith idealisticnotionsofblendingmindful livingandprogressivecommerce.
Spiritedandintelligent,sheyearnsto makearealimpact.Yet,everysooften, shefindsherselfcaughtinawhirlwindof corporatedemands,leavingherto questionwhetherheracademic backgroundpreparedherfortherealities ofworkplacepolitics.
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YogaPlayCharacters
NOOYI
AsJoan’sdedicatedsecretary,Nooyibrims withoptimism—sometimestothepointof over-enthusiasm.Inherearlytomidtwenties,sheapproacheseachtaskwith aneagernessthatbordersonthefrantic, desperatetoproveherworthinthehighstakesworldofJojomon.Hergenuine desiretohelpothersoftenshinesthrough, remindingeveryonethat herearnestnessisfueledbysincere devotion.
MR./MRS.KAPOOR
Matchingherhusband’ssocialstatusand accent,Mrs.Kapooriseverybitasdignified —thoughinherearlysixties,she’sfarsofter inherdemeanor.Heraccentandbearing reflectanupbringinginIndia’suppercrust, andsheoftenfretsoverhersoninways bothlovingandoverbearing.
WhereMr.Kapoorshouts,shesoothes,yet sheremainsunwaveringinherconvictions aboutfamilyhonor.
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MeetthePlaywright: DipikaGuha
DipikaGuhaisanaccomplished playwrightwhohastransitionedinto TVwritingforshowsonvarious
networksandstreamingplatforms.Herbackgroundisin playwriting,withfellowshipsandcommissionsfrom prestigiousinstitutions.
ShewasborninCalcutta,IndiaandraisedinIndia,Russia, andtheUnitedKingdom
HerplaysincludeYogaPlay,TheArtofGaman,and Unreliable
SheistheinauguralrecipientoftheShakespeare'sSister PlaywritingFellowship,aHodderFellowatPrinceton University,andaVenturousFellowwiththeLarkPlay DevelopmentCenter
Fortelevision,shehaswrittenforAmericanGods,Sneaky Pete,projectsatAMCandNetflix.
SheiscurrentlywritingforTheMarvelousMrs.Maiselon AmazonandBlackMondayforShowtime. ShereceivedherBAinEnglishLiteraturefromUniversity CollegeLondon,wasaFrankKnoxFellowatHarvard University,andearnedherMFAinPlaywritingfromYale SchoolofDramaunderPaulaVogel
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“It’saplayaboutyogaandCapitalism andwhatitmeanstobeyourself.”
“Thetensionsofworldviewsinthisplay,ofyoga,whichis buriedinanIndianreligionandHinduism,andthewayitis interpreted,Ihopethereisaspaceandgenerosityin lookingatappropriationandspaceforquestioningitand laughingatit.”
Displacementandthedifferentlanguagesof displacementandthetheatricallanguageof displacementhavealwaysbeeninmywork,butthisisthe firsttimeithasbeenthroughthelensofcomedy.”
(InterviewwithSouthCoastRepertory)
ForanyquestionsaboutourProgramGuideinfopleaseemail: cota-calrep@csulbedu
Whatinspiredthewritingof YogaPlay?
“TheCrossroadsCommissionprovidesresourcesfor writerstocometoOrangeCountyandnosearound researchingtopicsthatmightinterestus.Ihadashort listofsubjectstoexplorebutwhenIarrivedandfound theproliferationofyoga,wellnessandmeditation studios,IknewI’dfoundmysubject.ThelasttimeIhad doneyogawithotherswasasan11year-oldinIndia.
IhadneverbeentoayogaclassintheUnitedStatesso itwasashocktothesystem-agoodshock,onethatfelt productiveandexcitingasItriedtomakesenseofthe juxtapositionoftheoften(high)costoffeelingspiritual orgoodwiththetruebenefititseemstodopeople.
Istartedaskingwhatwasleftoutinthis commercializationofyoga?Andthatquestionfeltdeep enoughtoaskinaplay.Iwaswasinspiredtolook deeperintothehistoryofyogainHinduism.
Itledmetothinkaboutwhatisancientandnew,about easternandwesternphilosophyandaboutthe multiplicityofourallegiancesinthemodernworld
Manyofusfeelathomeinplaceswherewearenot from.Theeaseofmovementhasmeantthatoureyes havebeenopenedtothefarthestreachesoftheworld andyetourdesiretoconnectwitheachotherisstillas rawasever.”
(JoelBeers,OCWeeklyApril30,2017)
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YOGA
Yoga’srootsstretchbackatleast5,000years totheIndus-SarasvaticivilizationinNorthernIndia, withsomesuggestingitmaybeevenolder.Teachings werepasseddownorallyandearlywritingswereon fragilepalmleaves,muchofyoga’spreciseorigins remainuncertain.
TheBhagavad-Gîtâ,composedaround500BCE,is consideredacentralyogictext,yetitwasn’tuntilthe secondcenturythatIndiansagePatanjalicompiled theYogaSutras 195statementsformingacohesive guidetowardenlightenment,commonlycalled “classicalyoga”or“RajaYoga.”
Inthefollowingcenturies,practiceslikeTantraYoga emerged,leadingtoHathaYoga,whichmany associatewiththephysicalpostureswidelytaught today.
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YOGA
Bythelate19thandearly20thcenturies,yogamasters suchasSwamiVivekanandaintroducedthese teachingstotheWest,culminatinginthefirstHatha Yogaschoolin1924.Sincethen,yogahasgrown globally,celebratedforitsabilitytopromotehealth andwell-being.
Over40millionyogastudio businessexistedintheU.S.atthe endof2021 (Pandya)
Withaglobalmarketworthmorethan$100billiondollarsayear,yogaisa massiveindustry.WithitsoriginsinIndia,Yogaisoftenconsideredtobepart oftheHindutradition,aswellasbeinginfluencedbyotherreligionsincluding BuddhismandIslam.Yetwithmodernstudiosandteachersofferinga plethoraofstylesfromfitnesstobeeryoga,hasitbecomedisconnected fromitsspiritualroots?Andisthesurgeinsocialmediatrendsdilutingits authenticity?GeetaPendsemeetsTejalPatelintheUnitedStates,and JasminderBahiaintheUK,twowomenonpersonalmissionsto‘reclaimyoga’ whilstbalancingthedemandsofbusinesswiththespiritualrootsofthis ancientpractise.
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ReligiousLiteracy
“YogaisaSanskritword,derivingfromaverbmeaning‘to yoke’or‘tojoin.’Itisbothphysicalandspiritualdisciplineto whichonefreely‘yokes’oneself;atthesametime,itisa regimenwhich‘joins’bodyandmindintheprojectof spiritualtransformation.Yogapresupposesthe‘mind-body’ linkthathasnowbecomeawidelyshared‘holistic’viewof theperson.Exploringthis‘mind-body’connectionisan integralpartoftheworldviewknownastheNewAge.As describedintheancientYogaSutrasofPatanjali,saidto havebeenwritteninaboutthe2ndcenturyBCE,thepathof yogabeginswithethicalrestraintsandobservances.Inother words,thepracticeofyogarestsonafoundationofmorality” (ThePluralismProject,2020).
Athleisure
“Athletic”and“leisure,”begettheportmanteau Athleisure;atermthatdatesbacktothe1970s, describingclothingdesignedforthosewhowanted toappearathletic.Inthelate‘70sandearly‘80s,the clothingwasdesignedtolooklikeexerciseclothing,but didnotactuallyfunctionasclothestoworkoutin.
Beforethat,“sportswear”wastiedtotheactivityor sport.Throughouttheriseofsportswearandathleisure, manyofthemostsuccessfuldesignerswerewomen, includingdesignersGabrielle“Coco”Chanel,Claire McCardell,andBonnieCashin.Bytheendofthe20th century,sportswearhadbecomeanormandwasworn outsideofathletics.
Asaresult,designershavestartedathleisurelines(like StellaMcCartneypartneringwithAdidastocreatea women’ssportsperformancecollection)and celebritieshaveworkedwithbrandstocrafttheir visionsofathleisure(i.eRihanna’scollaborationon FentyPuma.)
The Global Athleisure Market is projected to reach $393.7 Billionin2024(DimensionMarket Research)
EthicalLeadershipatCSULB
Theprominentcorporateethicallapsesoftheearly2000s haddevastatingsocialandeconomicconsequences.They alsoledtoincreaseddiscussionsurroundingcorporatesocial responsibility.RegulationslikeSarbanes-Oxleyweredesigned topromotecorporategovernance–aligninginterestsof corporatemanagementwithotherstakeholdersinaway thatwoulddiscouragesuchfailuresinthefuture. Fromthisrenewedinterestintheroleofbusinessesbeyond profitmaximization,wehavelearnedthatsocialresponsibility andearningthehighestreturnarenotmutuallyexclusive.In fact,studiesshowthatinthelong-run,companiesthatare moresociallyresponsibletendtoalsoperformbetter financially.Thisisforseveralreasons;youngergenerations aremoreinclinedtopurchasefromcompanieswithasocial conscience,andwiththeadventofsocialmedia,thepublicis morelikelytobecomeawareofpoorbehavior.Further, companieswithtransformationalleadershiptendtohave loweremployeeturnoverandhigheremployeeengagement, creativity,andloyalty.Businessesthatwishtoachievethese benefitsmustinvestinstrongethicalleadership.AsJohn Woodenstated,“[t]heleader’sattitude,consciousand subconscious,inevitablybecomestheattitudeofthose(s)he leads.”
Tothatend,itisimperativethatcompaniesarticulateclearly definedvaluesandregularlyaligntheirdecisionstowards thosevalues.Onapersonallevel,itisequallyimportantthat individualsdothesame.Whiletheremaynotbethesame financialreturnsfromindividualdedicationtoethical behavior,manyarguethattherearerealbenefitstobe experienced(bothinthislifeand,dependingonyourbelief system,thenext).Somesayethicalbehaviorisimportantfor avoidingcognitivedissonanceandguilt,allowingthemto sleeppeacefully.Otherssayitsimplifieslife–theydon’t havetospendtimescheming,defending,andlookingover theirshoulder.Ithinkthatethicalbehaviorallowsustobuild strongerbonds,bothinterpersonallyandasasociety.There cannotbeconnectionwithouttrust,anditishardtotrust peoplewhoareingenuine.Whetheryouquestionthe importanceofethicsfromacorporateperspectiveora personalperspective,Iwouldinturnposethequestion“what doyouwantyourlegacytobe?”Onceyouanswerthat,go livelifeaccordingly.
CelesteAhl,Esq. Instructor,StudentLeadershipInstitute
FacultyDirectorEmeritus
IsupposeIseewhowethinkweareasakindof elaboratefiction.Ourpersonasseemtometobeso temporary.Ithinktheaterisaplacewhereweopenly acknowledgethat“whoweare”is,atbest,aloose assemblageofthings.It’ssoloose,infact,thatyoucan putitdowntobecomesomeoneelseforatime.
ThisisveryfreeingtomebecauseitacknowledgeswhatI believeisaspiritualfact:Weallcontainplayfulmultitudes oraspects,andour“self”isreallyacollectionof narrativesaboutpastexperiences.Noneofthesestories aboutwhoweareneedbepermanent.Thetheater allowsforthisverydirecttruthtobeunarguablypresent. Thathasalwaysfeltfunandrealandliberating.” (BOMBJan19,2023JenSilverman)
ClickheretoviewthefullInterview
”I’mhopingpeopleleaveafterareallygoodlaugh andmaybedreamalittlebitaboutwhatitisthey wantoutoflifeandhowtobreathethroughitand getexactlythat.” -ReenaDuttinthe Director’sInterview
StudentDiscussionQuestions
Howdoestheplaycritiquecorporateethicsandcultural appropriationinthewellnessindustry?Doyouthinkthe playoffersanysolutions,ordoesitsimplyexposethe problem?
Howdothecharacters—Joan,Raj,Fred,andothers— strugglewithauthenticity,andhowdoesthisconnectto broaderdiscussionsaboutculturalidentity?
HowdoesYogaPlayusesatireandhumortohighlight thecontradictionswithincorporatewellnessculture? Aretheremomentswherethehumorforcesthe audiencetoconfrontuncomfortabletruths?
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StudentDiscussionQuestions
HowdoesJoan’scharacterreflectthepressuresof beingawomaninahigh-poweredcorporate position?Doesshegroworchangebytheendofthe play? Howdocharacters"perform"theirroles,andwhat doesthissayabouttheintersectionofcapitalismand spirituality Doestheplayaccuratelyoreffectivelycritiquethe WesterncommercializationofEasterntraditionslike yoga?HowdoestheportrayaloffigureslikeGuruji contributetothisconversation?
Doyouthinktheendingsuggestsanyrealchangein thecharactersortheindustrytheyworkin?Whyor whynot?
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ParkingInformation
Parking for the Studio Theater is available adjacent to the TheaterArtsbuildinginlotE8.
E8parkingisavailableMon-Friafter5:30pm,onweekends parkingisavailableallday.
To park at E8, one must have a CSULB Parking pass, purchase timed parking, or purchase a daily pass for $15 fromthekiosk.
StudioTheater
TheaterEtiquetteReminders
WE DO NOTE OPERATE LIKE A MOVIE THEATER. YOU ARE A PART OF THE SHOW. YOUR THEATER ETIQUETTE IS A PART OF THESHOW,EVERYONEISABLETOSEEEVERYONE.
LATE SEATING IS NOT PERMITTED: Patrons are not guaranteed seats unless they are on time and have a purchasedticketinhand.Theshowwillstartwithoutyou, no matter the reason you are late! As house managers we are trained to operate as a professional theater, and professionaltheatersdonotallowlateseating.
Walk-upTicketsandWaitlists:Anyremainingticketswill 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 persontoputyournameonawaitlist.
Food&Drinkarenotallowedinthetheater: Patrons will beaskedtofinishtheirconsumablesbeforeentering thetheater.
Skateboards & Scooters are not allowed in the theater. House Managers can direct you to a place for you us to holdyouritemsduringtheshow.
ThisshowisrecommendedforAges13+ Itcontainsracialandculturallysensitivethemes. Thisshowalsocontainstheuseoflowfrequencysound.
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LandAcknowledgement
CSULBislocatedonthesacredsiteofPuvungna.We acknowledgethatweareonthelandofthe Tongva/GabrieleñoandtheAcjachemen/JuaneñoNations whohavelivedandcontinuetolivehere.
WerecognizetheTongvaandAcjachemenNationsand theirspiritualconnectionasthefirststewardsandthe traditionalcaretakersofthisland.
Wethankthemfortheirstrength,perserverance,and resistance.WepayourrespectstotheAncestors,Elders, andourrelatives,past,present,andemerging.
CALREPistheproducingarmoftheTheatreArtsDepartment atCSULB.Overthepastthreedecades,CALREPhasahistory ofcreatingnewwork,devisedtheatreandadaptationsof classics.
CALREPTEAM
DepartmentChair
EzraLeBank
MFATheatre
ManagementFaculty
JeffJanisheski
MeganWanlass
ManagingDirector
MegImamoto
ProductionManager
AshleyBoehneEhlers
TechnicalDirector RobertWaltz
MasterCarpenter
MitchellDomingo
ScenicStudentAssistants
SaulDiaz BledarGashi
EllieMontenegro ToriMorones
AriannaEchavarria
JesseRobles
CostumeShopManager LalenaHutton
CostumeShop
Cutter/Draper
DeniseBarry
CostumeShop
Stitchers
VivianMullvihill
SabaNabaeighahroudi
KelsiHaverkroft
ToiaTaylor
AbigailAlva
MikaylaMcCulley
MasterElectrician
JasmineFlores
LightingStudent
Assistants/Hang&Focus
Crew
AaliyahArtry
MyaBaldwin
SaulDiaz
KaisonEdwards
SoniaGiansiracusa
JuliaJuarez
KaitlynMadrid
MelissaMejia-Rodriguez
DeshawnMims
LightingStudentAssistants(cont)
QuinnO'Kelly
SeanRyder
ElizabethSanchez
NoahStein
AidenVice
AustinWillis-Roberts
MikeZavala
Media&SoundEngineer
DavidGoyette
BoxOfficeManager
RandallBelyea
BoxOffice
StudentAssistants
AshleyHolguin
VincentMonastrial
WilliamRunnels
CharliSouthall
KatieTran
Fiscaland
PersonnelAnalyst KatieSpeer
SafetyTechnicalSupervisor TonyMartinez
TheatreArts
GraduateAdvisor
JoshNathan
TheatreArts
AcademicAdvisor AdrianeHowze
Videographer NickNeira
ProductionPhotographer
CynthiaPrice
Graduate
GeneralManager ClairePearson
Management GraduateStudents
AmandaAnderson PerlaBarajas
PaulaEagleman
DrewOlvey
ChaunsaOyos
ClairePearson
BobWilliamson
Faculty
GayleBaizer
ChrisBange
JodyBerger
TrevorBiship-Gillespie
AshleyBoehneEhlers
JoshBreeding
CollinBressie
ErinCaron
AndreaCaban
MarthaCarter
AdrianCenteno
BonnieDolan
AlanaDietze
RamyElectreby
SharnaFabiano
MichelleGibbs
RebeccaGuzzi
RichHutchman
JeffJanisheski
NipperKnapp
EzraLeBank
BradleyLock
PatriciaLoughrey
EmilyMacDonald
JoshNathan
HughO'Gorman
RobertPrior
JenRichardson
TylerSeiple
MedinaSenghore
AnnaSteers
TomTrudgeon
SarahUnderwood
MeganWanlass
DavidWard
JessicaWoollen
Dipika Guha