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Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director

WELCOME ARTISTIC DIRECTOR

BRANDON WEINBRENNER Writing is hard. Forever documented, the written word is our most permanent and powerful tool. Consider playwriting. A playwright commits a solitary act intended to have a communal effect. That is a considerable lift, one meant for the brave, inspired, and resilient artist. We are fortunate to count such remarkable artists among Everyman’s Resident Company, not least of which is the playwright of Different Words for Happiness, our very own Katie Kleiger. When Founding Artistic Director, Vincent Lancisi first sent me the slate of shows for the 36th season, only one was unfamiliar— understandable as it is an entirely original work, Different Words for Happiness. I immediately dived into the script and was blown away by its whimsical and poignant approach to betrayal – from a lover, from your own body, from a trusted ally. Katie has a fresh, new voice that Everyman has the honor of introducing to the American theatre. I am thankful for the trust she has in her artistic home at Everyman to give her new play the premiere production it deserves. A Resident Company model builds that trust. Whether it is your first time at Everyman or your fortieth, you need to know that our Resident Company of artists continues to stretch and grow before your very eyes. Last seen as the title character in Emma, Katie is a shining example of this, as now you are witnessing her craft not only as an actor, but as a playwright. Forever a believer in the Resident Company model, I am committed to bringing you surprising and invigorating activation of your company. You will be delighted by the work done on and off the stage in this production of Different Words for Happiness. Please enjoy and please tip your hat to the artists who bring you closer to yourself and to your Everyman community.

Brandon Weinbrenner

Different Words for Happiness (2026)

WE’RE GLAD YOU’RE HERE MANAGING DIRECTOR

MARISSA LAROSE

When I first witnessed Katie’s brilliant new play in our reading series last season, I was 8 months pregnant with my second daughter. As you might imagine, there were many parts that resonated deeply with me – women’s health, the chaos of pregnancy, medical advancements to support reproductive options, self-care and forgiveness, the power of friendship… I add to this list every time I encounter this play. I’m so proud that Everyman is introducing Katie’s incredible play to the world, starting right here in Baltimore just up the highway from where she grew up. What resonates with me today is the recognition of ourselves and others as three-dimensional beings, layered with thoughts, feelings, and experiences that go well beyond the surface. Katie has written a beautiful example of theater’s ability to peel layers back and help us see our fellow human beings, and perhaps ourselves, in their complex light, building shreds of empathy even where our feelings are complicated. As technology in our world continues to evolve with the adoption of AI and the role screens play in our lives, plays like this one strengthen my conviction that creating and witnessing theater is only going to become more necessary, not less. It has been a part of human life well over a millennium, and that is not coincidental; it’s proof of its necessity. We have an innate desire for communal experiences. No form of technology can replace the synchrony our brains experience in laughing, sighing, and breathing together while taking in live performance. It’s a way to build community at its most basic level: shared experience. At Everyman, we are committed to matching high-performance quality with an authentic communal experience. We are committed to bringing communities together through something shared (that’s why you’ll see a Ladies' Night and a Medical Professionals' Night on our calendar for this show). I know that if we spend more time sharing our commonalities rather than seeking out our differences, we will be a stronger community. That’s what we’re here for, and I’m so glad you’re here with us, too. Enjoy the show,

Marissa LaRose Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director

DIFFERENT WORDS FOR HAPPINESS By Katie Kleiger Directed by Laura Kepley

CAST

CREATIVES

ELEANOR

SCENIC DESIGN

MEGAN ANDERSON NATHAN

MABOUD EBRAHIMZADEH AVA

EM WHITWORTH

DANIEL ETTINGER COSTUME DESIGN

KATHLEEN GELDARD LIGHTING DESIGN

JUAN M. JUAREZ SOUND DESIGN

Everyman Resident Company Member

SARTJE PICKETT WIG DESIGN

DENISE O'BRIEN This Production Is Sponsored By Larry and Nancy Fishel

FIGHTS

LEWIS SHAW INTIMACY

SIERRA YOUNG RUNTIME: 1 hour and 40 minutes with no Intermission. SETTING: Present day, switching between Cincinnati, Ohio and Lexington, Kentucky. All action takes place over the course of six weeks.

DRAMATURGY

ROBYN QUICK STAGE MANAGEMENT

JALON PAYTON

This play is produced by special arrangement with the playwright. This Theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is represented by Stage Directors and Choreographers Society.

The set, costume, and sound designers are represented by United Scenic Artists, Local USA 829 of the IATSE.

Different Words for Happiness (2026)

CAST BIOS

MEGAN ANDERSON [she/her] (Eleanor) [EVERYMAN THEATRE]: (Resident Company Member): Over 50 productions, including Emma, Vanya and Sonia and Masha and Spike, And Then There Were None, POTUS, The Book Club Play, Dial M for Murder, A Doll’s House, Harvey, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, Sense and Sensibility, Steel Magnolias, Cry It Out, Proof, Dinner With Friends, Sweat, Dancing at Lughnasa, The Book of Joseph, Aubergine, The Revolutionists, Noises Off, Grounded and more. [REGIONAL]: Theater J: After the Revolution; Olney Theatre Center: Mary Stuart, Our Town, Grounded, Rabbit Hole; Rep Stage: American Hero, The Whale, The Violet Hour, The Seagull; Round House Theatre: Heartbreak House, The Cherry Orchard, Our Town, Problem Child; Washington Stage Guild: Bloomsday; Woolly Mammoth Theatre Company: The Faculty Room; Totem Pole Playhouse: Proposals, Crimes of the Heart, Proof; LA Theatreworks/Voice of America: Bus Stop; Northern Stage: Grounded. [TV/FILM]: 3 seasons on The Wire; Hit and Run (Lionsgate/MGM). [TEACHING]: Everyman Theatre: Summer Intensive, Acting I and Auditioning, Playbuilders. [DIRECTING]: Staged readings for Everyman Theatre’s Salon Series and Script Tease. Megan is also a visual artist. Follow her work on Instagram @mandersonprue MABOUD EBRAHIMZADEH (Nathan) [REGIONAL]: Tectonic Theater & Shakespeare Theatre: Here There Are Blueberries; Huntington Theatre & Shakespeare Theatre: Leopoldstadt; McCarter Theater & Hartford Stage: Murder on the Orient Express; McCarter Theatre & Milwaukee Rep: Disgraced; Arena Stage: The Price; Studio Theatre: English, People, Places, & Things, Water by the Spoonful, Edgar and Annabel; Round House Theater: Seafarer, Ink, Oslo, Curious Incident of the Dog in the Night Time, Small Mouth Sounds, The Book of Will, Bengal Tiger at the Baghdad Zoo; Kennedy Center: Mockingbird; PA Shakespeare Festival: Romeo & Juliet, Moriarty, Rosencrantz & Guildenstern are Dead, Hamlet, Much Ado About Nothing; Olney Theatre: Lend Me a Soprano, Oil, The Invisible Hand; Theatre Exile: The Invisible Hand; Folger Theatre: 1 Henry IV, King John, Timon of Athens, Julius Caesar. [FILM]: Don’t Be Shy, Imperium, Sally Pacholok. [TV]: Law & Order: SVU, The Terror, Jessica Jones, Homebound, Day After Disaster. [AWARDS]: Barrymore Award Recipient for Outstanding Lead Actor (The Invisible Hand at Theatre Exile), RTCC Nomination for Outstanding Leading Actor (A Distinct Society), Helen Hayes nominations (Here There Are Blueberries, Oil, The BFG). maboud.com | @mindthechasm EM WHITWORTH [she/her] (Ava) [EVERYMAN THEATRE] Deceived; [NEW YORK] Taproot Creatives: Without God As My Lover; Bridge Street Theater: Rude Mechanics; American Theater of Actors: The Minotaur; Tier5: Romeo & Juliet, The Scouts. [REGIONAL] Shakespeare Theatre Company: A Midsummer Night's Dream (upcoming), Othello, Julius Caesar, The Imaginary Invalid; American Stage: The Figs; Washington Stage Guild: Arms and the Man; Red Rat: The Pitchfork Disney; Spooky Action Theater: Maple & Vine; Folger Theatre/Theater J: Nathan The Wise; Imagination Stage: The Very Hungry Caterpillar Show; Constellation Theatre: The Master & Margarita, Equus; Forum Theatre: Love & Information, Dry Land, What Every Girl Should Know; Synetic Theater: Midsummer, Much Ado About Nothing, Hamlet... the rest is silence, The Tempest. [TRAINING] Stella Adler ECO Summer Conservatory, Synetic Theater. Thank you Katie, Laura, Megan, Maboud, crew and Brandon for this world premiere. @emwhitworth Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director

Different Words for Happiness (2026)

Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director

CREATIVE TEAM BIOS DANIEL ETTINGER (SCENIC DESIGN) [EVERYMAN THEATRE]: (Resident Designer): Recent highlights include Emma, Deceived, August Wilson’s The Piano Lesson, The Mystery of Irma Vep: A Penny Dreadful, Queens Girl: Black in the Green Mountains, POTUS, A Midsummer Night’s Dream, Dial M for Murder, The World Goes ‘Round, Jump, Crying on Television, Behold, A Negress, The Skin of Our Teeth, Everything is Wonderful, The Importance of Being Earnest. [OFF-BROADWAY]: 59E59: The Lucky Star; The Blue Angel Theatre: Pageant; Roundabout Theatre Company: A Man For All Seasons, Room Service; The York Theatre Company: Talley’s Folly, Luv. [REGIONAL]: Woolly Mammoth: You for Me for You, Eclipsed, Vigils, Recent Tragic Events, Kiki and Herb, Starving, The Mineola Twins; Olney Theatre Company: Annie, Mary Poppins, The Piano Lesson, Bakersfield Mist; Rep Stage: Falsettos, All She Must Possess, Dorian’s Closet, H2O, Venus in Fur, Mrs. Warren’s Profession; Barter Theatre: Hamlet, Thoroughly Modern Millie, She Loves Me, and over 100 other productions. Member of United Scenic Artists, local 829.

has served as the Lighting Supervisor at Everyman Theatre. Recent work includes [EVERYMAN THEATRE]: Emma, Dawn, The Mystery of Irma Vep - A Penny Dreadful, The Book Club Play, Baltimore Broadway and Beyond, The Lion in Winter, Baltimore It's Me. [REGIONAL]: Submersive Productions: The Pansy Hour; UMBC Department of Theater: The Wonderful Wizard of Oz; Chesapeake Shakespeare Company: Shakespeare in Harlem; The Voxel: Call Me By Any Other Name...Just as Sweet; Synetic Theater: Teen Hamlet …the rest is silence; Bowie State University: Ride the Cyclone; Classic Theatre of Maryland: Jane Eyre; Extreme Lengths Productions: Over/Under; Axis Dance Company: Adelante; Atlas PAC Intersections: Joteria: Our Untold Stories [EDUCATION]: B.A. in Theatre Production and Psychology from Hofstra University. [OTHER] Member of the Everyman Theatre Committee on Anti-Racism, Equity, and Solidarity (CARES). JuanMJuarez.com

LAURA KEPLEY (DIRECTOR) [EVERYMAN THEATRE]: Emma, POTUS, The Book Club KATHLEEN GELDARD (COSTUME DESIGN) Most Play, Ken Ludwig’s Baskerville: A Sherlock recently at Everyman Theatre: Who's Afraid of Holmes Mystery. [REGIONAL]: Cleveland Virginia Woolf; [REGIONAL]: Signature: Hair, Playhouse; highlights include The Crucible, Bridges of Madison County, Assassins, Billy Elliot; Sweat, Into the Breeches (also at Asolo Rep Shakespeare Theatre Company: Macbeth; and Chautauqua Theatre Company), How Denver Center of Performing Arts: 39 Steps; I Learned to Drive (also at Syracuse Stage), Cincinnati Playhouse: Dracula, A Chorus Line, and the world premieres of The Good Alias Grace, You’re a Good Man, Charlie Peaches by Quiara Alegría Hudes (co-proBrown, Misery, Shakespeare in Love; Arena duction with The Cleveland Orchestra), Stage: The Year of Magical Thinking; ASF: A Fairfield by Eric Coble, and Tiny Houses by Christmas Carol, Tempest, Macbeth, Alabama Chelsea Marcantel (also at Cincinnati Play Story; Woolly Mammoth; Kennedy Center; House in the Park); Alliance Theatre: world Studio Theatre; Round House Theatre; Imagina- premiere of In Love and Warcraft by tion Stage; Folger Theatre; Portland Center Madhuri Shekar; Contemporary American Stage; Actors Theatre of Louisville: Humana Theatre Festival: world premiere of BreadFestivals 2015-2018; Huntington Theatre; La Jolla crumbs by Jennifer Haley; Trinity Repertory Playhouse; Berkeley Rep; CenterStage; Florida Company: multiple productions including Studio Theatre; Gulfshore Playhouse; Weston Boots on the Ground and Somethings are Playhouse; Maltz Jupiter Theatre; Children’s Private which she co-created with playTheatre of Charlotte. Opera: Washington wright Deborah Salem Smith, Gulfshore National Opera: Macbeth; Metropolitan Playhouse, Alabama Shakespeare Festival, Opera: associate designer, Grounded. and Utah Shakespeare Festival. [OTHER]: Laura is an artistic leader, educator, and JUAN M. JUAREZ (LIGHTING DESIGN) [he/him] is mentor who served as Artistic Director of a lighting designer and technician based in Cleveland Play House, Artistic Associate for the Baltimore-Washington area. Since 2015 he Trinity Rep, teaching faculty at Brown 8

Different Words for Happiness (2026)

University and Case Western Reserve University, and participant in new play

development at The New Harmony Project, PlayPenn, and WordBridge, among others. She has received a Drama League Directing Fellowship, an NEA/TCG Fellowship, and multiple directing citations and awards. Under her artistic direction, Cleveland Play House received the 2015 Regional Theatre Tony Award. KATIE KLEIGER (PLAYWRIGHT) is a playwright and actor who lives with her husband and two cats in New York City. As a writer, her play Different Words for Happiness has been workshopped in NYC, Chicago, and Baltimore, and made its world premiere at Everyman Theatre in the fall of 2026. Other plays include Singularity and Heirlooms, and her TYA adaptations of Among the Hidden and Stargirl have both received productions at Sidwell Friends School in Washington, DC. As an actor, she has been working professionally for nearly twenty years, and is currently on the road with the First National Broadway Tour of Operation Mincemeat. She has appeared in shows both in NYC and across the country (most notably: Ring Twice for Miranda (world premiere, Off-Broadway), Death on the Nile (world premiere, Arena Stage), The Wolves (Studio Theatre - Helen Hayes Award for Best Ensemble), and Pride & Prejudice (Rep. Theatre of St. Louis - St. Louis Theatre Circle Award for Best Actress), and is a company member at Everyman Theatre in Baltimore. DENISE O’BRIEN (WIG DESIGN) [EVERYMAN THEATRE]: Over 37 productions, highlights include: Kim's Convenience, Emma, Vanya and Sonia and Masha and Spike, Deceived, August Wilson’s The Piano Lesson, and more. [REGIONAL]: Baltimore Center Stage: Pride and Prejudice, Amadeus, Animal Crackers, Into The Woods, Matchmaker, Poe: Yale Repertory Theatre; The Moors, Peerless, A Streetcar Named Desire, A Winter’s Tale, These!Paper!Bullets!, Dear Elizabeth, War, Arcadia, Hamlet, Pop, Notes From Underground, Black Dahlia, Eurydice: Helen Hayes Theatre: The 39 Steps: Hartford Stage: Summer and Smoke, 8 x Tenn: The Long Wharf

Theatre: Front Page, Private Lives, We Won’t Pay, Travesties, Ain’t Misbehavin’: McCarter Theatre: Uncle Vanya, Phaedra Backwards, She Stoops To Conquer, Mrs. Warren’s Profession: The Public: Measure for Measure: Shakespeare Theatre (DC): Hamlet, King Lear: University of DE Rep Theatre: To Kill a Mockingbird, Wait Until Dark, Heartbreak House, Millionaires, The Patsy: Westport Playhouse: She Loves Me. Winner of the 2001 Eddy Award for Design Excellence for Seattle Opera’s production of Wagner’s Ring Cycle. Honored by the Daytime Emmy Awards for contributions to the Emmy Award-Winning Achievement for Hairstyling Un Ballo In Maschera, PBS. MiddleMarch Films: Dolly Madison, America’s First Lady, PBS. JALON PAYTON (STAGE MANAGEMENT) [EVERYMAN THEATRE]: A Midsummer Night’s Dream, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery. [BROADWAY NATIONAL TOUR] Some Like It Hot [REGIONAL]: American Players Theatre: As You Like It, Dontrell, Who Kissed the Sea, The Brothers Size, A Raisin in the Sun, The Royale, Anton’s Shorts; Arena Stage: Tempestuous Elements, Swept Away, The High Ground; Pennsylvania Shakespeare Festival: The Color Purple [AWARDS]: Recipient of the Charlie Blackwell Symposium Scholarship for Stage Managers of Color. [EDUCATION]: B.A. Theatre Studies - University of Maryland, Baltimore County. SARTJE PICKETT (SOUND DESIGN & ORIGINAL MUSIC) [REGIONAL]: The 39 Steps, Uncle Vanya, Dancing at Lughnasa, A Midsummer Night’s Dream, Proof, Love’s Labour's Lost, and Mary’s Wedding at American Players Theatre; The Great Leap and Twelfth Night at The Guthrie; Nina Simone: Four Women at Milwaukee Rep and Kansas City Rep; The Merry Wives of Windsor, Much Ado About Nothing, and Richard III at The Oregon Shakespeare Festival; Nothing Up My Sleeve at Round House Theater; Come From Away, Fat Ham, Dracula: A Feminist Revenge Tragedy, and The Three Musketeers at Virginia Stage Company. [AWARDS]: Helen Hayes Award for A Midsummer Night’s Dream, The Folger Theater. [EDUCATION]: BFA, Syracuse University; MFA, Yale School of Drama. ROBYN QUICK (DRAMATURGY) (Resident

Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director

Artist) her past productions include: The Revolutionists, Everything is Wonderful, Sense and Sensibility, The Lion in Winter, A Doll’s House, Crumbs from the Table of Joy, A Midsummer Night’s Dream, POTUS, Who’s Afraid of Virginia Woolf, and The Mystery of Irma Vep, August Wilson’s The Piano Lesson, and Emma. She has also worked as a dramaturg for the Baltimore Shakespeare Festival, Playworks, and the New Russian Drama Festival. Robyn Quick has presented at numerous national and international conferences, and has been published in American Theatre, The New England Journal of Theatre, Slavic and East European Performance, Theatre Studies, and the Routledge Companion to Dramaturgy. Her dramaturgy has been recognized by the Literary Managers and Dramaturgs of the Americas with the Elliot Hayes Award for Excellence in Dramaturgy and by the Kennedy Center American College Theatre Festival with the Gold Medallion. While serving as a Senior Fulbright Scholar in Russia, she taught at the Russian State University for the Humanities and directed at the Playwright and Director Center in Moscow. She is a professor in the Department of Theatre Arts at Towson University and holds a Ph.D. in theatre studies from the University of Michigan. LEWIS SHAW (FIGHTS) [EVERYMAN THEATRE]: (Resident Artist) Recent highlights include: Kim's Convenience, Emma, Vanya and Sonia and Masha and Spike, Deceived, 'ART', The Mystery of Irma Vep: A Penny Dreadful, Who's Afraid of Virginia Woolf?, And Then There Were None, Crumbs from the Table of Joy, Dial M For Murder, Harvey, The Sound Inside, Jump, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, The Lion in Winter, Sense and Sensibility, The Skin of Our Teeth, Flyin’ West, and over 30 more productions. [REGIONAL]: Arena Stage: Snow Child, Sovereignty, A Raisin in the Sun; Center Stage: A Skull in Connemara, Bus Stop, Snow Falling on Cedars, Looking Glass Alice; Washington Opera: Don Giovanni. Shaw is a Certified Teacher with The Society of American Fight Directors and is the owner of Lewis Shaw Fine Dueling Supplies. His stage weapons have been seen in numerous Broadway plays, operas, films and television shows including 10 Different Words for Happiness (2026)

Head Over Heels, Marvel’s Daredevil, Marvel’s Iron Fist, Aida and The Scarlet Pimpernel. SIERRA YOUNG (INTIMACY) [EVERYMAN THEATRE] Dawn. [REGIONAL] Arena Stage: Ja Ja’s African Hair Braiding, POTUS; Constellation Theater Co: Or, Dracula: A Comedy of Terrors, Head Over Heels; Folger: Measure for Measure, Julius X, Twelfth Night; Ford’s: Come From Away, Sister Act, Little Shop of Horrors; Keegan Theater: The Play That Goes Wrong, Everything is Wonderful, Hand to God, Sweat; Olney Theater: Little Miss Perfect, Kim’s Convenience, Waitress; Philadelphia Theater Co: Liberation; Round House: Sally and Tom; Shakespeare Theater: Frankenstein, King Lear, As You Like It; Studio Theater: Purlie Victorious, Jonah, The Scenarios, Downstate; Woolly Mammoth: The Great Privation. Sierra is the Resident Violence and Intimacy Director for Mosaic Theater Company in DC and the Resident Intimacy Director for American University.

PRODUCTION STAFF Assistant Stage Manager PERI WALKER Production Electrician MAISIE STONE Light Board Programmers TRINITY JOSEPH NIYA JOHN Light Board Operator TRINITY JOSEPH Sound Board Operator CAMMERON MARQUIS Wardrobe Crew MADY SIMS Backstage Crew ACE SPENCER JULIA WILLIS

Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director

BUILT IN BALTIMORE: FROM PAGE TO STAGE

For the past 35 years, Everyman Theatre has been a cornerstone of the Baltimore community. From its earliest days, Everyman recognized the exceptional talent within Baltimore and made it its mission to showcase not only outstanding artists, but also the designers, creators, builders, and dedicated staff whose expertise brings each production to life. Their collective passion and craftsmanship are reflected in the performance before you today.

Bringing the Script to Life Different Words for Happiness first came to Everyman as part of Script Tease, our play reading series designed to give emerging works the opportunity to be heard, explored, and developed with an audience. Katie Kleiger has been an actor with Everyman’s Resident Company since 2019, and this is her first professionally produced play. That is the magic of a Resident Company: a group of artists you know and trust to create new work.

Kicking Off Rehearsals A first read is an exciting moment for a cast and creative team. It’s the first time everyone comes together around the words on the page, and the world of the play begins to take shape. Characters find their voices, ideas begin to spark, and the possibilities of what the play can become start to unfold.

C 12 Different Words for Happiness (2026)

Creating the World Behind every performance is a team of artists, craftspeople, and theatre-makers working together to create an entire world from the ground up. Our scenic and properties teams build the environments where the story unfolds, while our costume team brings each character to life through fabric, color, and detail. In the rehearsal room, actors and the creative team spend weeks exploring the script, developing relationships, and discovering the heart of the story. The Technical Magic Behind the Scenes This production features some incredible technical elements that our crew of 7 use to bring the play to life! Take a look at what goes into making the magic happen: This show features: • •

• •

13 moving parts. 6 tracks to keep moving scenery on its mark. 5 types of casters. 3 different types of LED tape that span over 150 ft with 400 segments that are individually controlled.

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PHOTO CAPTIONS

A: Script Tease Logo B: A Script Tease Reading: Bruce Randolph Nelson, Grant Emerson Harvey, Chinai Routté C: First read: Robyn Quick, Maboud Ebrahimzadeh, Megan Anderson, & Em Whitworth D: First read: Megan Anderson E: During rehearsals: Laura Kepley, Em Whitworth, & Megan Anderson F: Set being built before tech week

Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director

A CONVERSATION WITH THE PLAYWRIGHT Everyman Theatre is proud to present the first full production of Different Words for Happiness. Before rehearsals began, playwright Katie Kleiger and resident dramaturg Robyn Quick discussed the process of playwriting, centering women on stage, and the role of bearing witness in the theatre.

RQ: Everyman audiences know you as a member of the Resident Company who appeared most recently as the title character in Emma and as Bella in Deceived. Recent Everyman productions have featured other works by playwrights who are also actors, from our colleague Tuyết Thị Phạm to Eboni Booth and Ins Choi. Can you share some of the ways you think your work as an actor informs your writing for the stage?

KK: As an actor, it is my job to find my character’s

humanity. When approaching every character I play, no matter the size of the role, I have to flesh them out and make them fully realized human beings. Because I have this first-hand experience, it is of the utmost imporA tance to me as a writer that every character I create is as three-dimensional as possible. And while this can sometimes feel easier with protagonists than antagonists, I really enjoy the challenge I have set for myself of always making the antagonists as three-dimensional as the protagonists. Similarly, having worked with other artists’ texts for so many years, I know how important it is for me as a writer to string together a character's actions and text and make sure motivations are always clear. One of the first questions I always ask actors in a workshop setting is “does the motivation track for you here? Can you track this character’s journey?”

RQ: Speaking of workshops, the developmental history of Different Words for Happiness includes a reading

in Chicago as well as one last fall, here at Everyman. What were some discoveries you made in that process that will show up in the play audiences will see at Everyman now?

KK: At Everyman last fall, I had the opportunity to play Ava in the reading, which ended up being such a

surprising gift. More often than not, I actually prefer sitting outside of a show as the writer in order to get the full picture, as opposed to immersing myself inside the text as an actor. But in performing the role, I found certain areas where I wanted to paraphrase my own words, and I realized I could just rewrite them! I’m very focused on what text feels good in the mouth. What naturally rolls off the tongue. Ultimately, I want to make the actor’s job as easy as possible. And in a more practical sense, the various readings have been helpful to hear and feel where the audience may drop off at times, and where they’re leaning in. This can end up guiding me towards what filler can be trimmed. One takeaway I remember from last fall’s reading is that not every question has to be answered. Both in a larger sense, but even when someone asks a small question, their scene partner does not have to answer it.

RQ: The play follows the development of a relationship between two women that takes several unexpected turns. Can you talk about what it means to you to center women in your writing?

KK: I love writing women, and I love writing flawed women who are not antagonists. I think of works like

Fleabag, which I just finished watching for the fourth time. I think that show captures all of what it means to be inside a woman’s brain and body, and is the blueprint for what I’m talking about. You know when you pick a font color, and you expand the color search beyond the main rainbow? And you can all of a sudden move the cursor around the full palette and see the infinite amount of other colors that exist? I love writing women who live in that infinite palette–women who live outside of those primary colors.

RQ: The women characters in Different Words for Happiness first encounter each other in a gynecologist’s

office with an exam that many audience members will have experienced, but I don’t recall ever seeing on stage. What inspired you to incorporate that experience into the play?

KK: These exams are nearly universal for any human with a vagina. At any given night, half of the audience 14 Different Words for Happiness (2026)

will have experienced various aspects of what is being portrayed on stage, and the other half will have never been brought into that world before. So half the audience will hopefully feel seen, and the other half…they’ll likely have a mixed reaction, but my hope is that they learn something. To me that is very exciting.

RQ: Another aspect of womanhood that both characters navigate in different ways is the choice of whether or not to be a mother.

KK: The conversation around motherhood and the choice of whether to have children or not is a

topic I find myself returning to again and again. Perhaps it is my age, and where I am in life at the moment, but this seems to be at the center of every story I want to tell right now. I think it’s because it is a choice that affects all women at one point or another, and there is a limited window of time to make that choice, and everyone I know has such a strong relationship to it in their own way. It can be so devastating, so gratifying, so heartbreaking, fulfilling, and scary. Just like the infinite color palette, I love approaching this topic from all edges and angles in my writing, as I try to navigate it myself.

RQ: In the script, your initial description of each of the characters concludes with the phrase “extremely lonely.” How does this trait inform the journey of the play and reflect a dynamic that you wanted to explore in our lives outside the theatre?

KK: An ultimate irony of living in our era is that we have unlimited technological tools to connect

and yet are experiencing a loneliness epidemic. It is fascinating and heartbreaking. Perhaps as a reflection of this, I tend to write plays about lonely people who are dying to connect, but don’t have the internal or emotional tools to do so.

RQ: In processing her feelings, Eleanor, the character who is a doctor, takes a decidedly scientific

approach with the observation that hate and love are essentially the same from the brain’s point of view. Are there other ways in which a scientific approach to emotions informs your writing?

KK: Having been raised by two psychologists, I’ve found that the study of the brain and the body is often central in my writing. Psychology is so exciting to me because it feels as though it lives at the intersection between the left brain and the right brain and places emphasis on both science and emotion.

RQ: You have shared that your previous title for the play highlighted what happens when forgiveness is not granted. Your title now reflects an equally complex meditation on happiness. Can you talk about how both dynamics operate in the play?

KK: Happiness and forgiveness are two states of being that I find we often misunderstand as a so-

ciety. We think that these are things we can “achieve,” but I think the reality is that we are going to ebb and flow in and out of these states throughout our lives, touching them for periods of time and then losing touch with them again. We often see reaching happiness and forgiveness as reaching some sort of finish line, but the race does not end. There is no finish line.

RQ: An idea that playwrights explore is why does this thing I am writing have to be a play? Can you riff on that question in relationship to Different Words for Happiness?

KK: This question takes me back to a more general

question of why I write plays over screenplays. I think for me, there is something about having witnesses. Having people bear witness to Ava and Eleanor’s journey, both the shame and the love, feels almost like a communal birthing and catharsis for both of these women, and perhaps for the whole audience. It feels like they are almost being held or shepherded by the audience as they go through their journeys. I also think that live theatre at its core is like a heightened version of real life. It’s almost like turning up the exposure on a picture, which allows us to see certain things more clearly.

B Photo Credits: A: Katie Kleiger Deceived first read. B: Katie Kleiger in Emma, Teresa Castracane Photography Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director

EVERYMAN THEATRE

RESIDENT COMPANY

ACTORS Megan Anderson RJ Brown Felicia Curry Deborah Hazlett Helen Hedman Paige Hernandez Beth Hylton Hannah Kelly Katie Kleiger Wil Love

Actors pictured in order listed below.

Tony K. Nam Bruce Randolph Nelson Tuyết Thị Phạm Zack Powell Kyle Prue Chinai Routté Jefferson A. Russell Carl Schurr Yaegel T. Welch

WHY DO WE HAVE A RESIDENT COMPANY? Only a handful of theatres nationwide feature an ensemble of professional actors that perform regularly each season. They are the core of Everyman Theatre. Because of their distinctive familial bond, history and trust of each other, company members can jump deeply into meaningful relationships onstage. Our artists push each other to deliver the highest caliber of work.

Learn more about our Resident Company members by visiting everymantheatre.org or scanning the QR code.

RESIDENT COMPANY $10,000- $24,999

BOARD OF DIRECTORS Everyman Theatre is governed by a dedicated group of community volunteers, our Board of Directors.

EXECUTIVE COMMITTEE

W. Bryan Rakes, President Mark Paul Lehman, Vice President Chris DiPietro, Vice President Donald Thoms, Secretary Walter Doggett III, Treasurer Meadow Lark Washington, CARES Chair Vic Romita, Exec Appointee

DIRECTORS

Brandon Weinbrenner Christian Ventimiglia Christopher Uhl Deborah Jennings Diane Stollenwerk Eileen O’Rourke Ellie Wang Gina Hirschhorn Larry Fishel Leland Shelton Marci Gordon Marissa LaRose Marjorie McDowell Mark Yost Michael Styer Delegate Regina T. Boyce W. Robert Hair Sandy Laken Sarasi Desikan Susan W. Flanigan Tony K. Nam

Abell Foundation Bunting Family Foundation Eddie and Sylvia Brown Foundation Goldsmith Family Foundation John J. Leidy Foundation Joseph and Harvey Meyerhoff Family Charitable Funds Sherman Family Foundation T. Rowe Price Foundation Venable Foundation

Gifts listed here were received between May 1, 2025 and September 30, 2026. V I S I O N A RY $ 5 0 ,0 0 0 +

Baltimore Community Foundation BGE Earle and Annette Shawe Family Foundation Harry L Gladding Foundation Hecht-Levi Foundation Helen S and Merrill L Bank Foundation Lord Baltimore Capital Corporation Nora Roberts Foundation PRODUC ER $2,500–$4,999 Nelson and Sara Fishman Family Foundation theatreworks!

C O V ER A R T D ES I G N ED BY Jacob Kemp / TALISMAN

Actors’ Equity Foundation Anonymous Sally S. Decatur and H. Miller Private Foundation Wolman Family Foundation

MATC HING GIFT C OMPANIES

Baltimore County Commission On Arts And Sciences Bertoli-Mansfield Fund Downtown Partnership of Baltimore France-Merrick Foundation Gallagher LLP Maryland Department of Education Maryland State Arts Council Middendorf Foundation Paul M. Angell Foundation Shubert Foundation

American Trading and Production Corporation Bank of America Black & Decker Exelon Foundation IBM Corporation International Monetary Fund McCormick & Co. Network for Good Norfolk Southern T. Rowe Price Truist

S EA S O N P ROD UCE R $25 , 0 0 0 – $ 4 9 ,9 9 9

IN- KIND SUPPOR T

Galanthus Foundation Jacob and Hilda Blaustein Foundation National Endowment for the Arts Leonard and Helen R. Stulman Foundation William G. Baker Jr. Memorial Fund

MA J O R S UPPO R T FR O M

EXECUTIV E PRODUC ER $5,000–$9,999

ASSOC IATE PRODUCER $1,000–$2,499

GOVERNMENT, FOUNDATIONS, FUNDS AND CORPORATIONS

LEA D C O R PO R AT E PA R T N ER

City Seeds Lord Baltimore Hotel University of Maryland, Baltimore

Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director

INDIVIDUALS Gifts listed here support Everyman Theatre's Annual Fund and were received between May 1, 2025 and September 30, 2026. For a complete list of donors starting at the Lead Actor and Playwright Levels ($120+ and above), please visit 'Our Supporters' page on our website. V I S I O N A RY $ 5 0 ,0 0 0 + Susan W. Flanigan* and George Roche Dr. Larry* and Nancy Fishel Gina* and Dan Hirschhorn Irene Mansfield Bryan* and Jennifer Rakes S E A S O N P R O DUCE R $2 5 , 0 0 0 – $ 4 9 ,9 9 9 Brenda K. Ashworth and Donald F. Welch Susan W. Flanigan* James A.C. and Maureen A. Kennedy Charitable Fund Dorothy H. Powe* in Memory of Ethel J. Holliday Vic* and Nancy Romita R E S I D E N T C O M PA N Y SP ON SO R $1 0 , 0 0 0 - $ 24 ,9 9 9 Anonymous Ed and Ellen Bernard Chris DiPietro* Walter B. Doggett III* and Joanne Doggett Jennifer C. Engel Curt Lind and Linda Ettinger Paul Konka and Susan Dugan-Konka Mark and Sandy* Laken Kenneth C. and Elizabeth M. Lundeen Mary and Jim Miller Susan and John Nehra Brian and Eileen O'Rourke* Paco and Tina Rodriguez EX E C U T I VE P R ODUCE R $5 , 0 0 0 – $ 9 , 9 9 9 Anonymous George and Frances† Alderson Courtney Bruno Mary Catherine Bunting Shaun Carrick and Ronald Griffin Judy Shub-Condliffe and Jack Condliffe Sarasi Desikan* and Sal Dhanani Karen and Ronald Erler Charlton G. C. Friedberg Sandra Levi Gerstung* Sandra D. Hess Jean Jacocks Deborah Jennings* Mark Paul Lehman* and Kurt Davis James MacNicholl and Sara Lombardo Tim Nehl and Joy Mandel

18 Different Words for Happiness (2026)

John and Marsha Ramsay Mark Schenerman and Amy Bober-Schenerman Julia Smith Joaneath A. Spicer Michael B. Styer* Donald* and Mariana† Thoms Ellie Wang* Mark Yost* and Kevin Galens PRODUCER $2,500–$4,999 Anonymous (9) James and Ellen Adajian Penny Bank Gayle Barney and Jean Savina Patricia Bettridge Winnie and Neal Borden David Cane Paul and Kathleen Casey Caroline Griffin and Henry E. Dugan, Jr. Donald Hicken Karen and David Hutcheon Barry Kropf Francine and Allan Krumholz Marissa LaRose* and Travis Andrews Wil Love and Carl Schurr Eileen O'Rourke* Ed and Jo Orser David and Nancy Paige Reid Reininger John and Sarah S. Robinson Jim and Laura Rossman Louis B. Thalheimer and Juliet A. Eurich Ruth Lawson Walsh Howard and Elizabeth Walsh and Family Meadow Lark Washington* and Joe Washington Maria Wawer Peter Ayers Wimbrow, III Steven Yahr ASSOCIATE PRODUC ER $1,000–$2,499 Anonymous (8) Robert and Jane Amtmann Emile A. Bendit and Diane Abeloff Mark and Susan Adams Bryn and Philip Ardanuy Allyson Black Woodson Patty Bond Michael Borowitz and Barbara Crain Richard Bozzelli Dorah Brager Paul and Jane Brickman Livio and Diane Broccolino David Brown Edie* and Stan Brown† Jeanne Brush Diane E. Cho and David W. Benn Jerry and Carol Doctrow Rickie Eatherly Arlene Falke Len Fass and Carel Hedlund Kimberly and Christopher Field Susan Sachs Fleishman Donna and Joe Flynn Regina C. Graham Dorothy Gold and Jim Wolf

Gary Goldberg and Patricia Meisol Donald M. and Dorothy W. Gundlach W. Robert Hair and Steven J. Ralston Jane Halpern Carol and Joe Hamilton Catherine Hammond Alan and Trisha Hoff Vanessa Harnik Jeffrey and Shelly Hettleman Deborah Ingle Keith and Lois Johnson Shirley A. Kaufman Harold Kanarek Mr. and Mrs. D. Brooks Kitchel II Nancy King Diane Koenig Larry Koppelman and Liz Ritter Evelyn S. Krohn Timothy and Gabrielle Lawrence Jeffrey and Marcia Leber Peter Leffman Sara and Ronald Lesser Paul and Jill Levine Gayle Levy and Martin Barber Jennifer Litchman* Fred and Judy Lobbin Linda and Jim Loesch Marjorie* and Scott McDowell Lesley Malin Kathleen Howard Meredith Barry Mersky and Elizabeth Trexler Stan and Laurie Miller Steven Morris Gerry Mullan and William Sweet Dr. Mike Myron and Linda Weisfeldt Linda Nevaldine Andrew and Sharon Nickol Patricia S. and Robert J. Orr Patricia Palmer Julia Pearson Mary Plaine and Ellie Eines Gary and Leslie Plotnick Mark and Joanne Pollak Drew* and Ryan Reis Elenor Reid Sue Shaner and John Roberts Nancy Dalsheimer Savage Dr. Alan Schwartz and Dr. Carla Rosenthal Betsy and Carlton Sexton Hugh Silcox Harvey and Debbie Singer Bob and Jackie Smelkinson Ruth and Chuck Spivak Susan Spencer and John Spencer Shale D. Stiller and The Honorable Ellen M. Heller Brooke Story Jessica Strauss and The Honorable André Davis Swackhamer Family Charity Sheldon and Victoria Switzer Elizabeth Trimble Christian Ventimiglia* Susan and Hutch Vernon Lissa Abrams and Abe Wasserberger Barbara Coleman White Wolman Family Fund Joseph and Valerie Yingling

D I RE C T O R $ 5 0 0 –$ 9 9 9 Anonymous (9) Walter and Rita Abel Ronald† and Baiba Abrams Dr. and Mrs. N. Franklin Adkinson G. Caleb Alexander Brad and Lindsay Alger Ray and Carroll Apodaca John and Carolyn Boitnott Richard and Elaine Born Jeffrey Budnitz and Siobhan O'Brien Budnitz Eva and Warren Brill Lew and Vicki Bringman Peter and Eileen Broido Charles Browne, III and Rod Cook Barbara Brunk Jim and Sue Burger Karen Caffi-Lalle Jeanne Carey Jan P. Caughlan Arnold Clayman Fred Cogswell Samuel Cohen and Joan Piven Phonte Coleman Betty and Stephen Cooper Judith Cooper David Cox and Joanna Miskelly Cox Harlan and Jean Cramer Barbara Dent Nancy Dickinson Carol Eakin-Burdette Neil and Deborah Eisenberg Bill Eggbeer Don Firmani and Janet Esch Gary Felser and Debra Brown Felser David and Merle Fishman Eric and Esther Frey Praveena Gadam Beth Gansky Suzan Garabedian Herbert and Harriet Goldman Marci Gordon and Andrew Barnstein Hannah and Thorne Gould Robert and Cheryl Guth James F. Hart Hope Hollander Greg Huff and Pamela Pasqualini Bob and Thea Jones Ann H. Kahan Ron and Marianne Kreitner Toni and Evan Krometis Dr. and Mrs. Rudolf Kuppers Jonna† and Fred Lazarus Ellen Lengermann Marie Lerch Aaron and Jill Levin Peter Levy and Diane Krejsa Lynne and Larry Lichtig Freddi Lipstein and Scott Richard Berg Bruce Lindstrom Gail Long Michael and Lois Mannes Jeanne E. Marsh Judy and David Mauriello Helen Montag and Adam Schulman Vicki Moyer Bruce R. Nelson and Richard

Goldberg Susan Noyes Drs. Mary O'Connor and Charles King Gail Oppel Thomas L. and Leslie V. Owsley William and Susan Paznekas Dr. Fred Pearson Rosser J. Pettit Anne Marie Richards Elaine Richman and Ralph Raphael Naomi Robin and Gerald Gleason Robert and Ellen Rosen Wendy Rosen Kristin Rowles and Paul Ferraro Robert Russell, in memory of Lelia Russell Victoria Schetelich Eleanor Schwark Judi and George Seal Robert Sears Norm and Lee Sensinger Amy Seto John Shavers Patricia Smeton Norma Snow-Goldberg Renate Soulen Marilyn Steinmetz Fred Steffens Damie and Diane Stillman Lynne Stuart Elva Tillman Christopher Uhl* and Andre Cawley Victoria Vestrich Rose Viscardi Drs. Elisabeth and Richard Waugaman Peggy Widman Wade Wilson and Claudia Bismark Martha White Carol Yoder Marvin and Sheila Zelkowitz MONTHLY SUSTAINING DONORS Robin Bainbridge and Clyde Munz Steven Bartoszewicz Joyce Duffy-Bilanow and Stephen Bilanow Jan Boyce Regina T. Boyce Jonathan Castillo Jan P. Caughlan Bruce and Lisa Field Ira Gooding and Kristen Vanneman-Gooding W. Robert Hair and Steven J. Ralston Linda K. Hammond James F. Hart Paul M. Holmes Deborah Ingle Shameka Littles Fred and Judy Lobbin Hannah Mazo Marjorie* and Scott McDowell Michele McFarland Greer Meisels and Weston Konishi Davona Moore Mary C. Plaine Dr. Alan Schwartz and Dr. Carla

Rosenthal Drew* and Ryan Reis Linda Riach Joy and Steve Sakamoto-Wengel Judi and George Seal Peggy Widman Margaret Williams Donald Wilson and Jerriann Wilson

3 5 T H A N N I V ER S A RY SPO N S O R S Everyman Theatre thanks and recognizes the following individuals and institutions for their generous sponsorship of our 35th Anniversary Season and The Founder's Ball Gala. Venable Foundation Gina and Dan Hirschhorn Rosemore Inc. Susan and John Nehra University of Maryland, Baltimore Gallagher LLP BGE Jennifer and Bryan Rakes Judy Phares Harris Jones & Malone, LLC Sandy and Mark Laken Beth Goldsmith American Trading and Production Corporation * Board Member † Deceased

YOU MAKE THEATRE HAPPEN.

Lawrence J. Yumkas and Miriam Fisher

Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director

LEADERSHIP

BRANDON WEINBRENNER (he/him) is the newly appointed Artistic Director of Everyman Theatre, the second in the theatre’s history. Previously, Brandon served as Associate Artistic Director at Alley Theatre in Houston, where he spent 13 years directing more than a dozen mainstage productions, including Misery, Clue, Noises Off, and The Humans. He was also on the founding team behind Alley All New, the theatre’s new play development program, and spearheaded the creation of the University of Houston/Alley Theatre Professional Actor Training Program. A graduate of the University of Minnesota/Guthrie Theater Actor Training Program, Brandon has built a career dedicated to creating meaningful opportunities for artists and cultivating vibrant theater communities. He is especially passionate about the Resident Company model, having grown up watching the Dallas Theater Center’s resident company and then working with the Alley Theatre’s Resident Acting Company. Brandon is thrilled to bring that experience to Baltimore and Everyman Theatre. MARISSA LAROSE (she/her) has served as Managing Director since April 2020. Prior to joining Everyman, she spent almost 12 years at Arena Stage in Washington, DC, working across general management, production management, and building operations as well as an occasional Teaching Artist. During her time at Arena Stage, she was one of the key organizers for the Grand Opening Celebrations of the Mead Center in 2010 and worked on several notable productions including the pre-Broadway transfers of Dear Evan Hansen and A Night with Janis Joplin and adapting the full-stage swimming pool of Mary Zimmerman's Metamorphoses to be performed in the round. She also worked with Turnaround Arts at the White House with the President's Committee on the Arts and Humanities, Ice!, at Gaylord National Harbor, and the Junior Theater Festival. Marissa believes live theater strengthens communities by building empathy and connecting us through our shared humanity and serves as a vital building block for the next generation. As a proud mom of two young daughters, she loves experiencing the world anew and exploring all Baltimore and the Mid-Atlantic has to offer. WITH GRATITUDE TO Vincent M. Lancisi, Founder of Everyman Theatre 20 Different Words for Happiness (2026)

Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director

Everyman Theatre is a welcoming and inclusive space for everyone – audience members, students, artists, volunteers, staff, and trustees – to experience art and be part of a positive community where all can be treated with kindness and respect. In order to make this a reality we need your help in upholding our core values and creating a space that allows everyone to fully participate in the transformative experience of live theatre.

WE BELIEVE THAT… • Everyone is deserving of kindness and respect • All individuals deserve to feel welcomed and included in the work we do • It’s our collective responsibility to maintain a safe and supportive environment • Theatre provokes thought and inspires dialogue, which builds our capacity for empathy, understanding, and connection • It’s our collective responsibility to oppose racism by consciously, purposefully, and continually striving against racial biases and the systemic structures that perpetuate them • We must take a united stance against all forms of oppression or marginalization, and recognize that although discomfort may be productive, cruelty never is WE INVITE YOU TO… • Embrace a mindset of goodwill and extend courtesy to others • Immerse yourself fully in the performance – applaud, shed a tear, laugh out loud, and express your emotions freely • Embrace your fellow audience members’ reactions and cherish the fact that theatre is a shared journey • Make a deliberate effort to confront your own biases, and partner with us in putting these beliefs into action. We are all learning - help us maintain a positive community and culture of collaboration • Share your feedback and experiences with us, as we are continually looking to improve WE WILL NOT TOLERATE… • Discrimination, harassment, or any form of speech/behavior that threatens the safety or well-being of others • Unwanted invasion of another person’s physical space • Refusal to comply with staff instructions or disregarding the theatre’s policies

Any conduct that contributes to a dangerous or hostile environment will be taken seriously. If you witness or experience a violation of the values and expectations outlined above, please alert one of our staff members. Everyman takes this feedback very seriously and will take action to protect our community. Thank you for joining us and being a part of the Everyman Family!

Land Acknowledgment We honor the Indigenous Piscataway, Lumbee, and Cherokee people of Baltimore City and the unceded ancestral lands of the Piscataway on which Everyman Theatre resides. This acknowledgement does not take the place of authentic relationships with Indigenous communities, but serves as a first step in honoring the land we occupy and as an act of resistance against the erasure of their histories. For more information: https://native-land.ca/ and http://baltimoreamericanindiancenter.org

22 Different Words for Happiness (2026)

STAFF L EAD E RSH I P Artistic Director Brandon Weinbrenner Managing Director Marissa LaRose ADM IN I S T R AT I O N Producing Director Kyle Prue Director of Finance + Human Resources Larry Bright Associate Managing Director Vanessa Chumbley Finance + Human Resources Associate Robin Fraker Accounts Payable Clerk Sofi Becherer Facilities + Operations Manager J.R. Schroyer

Senior Manager of Audience Services Andrew Johnston Audience Services Lead Supervisor Becca Stafford Audience Services Coordinator Michelle Payton Audience Services Associates Airele Arrington, Andromeda Bacchus, Sofi Becherer, Jahquana Bond, Tyrel Brown, Jordan Burch, Candice Isaac, Ja’Net Jones, Connor Kertiss, Natasha Lane, Elizabeth Malvo, Derrell Owens, Julia Perce, Thom Purdy, Acell Spencer, Becca Stafford, Alexandra Taylor, Taylor Thompson, Crystal Williams P RO DU CTIO N Director of Production Amanda M. Hall

AR T IS T IC

Production Manager Cat Wallis

Associate Artistic Directors Paige Hernandez Tuyết Thị Phạm

Technical Director ren brault

PHI L A N T H RO P Y

Assistant Technical Director Charli Bingle

Director of Philanthropy Lauren Saunders Associate Director of Institutional Giving Elliott Kashner Philanthropy Operations & Events Manager Caitlyn Hooper MA RK E T IN G & COM M U N I C AT I O NS Director of Marketing & Communications Alexander Cortes Associate Director, Communications & Partnerships Corey Frier Associate Director of Marketing Jordyn Farthing Patron Communications Coordinator Jalice Ortiz-Corral Graphic Designer Megan Rinker

Scene Shop Manager Sarah Blocher Lead Carpenter Joe Martin Scenic Charge Artist Jill Koenig

Audio/Video Supervisor Andrew Gaylin Carpenters Jupiter Lam-Bright, Kenny Fraker, Zack Nunns, Charles Whittington, Charlie Woods Electricians Nick Colantuono, Griffin Delisle, Dante Fields, Robin Fraker, Adam Harper, Enzo Leone, Malaak McDonald, Andi Pfluger ED UC ATI ON Director of Education Joseph W. Ritsch Education Operations Manager Arianna Costantini Education Programs Manager Kristina Szilagyi Education Intern Olga Rodriguez Teaching Artists Kyleigh Archer, Sofi Becherer, Lanoree Blake, Julia Brandeberry, Christy Brooks, Tyrel Brown, Melissa Freilich, Katie Ganem, Deborah Hazlett, Helen Hedman, Caitlyn Hooper, Beth Hylton, Hannah Jeffrey, Marcus John, Francesco Leandri, Carole Graham Lehan, Kimberley Lynne, Karen "Chacana" Morales-Chacana, Bruce Randolph Nelson, Tarshai Peterson, Megan Anderson Prue, Molly Prunty, Joseph Ritsch, Chinai Routté, Nestor Serrano, Raecine Singletary, Susan Stroupe, Kristina Szilagyi

Properties Artisan Michael Rasinski Stage Operations Technician Sharon Zheng Costume Director David Burdick Wardrobe Supervisor Lucy Wakeland Haag Draper Amy Forsberg Lighting Supervisor Juan M. Juarez Lead Electrician Maisie Stone Brandon Weinbrenner, Artistic Director | Marissa LaRose, Managing Director