The Play That Goes Wrong
By Henry Lewis, Jonathan Sayer, and Henry ShieldsDirected by Lewis Magruder
Scene Design
Curtis Mortimore and Brian C. Seckfort
Costume Design
Lisa Martin-Stuart
Assisted by Laura Schonken
Lighting Design
Cassie Mings
Assisted by Lexi Mangrum-Prokopiof
Sound Design
Charlotte Perez+
Assisted by Lily Green
Production Dramaturgs
Minh Nguyen+, Colton Wolf+
Advised by Ann Elizabeth Armstrong
Dialects Coaches
Nikki Ferry and Julia Guichard
Assisted by Becca Goetz
Movement Coach
Ashley Goos
Assisted by Alexandra Leurck+
Fight Choreography
Jonn Baca
Maggie Ballard, El Eavenson+, Lauren Lewis+, Stage Managers
Assisted by Seth Cousin and Aisling Morse
+indicates member of Alpha Psi Omega, National Theatre Honor Society
Cast in order of appearance
Annie Jamie Ellen Ripperger
Cornley Stage Crew ...................................................................................... Audrey Cowan, Mallory Miller
Trevor Justin Bourne
Chris ................................................................................................................................................ Bradley Beck
Jonathan Tod Fish
Robert ............................................................................................................................................ Charlie Makee
Dennis ..................................................................................................................................... Michael Ferguson
Max ................................................................................................................................................. Max Kaufman
Sandra ........................................................................................................................................ Tammy Sanow+
The Play That Goes Wrong runs approximately 120 minutes. There will be one intermission.
CONTENT AND SAFETY NOTICES
This play contains some mild language, discussions of death/murder, and comical depictions of drinking. There is no mention of sex; however, undergarment is quickly shown several times during slapstick moments.
Atmospheric fog will be used in the production, and there will be brief moments of flashing lights.
All of the pratfalls, hijinks, falling set pieces, chaos and “mistakes” seen on stage are engineered for physical humor.
Prop guns will be used during the show, All gunfire is simulated and safely controlled for storytelling purposes.
Running Crew
Light Board Operator .............................................................................................................. Cam Zeitvogel
Sound Board Operator ................................................................................................................ Lauren Doty
Deck and Effects Run Crew .......................................................................... Abby Doane, Connor Rollins
Property Run Crew Alex Cermak, Jordan Kipp, Nicholas Murray
Wardrobe Run Crew ....................................................................................... Evelyn Engle, Trystan Peters
Production Staff
Production Manager ................................................................................................................ Marly Wooster
Technical Director ................................................................................................................ Curtis Mortimore
Assistant Technical Director ..................................................................................................... Trish Grogan
Scene Shop Supervisor Emma Lawless
Scene Shop Staff ......................................................... Bethany Brown, Andrew Chidester, Vivian Dao, Natalie Mitchell, Jared Perkins, Megan Tracy
Scenery Construction Crew ............................. Lauren Claxton+, Tori Coss, Lily Green, Michael Liss, Ashley Ricker, Sam Vendramin
Lead Electrician ......................................................................................................................... Marly Wooster
Electrics Staff ........................................ Maggie Ballard, El Eavenson+, Trish Grogan+, Jenna Wrona
Property Director and Scenic Charge Gion DeFrancesco
Property Construction Crew........................................................................................................ Drew Grant
Scene Painting Crew Olivia Aloisi, Robby Mumfrey, Maggie Thieken, Chase Weimerskirch, Caitlyn Zook
Costume Shop Supervisor Meggan Peters
Costume Shop Staff .............................................. Olivia Aloisi, Evelyn Engle, Nina Haurani, Mack Ito, Erica Kerman, Maura Kesterson+, Laura Schonken, Joseph Sheridan+, Leah Vanasdale
Costume Construction Crew........................................................................ Caroline Miller, Zach Treinen
The Mischief Production of The Play That Goes Wrong was originally produced on the West End Stage by Kenny Wax & Stage Presence, and on Broadway by Kevin McCollum, J.J. Abrams, Kenny Wax & Stage Presence
The Play That Goes Wrong was first presented by Mischief Theatre under the title The Murder Before Christmas on December 4th, 2012, at the Old Red Lion Theatre in London.
The Play That Goes Wrong by Henry Lewis, Jonathan Sayer & Henry Shields © 2012, 2014 Mischief Worldwide Ltd. All rights reserved.
The Play That Goes Wrong, the “Falling G” logo device, Mischief, and Mischief Theatre are trademarks of Mischief Worldwide Ltd. All rights reserved.
This production is presented by arrangement with Dramatists Play Service under license from Mischief Worldwide Ltd.
For Mischief Worldwide Ltd.:
Directors: Mark Bentley, Jonathan Burke, Henry Lewis, Kenny Wax
Executive Director: Jo Danvers
Marketing Manager: Harry Lockyear
Production & Administrative Assistant: Minoli De Silva
Exclusive Agent for Literary Rights: Nicki Stoddart, United Agents LLP, London
For information about all Mischief works, please visit www.mischiefcomedy.com
A Note From the Director
by Lewis MagruderIn the fall of 2021, as we continued to make our way out of the pandemic, those of us involved in putting together a slate of possible play titles for Miami University Theatre’s 2022-23 season, yearned for a play that would help bring some laughter back into our lives. Instinctively, we knew that a farce would give us what we wanted: the delight of watching human beings caught up in an impossible—even extreme—situation and doing their level-best to make the best of it. That sounds like the pandemic, itself, doesn’t it? But, unlike the pandemic, a farce comes with the relieving joy of laughter.
We ended up selecting The Play That Goes Wrong, which dramatizes what happens when a group of amateurs try to overcome their own significant shortcomings in putting on a murder mystery. The play features just about every comedic bit ever played on a stage: forgotten lines, misplaced props, chases, slamming doors, resentments and jealousies between actors, bad acting, and so on.
What happens is one source of laughter. How it happens—that is to say, its style—is another. I am fortunate to have grown up with delightful farcical precedents, including The Carol Burnett Show, I Love Lucy, and Monty Python. As an adult, I sought out professional, live theatre where I learned about staging farce: Noises Off by Michael Frayn, Bedroom Farce and How the Other Half Loves by Alan Ayckbourn, Lettice and Lovage by Peter Shaffer, The Imaginary Invalid and Tartuffe by Moliere, Lend Me a Tenor and Moon Over Buffalo by Ken Ludwig, Blithe Spirit by Noel Coward, Fool Moon by Bill Irwin, and others. Finally, I immersed myself in clips by Charlie Chaplin, The Three Stooges, Keystone Cops, Laurel and Hardy, and Buster Keaton.
I hope that our efforts here at Miami University Theatre in creating our own production of The Play That Goes Wrong reflect some of these rich traditions and bring a bit of laughter to your day.
Lewis Magruder (Director) is associate professor of Theatre at Miami University, where he teaches acting, directing, and introduction to Theatre. At Miami University, Lewis has directed nearly a dozen productions, including R.U.R., Tartuffe, Rosencrantz and Guildenstern Are Dead, The Long Christmas Ride Home, Communicating Doors, Macbeth, Dead and Buried, The Glass Menagerie, Art, and The Arabian Nights. Also, Lewis is founder and producing artistic director for Broad Horizons Theatre Company, which develops and promotes new works in New York City. For Broad Horizons, Lewis has directed Tom Form and the Speed of Love, the critically acclaimed Evensong, an award-winning revival of Cloud 9 (with Ty Burrell), and numerous readings and workshops of new works. Also, he was associate artistic director of Tony Honoree The Acting Company in New York City.
Other favorite directing credits include Asolo Theatre, in Sarasota; English-American Theatre in Düsseldorf, Germany; Pennsylvania Center Stage in State College, Pennsylvania; and the Metropolitan Opera summer opera program for young singers in Tel Aviv; Rutgers University.
Lewis holds a Master of Fine Arts in Directing from The Pennsylvania State University, an Master of Arts in Theatre from Northwestern University, and a Bachelor of Arts from Davidson College.
Notes from the Dramaturgs
by Minh Nguyen and Colton WolfPlaywrights, Process, & Influences
Written by three friends in a room with a laptop, The Play That Goes Wrong is the culmination of Henry Lewis’, Henry Shields’, & Jonathan Sayer’s love for making people laugh. The London Academy of Music & Dramatic Art students met through an improv group at the university, and started Mischief Theatre Ltd. They aim to create work that is “serious about silliness,” and they “...believe that everyone should have the opportunity to break free from the shackles of everyday life and escape with us to a world of carefully choreographed chaos, merry mishaps and timeless comedy.”
In an interview with Essence Magazine, Henry Shields shared influences on the group, such as Michael Green’s “coarse acting plays,” the comedy acts of Charlie Chaplin & Buster Keaton, and the character archetypes found in traditional commedia dell’arte.
Henry Shields, Jonathan Sayer, and Henry Lewis of Michief Theatre
Stock characters and their stances from Comedia del’Arte
Buster Keaton (left) and Charlie Chaplin (right)
“...an amateur dramatic performance is not teamwork, it is a free for all between a dozen egos, the ego which gets there firstest with the mostest will win.”Michael Green’s The Art of Coarse Acting
Green’s The Art of Coarse Acting humorously describes the qualities surrounding the satirical idea of the “coarse actor.” The coarse actor is: “One who knows when to come onstage but not where; One who addresses the scenery instead of the audience; One who knows everyone else’s lines better than their own; One who remembers the last play they were in better than the current one.”
Works Consulted
Green, Michael. The Art of Coarse Acting: Or, How to Wreck an Amateur Dramatic Society. Samuel French, 1994.
“Interview: Henry Shields - You’ve Never Seen Enough.” Essence, 2019, http://www.essencemagazine.co.uk/Henry-Shields-Sept-2019.html.
Mischief. “Mischief.” MISCHIEF, https://www.mischiefcomedy.com/about-us/what-we-do.
Play Synopses
The Murder at Haversham Manor
by Susie H.K. BrideswellOn a snowy winter day in 1922’s England, Charles Haversham and Florence Colleymore will have had their engagement party, until Charles is found dead! After Inspector Carter arrived at the manor and investigated the murder scene, he came to a quick, yet seemingly reasonable, conclusion that Charles’ death was a result of foul play by one of the party goers. Confined to the isolated manor, the party must search for clues as to “whodunit”! Join us for the thrill of a lifetime for Susie H. K. Brideswell’s The Murder at Haversham Manor!
The Play That Goes Wrong
by Henry Lewis, Johnathan Sayer, & Henry ShieldsWhen the Cornley Drama Society puts on The Murder at Haversham Manor by Susie H.K. Brideswell…things don’t go as planned. Swords, shields, lovers, and the stage manager accidentally take the spotlight in this farce. In order to avoid being hit by the door, troupe members must come together to give the best performance the Cornley Drama Society has produced to date!
Why the Combination of Farce and Murder Mystery?
A question to ask: why combine the murder mystery and farce genres? Not only does The Play That Goes Wrong employ conventions of both, but popular comedies like Clue, Knives Out, Glass Onion do too and are wildly popular.
To understand farce, we have to understand its definition and history. A farce is “a comic dramatic work using buffoonery and horseplay and typically including crude characterization and ludicrously improbable situations,” as provided by Oxford Languages from Google Search. In its oldest origins, the term “farce” comes from the old French verb “farcir” which meant “to stuff” in English. In terms of “stuffing” and drama, in 15th-century France, comic acts were often “stuffed” into liturgical dramatic pieces, or religious plays, as interludes. Historically, these interludes consisted of “clowning, acrobatics, caricature, and indecency,” or simply, demonstrations of buffoonery (Pallardy,
Britannica). Traditionally, the farce’s role has always been to entertain; liturgical drama served as sermon for the 15th Century French public, and thus, the public may have needed comedy to reinvigorate their attention to the moral of the sermon.
As for terms like “buffoonery, horseplay, crude characterization, and improbable situations,” we can define them as such:
Buffoonery: behavior that is ridiculous, but amusing.
Horseplay: rough, boisterous play.
Crude Characterization: vulgar, explicit, or raunchy depiction of people or things.
Improbable Situations: situations that follow no logic or are superbly unlikely.
In farce, improbable situations drive the action. In situations such as a murder, misunderstandings (deliberate or not) contribute to the comedy, enhancing suspense and intrigue. In these comedies, mistaken identity creates humor, since the audience is clearly aware that someone is not who they say they are, but the characters onstage are not. Farce is ruled by grand displays of human error and their seemingly harmless consequences.ut what about the murder mystery?
What we refer to as the murder mystery is a piece that contains a murder or general crime, a plot that creates suspense, and the character of the detective. The Murder at Haversham Manor consists of those elements, as Charles is murdered (crime), we are unsure of the murderer (suspense) and we follow Inspector Carter’s deductions through the course of the play. As such, the murder mystery has a formula; historically, this is considered the “well-made play” in drama. According to French dramatist Eugène Scribe, the well-made play consists of a short exposition of characters, then a section devoted to establishing misunderstandings, secrets, and identities that cannot be revealed. Those conflicts lead to suspense, and an audience will revel in uncovering secrets and trying to predict the truth..
As for the popularity of the well-made play, themes and topics addressed do not go very deep; however, these plays with their strokes of irony, sensational effects, and a sense of resolution to the simulated chaos rapidly sell tickets even today. Authors like George Feydeau shaped comedy using the well-made play formula, thus making the farce and his own well-oiled machine. His farces depend for their success on sophisticated stage sets, mechanical props, well-crafted plots, and, above all, hypnotically precise execution. With an emphasis on spectacle, the suspense, thrill of misunderstandings, and truth-seeking of the murder mystery lends itself towards entertainment.
Works Consulted
Pallardy, Richard. “Farce.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 7 Mar. 2019, https://www.britannica.com/art/farce.
Humpherys, Anne. “British Detective Fiction in the 19th and Early 20th Centuries.” Oxford Research Encyclopedia of Literature, Oxford UP, June 2017,https://doi.org/10.1093/ acrefore/9780190201098.013.240.
Minh Nguyen (she/they) is a junior double majoring in Theater and East Asian Languages and Cultures with a co-major in Arts Management. She is excited as The Play That Goes Wrong marks her first time working as a dramaturg through the department. Previously at Miami, she served as assistant stage manager for These Shining Lives and scenic designer for New Wave Theatre Company’s The Butterflies’ Promise. Minh is a member of Alpha Psi Omega and the stage manager for Miami Dance Corps’ Spring Showcase! this year. She would like to thank Dr. Armstrong for her guidance and consistent support throughout the process, and co-dramaturg Colton Wolf, for making it such a fun project to work on.
Colton Wolf (he/him) a sophomore studying Theatre and Creative Writing at Miami University. This is Colton’s second production through the department. For his first, he served as assistant stage manager for Angel’s Trumpet. Other credits include dramaturgy and actor for Walking Theatre Project’s staged reading of We Are Pussy Riot and Scenic Design for New Wave Theatre Company’s Rumormates. Colton is also a member of Alpha Psi Omega, and is excited to begin work this summer as an Undergraduate Summer Scholar for the College of Creative Arts. He looks forward to next year’s season, and hopes to see you in the audience!
About the Scene Design
by Brian C. Seckfort and Curtis Mortimore
The complexities of this production were less about approaching the colors, textures or even style and so much more about making all of the specific moments of the script happen consistently on cue. The year long collaborative process brought about hours of page by page conversations walking through each action and matching the furniture placement to complete the action. The design was also shaped by mechanical action, crafting a unique collective design between scenic designer and technical director. The magic of theater is what makes this show such a delight, all of the hidden special effects and paired greatly with the design elements to create a cohesive and collaborative design!
Scenic renderings: first conception (above), early design rendering (right), final render with modifications (next page)
Curtis Mortimore (Scenic Designer/Technical Director, he/him) joined the Miami University Theatre Department in 2014 and serves as the technical director and lead electrician. Curtis received his bachelor’s degree from Graceland University in Lamoni, Iowa and his Master of Fine Arts from the University of Tennessee, Knoxville. Curtis’ professional credits include duties as assistant technical director and technical director at Cincinnati Playhouse in the Park, four seasons with the Utah Shakespeare Festival in roles from carpenter to scenery supervisor, visiting assistant professor at Graceland University, shop manager at Stageworks in Little Rock, Arkansas, and technical director at Ball State University. Curtis teaches courses in technical theatre and supervises production stage crews.
Brian C. Seckfort (Scenic Designer, he/him) is a scenic designer, technical director, and theater educator originally from St. Louis, Missouri. Seckfort holds a dual Bachelor of Fine Arts degree in Theater Performance and Technical Theater from Florida Southern College and a Master of Fine Arts degree in Scenic Design and Technology from Kent State University. Currently, Seckfort is the resident scenic designer and technical director for Iowa State University. Notable regional design credits include: Almost, Maine (Oil Lamp Theater), Sweeney Todd (Rubber City Theatre), The Wedding Singer (Clinton Area Showboat Theatre) and Life Sucks (Dobama Theatre). View Brian’s previous work at www.brianseckfort.com.
About the Costume Design
by Lisa Martin-StuartWhen designing costumes for a play within the play, one must imagine: Who designed the costumes for The Murder at Haversham Manor and what design limitations (surely some) that were presented to the designer during the production period? In The Play that Goes Wrong, we learn that Chris, the director of the play Murder, oversees procuring the costumes for the Cornley Drama Society (one of the many roles he takes on for the company). As we learn in the pre-show announcement, the Cornley players are at times rather challenged with the demands of production needs, leaving a very busy director to do what he must to get the show on! My first thoughts about the costumes for The Play that Goes Wrong were more focused on the character types and somewhat less about the occasion of the events of the play. The play (Murder) takes place on the night of Charles’ and Florence’s engagement party, an event during the period of the 1920’s that would dictate formal
evening dress for the characters, a costume look that would be very similar- particularly for the men. I choose not to do this, instead, I wanted each character to have a distinctly unique costume that would illuminate the different character types in the play. Designing to character rather than the formal occasion would allow me to use a variety of silhouette, colors, textures, and patterns- giving each character a memorable and hopefully more humorous visual look. This decision also allowed me to design the backstage crew characters with an individual take on the typical backstage uniform of total-black clothing.
The decision to give each character an individual look, lead me to the idea that each “actor” might have procured their own costume (with limited guidance from Chris) thus allowing each to “showcase” their individual style. For example, Jonathan (Charles) and Sandra (Florence) insist upon creating the formal look of the engagement party and they decide that their costumes should have a color connection. While Max (Cecil) and Robert (Thomas) want their costumes to reflect their upper-class status as a young Eton student and a wealthy country landowner. Dennis (Perkins) and Chris (Inspector Carter) both choose costumes that reflect the stereotypical occupations of a murder-mystery butler and detective. Designing costumes for actors that follow the Art of Course Acting methods was a fun challenge to produce.
I would like to thank Laura Schonken for her creative assistance, especially her design for the Cornley Drama Society logo. Thanks also to Meggan Peters and all costume shop personnel. Dare I say, “Break a leg?!? “
Lisa Martin-Stuart holds a Master of Fine Arts from the University of Texas at Austin, and a Bachelor of Fine Arts from the University of Florida. Her training is in costume design, historical dress research, and sewing technology. Prior to coming to Miami University Lisa was the head of the graduate costume design program at the University of South Carolina where she designed costumes for over 60 theatrical productions. At Miami, she teaches design and technology courses for the Department of Theatre and Fashion Program in the College of Creative Arts. Recent MUT designs include Head Over Heels, These Shining Lives, & Miami Moves. Lisa recently completed costume designs for the upcoming film, Rachel Hendrix, her fourth collaboration with noted film director Victor Nunez. Other Film credits include: Ruby in Paradise; winner of the 1993 Sundance Film Festival starring Ashley Judd, Ulee’s Gold (1997) starring Peter Fonda; winner of the Best Actor Golden Globe Award, and Coastlines (2002) starring Josh Brolin and Timothy Olyphant. Lisa has also designed costumes for off-broadway theatres in New York and several regional theatres including American Folklore Theatre, Asolo State Theatre, Aquila Theatre Company of London, Charlotte Repertory Theatre, and Hippodrome State Theatre in her hometown of Gainesville, FL.
About the Lighting Design
by Cassie Mings
This show, from a lighting perspective, takes place in one location: an interior setting at night. This lends to more of a straightforward approach…or so we think. Because we are dealing with a play within a play we have to consider how the Cornley Drama Society might want The Murder at Haversham to look and be presented. And then how does that morph into a more modern observance of the events that unfold in The Play that Goes Wrong
We didn’t need to get too intricate or versatile. Instead we tried to shift to the modern feel with color temperature and visibility. One of our biggest concerns was making sure that the storytelling accomplished by the actors on and off stage and all the special scenic and prop elements were visible and enjoyable by our audience from the front of house!
Cassie Mings (she/her) is so pleased to be returning to designing at Miami. Some of her previous design credits with the Miami Theatre Department include Good Kids, Tartuffe, The Flick, and Bliss (or Emily Post is Dead). Cassie received her master’s degree in lighting design from Illinois State University in 2011 and spent several years freelancing and designing around the greater Chicago area before coming to Ohio in 2016. She is so grateful to Marly and the crew for all their help!
About the Sound Design
by Charlotte PerezAs you’re about to see for this production of The Play That Goes Wrong, there are many technical elements that go into making this set and these actors come to life. The sound design in its essence is here to amplify the experience of the The Murder at Haversham Manor and all of the issues that come from producing this play with these people.
There are a lot of basics within the show; telephones ringing, props falling, and people knocking at doors that serve to amplify what is already going on. Although they may seem simple, these sounds help establish the baseline world of the play and keep the mischief running smoothly. Then we have the more specific sounds of swords snapping and elevators breaking that can really help play up the errors that happen within the show. With all of these combined, the sound (alongside the other technical elements) continue the antics and may leave you wondering which sounds were real and which weren’t.
Charlotte Perez (they/she) is a senior studying Theatre and Social Justice and is excited to be working on sound for the Play That Goes Wrong! Charlotte just finished directing Angel’s Trumpet this past fall on Miami’s mainstage and was previously the sound designer for ONE, From the Many, and Blood Sisters with Miami University Theatre. Charlotte also worked as the lead sound technician and stage manager for Cedar Summerstock Theatre Company last summer. Aside from working on shows for the department, Charlotte has been a campus tour guide for the past four years, a member of Alpha Psi Omega, and currently serves as the President of the Walking Theatre Project.
Company Bios
Ann Elizabeth Armstrong (Dramaturgy Advisor) has been an associate professor of Theatre at Miami University since 2001. She holds a Master of Fine Arts in directing, as well as a doctoral degree in Theatre from the University of Hawai’i. Her specializations are community-based theatre, applied theatre, theatre for social change, and feminist theatre. She is an affiliate in Women Gender Sexuality Studies, American Studies, the English Department and the Western Program.
Jonn Baca (Fight Choreographer) is a Certified Teacher with the Society of American Fight Directors. He has been teaching and directing stage violence for over 20 years, for such theaters as Cincinnati Shakespeare Company, Playhouse in the Park, Cincinnati Ballet, and Know Theatre. He is also the Stage Combat Instructor at Northern Kentucky University. Jonn is delighted to once again work at his Alma Mater. He would like to thank the entire cast and crew for their excellent work in tackling this huge beast of a show.
Maggie Ballard (Stage Manager, she/her) is a junior Theatre major from Cincinnati with a co-major in Arts Management. At Miami, she has stage managed The Butterflies’ Promise in the 2021 Fringe Festival, Women in STEM for the 2020 Fringe Festival, The Thanksgiving Play, and These Shining Lives. She was also an assistant stage manager for Mother Earth’s Gallery of Broken Things. Maggie
would like to thank the rest of the absolute dream team of stage managers that she has been blessed to work with on this production!
Bradley Beck (Chris/Inspector Carter, he/him) is a freshman Psychology major from Cincinnati. This is his debut with Miami University Theatre. Outside of the department, he is a member of the Miami Men’s Glee Club, Stage Left, and a research assistant in the MARSH Psychology laboratory. Bradley is thankful for the wonderful people at Miami University Theatre and how welcoming they have been!
Justin Bourne (Trevor, he/him) is a senior Theatre and Creative Writing double major from Lebanon, Ohio. He last appeared in Miami’s production of R.U.R. and would like to thank everyone involved in the production and everyone watching for making this a great experience. Enjoy the show!
Alex Cermak (Props Run Crew, she/her) is a senior Data Science and Statistics major and Theatre Arts minor. At Miami, she was the stage manager for New Wave Theatre Company’s production of The Butterflies’ Promise this semester, the assistant scene designer for Angel’s Trumpet this past fall, the property run crew head for Head Over Heels last spring, and scene designer for The End of the World during the Fringe Festival in Fall 2021. She would like to thank the cast and crew for their hard work in bringing this show to life!
Seth Cousin (Assistant Stage Manager) is a freshman Theater major who has enjoyed performing all of his life. Recently, he served on the run crew for Miami Moves, and played Scott Fitzgerald in Miami University Theatre’s production of Angel’s Trumpet. Although he has done theater for many years, this is his first time in a stage management position. Seth is a member of Stage Left and the Walking Theater Project as well. Off the stage, Seth enjoys spending time with his friends, watching movies, and unlocking the secrets of the universe. He has enjoyed his first opportunity to stage manage, and looks forward to what’s next.
Audrey Cowan (Cornley Stage Crew, she/her) is from Cleveland, Ohio and is a freshman at Miami University. This is her first Miami University Theatre production, and she is very excited to be making her debut! Outside of the theater she is double majoring in Psychology and Anthropology. Audrey would like to thank the entire cast and crew of the show, as well as her family for their support.
Gion DeFrancesco (Props Director and Scenic Charge, he/him) joined the faculty of Miami University in the fall of 2001 and teaches courses in scene design, design communication skills, scene painting and American musical theatre. He also designs scenery and serves as scenic charge artist for MU Theatre productions. Favorite designs at Miami include Pentecost, In Quest of Love, Stupid F**cking Bird, The Wild Party, and Angels in America. Regionally he has designed and painted at a number of theatres including Big River at the Gallery Players of Brooklyn, I Love You! You’re Perfect! Now Change! at the Florida Repertory Theatre, and The Magic Flute at the Illinois Opera Theatre. Regional design credits include The Santaland Diaries at New Edgecliff Theatre in Cincinnati, Seussical at La Comedia Dinner Theatre in Springboro, and Happy Days at the West Virginia Public Theatre.
Abigail Doane (Deck and Effects Run Crew, she/her, ) is a freshman from Alexandria, Virginia double majoring in Theater and History and double minoring in Music Theater and Dance. Recently, Abigail danced in Miami University Theatre’s Miami Moves and worked as stage manager for New Wave Theater Company’s production of Rumormates. This is Abigail’s first time in a run crew position, having mainly stage managed and performed onstage. Abigail is a member of New Wave and Stage Left. Abigail has greatly enjoyed working with the cast and crew of The Play That Goes Wrong and looks forward to working with the department for years to come. Enjoy the show!
El Eavenson (Stage Manager) is a senior Computer Science major with a minor in Theatre. At Miami, El has worked on the stage management team for Head Over Heels, as lighting designer for Miami Moves, and on the electrics staff for three years. Outside of theatre, she is also on the equestrian team here at Miami. El would like to thank the amazing stage managers on this team and our wonderful mentor Marly Wooster. She would also like to give a special thank you to her dad, for encouraging her to add Theatre as a minor.
Evelyn Engle (Wardrobe Run Crew, she/her), a junior from Stow, Ohio, is a film-focused Media and Culture major with minors in Film Studies and Theatre Arts. She was the head of wardrobe run crew for last spring’s Head Over Heels, and is once again excited to be involved in the amazing costumery Miami has to offer! She only asks that you admire the hardworking wardrobe crews’ handiwork, and enjoy the show!
Michael “Fergie” Ferguson (Dennis/Perkins, he/him) is a junior Theatre and Games + Simulation double major from Hillsboro, Ohio. He previously played Inspector Lestrade in Miami’s Fringe production Sherlock Holmes and the Adventure of the Vanishing Ring. He’s also previously worked on the sound crew for Miami’s production of Head Over Heels, and the radio production R.U.R. He would like to thank the entire production team for one of the best show experiences yet!
Nikki Ferry (Dialects Coach, she/her) is an adjunct Instructor within the Department of Theatre where she teaches acting for non-majors. She also serves on the faculty at Northern Kentucky University as adjunct faculty of acting and performance teaching courses in acting and voice production. She holds a Bachelor of Fine Arts in acting from Wright State University, a Master of Fine Arts in acting from Wayne State University, and has studied at both the Moscow Art Theatre School and The Great Lakes Michael Chekhov Consortium, earning her teacher certification in the Michael Chekhov Technique. Recent dialect coaching productions include Once at Xavier University and Spamalot for Indian Hill High School Theatre. She would like to thank Julia Guichard and Lewis Magruder for having her along on this madcap adventure!
Tod Fish (Jonathan he/him), a sophomore from Lima Ohio, is a Theatre major with minors in Music Theatre and Dance. This is his fourth production with Miami University Theatre. You may recognize him from his previous roles in R.U.R., Head Over Heels, and These Shining Lives. He would like to thank everyone for coming to the show. He would also like to thank his family for their support and not making him become a lawyer.
Becca Goetz (Assistant Dialects Coach, she/her) is a current senior double majoring in Marketing and Theatre with a minor in French. Previous dialect coaching includes serving as undergraduate associate for the dialects course in MU’s Department of Theatre under Julia Guichard. Previous experiences with Miami University Theatre include choreographer and dancer in Miami Moves, assistant director for The Thanksgiving Play, choreographer for The Butterflies’ Promise, and acting roles in Describe the Night and The Helpers. She currently serves as a producer on the short film Rewriting Mallory with Capstone Pictures at Miami University. She would like to thank Julia Guichard and Nikki Ferry for their mentorship and the cast for being such a pleasure to work with!
Lily Green (Assistant Sound Designer, she/her) is a freshman Theatre and Emerging Technologies in Business and Design double major at Miami. She has experience onstage, backstage, as well as front of house. She is a part of Sketched Out Improv and was A1 for Stage Left’s production of The Lightning Thief last Fall. She has loved working on The Play That Goes Wrong this semester and
would like to thank the cast and crew for making this production possible, as well as her Grandpa who has been her biggest inspiration in Theatre.
Max Kaufman (Max/Cecil Haversham/Arthur the Gardener, he/him) is a first year Theatre and Creative Writing double major from Riverwoods, Illinois. Last semester, he played Dr. Renton in Miami University Theatre’s production of Angel’s Trumpet. Outside of the theatre, Max can be found singing with the Men’s Glee Club and editing with Inklings Arts & Letters. He sends love and thanks to his family and his Crystal Light.
Jordan Kipp (Props Crew, they/them) is a freshman Zoology major with a minor in Theatre Arts from Coon Rapids, Minnesota. This is their first production at Miami and they are so excited to be a part of it! Throughout high school, they worked on countless shows as both props master and assistant stage manager, their favorite of which was The Addams Family. They’re really excited for you to see this show, enjoy!!!
Ashley Goos (Movement Director) is a dance artist, educator, and somatics practitioner. She holds a Master of Fine Arts in Dance Performance and Choreography from The Florida State University and a bachelor’s degree in theatre from Miami University. She is also a Touch for Health practitioner. Ashley has set work at the Bourdelle Museum in Paris; Missouri State University in Springfield, MO; Miami University (OH); for the American Legacy Theatre in Cincinnati, OH; The School for Creative and Performing Arts in Cincinnati, OH; Moving Current in Tampa, FL; the Cincinnati Fringe Festival; the Area Choreographer’s Festival 2018 in Cincinnati, OH; and for Gallery 621 in Tallahassee, FL. Ashley became the Director of the dance program at Miami University in the Fall of 2020.
Alexandra Leurck (Assistant Movement Director & Fight Captain, she/her) from Cincinnati is a fourthyear double majoring in Theatre and Arts Management and Entrepreneurship with minors in Women, Gender, Sexuality Studies and Dance. She previously worked on Miami Moves as a choreographer and dancer, Head Over Heels as a member of the ensemble, When We Get Good Again as a prop builder, and She Kills Monsters as several D&D monsters. During the 2021 and 2022 Fringe Festivals Alexandra was a dramaturg for Conversations With Women in STEM, a producer for The Butterflies’ Promise and Trip, an assistant director for Sherlock Holmes and the Adventure of the Vanishing Ring, and she played the role of Vivian Lee in ONE. She would like to thank Ashley Goos and Jonn Baca for sharing their knowledge and offering guidance during this experience. She hopes you enjoy the show and that you fill the house with laughter!
Lauren Lewis (Stage Manager, she/her) is a junior Theatre and Arts Management & Arts Entrepreneurship double major from Jonesboro, Arkansas. She previously worked on the stage management teams for Miami Moves and Head Over Heels. Outside of rehearsal, she is a campus tour guide and sustainability advocate. Lauren extends special thanks to Marly Wooster, her fellow stage managers, and Fletcher Layton for their support throughout the production process!
Charles Makee (Robert, he/him) is a sophomore Theatre major and Film minor from Concord, New Hampshire. This is his first production within Miami University Theatre, however he has written shows for Miami’s Stage Left one act festivals. He wants to be a professional performer or writer once he has completed college and can’t wait for his debut in Miami’s theatre department. He would like to say thank you to his wonderful family and friends for driving all the way from New Hampshire to see him perform!
Lexi Mangrum-Prokopiof (Assistant Lighting Designer, she/her), from Albuquerque, New Mexico, is a sophomore double major in Theater and Art History with a minor in Museums and Society. Lexi has acted in Rossum’s Universal Robots as Sulla, worked as costume run crew for Head Over Heels, and was in the staged reading of We Are Pussy Riot put on by Miami’s own Walking Theater Project. Aside from these projects, Lexi is a Resident Assistant on campus. Lexi wishes the entire crew and cast a wonderful run, and has had the pleasure of learning and growing with them.
Mallory Miller (Cornley Stage Crew, she/her) is an Ohio-born junior at Miami University with majors in Psychology and Neuroscience and a minor in Theatre. She was a follow spot operator for Miami’s Head Over Heels and performed in Mother Earth’s Gallery of Broken Things. She would like to thank her amazing parents for always supporting her interests and encouraging her to be her best!
Aisling Morse (Assistant Stage Manager she/her) is a freshman Zoology and Sustainability co-major, and Theatre minor from Auburn, New Hampshire. She has been involved in all aspects of production through her work with both Miami (These Shining Lives, Angel’s Trumpet) and a variety of community theatre productions. She is passionate about animals, Disney, and environmental advocacy. Aisling extends a wicked big thanks to those at home who helped her get where she is today! Enjoy the show!
Nicholas Murray (Deck and Effects Run Crew) is a freshman Theatre major from Cincinnati, Ohio. He has previously played the role of Jason and did set building for New Wave Theatre Company’s Rumormates, played Trevor in the Stage Left one act Dog Eat Dog, and played Elliot as well as set building for New Wave Theatre Company’s The Butterflies’ Promise. He is super excited to be a part of his first theatre department production. Enjoy the show!
Trystan Peters (Wardrobe Run Crew, he/they) is a junior Theatre major from Oxford, Ohio. Trystan has worked behind the scenes in several Miami productions including most recently as wardrobe run crew for Angel’s Trumpet. He hopes you all enjoy this performance and don’t worry, how could anything go wrong?
Jamie Ellen Ripperger (Annie, she/her) is a sophomore Theatre and Arts Management double major with a co-major in Entrepreneurship from Waynesville, Ohio. She is beyond excited to make her acting debut with Miami University Theatre! Within the department, Jamie Ellen worked as an intimacy choreographer for How to Write Her Autobiography earlier this year and These Shining Lives last fall. In her free time, Jamie Ellen has worked with Stage Left and The Walking Theatre Project and enjoys playwriting. She sends love to her family, friends, and kitties!!
Tammy Sanow (Sandra/Florence Colleymoore, she/her) is originally from Fort Thomas, Kentucky. She is a Theatre and English Literature double major at Miami University and works in the office of the Dean of the College of Creative Arts. A few previous favorite theatre credits include These Shining Lives (Catherine Donahue), R.U.R. (Callida), Puffs (Susie Bones), As You Like It (Phoebe), and The Laramie Project (Romaine Patterson and others). Over the winter she studied abroad in London and this past summer she worked with the Cincinnati Playhouse in the Park in their Teaching Artistry Program. She would like to thank her family, friends, and fellow cast and creative team for their support throughout the process.
Marly Wooster (Production Manager, Lead Electrician, she/her) received a Master of Fine Arts Degree in Lighting Design from Illinois State University in Normal, Illinois and a Bachelor of Arts Degree in Theatre from Northwestern College in Orange City, Iowa. Marly has designed lighting for productions across the midwest including at the Illinois Shakespeare Festival, Madison Children’s Theatre, CATCO
in Columbus, and the Clinton Area Showboat. Some of her favorites included Stellaluna, Mr. Burns a Post-Electric Play, Richard II, Into the Woods, Drowsy Chaperone, and SHOUT!. At Miami University Marly teaches classes in lighting fundamentals, stage management, and other courses for the Theatre Department and College of Creative Arts. Marly has designed the lighting for many productions here at Miami, including the Big ‘ol Tiny Little Dance Concert in the Fall 2021 Fringe, She Kills Monsters, and Head Over Heels (co-design with Ruby Gray).
Cam Zeitvogel (Light Board Operator, they/them) is a junior Theatre major with a minor in Dance from Rochester, NY. Previously, they worked on Miami Moves as light board operator. Outside of the theatre department, Cam is involved in Stage Left, the Miami University Equestrian Team, and Alpha Omicron Pi. When not at Miami, they can be found working at Dunkin’ and One Community Church.
Miami University Theatre Administration
Artistic Director
Production Managers
House Manager
Administrative Assistants
Student Office Assistants
Matt Omasta
Gion DeFrancesco, Marly Wooster
Delaney Wilson
Samantha Buchholz, Lori Gouvan
Seth Cousin, Abby Sokol
College of Creative Arts Administration
Interim Dean
Interim Associate Dean and Director of Interdisciplinary Programs
Assistant Dean and Lead Divisional Advisor
Assistant to the Dean for Operations and Finance
Director of Marketing
Program Assistant
Special Thanks
John Weigand
Julia Guichard
Chad Reynolds
Carolyn DeWitt
Tasha Dean
Micah Current
Tom Featherstone, Jason Sebastian, Miami University Fire Marshal Rich Dusha, Chief Stephen VanWinkle and the Miami University Police Department, Phil Bowling and the Miami University Physical Facilities Department.
Join us for our 2023-24 Season
With Two Wings
By Anne NegriOctober 4-8, 2023
In a fantasy world where people have wings, a young boy named Lyf lives an isolated existence with his parents in the safe nest of their home. Though loving, Lyf’s parents have strict rules he must follow about avoiding strangers, covering his wings with a cloak, and always observing rule number one: never, ever try to fly. Will Lyf be grounded forever, or will the truth he discovers empower him to take flight? This coming-of-age story is a bittersweet, yet hopeful, tale that tackles the issue of parental disability with gentleness and grace.
Bright Star
By Edie Brickell and Steve MartinNovember 15-19, 2023
Inspired by a true story, Bright Star tells a sweeping tale of love and redemption set against the rich backdrop of the American South in the 1920s and ’40s. When literary editor Alice Murphy meets a young soldier just home from World War II, he awakens her longing for the child she once lost. Haunted by their unique connection, Alice sets out on a journey to understand her past—and what she finds has the power to transform both of their lives. With beautiful melodies and powerfully moving characters, Bright Star is as refreshingly genuine as it is daringly hopeful.
Antigone, Presented by the Girls of St. Catherine’s
By Madhuri ShekarMarch 13-17, 2024
The St. Catherine’s drama club is struggling to put up its first school play—Sophocles’ Antigone
As if staging this tragedy in an all girls’ Catholic school isn’t challenging enough, the cast’s beloved director ends up betraying them in an unforgivable way. And it’s almost opening night! The actors must figure out the right course of action, all while rehearsing the classic play about impossibly difficult choices. What is the right thing to do? And must the show go on?
Puffs
By Matt CoxMay 1-5, 2024
For seven years, a certain boy wizard went to a certain Wizard School and conquered evil. This, however, is not his story. Puffs gives a new look at a familiar adventure from the perspective of three potential heroes from another house, just trying to make it through the perils of the magic school. Alongside them are a group of loyal outsiders with a thing for badgers. Their heartfelt and epic journey takes the classic story to new places and reimagines what a boy wizard hero can be. Puffs is not authorized, sanctioned, licensed or endorsed by J.K. Rowling, Warner Bros. or any person or company associated with the Harry Potter books, films, or play.
PLUS or annual festival of student-produced work!
The Kennedy Center American College Theater Festival , part of the Rubenstein Arts Access Program, is generously funded by D David M. Ruben stein.
Special thanks to The Harol d and Mimi Steinberg Charitable T rust for supporting the John F. Kennedy Cent er for the Performing Arts’ Kennedy Center American College Theater Festival.
Additional support is provided by The Honorable Stuart Bernstein and Wilma E. Bernstein ; and the Dr. Gerald and Paula McNichols Foundation.
Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.
This production is entered in the Kennedy Center American College Theater Festival (KCACTF). The aims of this national theater education program are to identify and promote quality in college -level theater production. To this end, each production entered is eligible for a response by a regional KCACTF representative, and selected students and faculty are invited to participate in KCACTF programs involving scholarships, internships, grants and awards for actors, directors, dramaturgs, playwrights, designers, stage managers and critics at both the regional and national levels.
Productions entered on the Participating level are eligible for invitation to the KCACTF regional festival and may also be considered for national awards recognizing outstanding achievement in production, design, direction and performance.
Last year more than 1,500 productions were entered in the KCACTF involving more than 200,000 students nationwide. By entering this production, our theater department is sharing in the KCACTF goals to recognize, reward, and celebrate the exemplary work produced in college and university theaters across the nation.
