The Slutzker Family Foundation is proud to be a Season Sponsor of the Syracuse Stage 25/26 season, full of stories that engage, entertain, and inspire us to see life beyond our own experience.
Born in Budapest, Hungary in 1917, Lillian Slutzker was a survivor. After fleeing Nazi control for England, she met her husband at a USO dance and later returned to his hometown of Rome, New York.
She dedicated her life to bettering her community. The Foundation’s purpose is to carry on her incredible legacy and fulfill her passion for Judaism, education, the arts, and enriching the community.
LETTER FROM THE MANAGING AND ARTISTIC DIRECTORS
DEAR FRIENDS,
Hello, and welcome to the start of our 52nd season! We’re glad you’re here.
As Managing Director and Artistic Director, we are entering our first and tenth seasons respectively, and we value and appreciate you making Syracuse Stage a part of your life. Thank you!
We’re thrilled that Peter Mills and Cara Reichel’s inspiring musical The Hello Girls opens our new season. From its Off-Broadway origin in 2018 to the reimagined and restyled production you’ll enjoy today, The Hello Girls is a thrilling exploration of courage, determination, and change. It’s based on the true story of the brave young women who served our country as front-line telephone operators in WWI, and who spent decades fighting to win acknowledgment of their status as military veterans. Combining this history with a powerful score and story that stays with you long after the curtain descends is an unforgettable experience. When we were approached last year about the possibility of producing this show, we immediately said yes!
From world premieres to powerful classics and family favorites, one-ofa-kind stories like The Hello Girls are created just for Central New York.
Thanks for joining us, please help us spread the word about this exciting new musical. Here’s to a memorable season together–enjoy the show!
Warmly,
Carly DiFulvio Allen Managing Director
Robert Hupp Artistic Director
ROBERT HUPP AND CARLY DIFULVIO ALLEN
TRIBUTE
Maria Marrero
January 16, 1952 — July 25, 2025
Maria Marrero embodied the values, skills, and passions that we here at Syracuse Stage and in the Syracuse University Department of Drama hold dear. And over the course of her 39 years as Syracuse Stage Resident Costumer and Syracuse University Professor of Theater Design and Technology, she came to embody the unique spirit and tremendous accomplishments of the Stage/Drama partnership itself.
Born in Matanzas, Cuba, she and her brother Lino came to the U.S. as unaccompanied minors through the clandestine Peter Pan Brigade (Operación Pedro Pan) organized by the Catholic Welfare Bureau. Later, they were joined by their parents, who escaped and settled the family in Ft. Lauderdale, where they became naturalized U.S. citizens.
As a fellow theatre-maker and teacher, I have always stood in awe of the way she transformed this early childhood trauma of being “separated from everything you know and love” (her own words, spoken to me on more than one occasion) into a life of artistry, education, and deep caring.
Her lived experience of how quickly one’s world could be turned upside
down made her ideally suited to the dramatic form, with reversal of fortune its stock in trade. Her early loss of family (no less powerful for having, fortunately, been temporary) no doubt contributed to her readiness to fight for what she cared about—whether that be a particular design choice or a struggling student.
She was exquisitely attentive to detail—in the historical accuracy of period costumes, in the nuances of curricular procedure, in all things. I think that little girl on the plane from Cuba learned the importance of paying attention very early on.
And yet none of this dimmed her joy in living. Most miraculous of all is the way she learned to use the arts—not only theatre, but music and painting as well—to magnify that joy.
Maria fought bravely, laughed heartily, and loved deeply. We are privileged to have known her and will miss her deeply.
Syracuse Stage dedicates this production to her loving memory.
–Ralph Zito
CO-PRODUCED WITH Michael Cassel Group, Broadway & Beyond Theatricals, & Chief Operator
PRESENTS
MUSIC AND LYRICS BY Peter Mills
BOOK BY Peter Mills and Cara Reichel
SCENIC DESIGN
Milagros Ponce de León
COSTUME DESIGN
Jen Caprio
ORCHESTRATIONS BY
Peter Mills and Ben Moss
LIGHTING DESIGN
Dawn Chiang
MUSIC DIRECTOR
Alexandra Crosby
ARTISTIC DIRECTOR Robert Hupp MANAGING DIRECTOR Carly DiFulvio Allen
SOUND DESIGN
Jessica Paz
CASTING
The Telsey Office Lindsay Levine, CSA
VIDEO DESIGN
Caite Hevner
PRODUCTION STAGE MANAGER
Becky Fleming*
ASSOCIATE ARTISTIC DIRECTOR Melissa Crespo RESIDENT PLAYWRIGHT
Kyle Bass
MUSIC SUPERVISOR Ben Moss
MUSICAL STAGING
Christine O’Grady
DIRECTED BY Cara Reichel
September 9 – 28, 2025
THE HELLO GIRLS
September 9 – 28, 2025
Music and lyrics by Peter Mills Book by Peter Mills and Cara Reichel Directed by Cara Reichel | Co-produced with Michael Cassel Group, Broadway & Beyond Theatricals, and Chief Operator
A heroic new musical about connection in a time of conflict.
THE 39 STEPS
October 22 – November 9, 2025
Adapted by Patrick Barlow | From the novel by John Buchan | From the movie by Alfred Hitchcock | Licensed by ITV Global Entertainment Limited | And an original concept by Simon Corble and Nobby Dimon | Directed by Benjamin Hanna Co-produced with Indiana Repertory Theatre
A Hitchcock spoof with hair-raising hijinks.
A CHRISTMAS STORY
November 25 – December 28, 2025
By Philip Grecian | Based on the motion picture A Christmas Story written by Jean Shepherd, Leigh Brown, and Bob Clark and In God We Trust, All Others Pay Cash by Jean Shepherd | Directed by Robert Hupp
A triple-dog-dare of a show.
SUBSCRIBE TODAY!
RELENTLESS
February 4 – 22, 2026
WORLD PREMIERE
By Rae Binstock | Directed by Melissa Crespo | Co-produced with Sing Out, Louise! Productions
A knockout new play about loyalty and legacy.
JOE TURNER’S COME AND GONE
March 11 – 29, 2026
By August Wilson | Directed by Timothy Douglas Co-produced with Indiana Repertory Theatre
August Wilson’s heartbreaking and mystical masterpiece.
DISNEY’S FROZEN THE BROADWAY MUSICAL
May 13 – June 21, 2026
CENTRAL NEW YORK PREMIERE
Music and lyrics by Kristen Anderson-Lopez and Robert Lopez | Book by Jennifer Lee Based on the Disney film written by Jennifer Lee and directed by Chris Buck and Jennifer Lee | Originally produced on Broadway by Disney Theatrical Productions
Directed by Emily Maltby | Music Direction by Brian Cimmet | Choreographed by Marjorie Failoni Co-produced with the Syracuse University Department of Drama
Sisterhood, stirring songs, and one magical snowman.
Assistant Stage Manager: Kyra Button* Dance Captain: Dan Teixeria*
UNDERSTUDIES
Understudies never substitute for the listed players unless a specific announcement is made at the time of performance.
Swings – Weller Dorff †, Victoria Rivard†
For Lt. Joseph Riser, Pvt. Matterson – Aidan Cole* For Lt. Wessen, Lt. Beaumont, Pvt. Dempsey, Morris – Weller Dorff† For Ackerson, German Soldier – Andrew Mayer*
For Louise Le Breton – Emily Mesa
For Helen Hill, Agnes – Victoria Rivard† For Suzanne Prevot, Bertha Hunt, Ensemble – Soraiah Williams For Bertha Hunt, Grace Banker – Kat Wolff*
While the characters in this story are inspired by real men and women who served in World War I, creative liberties have been taken and some characters are primarily fictional.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The Scenic, Costume, Lighting, and Sound Designers in LORT theatres are represented by United Scenic Artists Local USA-829, IATSE. The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The Hello Girls is made possible by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature. †Student, Syracuse University Department of Drama.
Join the ensemble with an Annual Fund donation to help us make a difference through live theatre.
Your gift supports educational, artistic, accessibility, and community engagement programming which provides the city of Syracuse and the Central New York Region a platform to connect and build community.
Cast members in the Syracuse Stage production of Sense and Sensibility By Kate Hamill. Based on the novel by Jane Austen. Directed by Jason O’Connell. Choreographed by Steph Paul. Scenic design by Brittany Vasta. Costume design by Raven Ong. Lighting design by Dawn Chiang. Sound design by Jacqueline R. Herter. Photo by Brenna Merritt.
MUSICAL NUMBERS
ACT 1
Answer The Call...........................................................................................Company
Audience members may take photos in the theatre before and after the performance and during intermission. If you post photos on social media or elsewhere, you must credit the production's scenic, lighting, and projection designers by including the names below. Please note: Photos are strictly prohibited during the performance. Photos of the stage are not permitted if an actor is present. Video and audio recording is not permitted at any time in the theatre. Photo credit: The Syracuse Stage production of The Hello Girls | Scenic Design by Milagros Ponce de León
Lighting Design by Dawn Chiang | Video Design by Caite Hevner
ADDITIONAL CREDITS
Associate Director: Melissa Crespo
Associate Musical Staging: Tamrin Goldberg
Associate Scenic Designer: Ryan Douglass
Associate Costume Designer: Antonio Consuegra
Associate Projection/Video Designer: Sydney Dye
Projection Design Assistant, Programmer: Taylor Gordon
Combat Movement Consultant: Andrew Mayer*
Hair Styling Consultant: Wendy Evans
Dialect Coach: Blake Segal
Student Assistant Director: Hazel Kinnersley†
Stage Management Assistant: Katie Barnes
Casting Assistant: Priya Ghosh
RUN CREW
Wardrobe Supervisor: Dylinn Andrew
Dressers: Krista Commisso, Fatima Yasmin
Deck Crew: Erin C Brett, Caitlin Radziewski
Spotlight Operators: Basil Allen, Chris Green
Sound Engineer/Board Op: Garrett Frink
Electrician/Board Op: Kat Larrabee
Assistant Audio Engineer/A1: Kevin O’Connor
COMMERCIAL PRODUCERS & AFFILIATES
Michael Cassel Group
Broadway & Beyond Theatricals Chief Operator
General Manager: Evan Bernadin Productions. Hillel Friedman, General Manager; Lico Whitfield, Associate General Manager
Production Management: Sightline Productions. Ryan Murphy, Production Manager
SPECIAL THANKS
Willette and Manny Klausner, Stacy Caldwell and Ann Korff, McGorty Theatrics LLC, Jason Najjoum
Naima Kradjian and Goodwill Theatre Inc., Wendy MacDonald, and Leonard Majzlin for their early development support.
Dan Dayton, Jari Villanueva and The Doughboy Foundation for encouraging the arts. Carolyn Timbie and the other descendants of the Hello Girls for their advocacy and generosity.
Elizabeth Cobbs and James Theres for their research and uplifting this history. The staff and board of Prospect Musicals for their dedication to telling this story.
And immense gratitude to the many artists who have contributed to the development and sharing of The Hello Girls over the past eight years.
AN INTERVIEW WITH PETER MILLS AND CARA REICHEL
This past May, while the creative team visited Syracuse Stage for a week-long workshop with Syracuse University Department of Drama students to develop the show’s choreography and other technical elements, Syracuse Stage’s publications manager Matthew Nerber sat down with Peter Mills (composer, lyricist, co-bookwriter) and Cara Reichel (director and co-bookwriter) to discuss the process of bringing this heroic musical to life.
MATTHEW NERBER: What was that first spark for this show, when you decided that this was the story you wanted to bring to the stage as a musical?
CARA REICHEL: I think it was over Memorial Day weekend in 2015. I saw a documentary on the history of women in the military which included a short segment on the Hello Girls. At that time we were looking for possible projects that would center strong women characters and women’s stories—and this one just grabbed me. It’s not only an important story, but it lived in a world that I could hear as a musical. And then I shared that with you, Peter.
PETER MILLS: It was such a great story! Once you start learning the details of what the women did, you feel the injustice of their not being recognized as veterans for so long. It’s a fantastic adventure, and a war story too. We had written other musicals based on history—specifically one set rather close to this time period of WWI. So as a composer, I knew that I could do that.
MN: What was your approach for music? Was it looking at the time period with jazz, ragtime, and all that, or was there a specific composer that was an influence?
PM: Ragtime was one thing I looked at, and it ultimately made its way into the score for one
COMPOSER, LYRICIST, AND CO-BOOKWRITER PETER MILLS AND DIRECTOR AND CO-BOOKWRITER CARA REICHEL.
particular number: “We Aren’t in the Army.” I thought: What if it’s a kind of slow ragtime feel? We’re so used to hearing the “Maple Leaf Rag” played at lightspeed, but Scott Joplin, on all of his ragtime pieces, said something like: “Ragtime must never be played fast.” I thought we could really lean into a slow and heavy ragtime feel that channeled the women’s aggravation with the process and the bureaucracy.
I will say a lot of the other musical styles in the show that sound “old-timey” to our modern ears
are actually still more modern than WWI. Something like “Je M’en Fiche” is really more swing-era type music. Irving Berlin was certainly a composer I listened to, to get into that head space—something like “Alexander’s Ragtime Band,” which was the earliest start of that real Tin Pan Alley American popular song sound. But “Je M’en Fiche” is more in line with what would come out of the 1930s.
CR: And “Hello Girls,” the title song, sounds much more like WWII—it’s more of a 1940s feel.
PM: I think sometimes we talked about this, and thought: Yes, because these women were ahead of their time and were blazing the trail.
CR: We realized fairly early on that we weren’t interested in recreating a strictly period world, because there are things you can only see when you look back over time. Our main character, Grace Banker, didn’t even survive to see the end of the women’s journey for recognition, so we wanted to create a device that allowed us to give it the perspective of history. Once we made that choice, it opened up all of the languages of music in different time periods. So there are some songs that feel like more traditional musical theater, and some are more modern, pop-rock musical theater.
PM: The military element was an important one too. The idea of marches
and snare drums. “Answer the Call” is a song that I really am proud of, where we landed on that. It was originally more of a traditional military march, and it felt like a period piece, evoking WWI. Now it has the feel of a ballad, but it still has that snare and military marching underpinning. I like the way it manages to live in both worlds, and feels less of any one particular time period, because it’s mixing the metaphors. It works well for the top of the show, because we are mixing the contemporary frame and the history that we go back into.
MN: At the beginning of the script you write: “While the characters of the story are inspired by (and share the names of) actual women who served in WWI, many creative liberties have been taken.” How do you toe the line of creating something that has historical fidelity and is also engaging and theatrical?
“We realized fairly early on that we weren’t interested in recreating a strictly period world, because there are things you can only see when you look back over time.”
–CARA REICHEL
CR: I think, in particular, when you’re telling a story from history that people don’t already know, there is a responsibility to have a certain amount of the real history in there. We bent history by condensing some events on the timeline, or by condensing or conflating characters. As an example: the central male character [Lt. Riser] who is in charge of the women’s regiment— in real life that was actually many different people over the course of the war. We combined those officers into
one character, because we knew there needed to be one strong character on that side of the story.
PM: We said early on that if this is going to be a kind of A League of Their Own, there needs to be a Tom Hanks.
CR: Yes! That was definitely something we had in mind in terms of how to structure the story. With the women, you have Grace Banker as the central character, and her story is pretty close
THE HELLO GIRLS CAST IN REHEARSAL AT SYRACUSE STAGE.
to her actual history. Some of the other supporting characters are people we found interesting who maybe weren’t actually part of the main group of women that went to the front for the first time, or we blended aspects of different people to come up with a character. So, we did make creative historical fiction choices in that way. But of course we wanted, to a large degree, to stick with the actual history of the war and what happened to these women.
MN: You originally premiered The Hello Girls in 2018, marking the centennial anniversary of the end of WWI. What did you discover about the story and about the play when working on the show Off-Broadway?
CR: What was amazing to discover was just how much people connected to the
story, how relevant it felt. At that time it was the midterm elections, and we were all very much thinking about why we were telling this story now, and the idea of inspiring people to not only remember this story from the past, but to look around at the present moment and ask: How can you do your bit to participate?
PM: There was such an urgency with telling this story, and there were so many parallels between our development of the show, which roughly spanned the same amount of time from when the call went out for women to enlist to when they came home—because it was basically less than a year of their lives that this all unfolded within, and the same for us.
CR: Everyone was just so intensely focused on the process, and that was
“‘Answer the Call’ is a song that I really am proud of... It was originally more of a traditional military march, and it felt like a period piece, evoking WWI. Now it has the feel of a ballad, but it still has that snare and military marching underpinning.” –PETER MILLS
something that felt very true and real. Our company bonded so immediately and strongly because we were all on a journey together. Obviously putting on a show is different from being in the military in a war zone, but I love the idea of the bonds that are formed, and how these women and men are
ultimately fighting for the people they are with, because the bigger political question isn’t always the day to day focus. It’s more like: “Can I get through this? Can I help my friend?” So the human stakes of the war were what the show ended up being about.
THE HELLO GIRLS CAST IN REHEARSAL AT SYRACUSE STAGE.
A Medal for the Girls
The United States of America entered the global conflict between the Allies and the Central Powers on April 6, 1917 with a declaration of war against Germany. It was, by all accounts, the first technologically modern war, and one that the historically neutral nation was thoroughly unprepared for.
As is true for all warfare, the armies of the First World War were only as good as their systems of communication. The United States military understood that they would need to quickly establish an advanced method for the transmission of information—given the inadequacy of the European telephone circuity, the American Expeditionary Forces called upon American Telephone and Telegraph to provide equipment and personnel for the Army Signal Corps, who would lead battlefield communications on the frontlines of France.
Once on the ground, though, the men of the Signal Corps were unacceptably slow in their ability to
connect calls between the United States Army and their French counterparts, even with the advanced equipment from AT&T. On average, the male operators required 60 seconds to make a connection—a lifetime on the battlefield. Back home, where women made up 85 percent of telephone operating positions, the average call was connected in 10 seconds.
It was General John “Black Jack” Pershing who cabled the War Department with what would prove to be an historic ask: “On account of the great difficulty of obtaining properly qualified men, request organization and dispatch to France a force of women telephone operators all speaking French and English equally well.” He noted that these women would be under the command of a commissioned captain, have the allowances of Army nurses, and, most importantly, “should be uniformed.”
Newspapers in the United States soon advertised the War Department’s need for female operators in
“After screening over 7,600 volunteers, the United States Army gave the oath to the first 100 women to serve as soldiers in non-medical classifications on January 15, 1918.”
France, highlighting that these women would be “full-fledged soldiers under the articles of war” who would “do as much to help win the war as the men in khaki who ‘go over the top.’” After screening over 7,600 volunteers, the United States Army gave the oath to the first 100 women to serve as soldiers in non-medical classifications on January 15, 1918.
GRACE BANKER, SECOND FROM RIGHT, AND HER FELLOW "HELLO GIRLS" FROM THE ARMY'S SIGNAL CORPS.
PHOTO: CAROLYN TIMBIE.
ONLY SIX WOMEN, WORKING THREE AT A TIME IN 12-HOUR SHIFTS, KEEP PERSHING’S HEADQUARTERS CONNECTED WITH THE REST OF THE ARMY DURING THE BATTLE OF ST. MIHIEL. HELMETS AND GAS MASKS HANG FROM THEIR CHAIRS. LEFT-TO-RIGHT: BERTHA HUNT, TOOTSIE FRESNEL, GRACE BANKER. PHOTO: NATIONAL ARCHIVES.
The Hello Girls officially began their duties overseas on March 24, 1918, four days after the legal counsel of the Army had ruled internally that, because of the Military code allowing only for the induction of men, these women were not soldiers, but rather “contract employees” who would not receive the protections and benefits granted to armed service members. The women did not know this as they spent their first nights in Paris under German bombardment.
The Signal Corps Female Telephone Operators Unit’s contribution to the Allied war effort was substantial: Within days the connections nearly tripled—from 13,000 to 36,000—and by the end of the war on November 11, 1918, 223 female operators fielded 26 million calls.
The Chief Operator supervising the Hello Girls, Grace Banker of Passaic, New Jersey, was awarded the Distinguished Service Medal. Out of 16,000 eligible Signal Corps officers, Banker was one of only 18 individuals so honored.
“On average, the male operators required 60 seconds to make a connection—a lifetime on the battlefield. Back home, where women made up 85 percent of telephone operating positions, the average call was connected in 10 seconds.”
When the women returned home, however, they learned of their nonveteran status, and the Hello Girls were denied benefits including hospitalization for injuries sustained in the line of duty, cash bonuses, pensions, flags on their coffins, and the Victory Medals awarded to soldiers serving in France.
Despite returning to civilian life, the women continued to fight: Over the next six decades, female veterans, led by Signal Corps member Merle Egan of Montana, petitioned Congress more than 50 times to be recognized by the United States government. Finally in 1977, President Jimmy Carter signed the GI Bill Improvement Act, which acknowledged the military service of the Women’s Airforce Service Pilots of WWII and “the service of any person in any other
similarly situated group” who had served “in a capacity considered civilian employment or contractual service at the time such service was rendered.” In 1979, the Signal Corps telephone operators applied for and were granted veteran status, and the 33 surviving Hello Girls received official discharge papers.
45 years later, congress passed the “Hello Girls Congressional Gold Medal Act of 2024,” in which the female telephone operators of the Army Signal Corps were awarded “a single gold medal of appropriate design” in recognition of their “pioneering military service; devotion to duty; and 60-year struggle for recognition.”
SOURCE: S.815 - Hello Girls Congressional Gold Medal Act of 2024, 118th Congress (2023-2024)
Sisters in Arms
BY MATTHEW NERBER
On July 19, 1848, a group convened at the Wesleyan Chapel in Seneca Falls, New York to “discuss the social, civil, and religious condition and rights of women.” Decades after the United States government had ensured that white American men could enjoy “life, liberty, and the pursuit of happiness,” women found themselves deprived of these and other “unalienable rights” so loudly celebrated by the revolution.
Modeled on the very document that she had been excluded from, Elizabeth Cady Stanton, one of the Seneca Falls Convention’s chief organizers, helped draft a Declaration of Sentiments and Resolutions that, among other things, bemoaned American women being denied suffrage, meaningful employment, and educational opportunities by “he [who] has endeavored, in every way that he could, to destroy her
confidence in her own powers, to lessen her self-respect, and to make her willing to lead a dependent and abject life.”
Stanton and her compatriots could not have imagined, though, that little more than a decade later their country would afford some courageous souls an opportunity to escape the confines of their sex altogether: On April 12, 1861 Confederate forces opened fire on the Federal-held Fort Sumter in Charleston, South Carolina, beginning the epic conflagration that would become known as the American Civil War. The conflict, which raged across the Eastern Seaboard and throughout the Southern states, engaged over 3 million troops—an estimated 400 were women, on both Union and Confederate sides, who dressed themselves in uniforms, devised male aliases, and joined the ranks to fight as soldiers.
“While thousands of women contributed to the war effort on the homefront and on the battlefield as nurses, laundresses, cooks, and sometimes even as scouts and spies, those who joined the ranks as soldiers did so entrenched in secrecy and under the tremendous risk of being discovered.”
SARAH ROSETTA WAKEMAN IN HER UNIFORM IN 1863.
Some women joined, as Mary Brown of Maine did, to fight the evils of slavery—alongside 180,000 Black soldiers. Others, like Mary Siezgle of New York, joined because of intense patriotism, in order to do their “share of the fighting.” Still others joined out of boredom, looking to inject adventure into their otherwise humdrum rural lives. And many saw the war as a way to break free from the restrictions of 1860s America, where a “cult of pure womanhood” prioritized the feminine virtues of submission, piety, and domesticity above all else. Once they adopted their male personas and joined the Army, these women received pay well beyond what they could normally earn and would, for the first time, enjoy the right to vote—nearly 60 years before it was codified by the 19th amendment.
Stanton’s second volume of the six-volume tome The History of Women Suffrage, written with Susan B. Anthony and published in 1882, gives special mention to these trailblazers and their contribution to the cause: “Hundreds of women marched steadily up to the mouth of a hundred cannon pouring out fire and smoke, shot and shell, mowing down the advancing hosts like grass… Through all this women were sustained by the enthusiasm born of love of country and liberty.”
While thousands of women contributed to the war effort on the homefront and on the battlefield as nurses, laundresses, cooks, and sometimes as scouts and spies, those who fought as soldiers did so entrenched in secrecy—if discovered, they risked dismissal, imprison-
ment, and scandal back home. Fortunately, the Army physical examination was easily circumvented: Both sides were desperate for men, and a recruit could usually pass muster as long as they were a certain height, possessed enough teeth to open a Minie ball cartridge, and had a workable trigger finger. In Victorian society, where clothing was the main cultural signifier of gender, women needed to do little more than cut their hair and wear a uniform to be accepted as a man.
That was certainly the case for Sarah Rosetta Wakeman, a 19-year-old farm girl from Chenango County, New York, who in 1862, donned pants and set out for nearby Binghamton to seek employment. After a short month in
the city, she found work on a coal barge travelling the Chenango Canal, which ran east to Utica, connecting the Erie Canal with the Susquehanna River. It was at the end of her first barge trip that Wakeman encountered recruiters who urged her to enlist with the 153rd Regiment, New York State Volunteers for a $152 bounty. She did so, signing up for a three year obligation under the name Lyons Wakeman, aged twenty-one. Recruitment documents describe “Lyons” as five-foottall with blue eyes, brown hair, and a fair complexion, with his occupation listed as “boatman.”
The 153rd Regiment was mustered into service on October 17, 1862 at Fonda, New York and departed for
153RD NEW YORK INFANTRY, CIRCA 1861.
“In 1882, Elizabeth Cady Stanton and Susan B. Anthony published the second volume of their six-volume tome The History of Women Suffrage, in which they gave special mention to Wakeman and her sisters in arms.”
Virginia the next day. Wakeman, for her part, took to soldiering well and expressed contentment, even happiness, towards military life: “I am as independent as a hog on the ice,” she wrote in one of many extraordinarily candid letters she would send home over the next 22 months. Because her communiques were not censored, Wakeman was afforded space to recount Civil War life as she saw it, even signing her missives with variations of her legal name: Sarah Rosetta Wakeman; Rosetta Wakeman; Miss Rosetta Wakeman; and sometimes a combination of both of her identities with “R.L. Wakeman.”
Wakeman and her regiment were stationed in Alexandria and Washington, D.C., where their duties included guarding the cities and prison detail. What money she made she sent home, asking only for small conveniences in return—dried meat, knit gloves, portraits of family members, and postage stamps. Her letters contain little reference to the larger political issues of the day, eschewing talk of the war for questions about the family business and plans for a post-service farm in
Wisconsin, far from “that neighborhood” which she had escaped.
In a letter dated June 5, 1863, Wakeman explained to her parents exactly why she had felt it necessary to leave home and, for all intents and purposes, become a man in the eyes of the world: “I knew I could help you more to leave home than to stay there with you. I don’t want you to mourn about me for I can take care of myself and I know my business as well as other folks know them for me. I will dress as I am a mind to for all anyone else cares, and if they don’t let me alone they will be sorry for it.”
That determination remained, in writing at least, throughout the summer of 1863, but Wakeman’s letters soon gave way to homesickness and, eventually, a grim fatalism. In October, in the shadow of the still-under-construction Capitol Dome in D.C., she wrote to her mother that “it seems like a dream to me to think of home, although I realize that there is such a place in the world” before acknowledging that her regiment might soon be on the move— “where we shall go I don’t know, nor I
don’t care.” There is a tragic irony in knowing that Wakeman could have gone home whenever she wanted, if only she had revealed her identity.
The 153rd would stay put through the autumn and into a mild winter during which Wakeman toyed with the idea of re-enlisting for another five years for an $800 bounty. In February 1864, the regiment was ordered to move south to Louisiana to participate in the ill-fated “Red River Campaign.” Her letters back home were soon signed-off exclusively as “Edwin R. Wakeman,” a new alias she had adopted, and recounted, among other things, the Battle of Pleasant Hill, an intense skirmish outside of Grand Ecore, Louisiana—Wakeman, pinned down by enemy fire, would spend the evening of April 9 lying on the battlefield. She would write her final letter on April 14, in which she confessed “I feel thankful to God that he spared my life and I feel grateful to him that he will lead me safe through the field of battle and that I may return home safe.”
Sarah Rosetta Wakeman fell ill shortly after the Battle of Pleasant Hill, on a forced retreat up the Red River to Alexandria, Louisiana. At that point, she had marched nearly 400 miles, camped in inhospitable wilderness, and saw combat in a sub-tropical climate. Wakeman was admitted to hospital on May 3, and on May 22—15 days after leaving Alexandria for what was supposed to be a 5-day trip—she was admitted to the general hospital in New Orleans. On June 19, she died of chronic diarrhea, joining the 200,000 soldiers who succumbed to disease before war’s end. Rosetta was buried at the Chalmette National Cemetery with a headstone
reading “Lyons Wakeman, N.Y.,” her real identity never discovered.
In 2022, Syracuse Stage Resident Playwright Kyle Bass dreamt up a new ending for Rosetta’s story with his play Toliver & Wakeman*, an imagined conversation between Private Wakeman and Bass’ own great-great grandfather, Toliver Holmes, who escaped slavery in Virginia and mustered into the Union Army’s 26th Regiment of Colored Troops in New York. The pair meet in the “Dark Room of History and in the Crossways of Time,” trading stories onstage in an effort to eke out meaning from a conflict that our nation is, in many ways, still wrestling with. “How’s it end?” Wakeman asks of the war she did not live to see the conclusion of. “Union win… but it cost us all,” Toliver responds. They continue:
Wakeman: Does it hold? The peace?
Toliver: Guess we gonna see.
Here, in 2025, we can ask that same question—“does it hold?”—as we watch the Hello Girls “answer the call” from their own dark room of history: the great space of reflection that unites us with heroes from the past, daring us to imagine, as the lights come up, a better future for all.
FURTHER READING:
An Uncommon Soldier: The Civil War Letters of Sarah Rosetta Wakeman; Lauren Cook Burgess, editor
They Fought Like Demons: Women Soldiers in the Civil War; De Anne Blanton, Lauren M. Cook.
*Commissioned and Premiered at Franklin Stage Company.
Resources veteran
Institute for Veterans and Military Families at Syracuse University
The IVMF at Syracuse University is higher education’s first interdisciplinary academic institute, singularly focused on advancing the post-service lives of the nation’s military veterans and their families to serve those who have served.
315-443-0141
https://ivmf.syracuse.edu/
Syracuse Vet Center
Syracuse Vet Center offers confidential help for Veterans, service members, and their families at no cost in a nonmedical setting. Their services include counseling for needs such as depression, post-traumatic stress disorder (PTSD), and the psychological effects of military sexual trauma (MST).
315-478-7127
https://www.va.gov/syracuse-vetcenter/
Clear Path
Clear Path offers a wide range of programs that prioritize healing and fulfillment and empower our veterans, service members, and military-connected families to thrive in their own unique ways.
315-687-3300
https://www.clearpath4vets.com/
Feed Our Vets
Feed Our Vets’ mission is to help Veterans, their spouses and children whose circumstances have left them on the battlefield of hunger, and to involve the public in fighting Veteran hunger.
315-525-9206
https://feedourvets.org/
Veterans Affairs Medical Center
VA Syracuse Healthcare System offers a wide range of health, support, and facility services for Veterans in Central New York.
315-425-4400
https://www.va.gov/syracuse-health-care/
Wohl
Family Veterans Law Clinic at Syracuse University
The Betty and Michael D. Wohl Veterans Legal Clinic provides representation to veterans and their families who are seeking benefits from the Department of Veteran Affairs (VA) or upgrading a military discharge through the various military branches.
The American Legion advocates for the unique needs of every generation of veterans, service members, and their families who pledge to protect our nation, through commitments to destigmatizing mental health support, offering peer-to-peer resources, and empowering everyone to “Be The One” in the fight to prevent veteran suicide. 21 locations in Onondaga County 800-433-3318
https://www.legion.org/ Veterans of Foreign Wars of the US
The Veterans of Foreign Wars of the United States is a nonprofit veterans service organization comprised of eligible veterans and military service members from the active, guard and reserve forces, with many programs and services that work to support veterans, service members and their families, as well as communities worldwide. 12 locations in Onondaga County. 833-839-8387
https://www.vfw.org/
Honor Flight Syracuse
Honor Flight honors America’s Veterans by helping every single veteran in the greater Syracuse area, willing and capable, to obtain a flight (or a bus-trip) to visit their memorial at no cost to them. Top priority is given to America’s most senior-citizen heroes, veterans of WWII, and any veteran with a terminal illness.
855-433-5633
https://honorflightsyracuse.org/
Onondaga County
Veterans Service Agency
OCVSA assists Veterans, military personnel, and their families applying for local, state or federal benefits and provides information, assistance and advocacy for claimants in actions or claims against the Department of Veterans Affairs (VA) or state and local veteransrelated entitlements, to include burial assistance.
315-435-3219
https://onondaga.gov/veterans/ Onondaga County
Veterans Memorial Cemetery
OVCMC honors Onondaga County residents and family members who dedicated portions of their lives to the military and defense of our nation. All honorably discharged veterans of military service as well as their dependent children under 18 or dependent children with a mental or physical disability that was evident prior to age 18, are eligible for interment in the Onondaga County Veterans Memorial Cemetery.
Christopher Carl (General Pershing) has played Admirals, Captains, Seabees, Lieutenants, Majors, Dragoons, Legionnaires and Colonels, so it is with great pleasure that he now adds General to the list. And what a General! Broadway credits include Mamma Mia!, South Pacific and Tarzan. OffBroadway: the title role in Johnny Guitar. Favorite roles that don’t include military rank are Billy Flynn in Chicago, Javert in Les Misérables, Julian Marsh in 42nd Street and Emile De Becque in South Pacific. To all members of the military, past and present, thank you for your service.
Aidan Cole (he/him) (Lt. Beaumont & Others, u/s: Lt. Joseph Riser, Pvt. Matterson) is thrilled to make his Syracuse Stage Debut with The Hello Girls ! Regional Credits include Gerry Goffin in Beautiful: The Carole King Musical (Axelrod Performing Arts), Bob Gaudio in Jersey Boys (North Shore, Weston Theater Company), Prince Topher in Cinderella (TBTS), Titanic (Milwaukee Rep), and Sky in Mamma Mia! (Argyle Theater). Aidan graduated Summa Cum Laude with a B.F.A. in Musical Theatre from Penn State with the Schreyer Honors College Designation. He would like to thank HAA, his mentors, and most importantly, Mom, Dad, and Gabe for all of their help along the way. Aidan-Cole.com
Weller Dorff (Swing, u/s: Lt. Wessen, Lt. Beaumont, Pvt. Dempsey, Morris) is a senior Musical Theatre major in the Syracuse University Department of Drama from Colorado Springs, CO. Syracuse Stage debut! Recent credits: A Gentleman’s Guide to Love and Murder (Little Theatre of the Rockies), Tuck Everlasting (Redhouse), Hello, Dolly!, The Little Mermaid (Cortland Rep.), Head Over Heels, Ghost Ship (SU Drama), Cinderella, She Loves Me, Anyone Can Whistle, Matilda (CSFAC). He serves as Artistic Director of SU’s Black Box Players. He is immensely grateful to his family, friends, faculty, and mentors. Weller dedicates his work on this show to the memory of Sky Foerster, who always answered the call. @wellerdorff | www.wellerdorff.com.
Alex Humphreys (Helen Hill) is thrilled to be making her Syracuse Stage debut! Previous credits include Broadway: Dear Evan Hansen; New York City Center Encores!: The Light in the Piazza; Off-Broadway: Monte Cristo (The York Theatre); Regional: South Pacific (Goodspeed Opera House). Graduate of the University of Michigan, B.F.A. Musical Theatre. Congrats to the entire cast and crew of The Hello Girls ! Endless gratitude to Jason Ma, DGRW, Mom, Mike, & Jackson. @alex.humphreyss
CAST
Storm Lever (Suzanne Prevot) BROADWAY: Anne Boleyn in Six; Duckling Donna in The Donna Summer Musical . 1st NATIONAL TOUR: Anne Boleyn in Six ; Duckling Donna in The Donna Summer Musical. OFF-BROADWAY: Dorothy in The Wringer (City Center). REGIONAL: Sheila in Hair and Polexia in Almost Famous (The Old Globe); Mimi Marquez in Rent; Wendy in Fly (La Jolla); Savannah in Freaky Friday (Signature Theater); Emotional Creature (Berkeley Rep). TV/FILM: No One Called Ahead. Love to my Christopher, my family, B.F.A.mily at the University of Michigan and BRS/Gage. @stormlever
Andrew Mayer (Pvt. Matterson & Others, u/s: Ackerson, German Soldier) Broadway: Natasha, Pierre & The Great Comet of 1812, A Christmas Carol. Off-Broadway includes: I Spy A Spy, Dying for It. Regional includes: The Band’s Visit, It Happened in Key West, Oliver!, Fiddler on the Roof. TV credits include: Wu-Tang, Law & Order, The Blacklist, FBI. Andrew appears in the video game Red Dead Redemption 2 as magician ‘Benjamin Lazaraus.’ Education: Boston University School of Theatre, LAMDA (U.K.). For my grandmother, Helen Aberson Mayer, a native Syracusan, who would’ve loved the story of The Hello Girls (graduate of Syracuse University, 1929; radio host at WSYR; creator of the beloved children’s story Dumbo, authored in Syracuse). Connect @TheAndrewMayer
Emily Mesa (Ensemble, u/s: Louise Le Breton) is a Latinx performer based in N.Y.C. making her Syracuse Stage debut! Tours: How the Grinch Stole Christmas, Pete the Cat. N.Y.C.: Jane Eyre (Off Brand Opera), En Las Sombras (Parity Productions), The Oresteia (Gallery Players). Education: B.F.A. Acting, Ithaca College. ¡Gracias a mi familia!
Chessa Metz (Grace Banker) Syracuse Stage debut! Broadway: Suffs (OBC). Regional: Waitress (John W. Engeman), Frozen (DCL), Oklahoma! (Ogunquit Playhouse), Pirates of Penzance (NC Symphony). She also made her Carnegie Hall debut this past summer as the Soprano Soloist in Tipping Point: A Choral Suite on Climate Change. Training: UNCSA. Gratitude to Lohne/Graham Management, Telsey, Marc, and Vincent, the partner of dreams. Honored to lend my voice to the untold stories of history-changing women. @chessametz
CAST
Sophia Anna O’Brien (Louise Le Breton) is thrilled to be making her Syracuse Stage debut with The Hello Girls ! Sophia hails from Hopewell Junction, N.Y. Past credits include Les Misérables (Eponine), for which she was a 2022 Roger Rees Winner and Jimmy Nominee, RENT (Maureen), and Beautiful: The Carole King Musical (Ensemble, Carole u/s, Female Swing, Co-Dance Captain). Sophia sends her utmost gratitude to NOCO, Hudson Artists, Dylan, and her ever-supporting family for the opportunity of sharing her love for music. sophiaannaobrien.com
Victoria Rivard (she/her) (Swing, u/s: Helen Hill, Agnes) is a senior musical theatre major at Syracuse University and is excited to be making her Syracuse Stage Debut! Prior Syracuse Department of Drama credits include: Amy March in Little Women, Judge Hatch in Ghost Ship, and u/s Cheese Curd in LIGHTHOUSE (New Works, New Voices). Victoria would like to thank the entire The Hello Girls team for this opportunity. Merci Maman, Papa, et Jonathan de m’avoir toujours supporté. En bon Québécois, “Lâches-pas la patate!” Website: www.victoriarivard.com Instagram: @victoriarivard26
Jamila Sabares-Klemm (Bertha Hunt) is a Filipina-american activist, actor, and singer. Broadway: Merrily We Roll Along. Theater: Hamilton, Hair (1st National Tour), The Prince of Egypt (World Premiere), Rent (Bristol Riverside), Miss Saigon (Flat Rock Playhouse), The King and I (Chicago Lyric Opera), Spamalot (Farmers Alley), In The Heights (TUTS), A Christmas Carol (McCarter Theatre), Macbeth (New York Classical), Sweeney Todd (Hangar Theatre), Baby (Off-Broadway), Cowboy Bob (Alley Theatre), Into the Woods (VTF), The Voices in Your Head. TV/ Film: Law & Order, Dear Edward, Helpsters. Endless gratitude to her family, friends, and incredible team! @jamilajoy
Sam Simahk (Lt. Joseph Riser) is thrilled to be making his Syracuse Stage debut! He was recently seen in the OffBroadway revival of See What I Wanna See, which received several Drama Desk nominations including Best Revival. Broadway: Into the Woods, Carousel. National Tours: Into the Woods, My Fair Lady, The King and I. Regional: Gatsby: An American Myth (A.R.T.); West Side Story, The King and I (Lyric Opera of Chicago); A Little Night Music (Huntington Theatre Company). Education: B.F.A. Musical Theatre, Emerson College. @soapboxsam, samsimahk.com
Nadia Simone (Ensemble) is a 4th-year musical theatre major in the Syracuse University Department of Drama. Her favorite roles include swing, understudy, and stunt captain for the Department of Drama production of Ghost Ship, Yara in MAGIA, as part of the New Works New Voices initiative, and Will Barfee in the SU Black Box Players production of The 25th Annual Putnam County Spelling Bee. Last summer, she was a part of the Resident Company at The Forestburgh Playhouse. Nadia would like to thank her sister, Nori, best friend Mara, and the rest of her family, friends, and professors for their undying support.
Dan Teixeira (he/him) (Pvt. Dempsey & Others, Dance Captain) is grateful for a beautiful time upstate with this production. Favorite credits include The Waiting, a new folk musical by EmmaLee Kidwell and Maria Andreoli, the Off-Broadway run of The Night of the Iguana (Signature Theatre), On Cedar Street (Berkshire Theatre Group), State Fair (The REV), and Evita (The Gateway). All the thanks to Christine for her collaboration, the creative team for their care, and Syracuse Stage for cultivating new works. Love to Amina, Robin, and his parents, Claudio and Gabriela, for their trust and support. Penn State B.F.A. www.danteixeira.com
Teddy Trice (Lt. Wessen & Others) Broadway: The Book of Mormon. National Tour: Clue: A New Comedy, The Book of Mormon. International Tour: Come From Away (Australia). Off-Broadway: Goddess (The Public). Kansas City, MO native, holds a B.A. in Theatre from Drury University. Gratitude and love to Mom and Dad, Manager - Rochel Saks, and The Hello Girls team for the opportunity to tell this story. @teddytrice
Soraiah Williams (u/s: Suzanne Prevot, Bertha Hunt, Ensemble) is a newly N.Y.C.-based actor hailing from North Carolina. UNC Greensboro B.F.A. in Musical Theatre c/o 2024. Syracuse Stage debut! Regional: Puffs (Cape Fear Regional); Jane Eyre with Julie Benko and Megan McGinnis, 1940s Radio Hour with Julia Murney (Theatre Raleigh); Bright Star (Rhinoleap Productions); Something Rotten!, Pride & Prejudice, Comedy of Errors (Texas Shakespeare Festival); Dreamgirls (North Carolina Theatre). Educational: Into the Woods (Witch), The Wild Party (Queenie), and Taub’s As You Like It (Jacques). Hudson Artists Agency. @soraiah.williams
CAST
Kat Wolff (Ensemble, u/s: Grace Banker, Bertha Hunt) is an N.Y.C.-based theatre multi-hyphenate who’s passionate about new work and is thrilled to be answering the call with this company of The Hello Girls ! Regional credits include Hair (Arkansas Rep), The Hello Girls (Kennedy Center), Titanic (Fulton Theatre/MSMT), Singin’ in the Rain (Phoenix Theatre Company), The Proxy Marriage (Goodspeed), Nevermore (Gretna Theatre), Matilda (Wolfbane Productions), and more. Huge thanks as always to my beautiful village for their support! The Collective Talent. Follow along on IG: @katwolffcreates or at www.katwolffcreates.com
ARTISTIC TEAM
Milagros Ponce de León (Scenic Designer) Recent design credits include Disney The Tale of Moana for Disney Live Entertainment and The Lehman Trilogy at the Maltz Jupiter Theatre. Design credits include Asolo Rep, Cincinnati Playhouse, Children’s Theatre of Charlotte, Ensemble Studio Theatre (N.Y.C.), Everyman Theatre, Ford’s Theatre, Gala Hispanic Theatre, Imagination Stage, The John F. Kennedy Center, National Players, Round House Theatre, and Signature Theatre (D.C). Upcoming projects include Hercules for Disney Live Entertainment and 1776 at Ford’s Theatre. Milagros has received 5 Helen Hayes Nominations for Outstanding Scenic Design in the Washington D.C. area. She holds M.F.A. degrees in Scenic Design & Studio Arts from University of Maryland, is a Professor of Scenic Design at Penn State University, and a member of USA-829.
Jen Caprio (Costume Designer) Broadway: The Heart of Rock and Roll, Spamalot, Falsettos, The 25th Annual Putnam County Spelling Bee. National/International: Clue, Falsettos, Joseph…, The Lion (West End/US tour), …Spelling Bee (U.S. tours). Over 250 Regional Theater and Opera productions over the last 25 years. TV: The Pigeon Explains! (YouTube), Tiny Time Travel (PBS Kids), Sesame Street (seasons 47–56), The Not-Too-Late Show with Elmo (seasons 1–2), Manhunt (Apple TV+). Daytime Emmy Award winner for Sesame Street in 2020, nominated in 2019 and 2021. www.jencaprio.com, Instagram: @jencapriocostumedesign
Dawn Chiang (Lighting Designer) has designed the lighting for numerous Syracuse Stage productions, including Sense and Sensibility, Dial M for Murder, Amadeus, and Agatha Christie’s Murder on the Orient Express. She has designed the lighting at numerous regional theaters including Oregon Shakespeare Festival, Guthrie Theater, Arena Theatre, and the Mark Taper Forum. On Broadway, Dawn designed the lighting for Zoot Suit, and was co-designer for Tango Pasion. Off-Broadway, she has designed for Roundabout Theater, and Man-
ARTISTIC TEAM
hattan Theatre Club. Dawn was resident lighting designer for New York City Opera, where her designs included A Little Night Music and Fanciulla del West.
Jessica Paz (Sound Designer) is a multi-award-winning sound designer. She has collaborated on the Broadway productions of Hadestown (Tony and Drama Desk Award, Best Sound Design of a Musical); A Beautiful Noise; Dear Evan Hansen; Bandstand; Disaster! The Musical; The Assembled Parties; and Fela! (Tony award, Best Sound Design of a Musical). Off-Broadway/Regional sound designs include Little Shop of Horrors (Westside Theater); Twelfth Night; Othello; Miss You Like Hell; Julius Caesar; A Midsummer Night’s Dream; and As You Like It (The Public Theater); Ugly Lies the Bone (Roundabout); A Sucker Emcee; The Muscles in Our Toes (LAByrinth); and others. A proud member of IATSE Local 829; and Co-Chair of the board of the Theatrical Sound Designers and Composers Association (TSDCA).
Caite Hevner (Video Designer) Previously at Syracuse Stage: How I Learned to Drive. Broadway: Trisha Paytas’ Big Broadway Dream; Derren Brown: SECRET; In Transit; Harry Connick Jr., A Celebration of Cole Porter. Select New York: Rolling Thunder (current); Between the Lines (Drama Desk nomination); Sweatshop Overlord (Lortel nomination); Metropolitan Opera; MTC; MCC; Primary Stages; Roundabout. Hundreds of productions in New York, regionally, and internationally. www.caitedesign.com Instagram: @caitehevner
Becky Fleming (Production Stage Manager) Broadway: Newsies (OBC and 1st National Tour), Waitress (OBC & 2021 revival), A Strange Loop, The Skin of Our Teeth (Lincoln Center Theater), The Wiz. Regional: 20+ productions at Paper Mill Playhouse, Berkeley Rep, La Jolla Playhouse, Williamstown Theatre Festival, Westport Country Playhouse, McCarter Theatre, Theater Under The Stars, Theater of The Stars, Colorado Shakespeare Festival. Off-Broadway: MCC, St. Ann’s Warehouse, Atlantic Theater Company, NYTW, Playwrights Horizons. For my family always, and in loving memory of my long-time collaborator and PSM, Thom Gates.
Kyra Button (Assistant Stage Manager) is proud to hold a B.F.A. in Stage Management from the Syracuse University Department of Drama and is overjoyed to be back in the complex to work on this production of The Hello Girls. Her previous credits include Once (Syracuse Stage), Ms.Holmes and Ms.Watson, Apt 2B (Trinity Rep), A Midsummer Night’s Dream (Classical Theatre of Harlem), Fiddler on the Roof, Henry V, Dreamgirls (Virginia Stage Company), ABCD (Barrington Stage Company), Great Leap, Antigone, Where Did We Sit On The Bus?, Tiny Houses, Into The Breeches, Pipeline, Shakespeare In Love (Cleveland Play House), Hurricane Diane (Dobama Theatre), Baby Camp (Leviathan Labs), Resistance (Semicolon Theatre), The Heart’s Impatience (Shufflefoot
ARTISTIC TEAM
Theatre Company), A Streetcar Named Desire (St. Ann’s Warehouse), Medea, Dreamgirls (Red House Arts Center), This Day Forward (The Vineyard Theatre), and The Intergenerational Project (Rose Bruford, London), along with readings and workshops at Rattlestick Theater, Ars Nova, MCC, and Westport Country Playhouse. It’s always nice to come home again, especially with my family beside me. Big love to Austin, Henry, and Scout, along with Don and Tracey for their constant support.
Blake Segal (Dialect Coach) is an actor, teacher, and dialect coach. Coaching credits include N.Y.C.: Ensemble Studio Theatre, New Georges, The Araca Project, Fault Line Theatre; Regional: Syracuse Stage, Geva Theatre Center, Berkshire Theatre Group, Two River Theater, PlayMakers Rep, Cleveland Musical Theatre, Luna Stage, Passages Theatre, and Walkerspace at SoHo Rep; Educational: Yale, Fordham, Columbia, Syracuse, Kean, and Stella Adler. Blake currently serves on the faculty in the Syracuse University Department of Drama. As an actor, he has performed on film and television, Off-Broadway, in major regional theaters across the country, and in the national tour of Mary Poppins. M.F.A. in Acting: Yale School of Drama. www.blakesegal.com
Elena Bonomo (Additional Drum Arrangements) is a drummer, percussionist, and music educator with a B.M. from Berklee College of Music. She currently holds the drum chair for SIX on Broadway. Other credits include Waitress (1st National Tour), A Strange Loop, (2020 Pulitzer Prize Winner), and The Hello Girls (Off-Broadway). TV: Guest drummer on Late Night With Seth Meyers. She is currently accepting new students at her virtual drum studio. IG: @chickscandrum2
Antonio Consuegra (Associate Costume Designer) was the assistant costume designer for the Broadway productions of Funny Girl, Hamilton, and Almost Famous, for the national tour of The Play That Goes Wrong (Chicago), and for numerous productions at Paper Mill Playhouse, including On Your Feet and The Honeymooners. He also designed costumes for White Christmas at Paper Mill Playhouse, Masquerade: The Music of Andrew Lloyd Webber, The Bodyguard at White Plains Performing Arts Center, The British Invasion Live (tour), and Off-Broadway for Til Death, Daddy Issues, and All Aboard: The Musical
Sydney Dye (Associate Projection/Video Designer) Broadway: Trisha Paytas’s Big Broadway Dream (assoc.). Select Off-Broadway: Rolling Thunder Vietnam (assoc.), Conversations with Mother (assoc.), Between the Lines (asst.), Is There Still Sex in the City? (assoc.). Select Regional: SuperYou (The Curve, assoc.), The Boy Who Loved Batman (The Straz, assoc.), The Many Wondrous Re-
ARTISTIC TEAM
alities of Jasmine Starr-Kidd (Alliance, assoc.), His Story (The Broadway Tent, assoc.). Over 35 productions with the video department at The Muny. Over 100 productions and events with Caite Hevner Design. Proud member of USA829. Graduate of Elon University.
The Telsey Office (Casting). With offices in both New York and Los Angeles, The Telsey Office casts for theater, film, television, and commercials. The Telsey Office is dedicated to creating safe, equitable, and anti-racist spaces through collaboration, artistry, heart, accountability, and advocacy. Please visit thetelseyoffice.com for our credits.
CREATIVE TEAM
Peter Mills (Composer, Lyricist, Co-Bookwriter, Co-Orchestrations) is a critically-acclaimed composer/lyricist working in musical theater. His other shows include Illyria, The Flood, The Underclassman, and Golden Boy Of The Blue Ridge. He also wrote lyrics for The Honeymooners (Paper Mill Playhouse, dir. John Rando.). He has won the Kleban Prize for lyrics, the Fred Ebb Award for songwriters, the Cole Porter Award, the Richard Rodgers New Horizons Award from the ASCAP Foundation, and a grant from the Jonathan Larson Performing Arts Foundation. His score for The Hello Girls received 3 Drama Desk and 4 Outer Critics Circle nominations. He earned an M.F.A. at N.Y.U.’s Graduate Musical Theater Writing Program, and now teaches at the program and at Princeton University. He is a founding member of N.Y.C.’s Prospect Musicals. www.PeteMillsMusic.com
Cara Reichel (Co-Bookwriter, Director) has co-created over a dozen musicals with Peter Mills, including Illyria, The Underclassman, and The Flood. Their Off-Broadway premiere of The Hello Girls received multiple Drama Desk and Outer Critics’ Circle award nominations. Most recently she cocreated The Oscar Micheaux Project with jazz artist Alphonso Horne, Jesse L. Kearney, and Mills. She also wrote the book for the female-forward jukebox musical The Olympians (Theatrical Rights Worldwide). Regionally, she has directed at Phoenix Theatre Company, O’Neill Theatre Center, Village Theatre and others. Reichel is the Producing Artistic Director of the N.Y.C.-based company Prospect Musicals and is a leader in the field of new musical theater development. This production is dedicated to the memory of her incredible mother Sharon Reichel who, among other gifts, was a French teacher. CaraReichel.com
MUSICAL STAGING
Christine O’Grady (Musical Staging) is honored to revisit The Hello Girls for her Syracuse Stage Debut. BROADWAY/ TOURS: Tony Award-Winning Revival of HAIR (Resident/Associate Dir/Chor), Legally Blonde (SDC Observer), Pete the Cat’s Big Hollywood Adventure (Dir/Chor). OFFBROADWAY CHOREO includes The Hello Girls, tick, tick…BOOM!, The Underclassman, john & jen, and Iron Curtain. REGIONAL:
Mark Taper Forum, Tuacahn, Arkansas Rep, Barrington Stage Company, TheaterWorks Hartford, and the Totem Pole Playhouse. AWARDS: SDCF’s Charles Abbott Directing Fellowship (The Guthrie); Moss Hart Award (The Outcast of Sherwood Forest, RIYT); and a NYIT Award for Outstanding Choreography for The Drowsy Chaperone (Gallery Players). Christine is an Assistant Professor on the Musical Theatre Faculty and Co-Professor-in-Charge of the Graduate Directing Program at Penn State University. She holds a B.S. in Communications (Boston University) and an M.F.A. in Theatre (Arizona State University). She is a trained Intimacy Director (IDC and TIE) and completed Nicole Brewer’s Conscientious Theatre Training. Member: SDC and MTEA’s New Works Committee. www.ChristineOGrady.com
Tamrin Goldberg (Associate Musical Staging) is a dancer and choreographer, currently performing in Moulin Rouge! The Musical on Broadway. She is a recipient of the New York Innovative Theatre Award for Outstanding Choreography, and has worked as a guest choreographer and teaching artist at universities and dance programs across the country. Tamrin was the associate movement director for Heartbeat Opera’s Drama League Award-nominated visual album, Breathing Free, as well as their production of La Susanna at The Kennedy Center and BAM. Additional performance highlights: the First National Tour of SUMMER, Tamar of the River Off-Broadway, and Ashley Fure’s Filament with the NY Philharmonic.
MUSIC SUPERVISOR/C0-ORCHESTRATIONS
Ben Moss (he/him) is an award-winning music director, performer, songwriter, and orchestrator. Select credits: A Wrinkle in Time (Arena Stage), Penelope (Signature Theatre, Helen Hayes Nomination), The Hello Girls (Prospect Theater), Oratorio for Living Things (Ars Nova, Obie Award & Lucille Lortel Award), Heather Christian’s PRIME (Playwright’s Horizons “Soundstage”), Arlington (Vineyard Theatre), Alexandra Silber’s After Anatevka (Audible), Salty Brine’s Bigmouth Strikes Again (Soho Theatre, U.K.), Azul (Eugene O’Neill Theater Center), and appearances at The Public Theater, Lincoln Center, and the Kennedy Center. benkmoss.com
MUSIC DIRECTOR
Alexandra Crosby is a New York City-based pianist, music director, and singer, grateful to make her Syracuse Stage debut! Broadway: Real Women Have Curves, Suffs, SIX. Off-Broadway: Kinky Boots, Walking with Bubbles, A Sign of the Times. Other: American Repertory Theater, Norwegian Cruise Lines, Celebrity Cruises, New London Barn Playhouse, Wagon Wheel Center for the Arts, The Performing Arts Project. Dual-citizen in Spain and always looking for opportunities abroad. Many thanks to the folks at Syracuse Stage, Ben, Cara, and Pete. alexandracrosby.com
COMMERCIAL PRODUCERS AND AFFILIATES
Michael Cassel Group produces and creates major theatre productions around the world. Headquartered in Australia with offices in New York, London, Singapore, and Melbourne, the company also produces concerts, televised events and represents distinguished personalities. Recent productions include the Broadway and West End season of The Picture of Dorian Gray starring Sarah Snook. Current productions include the Australian premieres of MJ The Musical and Beetlejuice The Musical, and, in 2026, the company will present a new West End production of Dracula, starring Cynthia Erivo and helmed by Tonynominated director Kip Williams.
Broadway & Beyond Theatricals (BBT), helmed by Ryan Bogner and Tracey McFarland, is a Tony-nominated Broadway production company and booking agency, dedicated to the creation and distribution of quality theatrical content throughout North America and beyond. Broadway: The Kite Runner, The Cottage, Paradise Square. Upcoming: The Fantasticks, Beaches, Trading Places. Regional: Judgment Day, Where We Belong, Avaaz, Cambodian Rock Band. Selected Tours as agent: The Cher Show, The Kite Runner, Legally Blonde, The Music Man, A Christmas Story.
Chief Operator is a producing team of multi-hyphenates—led by Jane Abramson, Kyle Burkhardt, Tira Harpaz, and Jason Ma—who passionately believe in the power of storytelling, the extraordinary talents of Peter Mills and Cara Reichel, and the heroic and resilient women of the U.S. Army Signal Corps. We are thrilled to lend over 70 years of combined Broadway experience to uplift the narratives of these almost forgotten soldiers.
ARTISTIC DIRECTOR
Robert Hupp is in his tenth season as artistic director of Syracuse Stage. He recently directed Dial M for Murder, Agatha Christie's Murder on the Orient Express, Our Town, The Play That Goes Wrong, Eureka Day, Annapurna, Talley’s Folly, Amadeus, Noises Off, Next to Normal, and The Three Musketeers for Stage. Prior to coming to Central New York, Robert spent seventeen seasons as the producing artistic director of Arkansas Repertory Theatre in Little Rock. He directed over 30 productions for Arkansas Rep ranging from Hamlet to Les Miserables to The Grapes of Wrath. In New York City, Robert directed the American premieres of Glyn Maxwell’s The Lifeblood and Wolfpit for the Phoenix Theatre Ensemble. He also served for nine seasons as the artistic director of the Obie Award-winning Jean Cocteau Repertory. At the Cocteau, Robert’s directing credits include works by Buchner, Wilder, Cocteau, Shaw, Wedekind and the premieres of the Bentley/Milhaud version of Brecht’s Mother Courage and Her Children, Seamus Heaney’s The Cure at Troy, and Eduardo de Filippo’s Napoli Millionaria. He has held faculty positions at Pennsylvania’s Dickinson College and, in Arkansas, at the University of Arkansas at Little Rock and Hendrix College. Robert served as vice president of the Board of Directors of the Theatre Communications Group and has served on funding panels for the New York State Council on the Arts, National Endowment for the Arts, the Theatre Communications Group, the New Jersey State Council of the Arts, and the New York City Department of Cultural Affairs. While in Arkansas, Robert was named both Non-Profit Executive of the Year by the Arkansas Business Publishing Group, and Individual Artist of the Year by the Arkansas Arts Council. He and his wife Clea ride herd over a blended family of five children, one dog, and two cats.
MANAGING DIRECTOR
Carly DiFulvio Allen is thrilled to be joining Syracuse Stage this season. Originally from Rochester, N.Y., she is returning to the region after a twenty-year career on Broadway. Most recently at Disney Theatrical Group, she was the Associate General Manager for the worldwide productions of Aladdin (Broadway, First and Second North American Tours, West End, U.K. Tour, Australia, Germany, Japan, Mexico City, the Netherlands, and South Korea) and Beauty and the Beast (upcoming North American Tour, U.K. Tour, Australia, Japan and China at the Shanghai Disney Resort). Prior to her time at Disney, she was the Company Manager for Roundabout Theatre Company at the Todd Haimes Theatre (formerly the American Airlines Theatre) for twenty-five Broadway productions. Favorites include Violet with Sutton Foster, On the Twentieth Century with Kristin Chenoweth and Peter Gallagher, Noises Off with Andrea Martin, and the original Broadway production of The 39 Steps.
MANAGING DIRECTOR
She has a Theatre Arts Management and Integrated Marketing Communications degree from Ithaca College and has taught theatre management at Pace University. While at Disney, she served on the advisory committee for ENSEMBLE, an employee-led network with the goal of fostering and celebrating an inclusive culture, and was the founding member and co-chair for a parents and caregivers sub-committee. She is forever grateful for the support of her parents, Jeff and Triscilla, and her husband Mike Allen. Carly’s most important role is mom to 5-year-old Arthur and 2-year-old Eloise.
ASSOCIATE DIRECTOR/ASSOCIATE ARTISTIC DIRECTOR
Melissa Crespo (she/her/hers) is a multi-hyphenate theatermaker who has made a career of developing new plays and musicals at theaters such as: Playwright’s Realm, Cape Cod Theatre Project, The O’Neill Theater Center, New Dramatists, and more. Past world premiere credits include: O.K.! by Christin Eve Cato (INTAR), Reggie Hoops by Kristoffer Diaz (Profile Theater), and Bees and Honey by Guadalís del Carmen (MCC Theater). This season, she will direct two world premieres: Relentless by Rae Binstock (Syracuse Stage) and The Woman Question by Suli Holum (People’s Light). As a playwright, her play Egress co-written with Sarah Saltwick, had a world premiere at Amphibian Stage and won the Roe Green Award for Outstanding Achievement in Playwriting at Cleveland Playhouse. Melissa has served on faculty at The New School for Drama and Syracuse University. Last year, she was selected to participate in the first National Theatre Convening by the President’s Council of the Arts and Humanities, NEA, and IMLS. Past fellowships and residencies include: Time Warner Fellow (WP Theatre), The Director’s Project (Drama League), Van Lier Directing Fellow (Second Stage Theatre), and the Allen Lee Hughes Directing Fellow (Arena Stage). Melissa received her M.F.A. in directing from The New School for Drama. https://www.melissacrespo.com/
RESIDENT PLAYWRIGHT
Kyle Bass, Resident Playwright at Syracuse Stage and curator of Poetry & Play, is the author of Toliver & Wakeman, which premiered at Franklin Stage Company, Tender Rain, which premiered at Syracuse Stage, Salt City Blues, which received its first production at Syracuse Stage, and Possessing Harriet, published and licensed by Theatrical Rights Worldwide, which premiered at Syracuse Stage, and has been produced at Franklin Stage Company, East Lynne Theater Company, and HartBeat En-
RESIDENT PLAYWRIGHT
semble. Citizen James, or The Young Man Without a Country, about a young James Baldwin, streamed nationally and has been optioned for a featurelength film. With Ping Chong, he is the co-author of Cry for Peace: Voices from the Congo, which premiered at Syracuse Stage and was produced at La MaMa Experimental Theatre. A descendant of African people enslaved in colonial New England and in the American South, Kyle lives and writes in central upstate New York where his family has lived free and owned land for 226 years. Kyle is Associate Professor of Theater at Colgate University.
WHO WE ARE
Syracuse Stage is the non-profit professional theatre company in residence at Syracuse University. We are nationally recognized for creating stimulating theatrical work that engages Central New York, and for our significant contribution to the artistic life of Syracuse University, where we are a vital partner in achieving the educational mission of the University’s Department of Drama.
OUR MISSION
Syracuse Stage tells stories that engage, entertain, and inspire us to see life beyond our own experience.
OUR VISION
Reimagining what's possible for regional theatre-through active inclusion, innovative outreach, and bold productions-Syracuse Stage shapes the culture and social vitality of Central New York, enriches the Syracuse University student experience, and fosters change in ourselves, our communities, and our world.
OUR CORE VALUES
People - Actively including diverse individuals, communities, ideas, and perspectives. Passion - Commitment to integrity, excellence, and enthusiasm in our work. Curiosity - Fostering an innovative and adaptive environment that elicits wonder.
ANTI-RACISM PLEDGE
Syracuse Stage stands firmly against racism and discrimination. We pledge to stand with under-represented and oppressed communities and to advance antiracism in all aspects of our work, including the outward facing, public dimension of our creative endeavors and the less visible internal practices of the organization.
LAND ACKNOWLEDGEMENT
Syracuse Stage respectfully acknowledges the Onondaga Nation, Firekeepers of the Haudenosaunee, the Indigenous people on whose ancestral lands we now stand.
ABOUT SYRACUSE STAGE
Originally constructed as the Regent Movie House in 1914, the physical space of Syracuse Stage has seen many films, musicians, actors, and artists pass through its doors over the course of the past century. The Syracuse Stage that exists today is a non-for-profit professional theatre company founded in 1974, and a longstanding League of Resident Theatres (LORT) member. Since its inception, Stage has produced over 350 shows, both plays and musicals, within its walls. Now, Stage produces six to seven shows per season, while also offering educational programs to students, various pre- and post-show offerings, and fundraising events each year. Stage is Central New York’s only LORT theatre and one of the largest performing arts organizations in the area. Stage has a strong commitment to giving the community access to a range of high-quality productions; it is equally committed to bringing in actors, designers, and directors who are among the leading theatre professionals, both locally and across the nation. Stage has collaborated with a myriad of institutions in the Syracuse area. Community partners include 100 Black Men of Syracuse, AccessCNY, ACR Health, ARC of Onondaga, ARISE, BOCES, CNY Reads, Ed 21, FOCL, Food Bank of Central New York, Interfaith Works of Central New York, La Casita, McMahon/Ryan Child Advocacy Center, Onondaga Historical Association, Rosamond Gifford Zoo at Burnet Park, SUNY Upstate Medical University, and Syracuse International Film Festival. Additionally, the educational department collaborates with many CNY schools.
IN THE COMMUNITY
CHAIR
SYRACUSE STAGE BOARD OF TRUSTEES
Richard Driscoll
Senior Vice President Commercial Banking Division NBT Bank
PRESIDENT Brett Padgett*
Senior Vice President and Chief Financial Officer Syracuse University
VICE CHAIR
Colleen A. Gaetano
Retired- Vice President Global Education & Artistry Estée Lauder Companies, NYC
SECRETARY Maria Lesinski
Attorney Newman and Lickstein
Carly DiFulvio Allen** Managing Director Syracuse Stage
Janet Audunson
Assistant General Counsel National Grid
George S. Bain
Freelance Editor and Writer
Barbara Beckos Retired - Syracuse Stage
Nancy Byrne Community Volunteer
Jessica Cain Reporter WRVO
Dr. Ruth Chen* Professor of Practice Syracuse University College of Engineering and Computer Science
Robin Curtis NYS Lic. RE Asso. Broker Hunt Real Estate ERA
Denise Dyce*
Associate Vice President of Labor and Employee Relations Syracuse University
Helene Gold
Private Voice & Piano Instructor
Jacki Goldberg Community Volunteer
Nancy Green
Managing Member Edward S. Green & Associates
Larry Harris Retired - EVP and CFO Saab, Inc.
Eleanor J. Holdridge** Chair
Syracuse University Department of Drama
Robert Hupp** Artistic Director Syracuse Stage
Eric Jackson Co-Founder and CEO Black Cub Productions
Cydney Johnson
Deputy County Executive for Physical Services Onondaga County
Kathy Kelly Retired - Health Educator, PNP
Larry Leatherman Retired - Bristol-Myers Squibb, MOST
Dan Lent Commercial Loan Officer AmeriCU Credit Union
Rob Lentz Retired - EVP of Enterprise Operations Zeta Global
Rocco Mangano Partner Mangano Law Office, PLLC
Anthony Malavenda Retired - Duke’s Root Control
Julia Martin Partner Bousquet Holstein
Suzanne McAuliffe Retired - Educator
Juli McCann New York Chief Compliance Officer National Grid
Rod McDonald Bond, Schoeneck & King
Molly Mulvihill Sr. Relationship Manager Global Commercial Banking Bank of America
Claire Myers Group Billing Coordinator Brown & Brown Insurance Services
Fran Nichols Retired - Mower, Inc.
YiWei Qi Co-Founder and CEO AccuGPS LLC
Kira Reed* Associate Professor Syracuse University Whitman School of Management
Dr. Henry Roane Executive Director and Professor of Pediatrics and Psychiatry Upstate Golisano Center for Special Needs
Jeff Rubin* Senior VP for Digital Transformation & Chief Digital Officer Syracuse University
Molly Ryan Partner, Goldberg Segalla LLP
Cora Thomas Radio Host and Office Manager, WAER
Michael S. Tick* Dean, College of Visual and Performing Arts Syracuse University
Dr. Amy Tucker Chief Medical Officer SUNY Upstate Medical University
Ahmeed Turner Vice President of Scholarships & Student Success; Executive Director of Say Yes Syracuse Central New York Community Foundation
Andrea Waldman Operations and Development Coordinator Make A Wish Foundation of Central New York
Maryam Wasmund Chief Financial Officer Filtertech Inc.
*University Trustee
**Ex-Officio
SYRACUSE STAGE EMERITUS TRUSTEES
We are grateful to the following individuals who have served as Members of the Stage Board of Trustees and continue to provide significant support to Syracuse Stage.
Jim Breuer
Sandra Brown
Mary Beth Carmen Bea González
Joan Green
Elizabeth Hartnett
John Huhtala
Margaret Martin
Kevin McAuliffe
Eric Mower
Judy Mower
Michael Shende
Richard Shirtz
Sharon Sullivan
Jack Webb
Michael Zoanetti
SYRACUSE STAGE EDUCATION ADVOCACY BOARD
Sara Bambino Cicero-North Syracuse High School
Todd Benware Christian Brothers Academy
Kayden Blair Cazenovia High School
Silas Crawford
Notthingham High School
Ella Culligan Liverpool High School
Joclyn Dallas Cicero-North Syracuse High School
Josie Feck
Fayetteville-Manlius High School
Kate Fennessy Auburn High School
Jackson Finn Christian Brothers Academy
Claire Foran East Syracuse Minoa Central High School
Jordan Berger Jamesville-DeWitt High School
Rhiannon Berry Liverpool High School
Elizabeth Defurio Nottingham High School
David Fisselbrand Auburn High School
Melissa Morgan Baker High School
Matthew Phillips Jamesville-DeWitt High School
YOUNG ADULT COUNCIL
Hayden Frisbie Fayetteville-Manlius High School
Anqi Geng Manlius Pebble Hill School
Brooklynn Gilbert North Syracuse Junior High School
Zinira Izmir Manlius Pebble Hill School
Beatrix Karn Cazenovia High School
Rei Korthas Homeschooled
Molly Linzer Manlius Pebble Hill School
Cecilia Lombardi Christian Brothers Academy
Madison Macomber East Syracuse Minoa Central High School
Zoie Markowski Solvay High School
Ethan Meives
Cicero-North Syracuse High School
Octavia Miller Fayetteville-Manlius High School
Jacelyn Peña Corcoran High School
Briar Raymond North Syracuse Junior High School
Taeyang Reid Manlius Pebble Hill School
Harper Shute
Fayetteville-Manlius High School
Linda Ponza Solvay High School
Jennifer Sabatino Cato-Meridian Middle School
Caleb Smith Manlius Pebble Hill School
Abbie Sundet Paul V. Moore High School
Leo True-Frost Jamesville-DeWitt High School
Thomas Warne Nottingham High School
Rebecca Wheeler Homeschooled
Mika Zolberg-Steiger Manlius Pebble Hill School
SYRACUSE STAGE ANNUAL FUND GIFTS
Syracuse Stage depends on the generosity of contributions from individuals, corporations, businesses, foundations, and government agencies. It is with much gratitude that we recognize the following donors to our annual campaign. For information regarding levels of contribution and benefits of each please contact the Development office at 315-443-3931 or visit syracusestage.org.
CORPORATE, FOUNDATION, AND GOVERNMENT SPONSORS
Richard Mather Fund
CORPORATE, FOUNDATION, AND GOVERNMENT SPONSORS
Contributions listed above are current as of August 21, 2025, and reflect operating support of $5,000+ and in-kind donations of $10,000+.
The Dorothy and Marshall M. Reisman Foundation is proud to be a sponsor of the arts in Central New York. We recognize the deep importance live theatre plays in shaping the cultural and social vitality of our community. In these challenging times, theatre brings us together to be inspired and celebrate the richness of the human experience. We are delighted to continue to support Syracuse Stage and this very special production of The Hello Girls.
The Hello Girls is made possible with funds from the General Operating Support program a regrant program of the County of Onondaga with the support of County Executive, J. Ryan McMahon II, and the Onondaga County Legislature, administered by CNY Arts.
50 TH ANNIVERSARY CAMPAIGN GIFTS
Syracuse Stage's 50th Anniversary Season is presented by Slutzker Family Foundation
Sarah Alden
Jackie Anderson
Robert & Jeanne Anderson
Frank Badagnani
George S. Bain
Rosemary Baker & Stuart Spiegel
Bank of America
Keith Batman & Barbara Post
Helen Beale
Barbara Beckos & Arthur McDonald
Jean Beers
Carrie Berse & Chris Skeval
Michael & Jennifer Blowers
Leslee Boissy
Thomas & Carol Boll
Jon & Patricia Booth
Patricia Borer
Dennis & Mary Anne Brady
Mary Brady
Marion Brillati
Angel Broadnax
Marlene Brown
Pamela Brown-Benjamin
Paul Brown & Susan Loevenguth
Gary & Kathleen Bruno
Lia & Dean Burrows
Kathleen Burt
Patricia Bush
Nancy & William Byrne
Mark & Lori Campitello
Rich & Mary Cappelli
Cazenovia Jewelry
Charity Cars Inc.
Dr. Ruth Chen & Chancellor Kent Syverud
Anthony & Carolyn Cimino
Patricia & Sandy Colabufo
Nicholas & Louanne Colaneri
Elaine Coppola
Raymond W. Cummings, Jr.
Kevin & Kristin Curtis
Therese & Walter Dancks
Anthony & Deborah D'Angelo
Bill & Terry Delavan
Roger & Naomi DeMuth
Robert Desimone
Mary DiSanto
James & Leona Dowd
Dick & Therese Driscoll
Ron Ehrenreich & Sondra
Roth
Richard Ellison & Margaret
Ksander
Linda Fabian & Dennis Goodrich
Carole Farfaglia
Carol Fedrizzi
Alan Fischler & Karen
McDonold
David & Karen Fitch
Robert & Terry Flower
Peter Frantzis
Nancy Freeborough
George & Halina Gagne
Jim & Carol Galvin
Barbara Genton
Neil & Helene Gold
Jacki & Michael Goldberg
Douglas Goldschmidt & David Jacobs
William Goodwin
Nancy Green & Tony Marschall
Muffy & H. Baird Hansen
Tom & Cynthia Helmer
Kenneth Hendel
Steven Herwood
Michele Hickman
Judy Huckle
Robert & Clea Hupp
Norma Huxter
Linda Imboden
Emily Johnson & Vijay
Ramachandran
Deborah Joiner
Laura & Ed Jordan
Gwenn & John Judge
Brian Kane & Phyllis Perrotti
Michael & Audrey Kane
James & Jan Kaplan
Dana Keefer
Kathy Kelly & Len Weiner
John & Gloria Kennedy
Stewart Koenig & Judy Schmid
Dean Kolts
Jill Ladd
Lorraine LaDuke
Andrea Latchem
Skip Lentz & Anne Russ
Stephen Lessie
Linda Loomis
Tony Malavenda & Martine
Burat
Rocco & Roberta Mangano
Wade Manning
As of August 21, 2025
Nicholas Martin
Kevin & Suzanne McAuliffe
Donyce & Kenneth
McCluskey
Rod & Jana McDonald
Andreas & Margaret Meier
Carl Mellor
Michael & Claudia Miceli
Gail Mitchell
Molly Carole Fitzpatrick
Bruce Moseley & Leigh Yardley
Molly & Kevin Mulvihill
Janet Munro
Claire Myers
Richard & Barbara Natoli
NBT Bancorp Inc
Marty & Millie Newshan
Becky Nicandri
Sally Lou & Fran Nichols
Leslie Noble & Bill Morris
Sally O'Herin
Marjorie Ostrander
Brett & Jeannie Padgett
Cindy Spiezio Paikin
Ricky & Whitney Pak
David & Susan Palen
Cathy Palm
Nolan & Phyllis Palsma
Peter & Constance Palumb
Robert & Teresa Parke
Susan Perriello
Debra Petzold
Jane Pickett
Duane & Karleen Preske
Nancy Radoff
David Rankert
Jean Reilly
The Dorothy and Marshall
M. Reisman Foundation
Ross & Melanie Relyea
Todd Relyea
Patrick & Kuni Riccardi
Richard Mather Fund
Terry & Monica Richmond
James & Tricia Sadowski
Robert Sarason & Jane Burkhead
Mike & Marilyn Sees
Barry & Jenny Shulman
Brenda Silverman
Theresa Slosek & Ronald
Wilson
Slutzker Family Foundation
Joseph & Carolyn Smith
Vinodhini Subramanian
Sharon Sullivan & Paul
Phillips
John & Jamie Sutphen
Amy Sweeney
Delia & Sandy Temes
Angi Tipton
John Toomey
Hon. Karen M. Uplinger
Joseph & Carole Valesky
Nancy Wadopian
Marc & Marcy Waldauer
The Estate of George Wallerstein & Julie Lutz
Maryam Wasmund
Liz & David Wei
Lynda Wheat
Joseph Whelan & Margaret
Harding
Dr. Kelvin White
Tom & Desiree Wight
Evelyn B Williams
Diana Wolpert
Leslie & Jerry Zaborsky
Joyce Zadzilka
INDIVIDUAL, CORPORATE, FOUNDATION, & GOVERNMENT GIFTS
New and increased gifts this season will be matched by The Richard Mather Fund.
It is our goal to provide a complete list of all donors $100+. Nevertheless, if your gift is not listed or is listed incorrectly, please accept our apologies, and contact the Development Office at 315-443-9848.
$100,000+
CNY Arts, Inc
Onondaga County
Syracuse University
$50,000 - $99,999
Advance Media NY
George S. Bain
The Shubert Foundation
Slutzker Family Foundation
$20,000 - $49,999
iHeartMedia
Richard Mather Fund
New York State Council on the Arts
National Endowment for the Arts
The Dorothy & Marshall M. Reisman Foundation
$10,000 - $19,999
Richard Bunce
Nancy & William Byrne
Cathedral Candle Company
Cumulus Media
Jacki & Michael Goldberg
Nancy Green & Tony Marschall
Elizabeth Hartnett
NewsChannel 9
The John Ben Snow Foundation & Memorial Trust
Sharon Sullivan & Paul
Phillips
Douglas Sutherland & Nancy Kramer
WAER
WRVO
$5,000 - $9,999
Ryan & Leigh Ann Benz
Jim & Juli Boeheim Foundation
Bousquet Holstein PLLC
Jessica Cain & Kevin Kopko
Pete & Mary Beth Carmen
JP Morgan Chase
Dr. Ruth Chen & Chancellor Kent Syverud
Peggy & Dana Dudarchik
Maggie & Jake Feldmeier
Colleen Gaetano
Neil & Helene Gold
Larry & Ann Harris
The Hayner Hoyt Corporation
Robert & Clea Hupp
Inner Harbor Radio
Kathy Kelly & Len Weiner
Larry & Mary Leatherman
Rocco & Roberta Mangano
Mangano Law Office, PLLC
Kevin & Suzanne McAuliffe
J.M. McDonald Foundation
Eric & Judy Mower
National Grid
NBT Bank
Sally Lou & Fran Nichols
Joel Potash & Sandra Hurd
Skip Lentz & Anne Russ
Syracuse Mets - Diamond
Baseball Holdings Inc.
Theatre Development Fund
Joshua & Andrea Waldman
Maryam Wasmund Wegmans
$3,500 - $4,999
Janet Audunson & David Youlen
Kathleen Bice
Bond, Schoeneck & King Attorneys
Robin Curtis
Dick & Therese Driscoll
John & Kimberly Huhtala
Maria Lesinski & Benjamin
Hicks
Claire Myers
Selma Radin
Molly Ryan & Tim Byrnes
Raymond & Linda Straub
$1,800 - $3,499
James & Nancy Asher
Bank of America
Barbara Beckos & Arthur McDonald
Francine Boutet
Bristol-Myers Squibb Foundation
Constance Bull
The gifts listed in this program include those received or pledged between August 21, 2024 and August 21, 2025. It does not include gifts to the special 50th Anniversary Campaign.
Craig & Kathy Byrum
James Clark & Sharon
Gordon
CNY Latino
Barbara Sheklin Davis
Gladys Krieble Delmas Foundation
Edward & Susan Downing
Melvin & Mildred Eggers
Family Charitable Foundation
Ernst & Young, LLP
Excellus BlueCross BlueShield
Michael & Barbara Flintrop
Fox 68
Herman Frazier & Caroline Beal
Dorothy & Lawrence Gordon
Edward S. Green & Associates
Dennis & Judi Hebert
David & Sally Hootnick
Steven & Elaine Jacobs
Randy & Elizabeth Kalish
Leslie Kohman
Bob & Pat Lebel
LeChase Construction
Walter & Elizabeth Merriam
Anne Morford
Molly & Kevin Mulvihill
Brett & Jeannie Padgett
YiWei Qi & Julie Yu
Michael & Rissa Ratner
Robert Sarason & Jane Burkhead
Gracia Sears
Sharye Skinner
Sam & Carolyn Spalding
Michael & Cathy Tick
Dr. Amy Tucker
Urban CNY
Jack & Linda Webb
$1,200 - $1,799
Anchor QEA Inc.
Debbie & Candido Bermudez
Black Cub Productions, LLC
Marlene Blumin
Susan Brett
Jim & Cathy Breuer
Andrew Corbin
Ana Díaz-Diez & Javier
Maymi-Perez
Paul & Carolyn Frymoyer
Thomas Greenwood
Deborah & Samuel Haines
Mary Hershberger
Julia & Lee Martin
Rod & Jana McDonald
David Rankert
David Redding
Frank and Frances Revoir Foundation
Henry Roane & Heather
Kadey
Richard & Margaret Shirtz
James Shults
John Steigerwald IV
Rob & Christine Stoltz
Larry & Glenda Wetzel
$600 - $1,199
Charles Amos
Chris Arnold
Cazenovia Jewelry
Mark Cywilko & Marianne Moosbrugger
Triscilla & Jeff DiFulvio
Denise Dyce
Mark & Marci Erlebacher
Allen & Anita Frank
Muffy & H. Baird Hansen
Daniel & Julia Harris
David Heisig & Donna
Mahar
Heritage Masonry Restoration, Inc.
Joyce Day Homan
Richard & Margaret
Ingraham
Cydney Johnson & Jeff Comanici
Noel Keith
Tim & Susan Kennedy
John & Maren King
James MacKillop
Susan Martineau
John & Joan Nicholson
Doren Norfleet
Sally O'Herin
David & Janice Panasci
Edward & Lois Schroeder
Jon Selzer
Geraldine & John Sheehan
Cynthia Sutton
David & Eileen Thompson
Lynda Wheat
David & Daryll Wheeler
John & Mitzi Wolf
Gabriella Yonkers
$300 - $599
Robert & Jeanne Anderson
Timothy Atseff & Margaret
Ogden
Marjory Baruch
Christina El Bayadi
Jackie Bays & Joseph McCaffrey
In Honor of
Contributions have been made to Syracuse Stage to honor someone, celebrate a special occasion, or offer an expression of sympathy in memory of a loved one.
Charles Amos, thank you to Tracey White and Group Sales.
George S. Bain, in memory of Ginny Parker.
Ronnie & Melinda Bell, in memory of Barbara Toman, SSITP's costume designer for nineteen seasons.
Debbie & Candido Bermudez, with pride for Candice’s work at Stage!
Brenda Bousfield, in memory of Mary Walsh.
Susan Brett, in memory of Thomas Brett.
Carol Bryant, in memory of Ginny Parker.
Stephanie Cross, in memory of my mom who introduced me to the experience of live theater from an early age.
Aimee deSimone, this is for my former colleagues who I worked with at Syracuse Stage during college, and all of the artists I met along the way.
Gwendalyn Rose Díaz, small dedication to my grandmother ‘TITA’, my mom @ musicaltheatre_mom
‘Rosy’ & Syracuse Stage Company ‘Bob Hupp’, Melissa Crespo & the board of directors and for believing in me the last few years while performing at Syracuse Stage!
The gifts listed in this program include those received or pledged between August 21, 2024 and August 21, 2025. It does not include gifts to the special 50th Anniversary Campaign.
Edward & Angela Bernat
Mary Brady
Dennis & Mary Anne Brady
Brine Wells, LLC
Marlene Brown
Gary & Kathleen Bruno
Lou & Rosa Clark
Joe & Nancy Clayton
Paul & Linda Cohen
Jerilyn Costich
Anita Cottrell
Demetrius & Erin Cunia
Jennifer Davidson
Christian & Ann Marie Day
Stephen & Emily DiMarco
Linda & Alan Dolmatch
Judith & William Dowling
Elizabeth & Evan Dreyfuss
Kim & Charles Driscoll
Joseph Driscoll
Clay & Dora Elliott
Richard Ernst
Linda Fabian & Dennis Goodrich
Carole Farfaglia
Carol Fedrizzi
Joyce Freeman
Kenneth & Kathleen Freer
Gasparini Sales, Inc.
David & Mary Geloso
Ellen Golden & Brian Walton
Douglas Goldschmidt & David Jacobs
Bea Gonzalez & Michael Leonard
Michael & Whitney Hadley
Judith Hand
David & Ellen Hardy
Harvey's Garden
Karl & Mary Herba
Joseph & Paula
Himmelsbach
Jeffrey Hollman
Emily Johnson & Vijay
Ramachandran
Peter & Brenda Keithslack
John & Gloria Kennedy
Alan & Deborah Kinney
Trudy & Earl Kletsky
Lorraine LaDuke
Andrea Latchem
Tod Leggat & Shannon
Magari-Leggat
Daniel & Ann Lent
George & Roseann Lorefice
Eugene & Christine Lozner
Donald & Patricia
MacLaughlin
John & Candace Marsellus
Holly Mathis
Laura McCord
James & Elizabeth Megna
Lauren Melnikow
David & Mary Morgan
Susan Moskal
James & Kathleen Muldoon
Newman & Lickstein, LLP
Kevin & Peggy O'Connor
Marjorie Ostrander
Cathy Palm
Robert & Teresa Parke
Paolo & Nicole Pastore
Mickey & Pat Piscitelli
Eileen Ponto
Howard & Ann Port
L John Potter
Mariangela Risucci
Jennifer Roberts
George & Sharon Schmit
William Schuyler
Robert & Cheryl Shallish
Beth & Tobias Sienel
Dr Craig A Simmons
Joseph & Carolyn Smith
H. Paul Steiner
Sharon Sutter
Victor & Diane Tice
Hon. Karen M. Uplinger
Peter Vanable & Anne Jamison
Mary Ward
Howard Weinstein
Jay Yonta & Jennine Lombardi
$150 - $299
Jerrold & Harriet Abraham
James Aiello
Eric Allyn & Meg O'Connell
Beatrice Angus
Mary Roberts Bailey
Holmes & Sarah M Bailey
Rosemary Baker & Stuart Spiegel
Nancy Barnum
Jean Beers
Janine Bernard
Dr. Sylvia Betcher & Martin Korn
Susan Boettger
Jon & Patricia Booth
Brenda & Wendy Bousfield & David Marcus
Eric & Carol Boyer
John & Lynn Branagan
Cindy Brink
Paul Brown & Susan
Loevenguth
William Buchanan
Alice Butunoi
Mallika & Gildas Cadin
Ronald Capone
In Honor of (Continued)
Ana Díaz-Diez & Javier Maymi-Perez, in loving memory of Pedro DíazMolina.
Carole Farfaglia, in memory of Edward Farfaglia.
The Hennessy Family, in loving memory of Cat Hennessy.
Jane Hopeman, in loving memory of Virginia Barnes Parker and her love of life, friendships, and theatre.
Robert Humphrey, in memory of Mary Anne Wilson.
Donna Inglima, in honor of Arthur Storch.
Eileen Ponto, in memory of my daughter, Emily Ponto.
Marvin & Jo Ann Reed, we enjoyed Cinderella so much we want to give a little more to support your continued success.
Eric & Liza Rochelson, in honor of Nancy and Bill's 50th wedding anniversary.
Lillian Shine, we love what you do and bring to the stage.
Ellen Somers, in memory of Annette Green.
H. Paul Steiner, in memory of Ginny and Fritz Parker.
Rob & Christine Stoltz, in recognition of Bob Hupp, Melissa Crespo, and the entire Syracuse Stage team's efforts to bring arts to the community.
Sharon Sullivan & Paul Phillips, in memory of Alma Elaine Shende.
Elizabeth Thorley, remembering Virginia "Ginny" Parker on this first anniversary of her passing.
The gifts listed in this program include those received or pledged between August 21, 2024 and August 21, 2025. It does not include gifts to the special 50th Anniversary Campaign.
Lexi Carlson & Sebastian Karcher
Delores Carney
Joseph Cerroni & Linda Tassa
Steven & Seanne Chase
Karen Clarke
Allison Clifford
Rubin Cohen
Martha Cole
John & Deloris Coleman
Donna Coloton
Elizabeth Cowan
Karl Crossman & John Steinburg
Raymond W. Cummings, Jr.
James & Suzanne Cusack
CVS
Carol Decker
Kathryn Dickerson
Diane Dimond
Audrey Dolata
James & Leona Dowd
Beth Drew & Joe Marusa
Philip Dunham
James & Susan Edmonds
Penelope Pooler Eisenbies
Richard Ellison & Margaret Ksander
David & Karen Fitch
Ben Franklin
Jeffrey & Teresa Freedman
Stacy French
Allen & Nirelle Galson
Mary Beth Gannon
Claudia & Adam Gasiorowski
Margaret Gelfuso
Neil Gold
Karen Goldman
Bernice Gottschalk
Roger & Vicki Greenberg
Jerome & Debbie Grigonos
Tom & Cynthia Helmer
Donna & Joseph Hipius
Harry Hood
Jane Hopeman
Judy Huckle
Ziad Hussein
Daniel & Rhea Jezer
Laura & Ed Jordan
Marjorie Julian
Philip & Judith Kaplan
Jan Kaplan
Rebecca Karpoff
Norma Kelley
Amy Kemp
Cynthia Killian
Diane King
Russell & Joan King
Barry & Kathy Kogut
Dean Kolts
Sheldon & Karen Kruth
Robert & Lauren Lalley
Shannon & Alfonso
LaPuma
Dorothy Lennon
Bonnie Levy & Steven
Faigen
Edward & Carol Lipson
Mary Lombardo
John & Marian Loosmann
Tony Malavenda & Martine
Burat
Janet Mallan
Robert & Nancy Mandry
Anthony & Christi
Mangano
Frederick & Virginia Marty
Elizabeth Mascia
Margot McCormick
Kathleen McLeod
Daniel & Terry Miller
Michael Miller & Katharine
O'Connell
Pat & Jan Moore
Alan & Rosalind Napier
Richard & Barbara Natoli
Louis & Jane Neuburger
Cathryn Newton
Vickie Olcott
Judy Oplinger
Patricia Orr
Joan & Lawrence Page
Jane Pickett
Kevin & Rachael Porter
Duane & Karleen Preske
John Przepiora
Steve Reiter & Annegret
Schubert
Todd Relyea
Patrick & Kuni Riccardi
Terry & Monica Richmond
Michael Riecke & Anthony
McEachern
Judith Robertson
Haley Rogacki
Amanda Root
Elaine Rubenstein
Susan Ryan
Linda & Bob Ryan
Elizabeth Sanders
Roberta Savage
Susan Scharoun & Susan
Hynds
Cathryn Sellers
Richard & Elizabeth
Severance
Roger & Nancy Sharp
Steven & Robin Sisskind
Judith Smith
William & Marianne Smith
Ryan & Carol Smith
Jeffrey Sneider & Gwen Kay
In Honor of (Continued)
George Urist, in honor of Barbara Beckos McDonald.
Francis & Elaine Walter, in memory of Dr. Louis Fisher and Edith Fisher.
Gabriella Yonkers, in honor of my sister, Katelyn Yonkers, whose incredible talent and dedication as a seamstress bring every performance to life. Her artistry and hard work ensure that every actor looks truly amazing, enhancing the magic of the theater for us all.
James & David Sonneborn
Michael Stanton
George & Helene Starr
Greg & Maura Stefl
Mark & Beth Steigerwald
Susan Stred & Harold Husovsky
Bonnie Stroup
Kathleen & Mark Sunheimer
Maria Tesorio
Cora Thomas
James & Deborah Tifft
John & Jean Tromans
Phil & Janice Turner
George Urist
Joseph & Carole Valesky
Anthony & Martha
Viglietta
TJ & Meghan Vitale
Robert & Anita Wagner
Judith Waite
Marc & Marcy Waldauer
Donald & Martha
Washburn
Ardyth Watson
Sarah Whitehouse
Fred & Karen Whitney
Robert & Pauline
Williamson
Tina Winter
Tom & Carol Wolff
The gifts listed in this program include those received or pledged between August 21, 2024 and August 21, 2025. It does not include gifts to the special 50th Anniversary Campaign.
Joyce Zadzilka
Steven & Judith Zdep
Loretta Zolkowski
$100 - $149
George & Beverley Adams
Jason Allers
John Andrake
Al & Jane Arras
Robert Attridge
Margaret Banazek
Rosanne Barbaglia
Steven Barbash
Mary & Peter Bearkland
Carrie Berse & Chris Skeval
Carol Biesemeyer
Diana Biro & Eric Rogers
Nicolina Bisson
Leslee Boissy
Thomas & Carol Boll
Lisa Braddock
Bernard & Ona Cohn Bregman
Angel Broadnax
Dawn Broderick
Robert & Helene Brophy
Bob & Kathy Brown
Joseph Browne
Patricia Bush
Ron & Amy Butchart
Andrea Calarco
Joseph & Patricia Cambareri
Larry & Fran Campbell
Phoebe Cannon
Janet & Bruce Chandler
Paul & Cynthia Chapman
Douglas & Diane Chilson
Patricia Clark
Gregory Cohen
Patricia & Sandy Colabufo
Nicholas & Louanne Colaneri
Cheryl Cole
Al Coles
David & Peg Compton
Joseph Constantino
Anthony & Mary Anne Corasaniti
Paul & Cynthia Curtin
Timothy & Christine Curtis
Angela & Gregory Cwikla
Virginia DeBenedictis
Alec Del Gigante
Rebecca Downing
Laura Downs
Ron Ehrenreich & Sondra
Roth
Margaret Elliot
Pamela Ellis
Stanley & Penny Emerick
Festa Italiana
Robert & Valerie Finney
Lois & Jill Fowler
Tim Fox
John Friedman & Polly Ann
Heavenrich
Dan Gaffney
William & Jean Gamble
Caroline Garner
Rosamond Gifford
Foundation
Susan Gilbert
Peggy Gillard
Kathryn Glynn
Michael & Wendy Gordon
William Gray
Stephen Graziano
Paula & Louis Green
Linda & James Green
Mark & Cynthia Greene
Seth & Lisa Greenky
Joseph & Fran Greenman
Chip & Kate Grosso
Carol Guido
Charlotte Haas & Gary Quirk
Patricia Haggerty
James Hahn
Nancy & Stephen Hallock
Beth Hansen
Mark & Carole Hansen
Ann & Richard Harris
Elizabeth Hayes
Barbara Heitzman
Michael & Elizabeth
Hennessy
Kathleen Hinchman
Jennifer Hobler
Barbara & Ronald Hoffman
Howard & Linda Hollander
Kathleen Howard
Barbara Hudson
Diana Ingraham Milkovic
InterFaith Works of CNY
Roberta Jones
Gwenn & John Judge
Jon & Wanda Jukam
Randy Karcher
Jean Kimber
Donna & Kenneth Kirsch
Steven Kulick
Briana Kuneman
Sandra Ledda
Amanda Lee
Kathleen Lemos
Dennis Lerner
Susan Lotierzo
Lynn Luteran Minney
Jon Maloff
Megan Marzeski
Douglas & Randi Matousek
Roberta Matthews
Donyce & Kenneth McCluskey
John & Mary McCulley
Philip & Martha McDowell
Linda McKeown
Timothy McLaughlin &
Diane Cass
Andreas & Margaret Meier
Marcia & Dave Mele
Merck
David Michel & Peggy Liuzzi
Thomas Miller & Mary MacBlane
Dr. Merrill L. Miller
Joseph Moorman &
Catherine Gerard
Janet Munro
Marty & Millie Newshan
Leslie Noble & Bill Morris
Margaret O'Brien
Jane Ondich
John & Elizabeth O'Sullivan
Ricky & Whitney Pak
John & Linda Parsons
Dorothy & Harvey Pearl
Michael & Susan Petrosillo
Anita Pisano
John Poirier
Bud & Kathy Poliquin
William & Merriette Pollard
Roni Ponto
Steve & Kate Pynn
Paul Raulli
Marvin & Jo Ann Reed
Scott Reinhart
Sultan Reshamwala
Boyd & Julie Rimel
Stacy Roberts
Mary Rose Ranieri
Nancy Machles Rothschild
Ann Rothschild
Valerie Roy
Richard & Maria Russell
Margaret Ryniker
John & Judy Sabene
Richard & Jill Sargent
Jennifer Scalione
Jeffrey & Abby Scheer
Susan Scheuerman
Edwina Schleider
Julia Scialla
Scott & Nancy Sellers
Sally Senecal
Katherine Sgarlata
Paul Silverstein
Dirk & Carol Sonneborn
Paul & Jean Soper
Patricia & Michael St. Leger
Milton & Mary Stevenson
Martha Sutter & David
Ross
Tom & Lauren Sweeney
The gifts listed in this program include those received or pledged between August 21, 2024 and August 21, 2025. It does not include gifts to the special 50th Anniversary Campaign.
Kristin & Steve Swift
Brady Systems
Edward & MaryJane Szczesniak
Miles Taylor
Thomas & Carole Taylor
Marian Thompson
Elizabeth Thorley
Theresa Thoryk
James Traver & Marguerite
Conan
Shveta & Girish Trikha
Bob & Claudia Visalli
Kevin Wade
Francis & Elaine Walter
Peter & Cheryl Ward
Virginia Watson
Leah Weinberg & Paul
Barron
George & Mrs Whitton
Christopher & Renee Wiles
Deborah Wood
Samuel & Robin Young
Mary Yurco
The gifts listed in this program include those received or pledged between August 21, 2024 and August 21, 2025. It does not include gifts to the special 50th Anniversary Campaign.
PLANNED GIVING
A planned gift is a way to make a significant and lasting gift to Syracuse Stage. By making a bequest to the theatre, you are assuring that Syracuse Stage will continue to inspire, stimulate, and entertain Central New York audiences for generations to come, as well as maintain its high artistic standards that are recognized locally, and nationally. For more information about planned gifts contact: Ana Díaz-Diez, Director of Development 315-443-3931 or ajdiazdi@syr.edu
Dr. William J. Clark, Jr. Fund
The Estate of Rosemary Curtis
Mary Louise Dunn Fund
Deborah O'Shea
In Honor and Memory of Sheldon P. Peterfreund and Josephine A Peterfreund
Michael and Rissa Ratner
The J. Zimmeister-Yarwood Estate
MATCHING GIFT PROGRAM
Many companies will match gifts of their employees, retirees, and spouses with a gift of their own to Syracuse Stage. Ask your personnel office for a matching gift form, send the completed form with your gift – and we’ll do the rest!
