April 9-12, 2026
Ursinus College Theater presents
The Moors
by Jen Silverman
Director: Emma Gibson
Scenic Designer: Meghan Jones
Costume Designer: Millie Hiibel
Lighting & Sound Designer: Shannon Zura
Assistant Lighting Designer: Eric Bennett
Props Designer: Eliot Curtis
Scenic Painter: EB Bradigan
Stage Manager: Danica Guydish
Assistant Stage Manager/Dramaturg: Anna Cisler
Fight Director: Terri McIntyre
Intimacy Director: Nicolette Adams
Light Board Operator: Sofia Wiedemann
Sound Board Operator: Landon Conrad
Sound Board Mixer: Taylor Pahulick
Costume Construction: Julie Watson
Wardrobe/Backstage Crew: Nathaniel Nerone, Kat Carey, Emma Voegele
Technical Director & Production Manager: Meghan Jones
Performing Arts Engineer: Steven Maurer
Power Ballad Musicians:
Sophia Bush (Violin), Maci Misko (Violin), Ben Kurtz (Bass), Gabriel Krolikowski (Guitar), Michael Quick (Sound Engineer)
Production Assistants:
Nathaniel Ginet, Tovah Tolub, Mel Petro, Sofia Wiedemann, Rio Katz, Lucille Fabiszewski, Len Posivak, Kevin Chen
Production Technicians:
Sophia Bush, Caitlin Shanahan, Eric Bennett, Ash Twomey, Nathaniel Nerone, Danica Guydish
ASL Interpreters (Sun. performance): Elizabeth Wheeler, Elizabeth Setley
CAST
AGATHA: Sophia Bush
HULDEY: Laisha Torres
EMILIE: Savannah Adam
MARJORY: Mel Petro
THE MASTIFF: Nate Ginet
A MOOR-HEN: Alexa Daiuto
The Moors runs approximately 90 minutes with no intermission.
A NOTE FROM THE DRAMATURG
The Moors by Jen Silverman (they/them) is a truly feminist play, one that combines themes of feminism with the desire “to be seen, to be known, [and] to know yourself” (Adjmi). With an emphasis on these themes, Silverman is able to disrupt the social norms set by the Victorian era and by our current day.
Many scholars, and Silverman themselves, agree that the combination of these themes create a deep sense of loneliness. In an attempt to not fall into the depths of loneliness, the characters in The Moors begin to “turn [their home] space into a zone [... of] violence” (Cummings 157). With violence now woven into the fabric of their home lives, anything goes. These characters have seen that violence allows them to “finally [break] out of their loneliness,” and be seen as they “had never before been seen” (Adjmi; Silverman 49).
While The Moors is not a direct adaptation of any specific Brontë work, there is heavy inspiration and parallels. The concept of The Moors came to Silverman after reading and immersing themselves in the letters of Charlotte Brontë. The world Brontë painted in her letters, particularly when she lived at the Roe Head school as a teacher, was one of “wind-blown, desolate moors” while the world of The Moors is “[t]he bleak moors” (Adjmi; Silverman 6). Charlotte Brontë also writes about living the “the life of a spinster in an isolated house [while also having a] bold, literary voice that is traveling out and away, to places she herself can’t reach” (Adjmi). Silverman takes these two personas and builds characters from them: Agatha, the spinster, and Huldey, the creative. One could also argue that the fantastical worlds Huldey writes and exists in could be a subtle nod to the imaginary world the Brontë siblings created in their youth and which became subject of much of their juvenilia: the world of Glasstown.
As a queer playwright, Silverman not only has an interest in highlighting women on stage but specifically highlighting queer women. The Moors is a particularly powerful example of queerness on stage. The Moors disrupts the traditional Victorian tropes by adding queerness into an otherwise heterosexual world. The play explores a “dark, dangerous, and spectacular” side of queerness: with Agatha and Emilie and the Moorhen and the Mastiff (Cummings 157). It's also not just the characters but the landscape of the moors themselves that dabble in queer conventions. Silverman uses the
landscape of the moors as a vessel to offer “permission particularly for women to let them dream in a way they might not otherwise” (Silverman qtd. in Rizzo). Marjory/Mallory becomes a great example of this: her position in the house and on the moors allows her to quest for power. It’s also because of the isolated and expansive land of the moors that allow characters like Agatha and Emilie to take the risk with their relationship. The moors, at its core, is a place completely isolated from society and because of this, the characters too begin to exist in ways completely away from society.
There are countless more parallels between The Moors and Brontë novels, ones I could talk endlessly about. But in an unwillingness to spoil the show, you’ll just have to wait and see for yourself (hint: Charlotte Brontë’s Jane Eyre is a particularly strong parallel)!
Anna Cisler
Dramaturg & Assistant Stage Manager
Adjmi, David. “The Beautiful and the Dangerous in ‘The Moors.’” American Theater, July 21, 2017.
Cummings, Lindsay B. “Intimacy and Isolation in Jen Silverman’s Gothic Worlds.” Modern Drama, Vol. 63, No. 2, Summer 2020, p. 154-172.
Rizzo, Frank. “Modernizing the Victorian Gothic in ‘The Moors.’” American Theater, Feb. 8, 2016.
Silverman, Jen. The Moors. Samuel French, 2017.
CAST BIOGRAPHIES
Savannah Adam (Emilie) is a freshman majoring in English and Theater with a minor in Educational Studies! Most recently, Savannah made her debut at Ursinus College Theater as Myrtle Mae Simmons in Harvey! She has also recently played Mrs. Fezziwig in A Christmas Carol, The Fairy Godmother in Cinderella, and Velma Kelly in Chicago. At home, she works with Ridley Performing Arts Program on their creative staff for the youth participants. She would like to thank her newfound friends for being so welcoming, her family for being so supportive, and most importantly Ed for being there every step of the way! Break legs to the cast and crew!
Sophia Bush (Agatha) is a senior at Ursinus, graduating as a Valedictorian with a double major in Theater and Environmental Studies and a minor in Performing & Visual Arts Design and Technology. Previously at Ursinus she has portrayed Veta in Harvey, Celeste in Into the Breeches!, Peter Pan in Captain Darling, the Duchess of Milan in Two Gentlemen of Verona, Judy in Small Mouth Sounds, and Nothenberg/others in Execution of Justice. She also was the stage manager for A Series of Meetings and played violin in the pit for Fun Home. Sophia has also worked with Breakaway Student Productions, directing their production of Arsenic and Old Lace last fall, acting as ASM for The Trail to Oregon!, and performing as Riff Raff in The Rocky Horror Picture Show, which she will be reprising in April. She also directed a student production of Romeo and Juliet as an independent study with Professor Scudera.
Alexa Daiuto (Moorhen) is a junior double major in Theater and PVDT at Ursinus. She was most recently seen as Small Allison in Fun Home, Tybalt in Romeo and Juliet, and Kelly in Harvey. Alexa would like to thank her family and friends for all their support, and the wonderful cast and crew of the show for their hard work and dedication!
Nate Ginet (The Mastiff) is very excited to be joining the UC Theatre Department once again for another performance! Nate is a Junior majoring in Psychology with a minor in Theatre. Previously, Nate has participated in The Rocky Horror Picture Show, Captain Darling, Fun Home and the Voices of Ursinus. He would like to thank both friends and family who have come out to support him, along with the incredible cast and crew for their hard work in making this show both fun and memorable!
Mel Petro (Marjory/Mallory) is absolutely thrilled to be a part of this incredible, deeply feminist production of The Moors. Some of Mel's previous UC Theater credits include Middle Alison (Fun Home), The Doctor/Trouble (In The Blood), and Inspector Cray-Foley (Agatha Christie Double Bill). Mel has also played parts in student-run productions such as Romeo (Romeo and Juliet), Susan Connors (The Girl in the Mirror), and Eddie (Rocky Horror Picture Show). Mel would like to thank her Director, Emma, for allowing her the opportunity to play such a complex, delicious character, her Stage Manager, Danica, for always keeping track of everything, and the cast and crew for all their hard work. She hopes you enjoy the show almost as much as she enjoyed being a part of it.
Laisha Torres (Huldey) is a senior at Ursinus and a triple major in Spanish, Theater, and Music, with a minor in Latin American Studies. At Ursinus she has performed in Fun Home (Alison), Into the Breeches! (Ida), Everybody (Everybody/Friendship), Victims of Duty (Madeleine), and Working (Maggie/others), as well as Juliet in the student-directed Romeo and Juliet. With Breakaway Student Productions she portrayed the Daughter in The Trail to Oregon! and will be reprising her role as Magenta in The Rocky Horror Picture Show. She is returning from a semester abroad in Buenos Aires, Argentina, where she did acting and musical theater work. This is her last department show here at Ursinus and she is so grateful for the community she has built and the lessons she has learned in her four years here. Theater has always been her first love and she thanks the professors, staff, directors, and students for providing a space to nurture that love. She will miss everyone terribly and is looking forward to what the future holds for her!
PRODUCTION STAFF
Nicolette Adams (Intimacy Director) is happy to be working on another show at Ursinus, having intimacy directed In the Blood this past Fall. Other ID credits include Cabaret and The Philadelphia Story at Playcrafters, Into the Woods at Narberth Community Theatre, The Prom and Peter and the Starcatcher at MCT, and The Prom and The Cake at Steel River Playhouse. Nicolette is the Theater and Dance Coordinator at Ursinus College during the day and is an actor and director in her free time. She recently directed The Full Monty at Barley Sheaf Players and looks forward to a spring season full of intimacy with Head Over Heels at Footlighters, Arsenic & Old Lace at MCT, and When We Were Young and Unafraid at Barley Sheaf Players.
Anna Cisler (Assistant Stage Manager and Dramaturg) is a junior, pursuing degrees in both English and Theater. Most recently, she worked as a stagehand for Matilda The Musical at The Footlight Club in Boston. Previous Ursinus credits include assistant stage managing Fun Home and serving as the production dramaturg for the Agatha Christie Double Bill. She is so delighted to return to both stage management and dramaturgy with The Moors! Anna is immensely proud of both the cast and crew for creating such a beautiful production and hopes you enjoy the show as much as she has!
Eliot Curtis (Props Master / Scenic Painter) is excited to be returning to Ursinus! Having graduated from Temple University with a degree in theater, they now work with a variety of professional theaters in scenic painting, props design, and assistant stage management. Most recently, Eliot has worked with Act II Playhouse as their scenic painter and props master for Misery. Eliot also enjoys creating art, writing, and working with their local community theaters. More of their work can be found at eliotcurtis.com.
Emma Gibson (Director) is a British-born, Philadelphia-based playwright, director, actor, and educator. She holds an MA in Creative and Critical Writing and was the founding Producing Artistic Director of Tiny Dynamite. Her work has been produced internationally. As a director, Emma has led more than 30 productions, ranging from Shakespeare to modern short-play festivals, including work with The Shipley School in Bryn Mawr. Recent directing credits include the U.S. premiere of Stef Smith’s adaptation of Nora: A Doll’s House, The New Electric Ballroom by Enda Walsh, and Fly Me to the Moon by Marie Jones at The Hedgerow Theatre in Media. As an actor, she has performed in both the UK and Philadelphia. More information is available at www.britishemma.com. Thanks to the entire cast, crew and faculty for their hard work and talent, and for making this production such a joy to work on.
Danica Guydish (Stage Manager) is a sophomore majoring in German and PVDT with a teaching certification. At Ursinus, Danica has stage managed the department’s In The Blood, and also a variety of student run productions including Arsenic and Old Lace, and Romeo and Juliet. She would like to thank the entire Moors team for their continued efforts and creativity, her amazing ASM Anna for keeping her sane, and her beautiful actor friends Savannah and Mel for all of the late night complaints and laughs. Finally, she’d like to thank her family for the continued love, and the whole cast and crew for their hard and generous work on this show. As always, Danica hopes you enjoy your time on the moors!
Millie Hiibel (Costume Designer ) is a Philadelphia-based costume designer for dance, theater, opera, and film. Millie is thrilled to be back at Ursinus College after designing Pride and Prejudice, Radium Girls, and Lysistrata. Collaborations include: (NYC) New Victory Theater, Village Theatre. (Regional) Philadelphia Theater Company, Arden Theatre Company, The Wilma Theater, Cape May Playhouse, The Playhouse Square, Bristol Riverside, Enchantment Theatre Co., Delaware Theater Co., Lantern Theater Co., Luna Theater Co. & many others. She has also worked as a stylist for commercials and designed costumes for films including the Emmy Award-winning History Making Productions. Millie has been twice nominated for Philadelphia’s Barrymore Award for Excellence in Theater and was a 2007 F. Otto Haas finalist. Millie is also the costume director for Opera Philadelphia as well as adjunct professor at University of Penn. and University of the Arts. MFA: Temple University.
Meghan Jones (Scenic Designer / Production Manager / Technical Director) is a professional scenic designer; her designs can be seen throughout the Philadelphia area with Bristol Riverside Theatre, Inis Nua Theatre Co., PAC, Act II Playhouse, Delaware Theater Co., and Lantern Theater Co. Meghan also designs for DeSales University, and Arcadia University. She teaches stagecraft and production practicum courses for Ursinus. Meghan holds an M.F.A. in set design from Temple University. Much appreciation to Ursinus’s staff and faculty, cast, and crew for all their support.
Steven Maurer (Performing Arts Engineer) graduated from the University of New Mexico in 2015, earning a BA in Design for Performance.
Terri J. McIntyre (Fight Director) (She/Her) is a Certified Teacher with the Society of American Fight Directors (SAFD) as well as Fight Directors Canada (FDC). She has been teaching, performing and Fight Directing in the Philadelphia region since 2012 and studying Stage Combat both locally and internationally in various forms since 2005. Some previous credits include "The Pillowman"-(Hedgerow Theater Company (Barrymore nominated 2023)), "View from the Bridge", "Godspell" and "Kinky Boots"- (New Light Theater), "The Fantasticks"- (Quintessence Theater Group), "She Kills Monsters"(Bridge Players Theater Co, Arcadia University). For a full list of credits
or to inquire about Stage Combat classes with Terri, please email terri.j.mcintyre@gmail.com. Love you Sean!
Shannon Zura (Lighting and Sound Designer) is Associate Professor of Design and Technology in Theater and Dance as well as a professional lighting, sound, and scenic designer. Credits include designs for InterAct Theatre Co., Arden Theatre Co., 1812 Productions, Lantern Theater Co., Azuka Theatre, Portland Stage Co., Opera Maine, Delaware Theatre Co., and Stonington Opera House Arts among others. She collaborated with Christensen Lighting on an award-winning lighting design for the Weiss Energy Hall at the Houston Museum of Natural Science. Shannon holds an M.F.A. from Temple University, was Associate Professor and Chair of Theatre at the University of Southern Maine, and was Visiting Assistant Professor of Theatre at Franklin and Marshall College. Join us for the final performance of our 2025-2026 Season! UCDC presents Rewind/Fast Forward produced by Dr. Karen Clemente April 30-May 2
