CABARET

The Department of Theatre Presents

April 7 - 16, 2023

Babcock Theatre

A NOTE FROM THE CHAIR

Welcome to our final mainstage production of the 2022/2023 season!

We opened our season in September with a rollicking musical adventure on the high seas: The Old Man and The Old Moon. The journey continued in Studio 115 with Somewhere: A Primer for the End of Days, a timely fable about our impact on the environment and its impact on us. Our fall musical, In Pieces, explored the trials and triumphs of people seeking connection in modern-day New York. In February, The Sweet Science of Bruising told a tale of pugilism, politics, and personal identity in Victorian England. We returned to Studio 115 in March with a genre-defying, gender-inclusive production of Shakespeare's As You Like It.

Tonight we are thrilled to present one of musical theatre's most powerful and enduring works. Cabaret has been revived and adapted many times; in fact, it's one of the few musicals with multiple versions available for licensing. The version we're using is based on the last major revision, when Roundabout Theatre Company brought Sam Mendes' critically acclaimed 1993 London production across the pond in 1998. Mendes expanded and adapted his concept for the Broadway stage, modifying the song list and taking advantage of the new space: a theatre that previously had been operating as a nightclub since the late 1970s.

The resulting production was ferocious and immersive, meticulously recreating a Weimar-era cabaret. With performers often only inches away, audiences were stripped of the customary space separating them from the story. The immediacy of the staging was simultaneously thrilling and deeply uncomfortable, encouraging audiences to reflect on the distance between their circumstances and those depicted onstage. Then, as now, the distance may be far smaller than we care to admit.

Thank you once again for joining us. We are truly proud to present this remarkable season of plays and musicals, and we hope you share our enthusiasm. Next season promises even more excitement with the opening of the new Meldrum Theatre at the Einar Nielsen Fieldhouse!

Meanwhile, please visit us online at our website, theatre.utah.edu, or email us at info@theatre.utah.edu with any feedback or questions. We’ll see you at the theatre!

Sydney Cheek-O’Donnell, PhD Chair, Department of Theatre

The University of Utah Department of Theatre Presents

CABARET

Book by Joe Masteroff

Based on the play by John Van Druten and Stories by Christopher Isherwood

Music by John Kander & Lyrics by Fred Ebb

Originally Co-directed and Choreographed by Rob Marshall Originally Directed by Sam Mendes

Scenic Designer KEVEN MYHRE

Lighting Designer NIKAYLA NIELSON

Prop Designer ARIKA SCHOCKMEL

Fight Director ADRIANA LEMKE

Dramaturg KOBI BAKER

Choreographer

CHRISTINE MOORE

Stage Manager AILISH HARRIS

Costume Designer ELIZABETH WEBB

Sound Design CLAUDIA ESCOBAR

Hair & Makeup Designer SAMANTHA WOOTTEN

Intimacy Director & Dialect Coach SARAH SHIPPOBOTHAM

Cultural Specialist JESS HIRSH

Music Supervisor ALEX VON MARSHALL

Music Director TREVOR JEX Director

DAVID EGGERS Producer SYDNEY CHEEK-O'DONNELL

COMPANY

EVAN K. BEESLEY Emcee

HANNAH STAUDINGER Sally Bowles

CALEB HUNT Clifford Bradshaw

IAN SHANNON Ernst Ludwig

ELLA SAMIRA .................................................................................................Fräulein Schneider

NATE GINSBERG ....................................................................................................... Herr Schultz

KATIE CALDERONE ................................................................................. Frenchie, Party Guest

MADELYNN CRIMI .....................................................................................Fräulein Fritzie Kost

LAUREN CRUTCHER ........................................................................ Lulu, Party Guest, Gorilla

MEGAN HUDSON ...........................................................................................Texas, Party Guest

ANDREA RYAN .............................................................................................. Helga, Party Guest

ZYENA TOLHURST Rosie, Party Guest

TATE FOSHAY Victor, Sailor, Party Guest, Bodyguard

K.J. LEUTHAUSER Bobby, Party Guest

GUILLERMO OVIEDO KELLGREEN Hans, Rudy, Bodyguard

BRYCE ROMLESKI ........................... Customs Official, Herman, Max, Sailor, Party Guest

ALEX ELGGREN............................................................................................................ Boy’s Voice

JACK ANDERSON ...................................................................................................................Swing

ALISON HAGEN ......................................................................................................................Swing

UNDERSTUDIES

BRYCE ROMLESKI ..................................................................................................................................Emcee

MADELYNN CRIMI Sally

GUILLERMO OVIEDO KELLGREEN........................................................................................................ Cliff

TATE FOSHAY Ernst

ALISON HAGEN ................................................................................................................................ Schneider

IAN SHANNON Schultz

Understudies never substitute for listed players unless a specific announcement is made at the time of performance.

MUSICAL NUMBERS

ACT ONE

Willkommen ............................................................................. Emcee, Kit Kat Klub Girls & Boys, Sally

Welcome to Berlin Emcee

So What? ........................................................................................................................ Fräulein Schneider

Don’t Tell Mama Sally & Kit Kat Klub Girls

Mein Herr .............................................................................................................. Sally & Kit Kat Klub Girls

Perfectly Marvelous Sally & Cliff

Two Ladies ..................................................................................................................... Emcee, Lulu, Bobby

It Couldn’t Please Me More Fräulein Schneider, Herr Schultz, Emcee

Tomorrow Belongs to Me ............................................................................... Boy’s Voice [pre-recorded]

Maybe This Time Sally

Money Emcee, Kit Kat Klub Girls & Boys

Married........................................................................ Herr Schultz, Fräulein Kost, Fräulein Schneider

Reprise: Tomorrow Belongs to Me................................. Fräulein Kost, Ernst Ludwig, Party Guests

ACT TWO

Entr’acte ............................................................................................................................................ Orchestra

Kick Line Number Emcee & Kit Kat Klub Girls

Reprise: Married .........................................................................................................................Herr Schultz

If You Could See Her Emcee & Gorilla

What Would You Do? ................................................................................................... Fräulein Schneider

I Don’t Care Much Emcee

Cabaret ....................................................................................................................................................... Sally

Finale .......................................................................................................................................... Cliff & Emcee

There will be a ten-minute intermission after Act One.

BAND

Piano/Conductor ............................................................................................................................ Trevor Jex

Synth .......................................................................................................................................... Alex Marshall

Bass........................................................................................................................................ Spencer Aamodt

Banjo ........................................................................................................................................... Emily Bender

Reeds Derek Crane

Reeds John Flanders

Drums Justin Lord

Trumpet Justin Somerville

Trombone Dylan Wolfe

SETTING

The Kit Kat Klub and various locations in Berlin, Germany • 1929 - 1930

CONTENT ADVISORY

CABARET is set in Berlin, Germany in the 1930s. The language, behavior, and events in the script/score reflect the biases and perspectives of the time period.

This production contains instances of "adult language" (profanity/innuendo) as well as depictions of/references to the following:

• Nazis and Nazism

• historical acts of hatred and genocide

• antisemitism

• racism

• sexism

• homophobia

• physical/sexual intimacy

• physical violence

• sex work

• death and dying

• termination of pregnancy

• drug/alcohol use and smoking

UNIVERSITY OF UTAH LAND ACKNOWLEDGMENT

The land acknowledgment included in the preshow announcement recognizes and honors the fact that this university is located on the traditional and ancestral homelands of the Shoshone, Paiute, Goshute and Ute tribes; Utah is home to eight distinct tribal nations.

The Native American Land Use Committee worked for about a year to develop this statement. To read the acknowledgment and find out more about the committee, visit https://president.utah.edu/indigenous-land-acknowledgment/

SUPPORT RESOURCES

CAMPUS RESOURCES

Equity, Diversity, and Inclusion (EDI)

Center for Equity and Student Belonging.................................

https://diversity.utah.edu

https://diversity.utah.edu/cesb

Department of History .................................................................................. https://history.utah.edu

LGBT Resource Center ........................................................................................ https://lgbt.utah.edu

School for Cultural and Social Transformation

Tanner Center for Human Rights

COMMUNITY RESOURCES

https://transform.utah.edu

https://humanrights.utah.edu

ACLU Utah.....................................................................................................

https://www.acluutah.org

Anti-Defamation League (ADL)......................................................................... https://www.adl.org

ADL Central Pacific Regional Office, serving Northern California, Utah, and Hawaii ............................ https://sanfrancisco.adl.org

Hillel Utah .....................................................................................................

https://www.hillelutah.org

I.J. & Jeanné Wagner Jewish Community Center (JCC) .................................. https://slcjcc.org

Jewish Family Services

Salt Lake Interfaith Roundtable

https://www.jfsutah.org

https://www.interfaithroundtable.org

United Jewish Federation of Utah .................................................. https://www.shalomutah.org

United States Holocaust Memorial Museum..................................... https://www.ushmm.org

Utah Division of Multicultural Affairs

https://multicultural.utah.gov

"Why Cabaret Now?"

With a book by Joe Masteroff (who also wrote the book for the musical She Loves Me), and music and lyrics by John Kander and Fred Ebb, (also of Chicago, Kiss of the Spider Woman, Steel Pier, Curtains, The Scottsboro Boys, and the soon-to-open New York, New York), Cabaret opened on Broadway in 1966. The play that provided the source material for Cabaret was based on Christopher Isherwood’s Goodbye to Berlin (Hogarth Press, 1939). Isherwood’s novel draws upon his experiences in Germany’s Weimar Republic, mostly in Berlin, from 1929-1932. Sadly, despite the time that has passed since its Broadway opening and the historical period it depicts, Cabaret still resonates today.

Under the entertaining surface of this show lies a darker story about self-preservation and prejudice — issues still prevalent today. Some of our greatest challenges as human beings come from our inability to see ourselves in others and our failure to approach other humans with compassion and equality, regardless of differences in race, religion, sexual orientation, gender, ability, age, size, and more. Instead we continue to “other” our fellow human beings, focusing on and demonizing differences, instead of embracing similarities.

Parallels between the historical setting of Cabaret and the present day are increasingly impossible to ignore. For example, according to the Anti-Defamation League (adl.org), strongly anti-Semitic behaviors and attitudes are on the rise in the United States, with a record-breaking 3,697 incidents of assault, harassment, and vandalism in 2022. This is “the largest number of incidents against Jews in the U.S. recorded by ADL since 1979,” and a 36% increase over 2021. One need look no further than the current revival of the musical Parade on Broadway, which has drawn openly neo-Nazi and anti-Semitic protestors to the sidewalks outside the Jacob Theatre.

As we seek to understand and address root causes of widespread, persistent, rising sentiments of hatred and prejudice, the story of Cabaret suggests one answer: selfpreservation. Some characters are so focused on themselves, their immediate needs, and their fears, that they do not see what is going on around them. They neglect to ask how they can help their neighbors, how they may change or interrupt hate, and what they might gain in the long-term by relinquishing perceived short-term, immediate benefits. When people become targets of prejudice — whether due to political fervor, power-seeking, ethnocentrism, ignorance, or fear — it’s far simpler for those who are not targeted to remain uninformed and uninvolved, to think first (and perhaps only) of themselves.

Today, just as it did in 1966, Cabaret provides a dark reflection of the present day, illuminating the dangers of ignorance, inaction, and self-preservation. During the “Finale,” the original production of Cabaret famously lowered a large mirror, tilted toward the audience, which required the audience to see themselves. Our theatre is arranged so that, while viewing the performance, you may also look across the stage at your fellow audience members, to reflect on what you see, and to perhaps see yourself in their eyes. We hope that Cabaret not only entertains you, but also moves you — to care, to take responsibility, and to take action.

— David Eggers, Director

DRAMATURG'S NOTE

“We have no troubles here. Here, life is beautiful... the girls are beautiful... even the orchestra is beautiful.”

Cabaret first took to the stage on November 20th, 1966 at the Broadhurst Theatre in New York City, and ran for 1,166 performances. Since this massive first wave of success, Cabaret has seen countless revivals and adaptations, including a movie that released in 1972. Cabaret’s inspiration can be traced back to the 1951 play I Am a Camera by John Van Druten, which itself was based on the novel Goodbye to Berlin, written by Christopher Isherwood in 1939.

Taking place in 1929 and 1930 Berlin, Germany, Cabaret offers us a glimpse into the fantastical era of the Weimar Republic, a time where Germany was in both economic turmoil and artistic renaissance. Spanning from roughly 1918 to 1933, this era saw Berlin become a hub for artists and performers. German cinema, theatre, literature and music entered a phase of incredible creativity which saw jazz bands grow in popularity, traditional gender roles broken down, and of course, the rise of cabaret clubs. The Weimar Republic is an era that retrospectively is marked with sorrow and tragedy, living in the twilight between World Wars I and II. 1933 would see a new system of government come to power, one that was far less tolerable of the progressive artistic and sexual expressions that came with the cultural movements of yesterday.

Cabaret clubs were a staple of Weimar Berlin, nightclubs that provided guests with song and dance, drinks and beautiful performers. Notably, these clubs generally embraced gallows humor as well as taboo topics for the era, such as sex and homosexuality. While these clubs could be seen as progressive and freeing, there was also a dark underbelly to their bright performative exterior.

The economic turmoil taking place in Germany during this time, due in large part to the war reparations imposed on the German government following the end of world war I, meant that much of the German population was suffering. Hyperinflation prevented many from being able to afford food, shelter, clothing and heat. The influx of wealthy tourists and artist was juxtaposed by the citizenry that were simply trying to survive. This was reflected in the cabaret clubs, where performers could be abused, underpaid, and exploited; there were simply no other options for work.

In our modern day, we are in a period of what seems to be great political divide, as well as cultural revolution. As the wealth gap grows, and our society makes these progressive cultural strides, it feels as though this socioeconomic pressure has only divided us politically further. Many people are just looking to get by, and many more are upset with the current state of affairs, on both sides of the political spectrum. With discontent, there will also always be those who offer solutions, those that claim to have all of the answers. They say that history is taught so that we may avoid the mistakes of the past, and Cabaret takes this saying to heart.

It is telling that Cabaret still holds relevance and weight, even 56+ years after its initial performances. Is this because the horrors of the past are impossible to forget? Or, is it more that the topics and issues presented in Cabaret reflect our modern society? Perhaps it is both, and I personally invite you to become engulfed in the exciting, fantastical, and dark world of the Kit Kat Club. Willkommen, and bienvenue, to Cabaret

— Kobi Baker, Dramaturg

For more information on this production of CABARET, please scan the QR code to visit our dramaturgical website at https://cabaret2023.wordpress.com/

COMPANY & CREATIVE TEAM

COMPANY

JACK ANDERSON (Swing) is a freshman in the MTP from Santa Clarita, California. Recent roles include his Swing debut in In Pieces: A New Musical (Babcock), Michael Hobbs in Elf: The Musical (Canyon Theatre Guild) and Oliver Twist in Oliver Twist (Trinity Classical Academy). Before attending the U, Jack also performed in several local theatre productions at ESCAPE Theatre in Santa Clarita, including Shrek: The Musical and Li’l Abner. He would like to thank his family and friends for encouraging him to keep up his dedication to his work, and for all of their love and support over the years.

EVAN K. BEESLEY (Emcee) is a junior in the MTP. Most recently, Evan appeared in the ensemble of Hale Centre Theatre’s Singin’ in the Rain and Chitty Chitty Bang Bang. Other credits include Jackie/Choreographer for The Wild Party (Hart Theater); the Herald in R&H’s Cinderella (Utah COPA); and Specs in Newsies and Ensemble in Tuck Everlasting, Matilda and Thoroughly Modern Millie (HCT Orem). While touring North America with Utah Conservatory of Performing Arts, Evan performed at Carnegie Hall, at the Tuacahn Amphitheater, and with Stars at Sea cruises. Evan is the grateful recipient of the Utah Arts Flagship and Lady Bracknell scholarships.

KATIE CALDERONE (Frenchie) is a senior in the musical theatre program, originally from Phoenix, Arizona. She is so grateful to be finishing her time at the U with this show! Department credits: Illyria, The Night Witches, and Songs for a New World (Babcock). Regional: The Book of Will and Something Rotten! (The Phoenix Theatre Company); Elf the Musical (Pioneer Theatre Company). She would like to thank all her wonderful professors who have supported her along this journey.

MADELYNN CRIMI (Fritzie, Fräulein Kost, u/s Sally) is a senior in the MTP graduating this spring! Originally from the Bay Area, she is thrilled to return to the Babcock for another mainstage production. Previous credits include Swing/Understudy for

Naked Mole Rat Gets Dressed: The Rock Experience (Babcock) and Liesl in The Sound of Music (Hale Center Theatre Orem); she also originated the role of June in Human: A New Musical (Open Door). Madelynn spent the past summer studying at the Atlantic Acting School in New York City. She thanks her family, friends, and professors for their constant support. Enjoy the show!

LAUREN CRUTCHER (Lulu/Gorilla) is a junior in the MTP from Southern California, and she is very excited to be performing in her first show with the Department of Theatre. Earlier this season Lauren was Assistant Director/Assistant Choreographer for In Pieces (Babcock). Some favorite past roles include Mrs. Potiphar in Joseph and the Amazing Technicolor Dreamcoat (Santa Clarita Performing Arts Center) and Florinda in Into the Woods (Hart HS). Lauren would like to thank the directing team, cast, and crew.

ALEX ELGGREN (Boy’s Voice) loves to sing and play piano and guitar. As a member of One Voice Children’s Choir, Alex enjoys performing live and participating in music videos. He has performed in several musicals and has been a child soloist at Abravanel Hall, The Eccles Theater, The Rose Wagner, and other Utah venues.

TATE FOSHAY (Victor, u/s Ernst) is a junior in the MTP who was raised in Junction City, OR. Tate’s credits since moving to Utah include Sergei in Matilda Jr. (Kingsbury Hall) and Ensemble in The Emily Dickinson Musical (Studio 115, Open Door Productions). Tate is beyond happy to be making their main stage debut at the U, and they cannot thank their family enough for supporting them to this point.

NATE GINSBERG (Herr Schultz) is a sophomore in the MTP. Recent roles include Ensemble in Matilda Jr. (Kingsbury Hall) and Wilbur (Understudy) in Naked Mole Rat Gets Dressed: The Rock Experience (Babcock). Nate has also performed at the Grand Theatre (Oliver! and The Full Monty), CenterPoint Legacy Theatre (Peter Pan), and Hale Centre Theatre (Ragtime and Chitty

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Chitty Bang Bang). Nate would like to thank his family for their support of his artistic and academic education.

ALISON HAGEN (Dance Captain, Swing, u/s Schneider) is a junior majoring in Musical Theatre and minoring in English. Alison is a California native who grew up performing all over the Bay Area. Last fall Alison appeared as Solomon/Ghost Singer and played the accordion in The Old Man and the Old Moon in the Babcock, and she was part of the dance ensemble in Matilda Jr. last spring at Kingsbury Hall. Alison wants to thank her parents for their unwavering support of her artistic endeavors.

MEGAN HUDSON (Texas) is a senior in the MTP from—believe it or not—Austin, Texas. Her most recent roles include Ensemble in Spamalot (Ziegfield Theatre) and Arista in Disney's The Little Mermaid (Zilker Theatre). Megan has been nominated for a B. Iden Payne award for her work in Tortoise and Hare (ZACH Theatre), and she was a member of The Long Center's Greater Austin High School Musical Theatre Awards select ensemble.

CALEB HUNT (Cliff) is a senior in the MTP. Most recently, Caleb was Assistant Director for The Sweet Science of Bruising (Babcock); before that, he appeared as Shadow/Friend Counterpart in last season’s production of Liminal (Studio 115). Other favorite credits include Announcer in Naked Mole Rat Gets Dressed: the Rock Experience (Babcock), Sky in Mamma Mia! (Luminaire Theatre Co.), and Frollo in The Hunchback of Notre Dame and Greaseball in Starlight Express (Uintah High). Caleb is a recipient of the Keith and Amy Engar Scholarship.

GUILLERMO OVIEDO KELLGREEN (Hans, Rudy, u/s Cliff) is currently a sophomore in the MTP at the University of Utah, and he is excited to be performing in his first mainstage production with U Theatre. Previous credits includes performing at Salt Lake City’s Off-Broadway Theater as well as high school performances including Jack in Newsies, Tarzan in Tarzan, and Ensemble in Hamilton (East High School). Guillermo

would like to thank his family for supporting him in all his endeavors.

K.J. LEUTHAUSER (Bobby) is a junior in the MTP hailing from Lebanon, NH. This is his second mainstage production at the U; last season he appeared as Rudolpho in Youth Theatre at the U’s production of Matilda Jr (Kingsbury Hall). K.J. has also appeared in drag across Salt Lake City, most recently as Pythio in the Grand Theatre’s production of Head Over Heels

ANDREA RYAN (Helga) is a senior in the MTP. Originally from Boston, Massachusetts, she began studying theatre and performance at a young age. Andrea is excited to use the education she’s gained at the U as she moves forward into a professional performance career. Andrea thanks her family and friends that have guided and supported her through this moment in time, and for the opportunity to perform on a stage that has been home to her for her college years.

BRYCE ROMLESKI (Herman, Max, u/s Emcee) is currently a junior in the Musical Theatre Program and was raised in Ramstein, Germany. Some of his most recent roles include Ensemble in Head over Heels (The Grand Theatre), Claudio in Much Ado About Nothing (KMC Onstage), and Anthony Hope in Sweeney Todd: The Demon Barber of Fleet Street (KMC Onstage). Bryce would like to thank his friends and family for their unwavering, unconditional love and support.

ELLA SAMIRA (Fräulein Schneider) is a senior in the MTP from the suburbs of Seattle. She is grateful to be closing her time at the U with such a powerful and pertinent story. Most recently Ella appeared in A Christmas Story at Pioneer Theatre Company, where she will be Assistant Director/Assistant Choreographer for The Prom this spring (PTC). Previous U credits include The Night Witches (U of U Virtual) and Assistant Director for The Thanksgiving Play (Studio 115). Endless thanks to her family, friends, and the entire cast and team of Cabaret. Fine Arts Academic Excellence Scholarship recipient. www.ellasamira.com

COMPANY & CREATIVE TEAM

IAN SHANNON (Ernst Ludwig, u/s Schultz) is a senior in the MTP, and an actor, singer and dancer currently based in Salt Lake City, UT. Past roles include Miles in the world premiere of A Night to Dismember (Open Door/Great Salt Lake Fringe) and Caldwell B. Caldwell in Urinetown (University of Utah). Ian plans to graduate this spring, and he is thrilled that one of his all-time favorite shows will be his last college project.

HANNAH STAUDINGER (Sally) is a senior in the MTP from Flagstaff, AZ. Her most recent credits include Six Songs from Ellis with Repertory Dance Theater and Liminal (Studio 115) at the University of Utah. Following this production, Hannah will appear in The Prom at Pioneer Theater Company. Hannah would like to thank her friends and family for their support, as well as the production team for making this show such an amazing experience. Be sure to check out www.hannahmstaudinger.com for more information and upcoming projects!

ZYENA TOLHURST (Rosie) is a senior in the MTP whose main proficiency has been dancing for upwards of eighteen years. Since attending the University of Utah, Zyena has portrayed Mrs. Wormwood in Matilda Jr. (Kingsbury Hall); she has also performed in Big Top 2 and Hack ‘n Slash at Lagoon Amusement Park. Zyena would like to thank those who are still here and those she always keeps in her heart for everything they’ve done to get her where she is today. Zyena is a proud recipient of the Department of Theatre Scholarship and the Academic Excellence Scholarship.

credits include Director/Choreographer for Nice Work If You Can Get It (1st National Tour); Assistant Director for the musical In Transit and the play Living on Love, both on Broadway; and Assistant Choreographer for Anything Goes and Nice Work If You Can Get It, both on Broadway. David's work has been seen Hollywood Bowl, D.C.'s Signature Theatre, Cincinnati Playhouse, The Public Theater’s Shakespeare in the Park, and the Boston Pops, among others. As a performer, David has appeared onstage in 10 Broadway musicals, including Thoroughly Modern Millie, Billy Elliot, Curtains, The Pajama Game, Chicago, Annie Get Your Gun, Wonderful Town, The Wedding Singer, How to Succeed…, and Saturday Night Fever.

KOBI BAKER (Dramaturg) is a senior studying Theatre and Biochemistry, and he is excited to be working as a Dramaturg for U Theatre’s production of Cabaret. Kobi’s passion and emphasis in his theatrical studies is playwriting; most recently, his one act script Instrumentality was selected for the department’s New Play Workshop and given a staged reading in 2022. He would like to thank professors Mark Fossen and Tim Slover for their continued support in his academic endeavors. Kobi is a proud recipient of the Promising Playwright Award scholarship.

CREATIVE TEAM

DAVID EGGERS (Director) is proudly serving in his 4th year as Assistant Professor in the U's Musical Theatre Program. His directing work for the Department of Theatre includes two senior showcases (classes of '22 and '23) and two senior shows: And the World Goes ‘Round (2021) and Nine (2022). Previous professional

ASHLEN BORESOW (Assistant Director) is a junior in the Musical Theatre Program at the University of Utah. Originally from Shawnee, Kansas, Ashlen was recently seen in Naked Mole Rat Gets Dressed: The Rock Experience (Babcock), Elf: The Musical (Pioneer Theatre Company), The Emily Dickinson Musical (Studio 115), and In Pieces (Babcock). Ashlen hopes you enjoy the show, and she extends a huge “thank you” to all the people who have supported her over the years, as well as everyone involved in creating this production.

MICHAEL DAVIES (Assistant Stage Manager) is a junior in the Stage Management Program. As Founder and Creative Director of Method: Theatre Company, he runs theatre, performance,

COMPANY & CREATIVE TEAM

and team-building workshops with groups throughout the Salt Lake valley. The company has produced six unique projects since debuting in August 2021. Following Method: Legends at the Great Salt Lake Fringe Festival, Michael is looking forward to developing the company’s first original prepared-spontaneous experiment, Method: Wildflowers. Previous U Theatre credits include Production Assistant for Liminal (Studio 115) and Assistant Director for Somewhere: A Primer for the End of Days (Studio 115).

EMMA ELZINGA (Assistant Production Manager) originally hails from Iowa and is a senior in the Stage Management Program. Previous credits include Illyria (Babcock, 2nd Asst. Stage Manager) The Play That Goes Wrong (Pioneer Theatre Company, 2nd Asst. Stage Manager), and The Old Man and the Old Moon (Babcock, Stage Manager)

EMILY FRAZIER (Assistant Choreographer) is currently a junior in the MTP. This is Emily’s first production at the U. Previous regional credits include Matilda (Moonlight Amphitheatre), West Side Story and Billy Elliot (La Mirada/McCoy Rigby Entertainment), and Joseph and the Amazing… and The Wizard of Oz (3DTheatricals). Television credits include America’s Got Talent Season 13, Champions, WE Day 2019 ft. Pentatonix, and Red Nose Day ft. Josh Groban. Additional credits: Now Here This (Virtual Production) as well as Evita and Sweet Charity (Orange County School of the Arts). Emily is extremely grateful for this opportunity.

AILISH HARRIS (Stage Manager) is pursuing a double major in stage management and performing arts design. U Theatre credits include Stage Manager for Naked Mole Rat Gets Dressed: The Rock Experience (Babcock), Scenic Charge Artist for Storm Still (Babcock), Sound Designer for Henry V (UofU Virtual), ASM for The Odyssey (Babcock), and Puppet Designer for both The Old Man and the Old Moon (Babcock) and Somewhere: A Primer for the End of Days (Studio 115). Ailish would like to thank

her family for their continuous support, her boyfriend for his patience and heart, and all of her mentors at the U for their wisdom and generosity.

JESS HIRSH (Cultural Specialist) is thrilled to join the team as Cultural Specialist for this show! Jess helms the Musical Theatre program at The Salt Lake School for The Performing Arts here in SLC. She has an MFA in Acting from UNC Greensboro and a BFA in Musical Theatre from Youngstown State University. In her free time, Jess loves petting every dog, trying every food, reading every dystopian fiction, and seeing every movie that comes out.

JUNGWOO JANG (Audio Engineer) is a senior in the PADP (Sound Emphasis) who was born and raised in Seoul, South Korea. Her interest in sound as a film student led her to study how sound design principles could be applied in other settings. Earlier this season, she was the Sound Designer for The Old Man and The Old Moon (Babcock).

TREVOR JEX (Music Director) is in his fifth year working in the Department of Theatre for the MTP, and in his second year as a music director. Previously, Trevor was the Associate Music Director for Naked Mole Rat Gets Dressed: The Rock Experience (Babcock); the MTP senior shows Nine and And the World Goes ‘Round; and Illyria (Babcock). Trevor also plays regular gigs as a professional local musician. He would like to extend his thanks to Melonie Shore, Alex Marshall, his loving parents, and beautiful fiancée Anaïs.

ALEX MARSHALL (Music Supervisor) is the Music Director for the Department of Theatre at the University of Utah. He is also an active member of the professional musical community in Utah, directing and performing with premier institutions such as the Utah Symphony, Pioneer Theatre Company, Hale Centre Theatre, Salt Lake Acting Company, and many other theatres throughout Salt Lake. Credits include international violinist David Park’s London debut concert (U.N. Ballroom at Ten Trinity

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Square, London); Lexi Walker’s National Theatre & Concert Hall Christmas concert (National Concert Hall, Taiwan); Passing Strange (Salt Lake Acting Company); Hello, Dolly! (Kingsbury); American Idiot (Hayes Christensen Theatre); Floyd Collins and Spring Awakening (Babcock); and Into the Woods and Sweeney Todd (Studio 115). He holds degrees in instrumental conducting (M.M.), piano performance (B.M.) and biomedical engineering (B.S.). Much love to Jackie, Kimi, Henry, and Penny.

CHRISTINE MOORE (Choreographer) is an Adjunct Assistant Professor for the Department of Theatre and a professional dancer, teacher, and choreographer. Originally from Canada, she began dancing at the Royal Winnipeg Ballet School; since then, she has trained at Banff Fine Arts Centre, Steps Performing Arts Centre (New York), The Edge (Los Angeles), and the University of Utah, where she earned her MFA and BFA. Christine has also performed and choreographed internationally for stage, film/TV, and commercials. Film/ TV: Hairspray (New Line), Everything’s Gone Green (Radke Films). Theatre: White Christmas, 42nd Street, Man of La Mancha (PTC); The Producers (Neptune Theatre); The Music Man (Rainbow Stage); Guys and Dolls (StageWest). Dance: Cascades, Bride’s Tree, and Vivaldi’s Concerto (Utah Ballet). Choreography: American College Dance Festival, The Mormon Tabernacle Choir Christmas Special (PBS), various musicals and industrials.

ADRIANA LEMKE (Fight Director) is a SLC-based theatre artist and movement professional. An alum of the ATP, she is happy to be working with the Department of Theatre and their fantastic students again. Previous U Theatre productions as Fight Director include The Sweet Science of Bruising (Babcock), Hamlet: All Female (in collaboration with Flying Bobcat Productions), Self Defense, or death of some salesmen (Studio 115), and Julius Caesar (Studio 115). Other fight direction credits include At the Bottom (Pinnacle Acting Company), The Wolves (SLAC), Ion

(The Classical Greek Theatre Festival), and Twelfth Night (Salt Lake Shakespeare). Most recently, she was Intimacy Director for SLACabaret: Down the Rabbit Hole (SLAC), Head Over Heels (The Grand Theatre), and Man and Moon (Good Company).

KEVEN MYHRE (Scenic Design) is thrilled to be designing at his alma mater. A lecture he attended by set designer Robert O’Hearn in the Babcock Theatre in 1980 set him on a career path in design and theater. Since graduating from the U, he has worked in all facets of theatre including executive producing, directing, costume/set designing and directing operations. Keven extends his appreciation to all the students, professors and artists who worked on this production, which remains as timely and relevant as when it was first produced. A special thanks to Brenda Van Der Wiel for her help, support and laughter over the years.

NIKAYLA STARR NIELSON (Lighting Designer) is a junior in the PADP with an emphasis in lighting design. Last season Nikayla designed lights for The Book Club Play (Babcock), and she was the Scenic Designer for this season’s production of The Sweet Science of Bruising (Babcock). Nikayla is also a freelance Lighting Designer for Fatfish Media and Clear Lamp AV. For Utah Scholarship recipient.

IREY OVIATT (Production Assistant) is a freshman at the University of Utah and is excited to be participating in their first season at the U. Recent work includes stage managing Hairspray and Into the Woods JR with Draper Arts Council. This summer they plan to return to Draper Arts Council, where they will stage manage a production of Singin’ In The Rain. Irey would like to thank her high school instructors Linze Struiksma and Lindsay Cline for their continuous support of her theatre journey.

ARIKA SCHOCKMEL (Prop Designer) has worked extensively in props and costume crafts for theatre, television, and film. She is the Properties Manager for the Department of Theatre and works as a prop and costume

COMPANY & CREATIVE TEAM

designer for Plan-B Theatre. Regional credits include produactions at The Egyptian Theatre, UFOCMT, Grand Teton, Dark Horse, SLAC, Utah Contemporary, and Lyric Rep. USU alumnus. Member of S.P.M., the Society of Prop Artisan Managers. Past and future projects include stage management, music, event hosting/emceeing, creating props for film/television, and the occasional acting gig.

SARAH SHIPPOBOTHAM (Intimacy Director/Dialect Coach) is a professor in the Department of Theatre and the 2021 recipient of the Calvin S. and JeNeal N. Hatch Prize for excellence in teaching. Sarah has trained with both Intimacy Directors and Coordinators (IDC) and Theatrical Intimacy Education (TIE), and she has provided intimacy direction for multiple shows at the U and Salt Lake Acting Company. Sarah has also spent 18 seasons as a Voice and Dialect Coach for the internationally renowned Shaw Festival in Ontario, Canada; worked as the Additional Dialect Coach on The Hobbit Trilogy in New Zealand directed by Sir Peter Jackson; and worked locally as a voice and dialect coach for Pioneer Theatre Company and Salt Lake Acting Company. As an actor, Sarah has appeared in numerous plays at PTC, SLAC and the Utah Shakespeare Festival and has directed many shows for the Department of Theatre including Men on Boats, Our Country’s Good, and Romeo and Juliet. Her one-person show Can I Say Yes to That Dress? was awarded “Outstanding OnePerson Show” at the 2022 Great Salt Lake Fringe Festival.

ELIZABETH WEBB (Costume Designer) is a junior in the PADP (Costume Design Emphasis). Previously, Elizabeth designed costumes for Somewhere: A Primer for the End of Days (Studio 115) and The Book Club Play (Babcock); she currently works as a Production Assistant for the Properties department. Other credits include Crafts Artisan for the Utah Shakespeare Festival and Puppet Fabricator for Tuacahn Amphitheater’s production of Wonderland Elizabeth would like to thank her parents, mentors, and professors for their

confidence, support, and endless assistance. Proud recipient of the Utah Flagship Scholarship and the Lee and Audrey Hollaar Scholarship.

JULIA WITESMAN (Assistant Stage Manager) is a sophomore in the Stage Management Program. Earlier this season Julia was Assistant Production Manager for U Theatre’s production of In Pieces (Babcock). Julia has been involved in theatre for several years; favorite credits include Stage Manager for The Phantom of the Opera (Springville HS), Production Assistant for Storm Still (Babcock), and Light Board Operator for Naked Mole Rat Gets Dressed: The Rock Experience (Babcock). During her time at the U, Julia has also worked for the department as a Production Management Assistant for two years.

SAMANTHA WOOTTEN (Hair and Makeup Designer) is the Faculty Advisor for Hair and Makeup Design and the Wig Master for Pioneer Theatre Company. Previous career highlights include Wig Master for the Washington National Opera in D.C., Wig and Makeup Designer for Glimmerglass Opera in N.Y., Associate Wig Master for the Los Angeles Opera in CA, and Wig Master for the Repertory Theatre of St. Louis.

SYDNEY CHEEK-O’DONNELL (Producer) is the chair of the Department of Theatre and associate dean for research in the College of Fine Arts. In the Department of Theatre, Dr. Cheek-O’Donnell has taught History of Theatre, New Plays Workshop, Dramaturgy, and a variety of dramatic literature courses; she was also the head of Theatre Studies from 2005 to 2016. Recent projects include the creation of a video series intended to support families of children with Down Syndrome, as well as writing the handbook Arts for Health: Theatre (Emerald Publishing). Dr. Cheek-O’Donnell earned a PhD in Theatre History and Dramatic Criticism from the University of Washington’s School of Drama and received her undergraduate degree from Carleton College in Minnesota.

PRODUCTION STAFF & ADVISORS

Technical Director ................................................................................................................... Kyle Becker

Assistant Technical Director and Scenic Charge Artist ..................................... Halee Rasmussen

Assistant Director Ashlen Boresow

Assistant Choreographer Emily Frazier

Assistant Stage Manager ................................................................................................ Julia Witesman

Assistant Stage Manager ................................................................................................ Michael Davies

Costume Shop Manager ................................................................................................ Wendy Massine

Assistant Production Manager Emma Elzinga

Production Assistant Irey Oviatt

Audio Engineer .....................................................................................................................Jungwoo Jang

Dramaturgy Mentor ............................................................................................................. Mark Fossen

Sound and Lighting Lead Aaron Hoenig

Stage Management Area Head/Faculty Advisor Amber Bielinski

Faculty Advisor for Lighting and Media Design................................................... Michael J. Horejsi

Faculty Advisor for Sound Design ............................................................................. Jennifer Jackson

Faculty Advisor for Properties Design ..................................................................... Arika Schockmel

PADP Area Head and Faculty Advisor for Costume Design Brenda Van der Wiel

Faculty Advisor for Scenic Design Gage Williams

Faculty Advisor for Hair and Makeup Design................................................... Samantha Wootten

CREW

Light Board Op Sara Clark

Sound Board Erin Dickes

A2 - On Deck Sound .................................................................................................................Tyler Shaw

Props/Deck ....................................................................... Ella Frank, Alexa Shaheen, Castle Tierney

Costumes Coco Berwald, Issa Buckland, Carmin Fisk, Tyler Kline

Hair & Makeup Emma Ashton, Sophia Campagna, Savannah Hayes, Kathleen Williams

DEPARTMENT OF THEATRE FACULTY & STAFF

Department Chair

Sydney Cheek-O’Donnell Chair, Associate Professor, Associate Dean for Research

Full-Time Faculty

Margo Andrews Associate Professor Lecturer

Kyle Becker Professor Clinical

Amber Bielinski Associate Professor Clinical, Head of Stage Management

Christopher DuVal Professor

David Eggers Assistant Professor

Jerry Gardner Associate Professor

Hugh Hanson Associate Professor Lecturer

Alexandra Harbold Assistant Professor

Michael J. Horejsi Associate Professor Clinical, Director of Lighting/Media Design

Jennifer Jackson Associate Professor Clinical, Director of Sound Design

Kimberly Jew Associate Professor, Head of Theatre Teaching

Xan Johnson Professor

Brian Manternach Associate Professor Clinical

David Schmidt Associate Professor Clinical, Head of Musical Theatre

Eric Sciotto Visiting Assistant Professor

Sarah Shippobotham Professor

Tim Slover Professor, Head of Theatre Studies

Barbara Smith Associate Professor Lecturer

Robert Scott Smith Assistant Professor,

Head of Actor Training, Associate Chair

Brenda Van der Wiel Associate Professor, Head of Performing Arts Design

Gage Williams Professor

Part-Time Faculty

Jamie Rocha Allan Adjunct Assistant Professor

Karen Azenberg Adjunct Instructor, Artistic

Director: Pioneer Theatre Company

Jacque Bell Adjunct Associate Professor

Nathan Brian Adjunct Instructor

Ty Burrell Adjunct Assistant Professor

Emily Castleton Associate Instructor

Lynn Deboeck Adjunct Associate Professor

Nicholas Dunn Adjunct Assistant Professor

Jane England Adjunct Assistant Professor

Jennifer Erickson Adjunct Assistant Professor

Stephen Faulk Adjunct Instructor

Mark Fossen Adjunct Assistant Professor

Ellie Hanagarne Adjunct Assistant Professor

Greg Hatch Adjunct Associate Professor, Director of Creativity and Innovation Services

Stacey Jenson Adjunct Assistant Professor

Carolyn Leone Adjunct Instructor

Penelope Marantz-Caywood Adjunct Assistant

Professor, Artistic Director: Youth Theatre

Kelby McIntyre-Martinez Adjunct Associate

Professor, Associate Dean for Arts Education and Community Engagement

Christine Moore Adjunct Assistant Professor

Michelle Pedersen Associate Instructor

Jamie Baer Peterson Adjunct Assistant Professor

Megan Richards Adjunct Assistant Professor

Jonas Sappington Adjunct Instructor

Arika Schockmel Adjunct Instructor, Director of Props Design

Matthew Whittaker Adjunct Assistant Professor

Marilee Wilson Adjunct Assistant Professor

Emeritus Faculty

Robert Nelson Professor Emeritus

Richard Scharine Professor Emeritus Staff

Jessica Dudley-Rodriguez Program Manager

Colleen Hirst Accountant

Aaron Hoenig Sound/Lighting Lead Technician

Alex Marshall Music Director

Halee Rasmussen Assistant Technical Director

Arika Schockmel Properties Manager

Wendy Schow-Massine Costume Shop Manager

Aaron Swenson Marketing and Communications Coordinator

OUR DONORS

SCHOLARSHIPS

The Department of Theatre is grateful to our donors for making the following scholarships available to our students:

Equity in Theatre Arts

Robert Hyde Wilson Scholarship

Etta Keith Eskridge Scholarship

Victor Jory Scholarship

Utahna Meilstrup Theatrical Scholarship

Keith M. and Amy L. Engar Scholarship

Frank M. Whiting Scholarship

Ralph E. and Winnifred S. Margetts Scholarship

Marian D. Harrison Scholarship

Lee & Audrey Hollaar Technical Scholarship

The Barbara M. Bannon Endowed Fund

The Richard T. and Lonna Brown Scholarship

Sandi Behnken Scholarship

The Christine Macken Memorial Scholarship

The John Ballard and Karen Miller Scholarship

Libby S. Hunter ATP Scholarship

Promising Playwright Award Scholarship

Meggie DeSpain Memorial Scholarship

Lady Bracknell Scholarship

Zellie Pforzheimer Scholarship

David E. Jones Memorial Scholarship

The Department of Theatre acknowledges and thanks the following donors for their generous support during the fiscal year July 1, 2021 – June 30, 2022.

INVESTORS

$2,500 and up

Arizona Community Foundation

Barbara Bannon*

D Squared Foundation

Susan Stoddard Heiner and Blake T. Heiner

Elizabeth Hunter

James Macken

Rowena Merrill

Dr. Karen Miller and John Ballard

Princeton Area Community Foundation

Salty Pictures

BENEFACTORS

$1,000-$2,499

Kenneth and Kristina Burton

Fidelity Charitable Gift Fund

Rod and Janice Klassovity

Andy and Zelie Pforzheimer

Sarah Shippobotham

PATRONS

$500-$999

Ashby Decker and Anne Cullimore Decker

Michele Dornan

Jennifer and Stephen Jackson

Alexis Lilley

Dylan McCullough

Mightycause Charitable Foundation

Michael and Marianne Seare

Robert Scott Smith

Stephen and Elizabeth Warner

SPONSORED IN PART BY FINE ARTS FEES

FRIENDS

$200-$499

Joe Bouley and Sara Bouley, JD

Nicholas Cheek-O'Donnell and Sydney Cheek-O'Donnell, PhD

Michael Evans

FANS

up to $199

Sara Adams

Ed and Janice Andersen

David Baida

Stephanie Ballantyne

Marcy Beatty

Todd Bulloch

John Caywood and Penelope Marantz Caywood

Laurisa Cope

Linda Corley

Jenny Costello

Maria Delongy

Kimberly Deneris Tanja Easson

Darci Engen

Christian Erben

Tracy Evans

Karen Ferguson

Mark and Abby Green

Christopher Gurr

Barbara Hayman

Richard and Ashley Hayman

Patrick Holmes

Jeffrey and Renae Hoskins

Jack Hoskins

Xan Johnson, PhD

TK and Wendy Kelly

Sheila Kelly

Justin and Bridget Lee

Michael Lisonbee and Helen Nichols

Glen and Judy Loveland

Alacia Loveland

David Magidson, PhD*

Mara Magistad

Rachel Malaga

Tyler Maring

Kimberly Marsden

Christopher S. and Amy Mautz

Sydney May

Rodney and Mary Handy, PhD

Hugh Hanson

Matthew Hobson-Rohrer and Wendy Hobson-Rohrer, MD

Jacquie Wehby

Maynard and Ann McLaughlin

Tevan McPeak

Shawna Melton

Marthe Coker Merrill

Darwin Millet III

Russ Montague and Jeanine Davis

Wendy Morris

Laura Mosley

Craig Nelson and Stephen Greene

Kenneth* and Wilma Odell

Timothy and Holly Parrish

Tom Pepper and Patricia Comitini

Bill and Gayle Pepper

Brianne Reed

Natalie Regan

Robert and Suzanne Rieter

Mike and Brenda Schultz

Patricia Schultz

Camille Sheridan

Robert and Suzanne Smart

Ryan Southwick

Lesli Spencer

Sydney Stephan

Jan Sweeney

Breean Taylor

Abirami Tharmarajah

Sivakumaran and Rajani Tharmarajah

Brittany Timpson

Sue Tredennick

Julianne Turner

Josephine Vandenburg

Nicole Vernon

David Senior Visbal

Katya Wagstaff

Rollie Wagstaff

Chris and Grace Winston

James Wong

Christopher Zawislak

An asterisk (*) denotes a donor who is deceased. Our intent is to recognize and thank all of our donors for their support. If, however, there is an error, please notify the Department of Theatre at 801-581-6448.

For more information on supporting the Department of Theatre, please call 801-581-5773.

UNIVERSITY OF UTAH DEPARTMENT OF THEATRE

2023/2024 SEASON

THE LIGHTNING THIEF

Book by Joe Tracz • Music & Lyrics by Rob Rokicki

Based on the book by Rick Riordan

TOWN HALL

By Caridad Svich

THE TEMPEST

by William Shakespeare

INTO THE WOODS

Music & Lyrics by Stephen Sondheim

Book by James Lapine

DANCING AT LUGHNASA

By Brian Friel

EVERYBODY

By Branden Jacobs-Jenkins