The U Department of Theatre Presents ILLYRIA

THE

DEPARTMENT OF THEATRE PRESENTS

ILLYRIA IS PRESENTED THROUGH SPECIAL ARRANGEMENT WITH AND ALL AUTHORIZED PERFORMANCE MATERIALS ARE SUPPLIED BY THEATRICAL RIGHTS WORLDWIDE • 1180 AVENUE OF THE AMERICAS, SUITE 640, NEW YORK, NY 10036. WWW.THEATRICALRIGHTS.COM

A NOTE FROM THE CHAIR I’ll confess: Twelfth Night is my favorite Shakespeare play. It’s got everything: unrequited love, twins, gender-bending, mistaken identity, fools of all kinds, sword fights (sort of), and a pirate!

Illyria is a joyful musical adaptation of Shakespeare’s play that captures all the fun, hilarity, and occasional pathos of the original, while also offering additional insight into some of its characters. The musical takes its name from the setting of Twelfth Night, inspired by a region that once existed off the coast of the Adriatic Sea, across from the Italian peninsula. (Imagine a rocky coastline and fortified towns on cliffs overlooking the blue-green water of the Mediterranean.)

Although Illyria was real, the world of the play is a bit more magical, and much more intoxicating. While some characters remain in a state of actual drunkenness, others are under the influence of passion (or simply the idea of passion). Orsino, Duke of Illyria, fixates on romantic notions of wooing Countess Olivia. Olivia, in turn, is stewing in perpetual grief over the loss of her father and brother. Malvolio, Olivia’s steward, is obsessed with imposing order and sobriety on the household. Meanwhile, Sir Toby, Sir Andrew, Feste, and Maria take themselves far less seriously, engaging in the hedonistic pleasures of food, drink, song, dance, and a good prank.

Viola’s restrained but genuine expressions of grief and unrequited love place her in stark contrast to most of the other characters in Illyria. Although she is in disguise, Viola remains honorable, hewing as close to the truth as possible when she reveals anything about her past. And yet, her restraint makes her a blank slate upon which the other characters can project their own stories and desires—a seductive prospect, indeed.

Viola's arrival turns the social order of Illyria upside down in a fitting nod to Twelfth Night, the holiday that marked the end of the festive misrule that once characterized the Christmas season. By the penultimate scene of the play, chaos reigns: there are mock sword fights, a mock trial, and a mock exorcism. An actual beating and an elopement occur, both based on cases of mistaken identity. A servant tries to rise above his station and fails in spectacular fashion. As is typical of Shakespearean comedy, order is restored by the final moments of the play, but not for everyone: the ending reminds us that when love is war, there are usually casualties.

Illyria preserves the wit and wisdom of Shakespeare’s Twelfth Night, with its urgent, unresolved questions about the relationship between love and sexuality and gender, the performative nature of identity, and the role that imagination plays in romantic attraction.

Did I mention the sword fights? Or the pirate? Or the fact that it's a musical?

It really does have everything.

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

ILLYRIA

Book, Music, & Lyrics by PETER MILLS Adapted by PETER MILLS & CARA REICHEL from Shakespeare’s Twelfth Night Originally Produced by Prospect Theatre Company, New York, NY; Cara Reichel, Producing Artistic Director; Melissa Huber, Managing Director ILLYRIA received its Regional Premiere at The Shakespeare Theatre of New Jersey; Bonnie J. Monte, Artistic Director; Stephen Klein, Managing Director

Scenic Design

Costume Design

SAM DALTON

KATHRYN EDWARDS

Lighting Design

Sound Design

MEGHAN GIBSON

CLAUDIA ESCOBAR

Stage Manager

Asst. Music Director

KYLARR PULLEN

TREVOR JEX

Dramaturgy

Prop Design

MARK FOSSEN

ARIKA SCHOCKMEL

WITH

KALISTA VORDOS

Music Director & Conductor

Producer

ALEX MARSHALL

SYDNEY CHEEK-O’DONNELL

Director & Choreographer

JASON SPELBRING ILLYRIA is presented through special arrangement with and all authorized performance materials are supplied by Theatrical Rights Worldwide 1180 Avenue of the Americas, Suite 640, New York, NY 10036. www.theatricalrights.com

ILLYRIA will be presented with one fifteen-minute intermission.

The video or audio recording of this performance by any means is strictly prohibited.

CAST Alexander McConkie ............................................................................................. Duke Orsino Eva Merrill .................................................................................................................. Lady Olivia Aathaven Tharmarajah ...................................................................................... Sir Toby Belch Niki Rahimi …………………………………………........................................................................... Maria Matthew Tripp ……………………………............................................................................... Malvolio Carson Quinn Peasley………………………………..................................... Sir Andrew Aguecheek Zoe Killian……………………………………….................................................................................. Feste Katie Calderone………………………………..............................................................................…. Viola Noah Bradford…………………………………........................................................................ Sebastian Myles Davis ...................................................................................................................... Antonio Lee Kedem ………………………………........................... Lady in Waiting #1 / Duke's Officer #2 Abby Hope Davis …………………………………............ Lady in Waiting #2 / Duke's Officer #1 Josh Wheeler………………………..............................................................................…….. Standby Alex Fish………………………………………............................................................................ Standby

ORCHESTRA Piano/Conductor.....................................................................................................Alex Marshall Piano/Asst. Conductor..................................................................................................Trevor Jex Violin........................................................................................................................ Peter Lambson Cello............................................................................................................ Tessa Irish-Minewiser Bass............................................................................................................................ Kayleigh Dahl Reed 1........................................................................................................................ John Flanders Reed 2.......................................................................................................................... Derek Crane Percussion...................................................................................................................... Justin Lord

MUSICAL NUMBERS ACT I Illyria ................................................................................................................................ Company Sebastian .................................................................................................................................. Viola How These Things Start .........................................................................................Orsino, Viola Silly Little Syllogisms ..............................................................................................Feste, Olivia Olivia ..............................................................................................................................Olivia, Viola Crossovers/The Ring .........................................................................................Sebastian, Viola Cakes And Ale ................................................................................Toby, Andrew, Feste, Maria Patience .................................................................................................................................... Viola The Man Is Mine ............................................................................Maria, Toby, Andrew, Feste We Men ......................................................................................................................Viola, Orsino The Love Letter.....................................................................................................Malvolio, Olivia Undone ..........................................................................................................................Olivia, Viola Save One ........................................................................................................ Viola, Olivia, Orsino

ACT II Malvolio's Tango................................................................................................................Malvolio Whoever You Are .................................................................................................................Orsino The Duel ........................................................................ Toby, Andrew, Maria, Viola, Antonio, Sebastian, Olivia The Lunatic............................................................................................................ Feste, Malvolio The Lady Must Be Mad................................................................................................ Sebastian Finale .................................................................................................................................Company

SETTING Il • ly • ri • a \il-'lir-e- \ proper noun. 1. Ancient European coastal region located in the northwestern part of the Balkan Peninsula 2. The beguiling, exotic, fictional location where Shakespeare’s Twelfth Night takes place 3. A lovely isle* 4. A land of fools, where clarity’s a rarity and madness rules* * “Illyria,” from Illyria. Book, Music, & Lyrics by Peter Mills.

Experience

MUSIC at the

MARCH 26 Camerata Awards Concert Gala 8 PM | LGCH

APRIL 6 Campus Symphony 7:30 PM | LGCH

APRIL 14 Jazz Ensemble/Jazz Repertory Ensemble 7:30 PM | FAW

MARCH 30 Utah Composers Collective 7:30 PM | DRH

APRIL 12 Voci Altissime and Beacon Heights Elementary Choir 7:30 PM | LGCH

APRIL 15-16 U Opera: Sweeney Todd 7:30 PM | LGCH

Find all events at music.utah.edu

DIRECTORS' NOTES Excerpted and condensed by Aaron Swenson from an interview with Jason Spelbring, director and choreographer of ILLYRIA, and Alex Marshall, ILLYRIA's music director

I imagine one of the worries when adapting Shakespeare would be how to do it in a way that doesn't feel presumptuous or irrelevant, but it seems like this is an adaptation that really does stand up to the source material.

Jason: It's interesting to look at…Alex can maybe speak to the history of Shakespeare's plays made into musicals, like West Side Story. There’s a Loves’ Labor’s Lost that had a bit of success, and Two Gentleman of Verona by Galt McDermot…

Alex: And we have elements of Twelfth Night in All Shook Up, and Illyria, of course.

There was a production of Twelfth Night in New York—a new musical that they did in the park in 2017 or 2018. So looking at Twelfth Night alone we've seen many modern takes in terms of American musical theater.

Jason: You're right. But you’d think there would be more [Shakespeare]. I think it's a short list in comparison to the number of movies that are made into musicals.

Alex: Are you saying that Shakespeare isn't as marketable as mainstream…

Jason: You would almost think it was more marketable, right? “Oh, that sounds like a familiar story, I read that in Honors English,” or something like that. But I guess Romeo and Juliet kind of stole the market with West Side Story.

And then there’s the question of, like…what are the obstacles when it comes to adapting something that people have traditionally encountered as homework...

Jason: Yes. Which is interesting, because I think that's what Shakespeare does so well, is reflect on human nature, reflect on people. And I think that anybody knowing that something was adapted from Shakespeare would lean into the fact that humanity is about to be explored—people, and love, and loss. But you're right, there are some actors that think, “Shakespeare’s so hard, I'm scared of it.” I'm hoping that those that love musicals and then realize [Illyria] is based on Twelfth Night might go back and think, “this is totally manageable. I understand what's going on…”

Alex: …and for audiences as well to see a piece like this and recognize that these are very understandable emotions and experiences to which we all can relate, that we can find a way into the material and understand the complexity of what Shakespeare was creating in a medium that's a little bit more digestible to contemporary senses.

Jason: That’s a great point. The other thing that I think we have not celebrated enough is that this, I believe, is a regional premiere. This show is not done very often. And the

DIRECTORS' NOTES fact that the U is able to do a production of a musical in the state of Utah that has not been seen by other Utahns and other theatergoers in the Mountain West is pretty remarkable. That's kind of a rare thing, with Utah Shakespeare Festival down south and Pioneer right in the same yard. Shows are being done over and over again, and then universities are left with, “oh, they just did that” or “they did that two seasons ago.”

Illyria hasn’t been done in this region.

Which is interesting because seems this is one of the more popular Shakespeare stories in terms of adaptations, the way it's been featured in pop culture....

Alex: She's the Man. Exactly.

Jason: No, you're right. And I said to the cast the other night, “no one's going to come and be humming these songs,” or say, “oh, I loved it when I played this in high school.”

It's like that Shakespeare in Love scene where they all see Romeo and Juliet for the first time and everybody's gasping and they're terrified about what's happening because it's all brand new. Every musical theatre nerd is going to be like, “what is this play?”

Get ready, Alex. Your entire program is going to be singing "The Lady Must Be Mad" and "Patience" for the next couple of years for auditions, because there is some really beautiful music here that, since 2002—I think it was first produced in 2002—has been largely ignored.

Alex: [Assistant Music Director] Trevor and I have had long discussions about this music, that it has a really dense complexity that we don't often see in musical theatre.

It's something we see more in the likes of writers like Sondheim and Adam Guettel, where it isn't just pop songs or easily written forms. There's a lot of detail and nuance in how Peter Mills uses harmony to accentuate different emotional events, or how he uses key structures or forms or unexpected modulations to heighten the drama in ways that amplify what is going on within the characters.

Jason: And I'll piggyback on that, because that makes it a gem of a musical to direct from an actor's perspective. Each beat or section or unit has a very specific reason, so motivating an actor to make a cross, or to be in stillness for a couple of verses… the lyrics can and do stand on their own with the music behind them because [Illyria] is written the way it should have been as a musical. I hope people are pleasantly surprised by how charming it is, but also how complicated and beautiful it is at the same time.

Original interview conducted by Aaron Swenson • February 28, 2022

For additional interview content, including dramaturgical commentary from Mark Fossen and Kalista Vordos along with video excerpts, visit theatre.utah.edu/blog

DRAMATURG’S NOTE

Katie Calderone as Viola (top) and Noah Bradford as Sebastian (bottom) Photo: Todd Collins • Composite: Aaron Swenson

“You will find the same in both in every respect” Illyria began its theatrical life in 2002, but its origins go back another 400 years.

Conceived by Cara Reichel and Pete Mills for a production of Shakespeare’s Twelfth Night, it gradually grew into a complete musical adaptation which remains faithful to the original.

Scholars believe that Shakespeare’s Twelfth Night made its debut on January 5th, 1601 at Whitehall Palace as part of Queen Elizabeth’s Twelfth Night celebrations honoring the visiting Italian diplomat, Duke Orsino. This holiday is the conclusion of the twelve days of feasting and revelry beginning on Christmas Day. The charming carol we all know (“The Twelve Days of Christmas”) describes gifts being given on each of these days. The nights, on the other hand, are wild and transgressive. These twelve days are a time to upend norms—like masters serving servants—and to get away with things unimaginable in “ordinary time”.

More specifically, the Twelfth Night is the last night of this revelry and subversion: the last party of all the parties before the world returns to normal in the morning, and all but the hangover is past.

While the holiday itself is not explicitly mentioned, one of the ways we see this topsy-turvy world most clearly in both Illyria and Twelfth Night is a gleeful disregard for the norms of gender and sexuality.

Right now, we are in a time of what seems a seismic shift in concepts of gender and sexuality. A recent YouGov UK poll found that fewer than half of those aged 18-24 identify as “100% heterosexual.” This made headlines when published, but a survey of Shakespeare’s contemporaries would have found not a single person identifying as “heterosexual” in any way, shape, or form.

The concept of sexual orientation and identity only came into being in 1868 when Karl-Maria Kertbeny created the term “homosexuality.” No official definition of “heterosexuality” existed until the 1901 edition of Dorland’s Medical Dictionary, which categorized it as a pathology: “an abnormal or perverted appetite toward the opposite sex.” It took until 1931 for “heterosexuality” to be associated with “normal sexuality” by Merriam-Webster. (For those keeping score at home, that’s less than a century ago.)

While Elizabethans recognized different sexual acts, they had no concept of a sexual identity. In fact, even the Elizabethan concept of biological sex was more fluid than that of the modern day due to the influence of the Greek philosopher Galen, who believed there were not two sexes, but only one. To Galen, the female sexual organs were simply the inverted version of the male’s: “Turn outward the woman’s, turn inward, so to speak, and fold double the man’s, and you will find the same in both in every respect.” According to his teachings, the significant difference lay in temperature. Women were colder by nature, lacking the “heat of perfection” possessed by men. This “hotness” would push the organs out, and it was theorized that if a woman perfected herself enough, she could change her biological sex.

Are Galen’s theories unscientific sexist claptrap? Undoubtedly. The world of Twelfth Night presents a conception of gender and sexuality that might perhaps be closer to our own than at any time in recent memory. It’s possible that Shakespeare’s original audience would have viewed this topsy-turvy celebration of gender and sexuality with different, more fluid hearts.

Mark Fossen, Dramaturg

For more information, please visit our dramaturgical website at https://illyriauofu.wordpress.com

WHO’S WHO IN THE COMPANY CAST NOAH BRADFORD (Sebastian) is a senior in the MTP. Born and raised in SLC, he has been dancing since he could talk.

Noah recently played Scott Hastings in the World Premiere of Strictly Ballroom The Musical (Hale Centre Theatre). Other Hale credits include Mary Poppins (Neleus) and Matilda (Rudolpho). At the U, Noah played Vamgoth in Dracula (MCD), and he was preparing to reprise his favorite role from high school—Mike Costa from A Chorus Line—but COVID had other plans.

Noah would love to thank his fellow cast members and the amazing creative team for the exciting, open environment during this process.

KATIE CALDERONE (Viola) is a junior in the MTP and is overjoyed to be part of this production! Her credits at the U include Irina in The Night Witches (U of U Virtual) and Assistant Choreographer for Songs For a New World (Babcock). She was last seen onstage in Elf the Musical at Pioneer Theatre Company and has also performed with The Phoenix Theatre Company and Hale Centre Theatre - Arizona. She would like to thank the cast and creative team for their support.

ABBY HOPE DAVIS (Lady in Waiting #2 /Duke's Officer #1) is a graduating senior in the MTP. Recent and upcoming credits include Elf: The Musical (Pioneer Theatre Company) and Carla Albanese in the MTP Senior Show, Nine. When not performing, Abby is either practicing yoga or feeding an online shopping addiction.

She would like to thank her family and her professors, particularly Brian Manternach, for teaching her patiently.

MYLES DAVIS (Antonio) is a senior in the MTP from San Diego, California.

Previous credits include The Crucible, Mary Poppins, and Beauty and the Beast at Bronco Players Theater; most recently, he appeared in last semester’s The Emily Dickinson Musical with Open Door Productions. Myles is thrilled to be making his mainstage production debut at the U. He would like to thank the director of Illyria, Jason Spelbring, for this opportunity, as well as his parents for always supporting him.

ALEX FISH (Standby) is a junior in the MTP. Originally from Idaho, he spent time in choir and acted in high school productions. Last year he was cast in Songs for a New World (Babcock). Alex loves making people laugh and working hard to ensure he gives his very best to each performance.

LEE KEDEM (Lady in Waiting #1 / Duke's Officer #2) is a junior in the MTP at the University of Utah. Originally from Foster City, California, her most recent credits include Illyria in the Babcock, You On The Moors Now ( Jane Eyre) in Studio 115, and The Emily Dickinson Musical (Lavinia) in Studio 115. Lee would like to thank her teachers, family, and everyone involved in this production!

ZOE KILLIAN (Feste) is a senior in the MTP originally from Lake Havasu City, Arizona. Her work at the U includes Secret Service in Naked Mole Rat Gets Dressed: The Rock Experience (Babcock), Ilse in Spring Awakening, and Mabel in The Emily Dickinson Musical (Studio 115, Open Door). COVID has made it clear to her how fortunate she is to do this work, and how important it is that we continue to create! She has loved working with such a dedicated cast and crew, and she hopes you enjoy Illyria.

WHO’S WHO IN THE COMPANY ALEXANDER MCCONKIE (Duke Orsino) is a senior in the MTP originally from Annapolis, Maryland, but he has spent most of his recent years in Italy and Utah. Previous credits include Austin Dickinson in The Emily Dickinson Musical (Studio 115, Open Door) and Weather Mole in Naked Mole Rat Gets Dressed: The Rock Experience (Babcock). He will be playing Beadle Bamford in Utah Opera’s production of Sweeney Todd (Kingsbury).

Website: alexandermcconkie.wixsite.com/ my-site. Instagram: @mcconksters. Peace and blessings.

EVA MERRILL (Lady Olivia) is a senior in the MTP who plans to graduate with a BFA this semester. Recently, she played Sue Gilbert in The Emily Dickinson Musical (Studio 115), a Squirrelle in Elephant and Piggie (Salt Lake Acting Company), and she is looking forward to playing Luisa Contini in Nine (Studio 115) later this semester. She would like to thank all of her professors for their overwhelming support and guidance throughout her senior year, and she hopes everyone enjoys Illyria.

CARSON QUINN PEASLEY (Sir Andrew Aguecheek) is a junior in the MTP from Detroit, Michigan. This is his first show with the University of Utah Department of Theatre. He recently played Brad Majors in The Rocky Horror Show (The Grand Theatre), Sam in Mamma Mia! (Luminaire), and The Janitor in Human: The Musical (Open Door). He would like to thank the incredibly talented cast of Illyria as well as the phenomenal directing and creative teams. Go Utes!

NIKI RAHIMI (Maria) is a senior in the MTP with a minor in Middle Eastern studies. She is thrilled to be doing her first musical at the U. Recent credits include

Jen in The Book Club Play (Babcock), Narrator in #SLACabaret (Salt Lake Acting Company), and Donalbain/Lady Macduff in Macbeth (Studio 115). She recently began doing voiceover work on the Archives of Fabella fantasy podcast series by Dillon Foley. Niki would like to thank her friends and family for their endless support, and the cast, crew, and creative team of Illyria for all their hard work.

AATHAVEN THARMARAJAH (Sir Toby Belch) is a senior in the MTP and is thrilled to be a part of this production!

Previous theatre credits include Kavin in #SLACabaret (Salt Lake Acting Company), Ren in Footloose (Ziegfeld Theater), Joe in Cocaine Triptych (Open Door), and Laertes/ Antony in When Shakespeare’s Ladies Meet (Open Door). Other credits include the U.S. premiere of Strictly Ballroom the Musical and Freaky Friday (Hale Centre Theatre). Aathaven was also a featured vocalist at the 2019 Equality Utah Allies Gala featuring Billy Porter. Recipient of the Utah Flagship Scholarship.

MATTHEW TRIPP (Malvolio) is a senior in the MTP. Previous work at the University of Utah includes Venti in Naked Mole Rat Gets Dressed: The Rock Experience (Babcock), Jewell Estes in Floyd Collins (Babcock), and playing accordion in Storm Still (Babcock). Other credits include Shawn in #SLACabaret (Salt Lake Acting Company) and Simon in Human (Open Door).

JOSH WHEELER (Standby) is a senior in the MTP from Kansas City, Kansas, and he is excited to be in his first University of Utah production! Josh plans to pursue acting in film and television after graduation.

WHO’S WHO IN THE COMPANY CREATIVE TEAM JASON SPELBRING (Director and Choreographer) is an actor, director, and educator. He is currently an Associate Professor in the Department of Theatre Arts at Utah State University – Caine College of the Arts. He also serves as the Associate Artistic Director for the Lyric Repertory Company.

Jason is a proud graduate of the two-year professional actor training program at PCPA - The Pacific Conservatory Theatre.

He holds his Bachelor of Fine Arts (BFA) in acting from Webster University’s Conservatory of Theatre Arts and his Master of Fine Arts (MFA) in acting from the University of California, Irvine.

Professional directing credits include An Iliad, Romeo and Juliet (Shakespeare in the Schools Tour) at the Tony Award Winning Utah Shakespeare Festival and Baskerville: A Sherlock Holmes Mystery and Mamma Mia! at the Lyric Repertory Company. Upcoming projects include Disney’s Freaky Friday.

Educational directing credits include Xanadu, The Game of Love and Chance, Big Fish, Twelfth Night, The Great God Pan, Rabbit Hole, and Dogfight (Utah State University) Twelfth Night (Webster University Conservatory of Theatre Arts) Cinderella and Urinetown – The Musical (Studio at Sage Hill).

Jason has taught acting on the local, national, and international level over the past fifteen years. His teaching credits include workshops at the International Thespian Festival in Lincoln, NE where he led classes on Unlocking Shakespeare’s Text – Shakespeare Made Easy. At USU, Jason teaches courses in Acting Musical Theatre, Classic Comedy, Directing, Stage Combat (Unarmed, Rapier and

Broadsword) and Movement for the Actor.

Jason is a proud member of both Actors’ Equity Association (AEA) and Stage Directors and Choreographers Society (SDC). JasonMichaelSpelbring.com SPENCER BARBER (Production Assistant) is a sophomore in the Stage Management Program. Most recently, Spencer was the Assistant Stage Manager for You on the Moors Now (Studio 115). Previous credits include Radium Girls (Director) and Anastasia (Vlad) with the R3 Theatre. They would like to thank their mom for all the support she gives.

ANNA BLAES (Assistant Prop Designer) is in her fourth year at the U studying Art History, with double minors in theatre and music. She recently designed props for Sympathizer (The Box), and served as Assistant Prop Designer for Storm Still (Babcock). Last semester, Anna worked as a Props Shop Assistant for the Department of Theatre. She would like to thank Props Master Arika Schockmel for her consistent support. Anna is a proud recipient of the Utah Flagship Scholarship.

ASHLEN BORESOW (Assistant Choreographer) is a sophomore in the MTP with a minor in sociology. Originally from Shawnee, Kansas, she has cochoreographed shows such as Mamma Mia!, Annie, Footloose, and Guys and Dolls (De Soto High School) and assistant choreographed The Addams Family, 13, and Camp Rock (Inspired Purpose). Her most recent credits include Elf The Musical (Pioneer Theatre Company), Naked Mole Rat Gets Dressed: The Rock Experience (Babcock), and The Emily Dickinson Musical (Open Door). Ashlen would like to thank everyone she’s learned from and been supported by throughout the years.

WHO’SWHO WHO IN IN THE THE COMPANY COMPANY WHO’S SAM DALTON (Scenic Designer) is a junior in the PADP studying set design. This is Sam’s third show at the U; previously, he was Set Designer for Henry V (U of U Virtual) and Macbeth (Studio 115) and Assistant Set Designer for She Kills Monsters (Kingsbury). After last year’s entirely virtual season, Sam is grateful for the opportunity to design a show for live theatre audiences again. He would like to thank the entire theatre department for their support and guidance.

JAYDEN DUDLEY (Assistant Costume Designer) is a sophomore in the Stage Management Program. Previous shows at the U include the department’s first New Work Project, Liminal (Studio 115, 1st ASM), Naked Mole Rat Gets Dressed: The Rock Experience (Babcock, 2nd ASM), and the virtual production of Henry V (U of U Virtual, Production Assistant). She is currently working on Sweeney Todd with the University of Utah School of Music (Kingsbury, 2nd ASM). Jayden would like to thank everyone for supporting her throughout her journey in theatre.

KATHRYN EDWARDS (Costume Designer) is currently in her junior year in the PADP with an emphasis in costume design.

Recent work includes Henry V (U of U Virtual) as Costume Designer and Tartuffe (Studio 115, Virtual) as Assistant Costume Designer. She would like to thank her family and professors for their continued guidance and support.

EMMA ELZINGA (2nd Asst. Stage Manager) is a student in the Stage Management Program. Originally from Iowa, Emma came to Utah to pursue her degree in Stage Management. Previous credits include The Play That Goes Wrong at Pioneer Theatre Company (2nd Asst.

Stage Manager

CLAUDIA ESCOBAR (Sound Designer) graduated from the U of U with a degree in Sound Design and Music Technology in 2019. Claudia worked as Audio Engineer for Indiana Repertory Theatre for a season before returning back to Utah to continue working as an Audio Engineer and freelance technician and designer.

She is a part of the Gateway Program with USITT and has also served as a Fine Arts Ambassador for the U for two years.

Previous U of U assistant and design credits include The Rivals (Babcock), Chess (MCD), and Love’s Labour’s Lost (PAB).

Claudia was a Larry H. Miller Scholar.

MEGHAN GIBSON (Lighting Designer) is a student in the PADP from Portland, Oregon, and is thrilled to be working on a production again! She has been designing and assisting with theatrical lighting since she was 15. Recent work includes working as the Lighting Designer for Macbeth (Studio 115), Newsies (Draper Arts Council), and Mamma Mia (The Elsinore Theatre). She was the Assistant Lighting Designer for She Kills Monsters (Kingsbury) and programmed lights for Company (Babcock). She would like to thank her parents, family, friends, and professors for helping her grow as both a designer and person.

TREVOR JEX (Associate 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), and he is currently the Music Director for Nine, the MTP’s upcoming senior show. Trevor also plays regular gigs as a professional local musician. He would like to extend his thanks to Melonie Shore, Alex Marshall, and his loving parents.

WHO’S WHO IN THE COMPANY ALEX MARSHALL (Music Director) 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 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.

MARCI PIÑA (1st Assistant Stage Manager) is a junior in the Stage Management Program. She was recently the Stage Manager for The Emily Dickinson Musical (Studio 115, Open Door). Marci has previously worked as the Stage Manager for Ícaro Compañía Teatral, a professional theatre company in Mexico City; on Urinetown (Teatro Milán); The Pillowman (Foro Lucerna); and A Midsummer Night’s Dream (Foro Lucerna).

KYLARR PULLEN (Stage Manager) is a senior in the Stage Management Program He is excited for the opportunity to work on Illyria, which will be his last show at the U before he graduates this semester!

Kylarr’s most recent work has been with Pioneer Theatre Company as an Assistant Stage Manager on their production of Elf The Musical. Kylarr has previously worked for the Department of Theatre as

a Costume Designer/Assistant Production Manager for Storm Still (Babcock).

JANELL ROGERS (Assistant Director) Janell is a student at the University of Utah working on her BA in the Theatre Studies program. She has directed region/ state theatre pieces for high school drama competitions, Gay Girls with Umbrella Theatre Company in The New Works Mentorship Project, and is currently working on Near Mint—a new production with the New Play Workshop class in the Department of Theatre. Performing credits include The Little Mermaid (Murrary Arts) as well as A Chorus Line, Marvel Spotlights: A Mirror of Most Value, 42nd Street, and Merrily We Roll Along (Hillcrest High School). She would like to thank her family, su familia, for giving her support and love.

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

KALISTA VORDOS (Assistant Dramaturg) is a senior in the Theatre Studies program and the Stage Management Certificate program. Previous U credits include The Night Witches (U of U Virtual), She Kills Monsters (Kingsbury Hall), and Macbeth (Studio 115). Outside of the U, she has

WHO’S WHO IN THE COMPANY recently worked on The Rocky Horror Show (The Grand Theatre) and The Birdsinger, Heist of the Princess Diamond, and Pioneer Song (Great Salt Lake Fringe).

Kalista intends to pursue a doctorate in psychology and social intervention after graduation, studying the effects of participation in performing arts on social and behavioral development.

LIZ WIAND (Asst. Production Manager) is currently a senior in the Stage Management Program and a transfer student from Casper Wyoming. During her time at Casper College, she stage managed Around the World in 80 Days, Rashomon, The Yellow Wallpaper, and Children of Eden while earning her Associates Degree in Technical Theatre. University of Utah credits include Liminal (Studio 115, Stage Manager), The Night Witches (U of U Virtual, 2nd ASM), Human: The Musical (Open Door, Stage Manager), World Goes Round (Production Manager) and Storm Still (Babcock, 1st ASM). Liz thanks her teachers, peers, family, and friends for all the support they have given her. She is the recipient of The Barbara M. Bannon Endowed Fund scholarship.

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.

PETER C. MILLS (Book, Music, & CoAdapter) received the 2003 Richard Rodgers New Horizons Award from The ASCAP Foundation, and received a 2002 grant from the Jonathan Larson Performing Arts Foundation. Most recently, he wrote book, music, and lyrics for THE PURSUIT OF PERSEPHONE, (nominated for two Drama Desk Awards: Best Music, Best Orchestrations) a new musical about F. Scott Fitzgerald’s college years. In 2004 he wrote the music and lyrics for LONELY RHYMES, a comic song cycle, and in 2003 he wrote the book, music, and lyrics for THE ALCHEMISTS. ILLYRIA, a musical adaptation of Shakespeare’s TWELFTH NIGHT for which he also wrote book, music, and lyrics, had its regional premiere at The Shakespeare Theatre of New Jersey in Fall 2004, and a cast album of that production was released in April 2005. THE TAXI CABARET, his first new musical, was originally performed in 2000, and in Fall 2004 was published by Samuel French.

With Cara Reichel, he wrote THE FLOOD, which was selected for the ASCAP Musical Theater Workshop (2001). MARCO POLO, his NYU thesis musical with composer Deborah Abramson, was selected for the ASCAP Musical Theater Workshop in 2000, and Peter and Deborah were chosen as 2000-01 Dramatists Guild Fellows. Peter holds an M.F.A. in Musical Theater Writing from New York University’s Tisch School for the Arts and a degree in English/Dramatic Literature from Princeton University.

CARA REICHEL (Co-Adapter) is originally from Oxford, Mississippi and Rome, Georgia, and she received her BA from

WHO’S WHO IN THE COMPANY Princeton University and attended the M.F.A. Program in Directing at Brooklyn College. Since 1998, Cara has been the Producing Artistic Director and a founding member of Prospect Theater Company, an acclaimed non-profit organization producing off-off-Broadway in Manhattan.

Cara’s particular passion is for collaborating with writers on the creation of new musicals. For Prospect, Cara has directed: THE FLOOD, IRON CURTAIN, THE BOOK OF THE DUN COW, THE PURSUIT OF PERSEPHONE (co-bookwriter, 2006 Drama Desk Nomination for Best Music and Orchestrations), LONELY RHYMES, THE USES OF ENCHANTMENT, THE MERRY WIVES OF WINDSOR, THE HOUSE OF BERNARDA ALBA, THE ALCHEMISTS, DIDO and AENEAS (OOBR Award), THE TAXI CABARET (OOBR Award), ILLYRIA (co-adapter), and DANTON’S DEATH, among others. Other recent directing credits include: JULIUS CAESAR (GMT

Productions), THE WHITE WIDOW (PASSAJ Productions), and THE MOST HAPPY FELLA (Gallery Players). Cara received the 2002 Lucille Lortel Award from the League of Professional Theatre Women, a 2004 New Directors/New Works grant from the Drama League, was the 2006 “Alumna of the Year” for Brooklyn College’s Theatre Program, and is a member of the Lincoln Center Director’s Lab and the SSD&C. Cara is also the author and illustrator of a published children’s book: A STONE PROMISE (Landmark Editions, 1991).

SPECIAL THANKS To Eliana Janae Tuero and Kian Tuero in memory of Katina Ophelia Tuero December 1, 1978 – December 18, 2021 for her extraordinary generosity and profound dedication to artists and the arts

There will be a talkback with members of the cast and creative team immediately following the performance on Friday, April 1

PRODUCTION STAFF & ADVISORS Technical Director....................................................................................................................Kyle Becker Assistant Technical Director...................................................................................... Halee Rasmussen Assistant Dramaturg.......................................................................................................... Kalista Vordos Scenic Charge Artist.............................................................................................................. Erin Murphy Costume Shop Manager................................................................................................. Wendy Massine Assistant Props Designer....................................................................................................... Anna Blaes Production Manager........................................................................................................ Amber Bielinski Asst. Production Manager........................................................................................................ Liz Wiand Production Assistant........................................................................................................ Spencer Barber 1st Asst. Stage Manager........................................................................................................... Marci Piña 2nd Asst. Stage Manager..................................................................................................Emma Elzinga Stage Management Area Head and Faculty Advisor............................................. Amber Bielinski Faculty Advisor for Lighting and Media Design...................................................Michael J. Horesji Faculty Advisor for Sound Design..............................................................................Jennifer Jackson Faculty Advisor for Properties Design......................................................................Arika Schockmel PADP Area Head and Faculty Advisor (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 Operator.......................................................................................................................... Elizabeth Webb Spot Operator................................................................................................................................... Isabelle Siebeneck Sound Board Operator........................................................................................................................... Eunkyung Lee A2 Sound Engineer.............................................................................................................................. Noah Omelchuk Props/Deck Crew........................................................................................Kaitlyn Crosby, Rachel Roetcisoender, Lauren Crutcher, Aidan Tappart Hair/Makeup Crew.........................................................................................................Elleda Spitzer, Katie Lobrot, Paige Linford & Swing Wardrobe Crew.........................................................................................................Bryce Romleski, Paris Howard, Aubrey Campbell, Abyanna Wood Front of House............................................................................................... Gracie Kilminster-Bird, Alison Hagen

TODD COLLINS WEDDING PHOTOGRAPHY 801-647-0186 toddcollinsweddings.com *Todd Collins is the official photographer for the Department of Theatre’s 2021-22 season.

Strong voices for a stronger community

DEPARTMENT OF THEATRE FACULTY & STAFF Department Chair Sydney Cheek-O’Donnell Chair, Associate Professor, Associate Dean for Research Faculty Christopher DuVal Associate Professor, Associate Chair David Eggers Assistant Professor Jerry Gardner Associate Professor Alexandra Harbold Assistant Professor Kimberly Jew Associate Professor, Head of Theatre Teaching Xan Johnson Professor Robert Nelson Professor Emeritus Richard Scharine Professor Emeritus Sarah Shippobotham Professor Tim Slover Professor, Head of the Theatre Studies Program Robert Scott Smith Assistant Professor, Head of the Actor Training Program Brenda Van der Wiel Associate Professor, Head of the Performing Arts Design Program Gage Williams Professor

Career-Line Faculty Margo Andrews Associate Professor Lecturer Kyle Becker Associate Professor Clinical Amber Bielinski Assistant Professor Clinical, Head of Stage Management Hugh Hanson Associate Professor Lecturer Michael J. Horejsi Associate Professor Clinical Jennifer Jackson Assistant Professor Clinical Brian Manternach Assistant Professor Clinical David Schmidt Associate Professor Clinical, Head of the Musical Theatre Program Barbara Smith Associate Professor Lecturer

Adjunct Jamie Rocha Allan Adjunct Instructor Karen Azenberg Adjunct Instructor Jamie Baer Peterson Adjunct Vocal Instructor Jacque Bell Adjunct Associate Professor Nathan Brian Adjunct Vocal Instructor Ty Burrell Adjunct Assistant Professor Lynn Deboeck Adjunct Assistant Professor Nicholas Dunn Adjunct Instructor Jane England Adjunct Assistant Professor Jennifer Erickson Instructor Stephen Faulk Adjunct Vocal Instructor Mark Fossen Adjunct Assistant Professor Ellie Hanagarne Adjunct Assistant Professor Greg Hatch Adjunct Associate Professor, Theatre Librarian Stacey Jenson Adjunct Assistant Professor Carolyn Leone Adjunct Instructor Kelby McIntyre-Martinez Assistant Dean for Arts Education and Community Engagement Penelope Marantz-Caywood Artistic Director: Youth Theatre at the U Craig Mitchell Instructor Christine Moore Adjunct Assistant Professor Megan Richards Adjunct Vocal Instructor Rachel Ryan Nicholes Adjunct Instructor Eric Sciotto Adjunct Instructor Shalee Schmidt Adjunct Assistant Professor Matthew Whittaker Adjunct Instructor Marilee Wilson Adjunct Vocal Instructor

Staff Colleen Hirst Accountant Alex Marshall Music Director Halee Rasmussen Assistant Technical Director Arika Schockmel Properties Manager Wendy Schow-Massine Costume Shop Manager Cami Sheridan Office Manager Aaron Swenson Marketing/Communications Coordinator

AT PIONEER THEATRE COMPANY

Retired schoolteacher Eleanor Bannister lives a quiet life alone in tiny town in Texas. She is set in her routine, and secure in her position as the most respected member of her community. A hole in her roof draws the attention of Abel Brown, a smooth-talking drifter intent on renovating Eleanor’s house... and possibly her life.

In this new love story, the unexpected sparks of late-life romance bring questions... and gossip. Either way, the whole town is talking.

Presented by the Senior Class of the University of Utah Musical Theatre Program

OUR DONORS The Department of Theatre acknowledges and thanks the following donors for their generous support during the fiscal year July 1, 2020–June 30, 2021.

INVESTORS

BENEFACTORS

John Ballard and Karen Miller, MD Sandi Behnken Kimberly Deneris Susan Stoddard Heiner and Blake T. Heiner Princeton Area Community Foundation Rowena Merrill

Anonymous Sydney Cheek-O’Donnell, PhD and Nicholas Cheek-O’Donnell Jacques D’Astous, MD and Kathryn Atwood Kent DiFiore, MD and Martha DiFiore, MD Fidelity Charitable Gift Fund Flying Bobcat Theatrical Laboratory Elizabeth Hunter Xan Johnson, PhD Robert and Charlotte Nelson, PhD Clara Osbeck

$2,500 and up

PATRONS

$1,000-$2,499

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

SPONSORED IN PART BY FINE ARTS FEES

$500-$999

Kenneth and Kristina Burton Ashby and Anne Decker Heidi and Scott Ingham Thomas* and Jennifer Jackson Roger and Mary Lowe Marcella Pereda Cami Sheridan Robert Scott Smith W. David Smith and Jerilyn McIntyre, PhD Aaron Swenson

FRIENDS $200-$499

Steve and Liz Boulay Rinda Frye Hugh Hanson Joel and Frances Harris Greg Hatch Mrs. & Dr. Erika and Brian Edberg Manternach Dylan McCullough James and Cathy Osborne David and Shalee Schmidt David Eggers and Eric Sciotto Christine Walker Gage Williams

FANS

up to $199 Alan Swenson and Heather Hidell Alex and Jackie Marshall Amanda Shrum Amber Bielinski Andra Harbold and Joe Murray Ann Blackmore Anna Coltrin Anna Oldroyd April and Dale Goddard April Hoag Ashley Chin-Mark Ashley Marian Ramos (cont. on next page)

FANS

up to $199 (continued from previous page) Barbara Smith Blake Bratcher Brenda Van der Wiel Brent Podosek Brian and Kay Vigue Brittany Hathaway Carson and Christian Maestas Cassandra Stokes-Wylie Catherine Heiner Cece Otto Christopher and Elizabeth Montague Christopher and Jenna Flood Christopher Glade and Arika Schockmel Clayton Roma Bragg Webb Colleen and Kyle Hirst Coltyn Giltner Connor Rickman Cynthia Fleming Daniel Evans David Andreason David Dornan and Marilou Kundmueller David Magidson, PhD Denise Begue Devon Barnes Diane Burke Dylan Adams and Patrick Oliver Jones Eileen Nelis Elizabeth Hale Ellie Hanagarne Emeri Fetzer Emily Beatse Erich and Lenore Mille Gavin Yehle Gay Cookson George Raine Gerald and Sandra Katz Gerard Black Harris Smith Helen Donoghue Henry and Jeanne Lachowski Holly and Jason Yocom

Holly Hamilton Peartree Jae Weit James Gordon Jamie Peterson Jana Lawrence Jane Wilson Jason Ma Jay Perry Jeanne Hamrick Jeffrey Lachowski Jeffrey Owen Jeffrey Robinson Jesse Portillo Jessica and Andrew Sproge Joe and Sheri Bowden John and Amy Scheib John Caywood and Penelope Marantz Caywood John Peterson Jonathan Hamrick Josiane and Andrew Hodges Julianne Turner Kate Hunter Katherine Jelte Katy and Joel Macey Kelsie Jepsen Kenneth and Penny Jameson, PhD Kenneth* and Wilma Odell Kimberly Jew Lee* and Herta Teitelbaum Les Pollert Lesli Spencer Linda Hopewell Lori Poloni-Staudinger Mandy McDonell Marcia Piña Margo Andrews Mariellen Nelis Marina and Elenor Gomberg Mark and Abby Green Mark and Sherri Detweiler Mark Fossen Mark Macey Martin Alcocer and Alexandra Bowden

Martin and Mary Anne Berzins, PhD Mary-Helen Pitman MaryBeth Clark Max and Donna Swenson Melonie Murray Mervin E. and Glenda Meyer Michael and Sheryl Ginsberg Michael Virnig Mightycause Charitable Foundation Nadia Sine Nathan Webster Nicholas Dunn Nicole Vernon Olivia Vessel Pam Joklik Pamela Joklik Patricia and Benjamin Villa Paul Chaus Philip and Nichole Swink Richard and Jude Mollenhauer Duesterhaus Richard Baxter Richard Scharine Robert and Lindsey Cosson Robert Averett and Alice Greenhalgh Averett Samuel Mollner Savannah Moffat Sneha Sakhare Sophie and Pac McConkie Stephanie and Clint Coltrin Steve Mathews Sue Bassett Susanna Risser Tanja Easson Taylor Kirch Grzekiewicz Teresa Stilley Timothy and Holly Parrish Todd Osbeck and Paula Tibbe Tom Nelis Vicki Nielsen William and Janice Mosby

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.