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Catharsis and Communion: A Note from the Chair Apollo was the god of music and healing, but it was his brother Dionysus–the god of wine and theatre–who had the power to alleviate human suffering and bring joy. To thank him for these gifts, the ancient Greeks held no fewer than five festivals per year, two of which celebrated him through the presentation of plays. The Athenians built an amphitheater in their city center, where they gathered annually for the Great Dionysia, watching plays that reflected their shared values, fears, and dreams. Aristotle, our first known drama critic, argued that the purpose of tragedy was “katharsis.” Tragedy could purge the mind and spirit of negative emotions, allowing the psyche to heal. But theatre also provides the chance for “koinonia”—communion and fellowship. And to participate on either side of the footlights, we must learn empathy. It is likely that this is the strongest reason for theatre’s emergence as an essential human activity, long before the ancient Greeks. Theatre supported group cohesion, improving our chances of survival. Since March of 2020, we have had few opportunities for communion. Recently, some of us have been fortunate enough to emerge from our bubbles—sometimes hesitantly, sometimes enthusiastically—to convene with friends, family, colleagues, and even strangers. Tonight, following a year and a half of canceled and online-only performances, we will return to the Babcock to share space and stories. We will gather in person and online to watch as three sisters reunite to process the traumas of their past, the fraying of their ties in the present, and the precipitous decline and loss of their father—all by reenacting a version of King Lear they created as children. We will see the alchemy that happens in theatre, where grief cracks open to reveal slapstick comedy, profound empathy, and even joy. Theatre is more than tragedy. It gives us more than catharsis. Through the wonders of modern science and technology (and a lot of caution and consideration) we can gather here to celebrate healing of a different kind. Through communion, we can find meaning in the face of tragedy, as we tell stories with playful, joyful abandon.

Welcome back. We’ve missed you.

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


Scenic Designer ABISH NOBLE

Costume Designer KYLARR PULLEN

Lighting Designer MICHAEL HOREJSI

Sound Designer / Composer JENNIFER JACKSON

Properties Designer ARIKA SCHOCKMEL

Dramaturg ELLIE OTIS




The videotaping or other video or audio recording of this production is strictly prohibited. STORM STILL is produced by special arrangement with BRET ADAMS, LTD., 448 West 44th Street, New York, NY 10036.

ASL Interpreted Performance on Friday, October 1st There will be a talkback with members of the cast and creative team immediately following the performance on Friday, October 1st

CAST OF CHARACTERS CAST ROLE McKinley Barr �����������������������������������������������������������Cordelia Grace Cawley ������������������������������������������������������������Goneril Victoria Wolfe �����������������������������������������������������������Regan Taryn McClure �����������������������������������������������������������Understudy

THE BAND: Maria Moesinger ������������������������������������������������������Violin Matthew Tripp ����������������������������������������������������������Accordion Sandra Detweiler ������������������������������������������������������Acoustic guitar

SETTING: The backyard of their recently deceased father’s house. Late summer. Present day.

McKinley Barr, Grace Cawley, Victoria Wolfe • Photo by Todd Collins


It is not theater that is indispensable but: to cross the frontiers between you and me; to come forward to meet you, so that we do not get lost in the crowd–or among words or in declarations, or among the beautifully precise thoughts. Jerzy Grotowski

In Gab Reisman’s Storm Still, three sisters have all shouldered their tempestuous father’s decline and death in very different ways. By playing a game of pretend from their childhood, they are able to reconnect through an act of collaborative storytelling. As they swap their father’s hats (often literally) and perform their own fast and loose version of Shakespeare’s King Lear, they all reckon with the past and its imprint on their relationships and choices. Storm Still speaks to the agility of theatre: its ability to not only divert and entertain (with swashbuckling, clowning, music and dancing, words, declarations, and beautifully precise thoughts), but also to create a space where we can encounter each other–as characters and as humans, with all the complexity that implies–as we process life and loss. Things I’ve learned from Storm Still: When it’s backyard rules, it doesn’t matter what we wear. We can swap hats and see things differently. We can pause and dance. We can always add new parts. In Adam Szymkowicz’s “I Interview Playwrights” conversation with Reisman, he asked what one thing she would change about the theatre. She concluded her response with this invitation/invocation: “Let both the art and the business of theatre be an exercise in hospitality.” Amen, welcome, and à votre santé!

Alexandra Harbold, September 2021


What is the true story of King Lear? Is it the story of a frail old man who is tormented by his two eldest daughters and left out in a raging storm to fend for himself? For the last few centuries, it has been. However, modern adaptations of Lear, including Storm Still, are shining light onto the sisters Goneril and Regan, using the text Shakespeare gave us to show that these women were not evil, vicious hags who sought power and destruction, but rather oppressed women living in a society that prioritizes the man’s worth over their own. Storm Still brings Goneril and Regan (along with their often idealized younger sister Cordelia) into the flesh as real, three-dimensional women who had to live under their aging and mentally deteriorating father, whose signs of affection were given only to those who proved most “loyal” to him. Storm Still is part of a modern wave reclaiming Goneril, Regan, and Cordelia as fully fleshed-out human beings whose actions rise from an oppressive patriarchal society, rather than the twodimensional beings we have been trained to view them as. Rather than the two evil sisters and the perfect daughter we’ve seen crafted into our fairy tales, this production aims to give you a whole new perspective on these women, and how their individual battles to survive in a man’s world brought them together, only to ultimately tear them apart. King Lear begins with the titular character deciding to give up his reign as king, dividing his possessions among his three daughters: Goneril, Regan, and Cordelia. He demands for them to share how much they love him in order to get land. The two eldest daughters craft false speeches of their adoration for him. Cordelia, however, refuses to do so, stating her love for her father should not be measured against possessions. Furious, Lear banishes her and states he and his hundred knights will live with Goneril and Regan on a rotating monthly basis. Meanwhile, Edmund the Bastard, son to Gloucester and brother to the legitimate Edgar, conspires to be rid of Edgar so that he can inherit his father’s wealth and land. He tricks Edgar into thinking Gloucester is upset with him, causing Edgar to escape into the forest, and fools Gloucester into thinking that Edgar is trying to murder him to usurp his power. To evade capture, Edgar disguises himself as an insane beggar named Poor Tom.

Throughout the play, Goneril and Regan begin to stand up to Lear and his unfair treatment of them. He responds by calling them hags and whores, cursing Goneril to become barren. The two women undermine his power, and Lear flies into a rage and leaves them, running into the forest with his fool and his right hand man, Kent. While in the forest, the trio stumble upon Poor Tom and Lear, whose mental health is rapidly deteriorating into insanity, warmly welcomes the madman into the group despite pleas from the Fool and Kent to leave him behind. The two women go on to use their intelligence and cunning to help win Britain’s war against France. However, Edmund comes between them when he vies for both their love, turning the sisters against each other, which ends up being their ultimate downfall. Meanwhile, Cordelia, now Queen of France, finds her father and forgives him, nursing him back to health and protecting him from her two older sisters. However, both Cordelia and her father are eventually captured, and Edmund conspires to kill her in the prison. The play ends with Lear weeping over his youngest daughter’s body, his other two daughters lying dead only a few feet away. He then dies, leaving Edgar and Kent to be the next rulers of Britain. How can we as a society work to retell the story of these three women? To make sure they live on as the human beings Shakespeare crafted them to be, rather than the caricatures we’ve been taught to see them as? How can we stop the narrative and recreate our own?

Be govern’d by your knowledge, and proceed I’ the sway of your own will. — Cordelia, 4.7

For a more in-depth plot summary, as well as character descriptions and information on King Lear and Storm Still in general, visit our website:



MCKINLEY BARR (Cordelia) will be a junior in the ATP at the U. During last year’s “Distanced but not Distant” season of online productions, she played Serafima in The Night Witches (U of U, Virtual Production). McKinley is thrilled to have this chance to reunite with part of the Night Witches cast and to work with Assistant Professor Alexandra Harbold again (in-person this time).

ALEXANDRA HARBOLD (Director) is Co-Founder and Co-Artistic Director of Flying Bobcat Theatrical Laboratory and Assistant Professor of Directing with the Department of Theatre. Recent projects include directing Ronald and Edith (The Fairy Story Society and Flying Bobcat), the online premiere of The Night Witches (U of U, Virtual Production), At the Bottom (Pinnacle Acting Company), Death of a Driver (Salt Lake Acting Company), and cocreating The Live Creature & Ethereal Things (Flying Bobcat in collaboration with Ririe-Woodbury Dance Company). Future directing projects include Liminal for the Department of Theatre, co-directed by Robert Scott Smith and created collectively by the Directors, Filmmakers Sonia and Miriam Sobrino, Playwright Brandan Ngo, and the Company.,

GRACE CAWLEY (Goneril) is a Junior in the ATP. Recent roles include Raisa in The Night Witches (U of U, Virtual Production) and Alcinous in The Odyssey (Babcock). She is a recipient of the Marian D. Harrison Scholarship and the James R. Hoffa Memorial Academic Scholarship. VICTORIA WOLFE (Regan) is a senior in the ATP. In previous years, Victoria was Assistant Director for the world premiere of The Night Witches (U of U, Virtual Production) and starred as Eve in Jillian DiNucci’s It Doesn’t Rain Enough (Studio 115). She wants to extend the deepest of thanks to her professors, family, and friends who have helped her reach this point in her craft. TARYN MCCLURE (Understudy) is a Junior in the ATP. She previously appeared as a member of the company of The Night Witches (U of U, Virtual Production). She would like to thank her parents for their endless love and support.

CAMDEN LILY BARRETT (Assistant Director) is a sophomore in the ATP. Camden most recently portrayed the Witch in Into The Woods produced by Utah Valley Youth Players raising funds for Direct Relief providing essential medical resources to vulnerable populations affected by the COVID-19 pandemic. Placing focus on the implementation of her education, Camden interned at the U as an assistant teacher for the Youth Theatre Program and was an active production consultant for the LPHS drama program, offering her efforts and guidance to help


students find joy in creating performance pieces. Marian D. Harrison Scholarship Recipient. SYDNEY CHEEK-O’DONNELL (Producer) is the Chair of the Department of Theatre and Associate Dean for Research in the College of Fine Arts at the University of Utah. In the Department of Theatre, Dr. CheekO’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. SAVANNAH GERSDORF (2nd ASM) is a sophomore in the Stage Management Program. Savannah was born and raised in Salt Lake City, and this is her third production at the U. Last year she worked as the Soundboard Operator in the U’s virtual production of Shakespeare’s Henry V, and as Production Assistant for Songs for a New World. She would like to thank the incredible stage management team for their endless support and positivity.

AILISH HARRIS (Scenic Charge Artist) is a junior in Stage Management and PADP. Recent work includes stints as Stage Manager for the Great Salt Lake Fringe Festival, Sound Designer for Henry V (U of U, Virtual Production), and ASM for The Odyssey (Babcock). She thanks 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. MICHAEL HOREJSI (Lighting Designer) Is an Associate Professor (Clinical) in the PADP in the Department of Theatre at the U. He has an MFA in Design and Technical Theatre from The University of Minnesota. Michael has extensive National and International Touring experience with arena and theater shows, as well as sporting spectaculars such as the NBA All-Star Jam Session and the USA Olympic Swimming Trials. Michael has worked as a technician, artisan, and designer for theatres including Oregon Festival of American Music, The Guthrie Theatre, The Milwaukee Repertory Theatre, American Players Theatre, and The Great American History Theatre. JENNIFER JACKSON (Composer/Sound Designer) is an Assistant Professor with the Department of Theatre. Design and/ or original music credits include Romeo and Juliet (Yale Repertory Theatre); Lifespan of a Fact (Pioneer Theatre); Alabaster, Form of a Girl Unknown,

WHO’S WHO IN THE COMPANY Silent Dancer, The Wolves, Hir, Hand to God, Harbur Gate, Streetlight Woodpecker, Blackberry Winter, Two Stories (Salt Lake Acting Company); Twelfth Night, The Last Five Years, A Midsummer Night’s Dream, Henry IV Part I (Salt Lake Shakespeare); and Ion (Westminster College). ABISH NOBLE (Scenic Designer) is a senior in the PADP with an emphasis in Set Design. Abish co-designed the set for The Night Witches (U of U, Virtual Production) and is excited to be designing for their first in-person production! Abish has assisted on recent U of U productions as a work study hire in the Babcock shop. Abish will also be the scenic charge artist for Naked Mole Rat Gets Dressed: The Rock Experience later this fall, and Liminal in the spring. ELLIE OTIS (Dramaturg) is a senior at the U and is thrilled to be part of this production. Over the past summer, she directed a production of King Lear in conjunction with the U’s Undergraduate Research Opportunities Program, and she has enjoyed this opportunity to “geek out” about it as the Dramaturg for Storm Still. Ellie hopes to pursue directing and acting, particularly in Shakespeare, and is grateful to Andra and Mark for giving her this amazing learning opportunity. MAXWELL PARIS (Stage Manager) is in his final semester of the Stage Management Program. His previous

stage management credits include The Night Witches (U of U, Virtual Production) and It Doesn’t Rain Enough (Studio 115). He has also acted as the Asst. Stage Manager for The Odyssey (Babcock), Men on Boats (Studio 115), and Chess (MCD). For his next project, he is thrilled to be returning to Pioneer Theatre Company as the ASM for Ass. He would like to thank his professors, mentors, and peers for their constant love, support, and understanding. KYLARR PULLEN (Costume Designer/ Asst. Production Manager) is excited with the opportunity to work on Storm Still in two different aspects. Kylarr is happy to be able to assist the actors as the Costume Designer, helping them bring life to the characters they have worked so hard to create. This is also the first time Kylarr has been able to work in a different, equally enjoyable capacity as a part of the Production Management team. Kylarr has previously worked in the Costume Department at the U as an Assistant Costume Designer for The Night Witches (U of U, Virtual Production) and Floyd Collins (Babcock). ARIKA SCHOCKMEL (Prop Designer) has worked extensively in props and costume crafts for theatre, television and film across the Mountain West. Based in Salt Lake City, Arika is the Prop Manager for the U of U Department of Theatre and a resident designer for Plan-B Theatre. She has previously been employed as a fortune

WHO’S WHO IN THE COMPANY teller, burlesque hostess, and an Equity actor and Stage Manager. Proud member of S.P.A.M., the Society of Prop Artisan Managers. For Keefer and Pickle Chicken, always.

hopes you all enjoy the show! She thanks her previous teachers, peers, family, and friends for all of the support they have given her. Barbara M. Bannon Endowed Fund scholarship recipient.

LIZ WIAND (1st ASM) is 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. After graduating from Casper College with her Associates Degree in Technical Theatre, she has sought to further her career in stage management at the U of U. During her first year at the U she has worked on The Night Witches (U of U, Virtual Production), Human: The Musical, and World Goes ‘Round. Liz is excited to start her second year at the U and

JULIA WITESMAN (Prod. Assistant) is a freshman in the Stage Management Program. This is Julia’s first show at the U, and she is thrilled to start her time in the program as Production Assistant on such a beautiful show. Julia worked in theatre for several years prior to the U--some highlights working with Springville High School include Stage Manager for Phantom of the Opera, You Can’t Take It With You, and Technical Director for Aida. Julia would like to thank her directors, teachers, and family for all the love and opportunities they’ve given her.

McKinley Barr, Victoria Wolfe, Grace Cawley • Photo by Todd Collins


All Performances Streamed online at With limited seating in the theater, purchase tickets at

10/7 – 5:30P 10/21– 5:30P 10/8 – 7:30P 10/22 – 7:30P 10/9 – 2 & 7:30P 10/23– 2 & 7:30P HAYES CHRISTENSEN THEATRE, MARRIOTT CENTER FOR DANCE | TICKETS.UTAH.EDU | 801.581.7100 THIS IS AN ARTS PASS EVENT; U STUDENTS GET IN FREE WITH UCARD



Bashaun Williams FACULTY MEMBERS

Justine Sheedy-Kramer Natalie Desch Penny Saunders Pablo Piantino (re-stager)

Let’s go Arts Pass is the award-winning program that allows University of Utah students to flash their Ucard to get free or deeply-discounted tickets to hundreds of arts experiences on campus each year.

Grace Cawley, McKinley Barr, Victoria Wolfe Photo by Todd Collins

PRODUCTION STAFF AND ADVISORS Assistant Director................................................................................Camden Barrett Technical Director...................................................................................... Kyle Becker Production Manager and Stage Management Area Head.................................................... Amber Bielinski Assistant Prop Designer............................................................................. Anna Blaes Fight Consultant.........................................................................................Chris DuVal Dramaturg Mentor.................................................................................... Mark Fossen 2nd Assistant Stage Manager....................................................... Savannah Gersdorf Scenic Charge Artist................................................................................. Ailish Harris Faculty Advisor for Lighting and Media Design................................ Michael Horesji Faculty Advisor for Sound Design..................................................... Jennifer Jackson Costume Shop Manager.......................................................................Wendy Massine Communications Specialist. . ................................................................... Anna Oldroyd Assistant Production Manager. . .............................................................. Kylarr Pullen Assistant Technical Director............................................................ Halee Rasmussen Faculty Advisor for Properties Design............................................. Arika Schockmel Marketing and Communications Coordinator. . ................................... Aaron Swenson Faculty Advisor for Costume Design and Performing Arts Design Area Head.................................... Brenda Van der Wiel 1st Assistant Stage Manager........................................................................ Liz Wiand Faculty Advisor for Scenic Design. . ...................................................... Gage Williams Production Assistant............................................................................Julia Witesman Faculty Advisor for Hair and Makeup Design.............................. Samantha Wootten

CREW Steven Baker

Austin Fermazin

Paige Linford

Spencer Barber

Alex Fish

Tristian Osborne

Nicolas Bianchi

Maggie Goble

Aathaven Tharmarajah

Kenny Cosson

Tessa Irish-Minewiser

James Trease

Emma Elzinga

Grayson Kamel

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

Strong voices for a stronger community


MUSIC at the

In-person performances are back!

SEPT 29 Wind Ensemble and Symphonic Band 7:30 PM | LGCH

OCT 5 Jazz Ensemble/Jazz Repertory Ensemble 7:30 PM | FAWRH

OCT 4 Flute Choir 7:30 PM | LGCH

OCT 23 Piano Area Concerto Winners w/American West Symphony 7:30 PM | LGCH

OCT 25 University Choirs 7:30 PM | LGCH OCT 28 & 29 Utah Philharmonia Halloween Concert 7:30 | LGCH

Find all events at

DEPARTMENT OF THEATRE FACULTY & STAFF Department Chair Sydney Cheek-O’Donnell Chair, Associate Dean for Research Faculty Denny Berry Associate Professor, Head of the Musical Theatre Program 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 Lecturer, Head of Vocal Performance Studies 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 Stephen Faulk Adjunct Vocal Instructor Susanna Risser Adjunct Instructor Mark Fossen Adjunct Assistant Instructor 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 Christine Moore Adjunct Assistant Professor Megan Richards Adjunct Vocal Instructor Curtis Russell Adjunct Assistant Professor Rachel Ryan Nicholes Adjunct Instructor Eric Sciotto Adjunct Instructor Shalee Schmidt Adjunct Assistant Professor Matthew Sorensen Adjunct Assistant Professor Matthew Whittaker Adjunct Instructor Marilee Wilson Adjunct Vocal Instructor

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

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.



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



$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



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


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


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.

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