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A NOTE FROM THE CHAIR We tell ourselves stories in order to live. –Joan Didion, “The White Album,” 1979 In 1968, suffering from vertigo and nausea, author Joan Didion went to a Santa Monica hospital to find out what was wrong with her. The psychiatric report described a thoroughly alienated, pessimistic, and depressed woman. A decade later Didion reflected, “[A]n attack of vertigo and nausea does not now seem to me an inappropriate response to the summer of 1968.” Following the assassinations of Martin Luther King, Jr., and Robert F. Kennedy, she could no longer impose a familiar “narrative line” on the events unfolding around her to make sense of them. In ten years’ time, I wonder if we will look back on this period and realize that our various unusual physical, emotional, and even conspiracy-theory laden responses to it were not “inappropriate,” but a uniquely human response to a particularly chaotic moment. While we may not be able to use familiar narrative structures to understand the events of the past two years, stories remain a fundamental part of our social connective tissue. We crave stories of all kinds, from those delivered to us through a pair of earbuds, to the ones we can see unfold on stage; from challenging novels that critics have deemed “great art,” to “guilty pleasures” like reality television and teen vampire romances. We devour serialized television shows in a matter of hours or days, and eagerly discuss plot twists and character developments with friends and family. There are even popular YouTube channels where you can watch someone else react to a show as they watch it for the first time. Why? Because humans connect to and through story, myth, and metaphor. Through story, we learn about ourselves and each other in both superficial and profound ways. This connection and understanding gives us joy. Storytelling is a communal endeavor: there must always be a speaker and a listener, an actor and an audience. And after the story ends, its connective properties extend through our conversations about it with others: What characters did you relate to? What Hogwarts house would you be sorted into? Did you see that plot twist coming?!? When a story has come to its conclusion, the listeners become the storytellers. Together they weave the threads of their own lives and truths and responses into the fabric of the story. This is why we do this work, why we tell stories, and why we are so grateful to you, the audience. You enrich, extend, and complicate the work we do in ways we never imagined possible. Through your connection to it, you make theatre meaningful.

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

THE BOOK CLUB PLAY by KAREN ZACARÍAS director PENELOPE CAYWOOD

assistant director HANNAH KEATING

intimacy director SARAH SHIPPOBOTHAM

scenic designer ERIN MURPHY

costume designer ELIZABETH WEBB

lighting designer NIKAYLA NIELSON

sound designer LILLY STONE

prop designer ARIKA SCHOCKMEL

dramaturg KALISTA VORDOS

stage manager BRITTANY TIMPSON

department chair/producer SYDNEY CHEEK-O’DONNELL The Book Club Play received its world premiere at Round House Theatre, Blake Robison, artistic director, January-February 2008. lt was subsequently presented at Berkshire Theatre Festival, Stockbridge, Mass., Kate Maguire, artistic director, July 13-20, 2008, and at Arena Stage, Washington, D.C., Molly Smith, artistic director, Oct 9-Nov. 6, 2008. Development of The Book Club Play was supported by the Eugene O’Neill Theater Center during a residence at the National Playwrights Conference of 2007 and at the Playwrights’ Center in Minneapolis, Dr. Polly Carl, producing artistic director. Produced by special arrangement with THE DRAMATIC PUBLISHING COMPANY, INC., of Woodstock, Illinois.

There will be a talkback with members of the cast and creative team immediately following the performance on Friday, February 4

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

Photo courtesy of the Tuero family THEATRE.UTAH.EDU

DIRECTOR’S NOTE When I read a play, the first thing I want to do is understand and connect with each character. How do these characters impact one another? How do I relate to them? • Like Ana, I want to have control. I’m a director, after all. I understand how stressful it can feel when things don’t go according to plan. • Like Rob, I love the habit of getting together with a group—going to a class, a club, or meeting. Sharing food, a drink, or a story is a great way for people to connect. • Like Will, I considered getting a degree in library science. I grew up with fantasies of having a library in my home. My elementary school librarian, Mrs. Freeman, was one of the smartest people I had ever met, and I wanted to be like her when I grew up. • Like Lily, I am easily swept away by romance. I am on “Team Jacob.” I love Mr. Darcy. My heart breaks for Jane Eyre and Heathcliff. • Like Jen, I’m a bit of an introvert. I love observing the room; I only let my guard down with true friends around. • Like Alex, sometimes I like to stir the pot and play devil’s advocate, but not at anyone’s expense: only for something I believe in. When I direct a play, I want the audience to recognize their friends, family, colleagues, and themselves in the characters we have assembled on stage. Yes, The Book Club Play is about books. It provides a fervent argument for the power of books to change our lives, particularly when we share those books with the people we love. But, and possibly more importantly, it’s about community. It’s about people gathering time and again to share their histories and their perspectives, choosing to connect. Even when things don’t go according to plan, books and theatre can help us connect with people—maybe the smartest people we’ll ever meet, or the true friends who help us let our guard down, or both. They can sweep us away. They can inspire us to stand up for something we believe in. A club is greater than the sum of its parts, and when people share a passion and a purpose (like the motley crew of characters you’ll see on the stage), they can recognize themselves in one another. With this production of The Book Club Play, students, faculty and staff have come together with shared passion, purpose, and enormous heart and soul to tell a story that we hope you will ponder and enjoy. PENELOPE CAYWOOD, DIRECTOR

DRAMATURG NOTE To our new Book Club members:

Thanks for joining us! Just in case you need them, here are summaries of the books we’ll be discussing. Moby Dick by Herman Melville is a saga of adventure and vengeance. Ishmael and his unlikely friend Queequeg board the whaling ship “The Pequod,” seeking work as whalers. They quickly learn that their mysterious captain Ahab has set out on this journey to hunt one whale, Moby Dick: not for profit, but to avenge the loss of his leg. As their journey continues, tensions rise among the crew. Some enthusiastically submit to Ahab’s quest, while others are skeptical, fearing that Ahab’s efforts are dangerous and fruitless. When they eventually encounter Moby Dick, the whale overpowers them, killing everyone except Ishmael, who lives to tell the tale. When first published, Moby Dick was the subject of much critical discussion, and remains so to this day—partly due to questions of genre and homoerotic themes. However, it has since become an American classic. Wuthering Heights by Emily Bronte is a tale of love and loss. Mr. Earnshaw, owner of the manor house from the novel’s title, brings home the young orphan boy Heathcliff. Mr. Earnshaw raises Heathcliff as his own while neglecting his children Hindley and Catherine. Catherine grows close to Heathcliff, but Hindley detests him. After his father’s passing, Hindley inherits the manor and treats Heathcliff as a servant. When Catherine becomes engaged to another man, Heathcliff runs away. He returns years later as a rich man, seeking revenge on those who have wronged him. After the death of Hindley, he inherits the manor but continues his obsession with Catherine. When she dies in childbirth, Heathcliff begs her spirit to remain with him on earth, slowly falling into an obsessive madness that eventually leads to his death. Despite its dark nature, this novel is commonly compared to modern love stories for its depictions of love and dedication that blur the line between passion and insanity. The Da Vinci Code by Dan Brown is a fast-paced thriller that follows Robert Langdon, a professor of symbology, as he investigates the mysterious murder of the Louvre Museum’s curator with the help of the curator’s estranged granddaughter, Sophia, Together they evade police capture and a secret society as they follow a string of clues left behind that will supposedly lead them to the Holy Grail. Through their search, they learn that Sophia’s family are the direct descendants of Jesus Christ and Mary Magdalene and that the Grail is allegedly hidden under the Louvre. The book was an international bestseller, but multiple Christian denominations have denounced it as blasphemous, citing historical and biblical inaccuracies.

Of course, we encourage you to read the books themselves, and we hope these summaries are helpful. A complete reading list, as well as detailed information of all the books mentioned throughout the book club meetings, can be found on our dramaturgical site: thebookclubplay.wordpress.com You can also visit this site by scanning the QR code below with your phone’s camera:

Welcome to our book club, and thanks again! KALISTA VORDOS, DRAMATURG

L-R: Amona Faatau, Victoria Arlofski, Tristrian Osborne, Dylan Burningham, Favour Bright-Agindotan, Niki Rahimi

CAST OF CHARACTERS CAST

ROLE

Victoria Arlofski Ana Favour Bright-Agindotan

Lily

Dylan Burningham Rob Amona Faatau Alex Tristian Osborne Will Alexis Pullen Pundit (Thurs/Sun) Niki Rahimi Jen Max Villa Pundit (Fri/Sat) Danny Borba Understudy Hannah Keating Understudy SETTING A living room in the United States circa now, more or less

L-R: Tristrian Osborne, Favour Bright-Agindotan, Victoria Arlofski, Niki Rahimi, Dylan Burningham, Amona Faatau

WHO’S WHO IN THE COMPANY CAST VICTORIA ARLOFSKI (Ana) is a sophomore in the ATP from Ogden, Utah. Recent credits include Dominika in The Night Witches (U of U, Virtual) and Will & Whit the Musical (Open Door Productions). Victoria was recognized by SJCHS THEATRE as “Best Thespian” in 2018, and as “Best Actress” for playing Lee in Marvin’s Room. She would like to thank her family, friends, and loved ones for their love and support. Victoria is a proud recipient of The Richard T. and Lonna Brown Scholarship.

family, and friends for their support. Dylan is a proud recipient of the Lady Bracknell Scholarship. AMONA FAATAU (Alex) is a senior in the ATP and a Samoan actor from Magna, Utah. Audiences may recognize him from other University of Utah productions like The Odyssey (Babcock) as Telemachus, or as Chuck from She Kills Monsters (Kingsbury). He would like to send out a big “thank you” to Hannah and all of his family, friends, professors, and peers for all of their support.

FAVOUR BRIGHT-AGINDOTAN (Lily) is currently a senior majoring in communication sciences and disorders with a minor in theatre. Audiences at the University of Utah may have seen her as Denizen of Heaven in The Odyssey (Babcock) as well as Person 2/Kim in It Doesn’t Rain Enough (Studio 115). Favour is excited and grateful for the opportunity to end her University of Utah Theatre career as Lily.

TRISTIAN OSBORNE (Will) is a junior in the ATP who was born and raised in Salt Lake City. Tristian’s previous credits in the department include Valère in Tartuffe (U of U, Virtual), and Satin in The Lower Depths (dir. Alexandra Harbold). Most recently, Tristian was the Assistant Stage Manager for Sympathizer and played Captain Stanhope in Journey’s End (Wasatch Theatre Company). He would like to thank the audience for supporting the performing arts during this time.

DYLAN BURNINGHAM (Rob) is a senior in the ATP and was born and raised in South Jordan, Utah. Previous department credits include Henry/Bishop of Canterbury/Boy/ Grey/Bourbon in Henry V (U of U, Virtual), Malcolm in Macbeth (Studio 115), Reporter/Local in Floyd Collins (Babcock), and Vaska Pepel in The Lower Depths (dir. Alexandra Harbold). He thanks his professors,

ALEXIS PULLEN (Pundit), is a senior in the ATP from Houston, Texas. Recent credits include Polina in The Night Witches Flipote in Tartuffe (U of U, Virtual) and Person #1 in It Doesn’t Rain Enough by Jillian DiNucci (Studio 115). They are excited to be back doing live theatre and working with such an amazing cast, crew, and creative team. Alexis would like to thank their

WHO’S WHO IN THE COMPANY family and friends for their continued love and support, and Penny for her encouragement and direction. NIKI RAHIMI (Jen) is a senior in the MTP. Recent credits include Narrator/Ensemble in #SLACabaret at Salt Lake Acting Company and Lady Macduff/Donalbain in Macbeth (Studio 115). Niki is also looking forward to playing Maria in Illyria (Babcock) this spring. She would to thank her friends and family for their support, as well as the cast and crew for making this show such a wonderful experience. MAX VILLA (Pundit, Friday/Saturday performances) is a junior in the ATP. Originally from Chicago, Illinois, Max has lived in Salt Lake City for about three years. In addition to his role in The Book Club Play, Max played the role of Cléante in Tartuffe (U of U, Virtual) and has worked in film projects with his classmates. Through his chosen field of study, he hopes to focus on voice work, movement work, and screen acting as well as theatre. DANNY BORBA (Understudy) is a senior in the ATP. Recent credits include Ensemble for Elf The Musical (Pioneer Theatre Company), and Henry/French King in Henry V (U of U, Virtual). Past credits include Aeolus in The Odyssey (Babcock), Jack Palmer in The Boys Next Door, and Aldolpho in The Drowsy Chaperone (Orem High School). Recently, Danny has

been working on High School Musical: The Musical: The Series for Disney+. Danny is of Mexican and Argentine descent and is proud to be a Latino actor. He thanks his family and friends for their support and love. HANNAH KEATING (Assistant Director/Understudy) is a senior in the MTP, and is thrilled to be in their final semester before graduating. Recent credits include Eurycleia in The Odyssey (Babcock) and Shelly in Theatrics Online. She has also worked as Assistant Director on Songs for a New World (Babcock) and The Emily Dickinson Musical (Open Door Productions), Dramaturg on Floyd Collins (Babcock), and Director of Manic Pixie Nightmare (Great Salt Lake Fringe). Audiences can see them next in Something Rotten (Pioneer Theatre Company). Many thanks to Penny, her family, and the cast. Hannah is a proud recipient of the Keith and Amy Engar Scholarship.

CREATIVE TEAM PENELOPE CAYWOOD (Director/ Choreographer) is delighted to be directing for the Department of Theatre for the first time. Recently she directed and choreographed Elephant and Piggie: We are in a Play at Salt Lake Acting Company and directed the world premiere of Fremont Junior High is Not Doing Oklahoma for Good Company Theatre. Past directing projects at

WHO’S WHO IN THE COMPANY Salt Lake Acting Company include Pete the Cat, Pinkalicious, The True Story of the Three Little Pigs, Diary of a Worm, a Spider, and a Fly, Art Dog, A Year with Frog and Toad, Cat in the Hat, Click Clack Moo: Cows That Type, How I Became a Pirate, and If You Give a Mouse a Cookie. Penelope is an adjunct assistant professor for Theatre Teaching and the artistic director for Youth Theatre at the U. Youth Theatre provides in- and out-of-school programming in theatre for youth aged 5 to 18 as well as multiple residencies and professional development workshops for classroom teachers. With her internationally recognized and nationally award-winning high school Conservatory, she devises and creates new work every year. Penelope is a board member for both the Utah Advisory Council of Theatre Teachers and the American Alliance for Theatre and Education.

handbook Arts for Health: Theatre (Emerald Publishing). Dr. CheekO’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.

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

COLTER LINCOLN (Assistant Stage Manager) is a sophomore in the Stage Management Program. Recent credits include Assistant Light Designer for Naked Mole Rat Gets Dressed: The Rock Experience (Babcock), Light Designer for Beauty and the Beast and Adam Pascal in Concert (On Pitch Performing Arts), and Stage Manager for The Phantom of the Opera (Layton High). He would like to thank his mentor, Brandon Stauffer.

AILISH HARRIS (Projection Designer/ Assistant Production Manager) is a junior in the PADP and the Stage Management Program. Recent credits include Stage Manager for Naked Mole Rat Gets Dressed: The Rock Experience (Babcock) and the Great Salt Lake Fringe Festival, Scenic Charge Artist for Storm Still (Babcock), Sound Designer for Henry V (U of U, Virtual), and ASM for The Odyssey (Babcock). She would like to thank her family for their support, her boyfriend for his patience and heart, and her mentors at the U for their wisdom and generosity.

WHO’S WHO IN THE COMPANY PAIGE LINFORD (Production Assistant) is a freshman in the Stage Management Program, and was born and raised in the Salt Lake City area. This is her first collegiate show, and she is excited to add more department shows to her resume in the future. Prior to attending the University of Utah, she worked on several productions at her alma mater, Viewmont High School. ERIN MURPHY, (Scenic Designer) is a senior in the PADP (Scenic Design/ Technical Directing emphasis) from San Francisco, California. Erin has worked on She Kills Monsters (Kingsbury), Henry V (U of U, Virtual), Storm Still (Babcock), and Naked Mole Rat Gets Dressed: The Rock Experience (Babcock) doing rigging and technical work. She would like to thank her parents as well as Kyle and Halee for their continued support. NIKAYLA NIELSON (Lighting Designer) is a sophomore in the Performing Arts design program (Lighting emphasis) and a minor in animation. She started designing during her sophomore year of high school with a production of Rodgers and Hammerstein’s Cinderella. Since then, Nikayla’s credits include Assistant Lighting Designer for Ain’t Misbehavin’ and Ass (Pioneer Theatre Company), as well as theatre and commercial work for Four Seasons Theatre Company, Fat Fish Media, and Clear Lamp.

MARCI PIÑA (1st Assistant Stage Manager), is a junior in the Stage Management Program. She was recently Stage Manager for The Emily Dickinson Musical (Open Door Productions). Marci has previously worked as the Stage Manager for Ícaro Compañía Teatral—a professional theatre company in Mexico City—and also worked on Urinetown (Teatro Milán), The Pillowman (Foro Lucerna), and A Midsummer Night’s Dream (Foro Lucerna). ARIKA SCHOCKMEL (Prop Designer) has worked extensively in props and costume crafts for theatre, television, and film. She is the Prop Manager for the Department of Theatre and also 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, Lyric Rep. USU Alum. Member of S.P.A.M., the Society of Prop Artisan Managers. Other projects include stage management, music, event hosting/emceeing, props for film and television, and the occasional acting gig. SARAH SHIPPOBOTHAM (Intimacy Director) is a professor in Acting, Dialects, and Voice in the Actor Training Program at the University of Utah. Sarah trained as an actor at The Welsh College of Music and Drama in Wales before gaining a Postgraduate Diploma in Voice

WHO’S WHO IN THE COMPANY Studies from The Royal Central School of Speech and Drama in London. LILLY STONE (Sound Designer) is a junior majoring in sound design and audio engineering. Her recent credits include working as A1 Engineer for Tartuffe (U of U, Virtual) and Assistant Sound Designer for Alabaster (Salt Lake Acting Company). Her design for The Book Club Play includes her first composition work. Lilly would like to thank her parents for their continued support of her career path. She is the proud recipient of the Flagship Scholarship. BRITTANY TIMPSON (Stage Manager) is a senior in the Stage Management Program and will be earning her Stage Management Certificate at the end of the semester. She is excited to be stage managing her first show for the Department of Theatre. Recent credits include Production Assistant for The Emily Dickinson Musical (Open Door Productions), Stage Manager for the Great Salt Lake Fringe Festival, and Assistant Stage Manager for Henry V (U of U, Virtual). Brittany would like to thank her friends and family for their support—especially her dad for his pride in her, and her mother who never stopped believing in her.

KALISTA VORDOS (Dramaturg) is a senior in Theatre Studies and the Stage Management Certificate program. Previous department credits include The Night Witches (U of U, Virtual), She Kills Monsters (Kingsbury), and Macbeth (Studio 115). Credits outside the U include The Rocky Horror Show (The Grand) and The Birdsinger, Heist of the Princess Diamond, and Pioneer Song (The Great Salt Lake Fringe). After graduation she intends to pursue a doctorate in psychology and social intervention, studying the effects of participation in performing arts on social and behavioral development. ELIZABETH WEBB (Costume Designer) is a junior in the PADP (Costume Design emphasis) and was born and raised in Alpine, Utah. This is her first production with the Department of Theatre. Prior to attending the U, Elizabeth participated in several productions at Karl G Maeser Prep. Academy and Alpine Community Theatre. Elizabeth would like to thank her parents, mentors, and professors for their confidence, support, and endless assistance. Elizabeth is a recipient of the Utah Flagship Scholarship.

PRODUCTION STAFF AND ADVISORS Technical Director Kyle Becker Assistant Technical Director Halee Rasmussen Scenic Charge Artist Sam Dalton Scenic Mentor Gage Williams Costume Mentor Brenda Van der Wiel Costume Shop Manager Wendy Massine Assistant Props Designer Camille Dedman Production Manager and Stage Management Area Head Amber Bielinski Asst. Production Manager Ailish Harris 1st Asst. Stage Manager Marci Piña 2nd Asst. Stage Manager Colter Lincoln Production Assistant Paige Linford Intimacy Director Sarah Shippobotham Faculty Advisor for Lighting and Media Design Faculty Advisor for Sound Design Faculty Advisor for Properties Design PADP Area Head and Faculty Advisor for Costume Design Faculty Advisor for Scenic Design Faculty Advisor for Hair and Makeup Design

Michael Horesji Jennifer Jackson Arika Schockmel Brenda Van der Wiel Gage Williams Samantha Wootten

CREW

House Manager Sam Dalton Assistant House Manager Eva Merrill Soundboard Operator Mariah Stanelle Sound Assistant Eunkyung Lee Lightboard Operator Emily Tatum Light Assistant Kassi Dobler Hair/Makeup: Hannah Salas, Akina Yamazaki Props/Deck: Victoria Tinsley, Zoe Seare, True Leavitt, Spencer Barber, Noah Bradford, Luke Foti Wardrobe: Lila Prince, Maggie Goble, James Wong, Mathew Jbara, Jordan Cruz

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. artspass.utah.edu

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

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 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.

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

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