In Sisters We Trust, or My F*cked Up American Girl Doll Play

OCTOBER 20 AT 7:30 P.M. (PREVIEW) OCTOBER 21-22, 26-29 AT 7:30 P.M. OCTOBER 23 AT 2:00 P.M.

B. IDEN PAYNE THEATRE F. LOREN WINSHIP DRAMA BUILDING

THEATREDANCE.UTEXAS.EDU

Meagan Beattie – Costume Designer • Sydny DeMeyer – Properties Show Manager Sarah Jean Elliott – Lighting Designer • Rebecca Fitton – Dramaturg Clarissa Garcia – Stage Manager • Daniel Geld – Technical Director Justine Gelfman – Playwright • Andy Grapko – Intimacy Director • Inji Ha – Scenic Designer Jason Lee Huerta – Technical Director • Jenny Lavery – Director Elias Merlo – Associate Sound Designer • Tobie Minor – Fight Director Benjamin Randall – Projection Designer • Peter Stopschinski – Sound Designer and Composer

CAST (IN ORDER OF APPEARANCE) Joaquin/Bob. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Simon Salinas Jr. Felicity/Grace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ava Nielsen Josefina/Aerin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Chantell Gonzalez Kirsten/Stefanie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Angela Mata Addy/Jordan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mack Thornton Samantha/Maude) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ashley Diaz Kit/Jemma. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Keeley Bryant Molly/Lulu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grace Featherston Kaya/Maggie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Madison Palomo Harmony/Elder Member . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Barbara Chisholm*

There will be one 15-minute intermission.

Videography and photography is strictly prohibited.

*Appears by permission of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States.

NOTE FROM THE PLAYWRIGHT American Girl was the overpriced girlhood empire of my youth. My pilgrimage to the flagship Chicago store at age seven was a religious experience. I had Kit, so it’s comforting that even then, I gravitated towards the doll who was neurotic with low-grade anxiety. Afer all, she was growing up in the Great Depression.

Today, American Girl Dolls are $115, which doesn’t include their expensive and endless array of accessories. While the company is well intended, most of what it preaches glosses over history, painting a reductive and harmful view of America for young girls. The corporate monolith has also been confronted with questions of access and exclusivity: what’s the benefit of these dolls if you only benefit a certain kind of girl?

While chipping away at In Sisters We Trust, I was working front desk at a female co-working space called The Wing. The space positioned itself as a rosy-colored female utopia. It ofered support and perks for “women of all definitions,” but membership was $250 a month. I began to write about my experience behind the curtain, investigating the hierarchy of female empowerment, the chaotic group dynamics and the cognitive dissonance of performing femininity within that space.

In Sisters We Trust, or My F*cked Up American Girl Doll Play links these two glossy well-intended companies in a repetitive feedback loop. I am eternally fascinated by large female-led communities and the systems that organize and terrorize them. I’m hoping that if we can unearth the harm and hypocrisy of building a female utopia on the foundation of capitalism, a system designed by men for men, we can begin to build something more honest that can bloom in the cracks of it.

The Department of Theatre and Dance is a world-class educational environment that serves as the ultimate creative incubator for the next generation of artists, thinkers and leaders in theatre and performance.

NOTE FROM THE DIRECTOR This summer, we saw an incredible rise of Instagram accounts rifing on the American Girl empire.

These popular memes gained the attention of prominent publications like The New York Times, Vogue and The Washington Post. Just as children use dolls to role play and process their lives, people of all ages have returned to these dolls to work through their thoughts on what is happening in our highly stressful, strange and chaotic world.

Recently, American Girl has released a new Black doll, Claudie; only the fourth Black doll in the company’s historical line. That same week, it was unceremoniously announced that The Wing would shutter all locations efective immediately. With this shuttering, many are declaring the end to the #girlboss era, an era built on a faulty foundation. It has been refreshing, cathartic and synchronic to work on this play now as a similar narrative unfolds in real life.

When I first encountered In Sisters We Trust, I was struck by the humor, scale and wild theatricality that Justine uses to talk about the complexities of accessibility, representation and inclusion. I fell in love with this large ensemble of characters who are full of contradictions and plurality. These imperfect women are striving for utopia in a world that is built to fail and puppeted constantly by patriarchal and capitalist forces.

To imagine a way forward, we need to first examine the cycles we keep repeating that are perhaps built on good intentions, but cause harm. I hope that the humor and wildness of this play can open the door to meaningful conversations and to really ask what we can do diferently.

This show is an independent creative work presented by the Department of Theatre and Dance at The University of Texas at Austin and not related to, or endorsed by, American Girl, LLC or Mattel, Inc. American Girl and associated trademarks are owned by American Girl, LLC

CREATIVE Meagan Beattie (Costume Designer) is a second-year M.F.A. in Theatre (costume design) candidate. Prior to attending The University of Texas at Austin, she worked as a freelance costume designer for storefront theatres and independent films in Chicago. Recent costume design credits with Texas Theatre and Dance include Cositas (Fall For Dance, 2021) and Tiny Fingerprints (UTNT (UT New Theatre), 2022).

Sydny DeMeyer (Properties Show Manager) is a B.A. in Theatre and Dance major with an emphasis in design and technology. This is her second production as a properties show manager. Previously, she has worked on The Turn of the Screw (Butler School of Music, 2021), Sow and Suckling (UTNT (UT New Theatre), 2020) and Tiny Fingerprints (UTNT (UT New Theatre), 2022).

Sarah Jean Elliott (Lighting Designer) is secondyear M.F.A. in Theatre (live design and production) candidate at The University of Texas at Austin. She earned her B.A. in Theatre from the University of Tennessee, Knoxville. Her most recent design credits with Texas Theatre and Dance include Jinkies! or The Dog Play (UTNT (UT New Theatre), 2022) as well as PIVOT (2022) and Fall For Dance (2021) with Dance Repertory Theatre.

Rebecca Fitton (Dramaturg) cultivates community through movement, food and conversation.

Her work focuses on arts and culture policy and disability justice. Fitton currently produces for Will Rawls, performs with Adrienne Westwood and organizes with Structures for Change and Dance Artists’ National Collective. They hold a B.F.A. in Dance from Florida State University and are currently pursuing a M.A. in Theatre with a specialization in performance as public practice at The University of Texas at Austin.

Clarissa Garcia (Stage Manager) is a secondyear B.A. in Theatre and Dance major with an emphasis in stage management at The University of Texas at Austin. She has a background in stage management, scenic design and lighting design. Her recent credits include serving as assistant stage manager for Alice's Wonderland

(Summer Stock Austin), as well as working with wardrobe and special efects makeup for productions as part of UTNT (UT New Theatre), 2022.

Daniel Geld (Technical Director) is a senior student assistant at the Texas Performing Arts Fabrication Studios and a B.A. in Theatre and Dance major with an emphasis in live design and production at The University of Texas at Austin. He will be graduating in December and plans to pursue a career in technical theatre. Recent credits with Texas Theatre and Dance include technical direction for Love and Information (2022) and assistant technical direction for The Tasters (2021).

Justine Gelfman (Playwright) is a M.F.A. in Theatre candidate with a specialization in playwriting at The University of Texas at Austin.

Her work has been developed or produced at Williamstown Theatre Festival, the Dennis and Victoria Ross Foundation Playwrights Program, Theater Masters’ Take Ten, IRT Theater, Einhorn School of Performing Arts/Primary Stages, Dixon Place, The Flea, New York International Fringe Festival, Pete's Candy Store, Kenyon College and Northwestern University. She has been a resident at SPACE on Ryder Farm, Sewanee Writers' Conference and Kenyon Playwrights Conference. B.A. - Northwestern University.

Andy Grapko (Intimacy Director) is a lecturer and resident intimacy director for the Department of Theatre and Dance. Her training includes Intimacy Directors and Coordinators, Theatrical Intimacy Education and Intimacy for Stage and Screen.

A Stage Directors and Choreographers Society Associate and Association of Theatre Movement Educators member, her recent credits include Anna in the Tropics (Ground Floor Theatre), Venus in Fur (Way Of Broadway Community Players), Murky as Hell (UTNT (UT New Theatre), 2022), The Tasters (Texas Theatre and Dance, 2021) and the upcoming film Clock. andygrapko.com Inji Ha (Scenic Designer) is a M.F.A. in Theatre (scenic design) candidate at The University of Texas at Austin. She received her B.F.A. in Theatre Design and Technology with a focus in scenic

CREATIVE design and scenic work at Auburn University.

Recent design credits include Detroit ‘67 (Auburn University Theatre, 2022), Love and Information (Texas Theatre and Dance, 2022), The Elixir of Love (Butler Opera Center, 2021), sad women being sad (UTNT (UT New Theatre), 2021) and The Theory of Relativity (Auburn University Theatre, 2019).

Jason Lee Huerta (Technical Director) is the Operations Manager, Fabrication for Texas Performing Arts at The University of Texas at Austin. He has a M.F.A. in Scenic Technology from the University of Illinois Urbana-Champaign. Recent credits with Texas Theatre and Dance include The Tasters (2021), Anon(ymous) (2017) and The Drowsy Chaperone (2017).

Prior to coming to Austin, he worked at various theatres including Goodman Theatre, Illinois Shakespeare Festival, South Texas College and the University of Texas Rio Grande Valley.

Jenny Lavery (Director) is a director, producer, educator and performer who champions new works. Lavery is the founding producing artistic director of Austin's Theatre en Bloc and holds a B.F.A. from New York University, an M.Ed. from University of Massachusetts and an Executive Strategy for Non-Profit Management Certification from the University of Pennsylvania. She is a Stage Directors and Choreographers Society Associate Member and a second-year M.F.A. in Theatre candidate with a specialization in directing. Credits with UT Austin include Red Bike (director), Am I Busy Yet (director) and UTNT (UT New Theatre), 2022 (student producer). jennylavery.com Elias Merlo (Associate Sound Designer) is a B.A. in Theatre and Dance major with an emphasis in playwriting and directing at The University of Texas at Austin. He enjoys working with sound and is pursuing a career in sound design.

Past credits include sound design for PIVOT

(Texas Theatre and Dance, 2022) and assistant sound design for The Elaborate Entrance of Chad Deity at ZACH Theatre in Austin, Texas.

Tobie Minor (Fight Director) teaches stage combat and movement at Texas State University. He has been a certified Advanced Actor Combatant with the Society of American Fight Directors for 22 years. He has choreographed violence at Texas State University, The University of Texas at Austin, St. Edward’s University, ZACH Theatre, Austin Shakespeare, Austin Playhouse, Hidden Room Theatre and Penfold Theatre. He has been nominated and won several awards both locally and internationally, and his choreography has been featured at the Blackfriars Conference and at The Globe Theatre in London.

Benjamin Randall (Projection Designer) is a M.F.A. in Theatre (integrated media for live performance) candidate at The University of Texas at Austin. With his B.S.A. in Computer Science and lifelong interest in music and performance, Randall folds his skills together to design generative and AI-based media for live events. Recent projection design credits with Texas Theatre and Dance include A Million Alien Gospels (PIVOT, 2022), Chlorobo (The Cohen New Works Festival, 2021) and The Horizon and the Ofing (Fall For Dance, 2021).

Peter Stopschinski (Sound Designer and Composer) has an extremely wide-ranging musical career ranging from co-founding the noise-punk big band Brown Whörnet to co-founding Golden Hornet Project with Graham Reynolds to producing drag-terrorist pop sensation CHRISTEENE to working with theatre superstars Rude Mechs to playing Farfisa organ in the cumbia band Money Chicha nominated for Best Latin Album at the 2021 Austin Music Awards. His chamber opera, Lardo Weeping, commissioned by Local Opera Local Artists, just premiered in August 2022.

CAST

Simon Salinas Jr.

Angela Mata

Ava Nielsen

Mack Thornton

Grace Featherston

Chantell Gonzalez

Ashley Diaz

Madison Palomo

Keeley Bryant

Barbara Chisholm

CAST Simon Salinas Jr. (Joaquin/Bob) is a fourthyear B.A in Theatre and Dance major with an emphasis in performer’s process. Recent credits with Texas Theatre and Dance include “Bobby” in Tiny Fingerprints (UTNT (UT New Theatre), 2022) and “Dad” in A Pregnant Pause (The Cohen New Works Festival, 2021), as well as “Joe” in the thesis project Cafeteria Formosa.

Angela Mata (Kirsten/Stefanie) is a secondyear B.A. in Theatre and Dance major with an emphasis in performer’s process at The University of Texas at Austin. She has an extensive background in acting, with previous credits in Take the Wheel’s production of Uncommon Objects and the UTNT (UT New Theatre) production of Murky as Hell (2022).

Ava Nielsen (Felicity/Grace) is a B.A. in Theatre and Dance major with an emphasis in performer's process and a minor in Radio-TelevisionFilm. She has an extensive background in singing, dancing, acting, sound design, videography and video editing. Credits with Texas Theatre and Dance include Tiny Fingerprints (UTNT (UT New Theatre), 2022) and CTRL (The Cohen New Works Festival, 2021). Other credits at The University of Texas at Austin include Rocky Horror Picture Show and The 40th Annual Madrigal Dinner through Campus Events + Entertainment.

Mack Thornton (Addy/Jordan) is a first-year pursuing a B.A. in Theatre and Dance with an emphasis in performer's process. In Sister We Trust, or Our F*cked Up American Girl Doll Play will be Thornton's first production with Texas Theatre and Dance. They previously participated in productions as part of Summer Stock Austin's 2022 season, which consisted of In The Heights, the new original musical Alice's Wonderland and new original musical film entitled How To Musical Theatre.

Chantell Gonzalez (Josefina/Aerin) is a second-year B.A in Theatre and Dance major with an emphasis in performer’s process. She has an extensive background in acting, as well as lighting design, photography and video editing. This is her first production with Texas Theatre and Dance. Other credits include Take the Wheel’s staged reading of The Kidney Play (2022) as “Marie,” as well as several short films.

Ashley Diaz (Samantha/Maude) is a third-year Radio-Television-Film and Theatre and Dance double major with an emphasis in performer’s process at The University of Texas at Austin.

Her recent credits with Texas Theatre and Dance include crew work for productions by Dance Repertory Theatre. She also co-created and acted in the thesis project Cafeteria Formosa (2021). She is an active member of Texas Sweethearts and Texas Delta Kappa Alpha.

CAST Keeley Bryant (Kit/Jemma) is a third-year B.A. in Theatre and Dance major with an emphasis in performer's process at The University of Texas at Austin. This is her second production with Texas Theatre and Dance. Other credits include an appearance in the “Vestal Virgin Army” in Murky as Hell (UTNT (UT New Theatre), 2022) and multiple short film projects with the Department of Radio-Television-Film.

Grace Featherston (Molly/Lulu) is a fourthyear UTeach Theatre major at The University of Texas at Austin. Recent credits with Texas Theatre and Dance include Love and Information (2022) and Tjipetir: A Search History (UTNT (UT New Theatre), 2020), as well as the director’s studio project Red Bike (2021) and a number of staged readings. Featherston has also had the pleasure of working on the sets of Look Both Ways, Walker and Fear the Walking Dead.

Madison Palomo (Kaya/Maggie) is an actor based in Austin, Texas. Her most recent credits include “Ria” in Lifed (Filigree Theatre) and “Judy Moody” in Judy Moody & Stink: The Mad, Mad, Mad, Mad Treasure Hunt (Scottish Rite

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Theater). This spring, she will tour in the awardwinning show Cenicienta with Glass Half Full Theatre, playing the role of “Belinda.” Palomo has toured across the country in various TYA projects. When not in shows, Palomo works as a site coordinator for Creative Action, a nonprofit that brings the arts to schools in Austin.

Barbara Chisholm (Harmony/Elder Member) teaches acting and has been a professional Austin-based actor for more than 25 years. Credits include Incident at Our Lady of Perpetual Help and Misery (Cincinnati Playhouse in the Park), Tiny Beautiful Things (Austin Playhouse), Erma Bombeck: At Wit’s End (Arena Stage, Washington, D.C.; Cincinnati Playhouse in the Park) and Fixing King John (Rude Mechs). She has also performed at the Playwrights’ Center, Berkeley Repertory Theatre, The John F. Kennedy Center for the Performing Arts, ZACH Theatre and San Diego Repertory Theatre. Film credits include the Oscarnominated Boyhood, Fault Line (oficial Cannes Festival Indie Shorts entry) Mr. Roosevelt and Fast Food Nation, among others. On television she appeared in American Crime and Friday Night Lights.

WHAT’S ON STAGE

LOCATION, DIRECTIONS, PARKING

CREW

ASSISTANT DIRECTOR ARIA MORGAN ASSISTANT STAGE MANAGER KATELYN NGUYEN ASSISTANT COSTUME DESIGNER KATIE CONCANNON ASSISTANT LIGHTING DESIGNER ZACHARY YOUNG ASSISTANT PROJECTION DESIGNER AJ HURTADO ASSISTANT SCENIC DESIGNER DANIEL RUIZ BUSTOS ASSOCIATE DIRECTOR, TPA* FABRICATION STUDIO J.E. JOHNSON ASSOCIATE DIRECTOR, TPA* FABRICATION STUDIO KAREN MANESS TPA* SENIOR TECHNICAL DIRECTOR SCOTT BUSSEY PROJECT MANAGER, TPA* FABRICATION STUDIO DAVID TOLIN OPERATIONS MANAGER, TPA* FABRICATION STUDIO JASON LEE HUERTA PROPERTIES MANAGER, TPA* FABRICATION STUDIO CAROLYN HARDIN

LEAD FABRICATOR, TPA* FABRICATION STUDIO HANK SCHWEMMER PROJECT SPECIALIST, TPA* FABRICATION STUDIO ASHTON BENNETT MURPHY GRADUATE PRODUCTION ASSISTANTS DANIEL BUSTO TERE GUERRERO CARDOSO INJI HA TENZING ORTEGA ALEXANDER ROCKEY ADMINISTRATIVE ASSISTANTS KATHRYN CLARK MORGAN RANDALL PRODUCTION LEADS ZOE BIHAN SYDNY DEMEYER DANIEL GELD ISABELLA HOLLIS FABRICATION PRODUCTION ASSISTANTS FEDOR AGLYAMOV LEAH AUSTIN BENJAMIN CERVANTES BRIDGETTE CLIFFORD RODRIGO ESQUIVEL HERRERA GRACE FEATHERSTON DAVID HERNANDEZ VICTORIA ELLYS JEFFERSON BRITTNEY KOOPMANN ROXOLANA KRYWONOS AUSTIN LUCHAK JONAH MAUGHAN HANNAH NELSON NELSON NWACHUKWU NATALIA RODENZO HANNAH SHEPARD JULIA ANN WEBB MICHAEL WILLIAMS JULIA YELVINGTON

PROP STOCK MANAGER EZRA-ROSE BOLENDER SCENERY/PROPS CREW TREVOR GATABAKI FINNEGAN HIGGINBOTHAM JUAN LINDO SAVANNAH PRUITT BELÉN TAMEZ COSTUME PRODUCTION DIRECTOR NANETTE ACOSTA COSTUME PRODUCTION AND FABRICATION STUDIO PRODUCTION ASSOCIATES SAMANTHA GASHETTE DESIREÉ HUMPHRIES DRAPERS SARAH BARBOUR EMMA DICKERSON ARIES LIMON CALIFORNIA THORSON POUA YANG

WIG, HAIR AND MAKEUP ARTIST SERRET JENSEN WIG, HAIR AND MAKEUP ASSISTANT PARIS FULKS COSTUME PRODUCTION AND FABRICATION CREW SUPERVISOR ARIES LIMON COSTUME PRODUCTION AND FABRICATION STUDIO CREW JEREMY CANALES STEPHANIE KELLER RIGOBERTO MUNGUIA RAYCE RISCH ELIJAH RODRIGUEZ JULIA SALAZAR KOLBY TATE WARDROBE SUPERVISOR DESIREE TOWNES

COSTUME PROJECT MANAGER SAMANTHA GASHETTE

WARDROBE CREW CHIEF VERONICA GOTWAY KATIE MILLER

FIRST HANDS LUCIA CALLENDER MARISA LAWRENCE KATIE MILLER CALIFORNIA THORSON

WARDROBE CREW ALEXANDRA GREYSON LONDON LACK LUCY NICHOLS NAAMA OZERI

STITCHERS JACOB BENAIM RACHEL GREEN JULIE WEBB

COSTUME STOCK SUPERVISOR DESIREÉ HUMPHRIES

COSTUME CRAFTS ARTISAN TANYA OLALDE COSTUME CRAFTS ASSISTANT LEAH HUMMEL COSTUME PRODUCTION AND FABRICATION STUDIO ASSISTANT KATHERINE COCANNON

COSTUME STOCK ASSISTANTS MEAGAN BEATTIE LAYLA ISSAC 324P LIGHTING FACULTY SUPERVISOR SEB BOONE TPA* LIGHTING SUPERVISOR SARAH CANTU

CREW

TPA* ASSOCIATE LIGHTING SUPERVISOR MICHAEL SHANKS SENIOR LIGHTING TECHNICIANS SARAH "SELLIOTT" ELLIOTT ARI JAMIESON GAVIN STRAWN ZACH YOUNG TEXAS THEATRE AND DANCE LIGHTING CREW MADY CRISS ELIZA MOLDAWER AVA NIELSEN FATIMAH QURAISHI SHABNAM RASUL ANDREW SOLIS EMILY TORRANCE VICTORIA VARGAS TPA* LIGHTING CREW CARLA GARCIA GILBERT MARTINEZ ZACKARY READ MATTHEW E. SMITH SHELLY UPHAM JACOB ZAMARRIPA

LIGHT BOARD OPERATOR ELLYSE JEFFERSON TPA* AUDIO SUPERVISOR ANDREW MILLAY TPA* AUDIO CREW ISABELLE GILMORE LUCY KULZICK ELIAS MERLO BRYCE RIGGLE AUDIO BOARD OPERATOR BRYCE RIGGLE INTEGRATED MEDIA SHOP SUPERVISOR EARNEST MAZIQUE MEDIA GRADUATE ASSISTANTS JACKSON COBB ALFRED HURTADO HEEKYUNG KIM SYDNEY SOUSA MEDIA SHOP INTERN AMBER HUCHTON

MEDIA SHOP CREW SAYLOR DEMENT MELISSA ELKINS ELIJAH MENDENHALL JILLIAN RISBERG JOYLIN WEI

COSTUME TECHNOLOGY ADVISOR DAVID AREVALO

MEDIA OPERATOR SARAH JOHNSTON

INTEGRATED MEDIA DESIGN ADVISOR KATE FREER

WIRELESS MIC TECHNICIAN BRANDT AGOSTO-MEDINA CREW SUPERVISOR AUSTIN SHIRLEY STAGE MANAGEMENT ADVISOR RUSTY CLOYES DIRECTING ADVISORS KJ SANCHEZ ALEXANDRA BASSIAKOU SHAW COSTUME DESIGN ADVISOR RAQUEL BARRETO

LIGHTING DESIGN ADVISOR MICHELLE HABECK

SCENIC DESIGN ADVISOR JOSAFATH REYNOSO SOUND DESIGN ADVISOR PHILLIP OWEN TPA* DIRECTOR OF FABRICATION AND ACADEMIC PRODUCTION JEFF GRAPKO PHOTOGRAPHER ESSENTIALS CREATIVE GRAPHIC DESIGNER JEFF GRAY

*TPA = Texas Performing Arts

SPECIAL THANKS Caroline Vaughn, Thomas Burritt, the Butler School of Music, Susanna Wolk, Ashley Chang, Oliver Roth, Doug Ross, Daryl Eisenberg, Ally Beans, Sadie Scott, Lauren Patten, Gabby Beans, Kristine Nielsen, Catherine Cohen, Caitlin Kinnunen, Laura Dreyfuss, Nicole Villamil, Christine Jones, Jonathan Burke, Elizabeth O’Donnell, Sohina Sidhu, Caroline Butin, Joan Sergay, Marnie & Peter Gelfman, Max Gelfman, Emma Orme, Maya Maniar, Sereniti Patterson, Kirk Lynn, KJ Sanchez, Annie Baker, Branden Jacobs-Jenkins, Alexandra Bassiakou Shaw, Pat Shaw, Quetta Carpenter, Christin Davis, Daphne Silbiger, Zachariah Ezer, Kristen Osborn, Braxton Rae, Emma Watkins, Avery Deutsch, Andy Grapko, Megan Alrutz, Aria Morgan, Tori Salazar, Aries Limon, Tobie Minor, Eric Zapata, Amber Quick, Michelle Alexander, Minerva Villareal, Amy Downing, Elise Jacobs, Michael Galvan, Liz Doss, Bridget Farr, Lara Wright, Rebecca Fitton, Andre Martin, Otis LaveryMartin, Hannah Celli, Ilana Herzig, Jane Newchurch, Erin Una Olsen, Jennifer Sturley, Bill McGuire, Liz Beckham, Maggie Schultz, Rachel Auslander, Kelley Henry