The Women of _______ (a song not song)

FEBRUARY 13–17, 2019

OSCAR G. BROKETT THEATRE

Written by I-Chia Chiu, kt shorb and the ensemble FEBRUARY 13–17 AT 7:30 P.M. FEBRUARY 16–17 AT 2:00 P.M.

OSCAR G. BROCKETT THEATRE F. LOREN WINSHIP BUILDING

THEATREDANCE.UTEXAS.EDU

Delena Bradley — Costume Designer • Iman Corbani — Scenic Designer • Kaiwen Fa — Projection Designer Samantha Gashette — Draper • Margaret Jumonville — Associate Director • Vanessa J. Lopez — Draper Adam Miller-Batteau – Fight Director • Jessica Peña Torres — Movement Director and Associate Dramaturg Malyssa Quiles — Sound Designer • Aly Redland — Stage Manager • Alexis Riley — Dramaturg Austin Shirley — Lighting Designer • Jess Shoemaker – Intimacy Choreographer kt shorb — Director • David Tolin — Technical Director

CAST

POST-PERFORMANCE DISCUSSION There will be a post-performance discussion immediately following the Friday, February 15 and Saturday, February 16 evening performances in the Oscar G. Brockett Theatre.

The videotaping, photography or audio recording of this production is strictly prohibited.

COVER PHOTO: LAWRENCE PEART

Cassandra 1 ��������������������������������������������������������������������������������������������������������������������������������������������� Brisa Shaw Cassandra 2 ��������������������������������������������������������������������������������������������������������������������������� Jessica Peña Torres Cassandra 3 �������������������������������������������������������������������������������������������������������������������������������������������Cat Palacios Cassandra 4 ���������������������������������������������������������������������������������������������������������������������������������Elizabeth George Cassandra 5 ����������������������������������������������������������������������������������������������������������������������������������� Vivian Gonzalez Cassandra 6 ���������������������������������������������������������������������������������������������������������������������������� Anapaula Guajardo Cassandra 7 ����������������������������������������������������������������������������������������������������������������������������������� Natalia de Maar Cassandra 8 �����������������������������������������������������������������������������������������������������������������������������Jane Elise Palacios Euripides ������������������������������������������������������������������������������������������������������������������������������ Andrew G. Rodriguez Footnote ���������������������������������������������������������������������������������������������������������������������������������������Guinevere Govea

NOTE FROM THE FACULTY ADVISOR This production gave our students a chance to work within a new system of production that we’re seeing more and more frequently in the field. The conventional model is a “top–down” system: first the playwright writes the play, then comes the director, then the design, then rehearsal, then performance. With this new model, the designers, actors, stage manager, dramaturgs, choreographer and director were all at work before the script

by I-Chia Chiu was finished, working as generative artists rather than interpretive. For many years now, this form of playmaking has been called “devising,” but I think we need to coin a new term for what our young artists are making today. I would call it “opensourced playmaking.” Like open-source software programing, the work is made by a community of people, not just one person, and the material is sourced from a diversity of places and perspectives.

This production has also offered our students a wonderful opportunity to gain experience working in the genre of experimental theatre, also known as avant-garde theatre. Unlike American Realism, in which dramatic action is based on an Aristotelian plot structure, avant-garde theatre invites us, the audience, to experience the performance with the same sort of eyes that we might use when looking at a work of modern art by Yayoi Kusama and to listen with the same sort of ears we might use when hearing a composition by John Cage. We may not walk away with one single “story,” but instead this “moving work of art” will have a different effect on each of us, and we will each walk away with our own unique interpretation. I am so glad you are here to support this new and exciting work!

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 We asked the question, “What is lost in translation?” The dramatic and visual languages of dreamscapes placed themselves within the themes and structures of Euripides’s The Women of Troy.

This process has been a deep learning experience. As an ensemble, we have stared into the abyss of the unknown, focused our senses and divined a common destination for our questions, desires and fears. In examining gender, trauma and memory, I recognized the scale and enormity of what we were doing and often questioned whether I was up for this seemingly impossible task. I know I am not alone.

And therein lies the beauty of this project. It required us to dig deep into ourselves and examine our pains and fears while also relating them to a larger history of pain and fear. The best thing about devising is that it allows us to pull at a thread of thought and see where it takes us; see how it relates to our actual lives and time and let it give perspective on how we relate to the world at large. In many ways, the uncertainty of devising is like the fire that tempers glass—it makes us more flexible, cohesive and strong.

NOTE FROM THE DRAMATURG The world of The Women of _______ (a song not song) is a haunted space. Playwright I-Chia Chiu, director kt shorb and the production team drew from a wealth of cultural traditions to create the world of the play, focusing most heavily on Euripides’s tragedy The Women of Troy (also known as The Trojan Women), first performed in 415 B.C. In rehearsals, the ensemble disassembled the myth, generating monologues, short stories, soundscapes and movement sequences built around important characters, settings and ideas. The resulting production is not a retelling of The Women of Troy, nor does it offer a linear story. Shuffling through dialogue, poetry and dance, The Women of _______ (a song not song) is a meditation on themes of longing and loss, presenting audiences with a collage of theatrical moments. As the blank space in the title suggests, these moments are incomplete. This play invites us to metaphorically fill in the blank, remaining mindful of each memory and emotion that arises within us as the piece unfolds. These unspoken reactions are not distractions; they connect us to our own inner worlds so that we might, in the words of the characters, commune with “the ghosts that live near our hearts.” We need not banish these ghosts, nor resent their presence. Rather, this piece asks us sit in the darkness together and remain collectively haunted, if only for a short time. Perhaps we may find a few friends along the way.

CREATIVE I-Chia Chiu (Playwright) is a theatre-maker and a storyteller. She writes plays, poems and fairy tales. She is also passionate about devising and teaching. Chiu strives to make work that focuses on memory, reciprocity, mutual-invitation and communitybuilding. Her works have been previously developed by Stumbling Ostrich, a theatre ensemble she founded in Taiwan. She is currently an M.F.A. in Playwriting candidate at The University of Texas at Austin.

Delena Bradley (Costume Designer) is a second-year M.F.A. in Design and Technology candidate with a focus in costume design. She hails from Chicago, Illinois where she spent five years as a freelance costume and scenic designer for theatre and film. Most recently, Bradley has done production and costume design for Addict Named Hal (a short film by Alice Stanley) and designed costumes for The Tempest, She Kills Monsters (Vortex Rep Summer Youth Theatre), Dance Repertory Theatre’s Transcendence (Texas Theatre and Dance) and Mercury in Retrograde (film by Michael Glover Smith). She received her bachelor’s degree in Theatre Technology and Design from Ball State University in 2012.

Iman Corbani (Scenic Designer) is a thirdyear M.F.A. in Design and Technology candidate with a focus in scenic design. She is an international multi-disciplinary designer whose practice ranges from solo gallery works to collaborations in film, television, opera, theatre and experimental work. Recent credits include 893 | Ya-ku-za (Vortex Rep), The Rape of Lucretia (Butler School of Music), (Re)current Unrest (Fusebox Festival), Carmen (GenEnCo), the 2018 holiday commercial for Tito’s Vodka and Mr. Burns, a post-electric play (BetterMrBurns).

Kaiwen Fa (Integrated Media Designer) comes from Beijing, China, and is currently in his final year as a M.F.A. in Design and Technology candidate with a focus

in integrated media for live performance.

Studying under designers including Sven Ortel and Ana Herruzo, he has developed specialized knowledge and skills working as a projection designer, interactive technologist, communicator and collaborator.

During his time as an undergraduate, he studied film production and directed, shot and edited several short films.

Samantha Gashette (Draper) is a secondyear M.F.A. in Design and Technology candidate with a focus in costume technology. In 2007, she graduated with a B.A. in Theatre from Angelo State University. After graduation, Gashette founded Originally U, her costume production company. She also worked as a costume stage manager for Six Flags Fiesta Texas, taught English in South Korea and worked with Kids Acting Studio in Austin where she designed and built for shows featuring more than 200 students.

Margaret Jumonville (Associate Director) is a director and stage manager working in opera and theatre. She has worked with Texas Early Music Project, Chicago Summer Opera, Vortex Rep, Consortium of Asian American Theaters & Artists (Victory Gardens Theater), Opera Louisiana, Opera NEO and Opera Steamboat. Butler Opera Center credits include Suor Angelica (2016), La clemenza di Tito (2017) and Così fan tutte (2018). Jumonville has trained in the Suzuki Method of actor training and Viewpoints with the SITI Company. She holds degrees in music from the University of Notre Dame, Duquesne University and The University of Texas at Austin and is currently a second-year D.M.A. in Performance candidate with an emphasis in opera directing.

Vanessa J. Lopez (Draper) is a M.F.A. in Design and Technology candidate with a focus in costume technology. She holds a Bachelor of Arts in Theatre Arts from The University of the Incarnate Word in San Antonio, Texas. Professional credits include

CREATIVE Ballet Idaho, Texas Shakespeare Festival, Six Flags Fiesta Texas Entertainment, The Classic Theatre of San Antonio and wardrobe crew for the International Alliance of Theatrical Stage Employees (I.A.T.S.E., local #76 in San Antonio). Lopez is a member of the United States Institute for Theatre Technology (USITT). vanessajlopez.com Adam Miller-Batteau (Fight Director) is a lecturer in the Department of Theatre and Dance at The University of Texas at Austin. He is a certified teacher with the Society of American Fight Directors and has choreographed fights for over a decade, staging violence in over 100 productions. Recently, Miller-Batteau has begun expanding his fight direction to intimacy direction and choreography. Recent fight and intimacy credits with Texas Theatre and Dance include ENRON, The Crucible, Anon(ymous), Gondal and Little Women the Broadway Musical; Trio and A Delicate Ship (Filagree Theater Company); Animal Farm and Cyrano (McCallum Theater); and Richard III (Mosaic Youth Theater). Selected directing credits: Peter and the Starcatcher and A Midsummer Night’s Dream (Georgetown Palace Theater); Twelfth Night, Macbeth and Tartuffe (Stagedoor Manor).

Jessica Peña Torres (Movement Director, Associate Dramaturg, Cassandra 2) is a M.A. in Performance as Public Practice candidate at The University of Texas at Austin.

Before starting her graduate education, she danced with the Ballet Folclórico Nacional de México de Silvia Lozano and served as production manager at Academia de Danza Condesa in Mexico City. She has previously worked as a choreographer with Compañía de Danza Kaana, Thirteen O’Clock Theatre and the Latino Theatre Initiatives of the University of Texas – Pan American (UTRGV). Recent credits include The Tempest: A Gentrification Story (Performance as Public Practice Graduate Student Alliance)

and Mr. Burns, a post-electric play (BetterMrBurns).

Malyssa Quiles (Sound Designer) is a fourth-year B.A. in Theatre and Dance major with dual emphases in performer’s process and design and technology. She currently serves as the marketing and public relations director for Round About Players and as a student associate in the audio department at Texas Performing Arts.

Quiles spent the summer of 2018 in Colorado, where she served as the sound apprentice for Theatre Aspen. Recent design credits include The Last Ones Out (Round About Players), ENRON (Texas Theatre and Dance) and The Realness (New Manifest Theatre Company).

Aly Redland (Stage Manager) is a secondyear B.A. in Theatre and Dance major with dual emphases in stage management and playwriting and directing. Her recent credits include The Merchant of Venice, Tommy, Dirty Rotten Scoundrels, The Drowsy Chaperone, ENRON, Stupid F*cking Bird, As You Like It, [title of show] and Little Shop of Horrors.

Alexis Riley (Dramaturg) is a Ph.D. in Performance as Public Practice candidate. Her work focuses on intersections of mental health and performance. When not in the library, she enjoys participating in the local improv community as a teacher, performer and audience member.

Austin Shirley (Lighting Designer) is an M.F.A. in Design and Technology candidate with a focus in lighting design at The University of Texas at Austin. He graduated from The High School for the Performing and Visual Arts (Houston, Texas) in 1996 and first came to UT to study scenic rendering and lighting design. He graduated in 2001 with a B.A. in Theatre, specializing in design. He has worked for the Delfos Dance Company in Mazatlán, Mexico for the

CREATIVE last 14 years as their American technical director and assistant lighting designer.

He worked for Texas Performing Arts as master electrician from 2010 to 2014. His design for Texas Theatre and Dance’s The Drowsy Chaperone was a nominee for the B. Iden Payne Award for Outstanding Lighting Design.

Jess Shoemaker (Intimacy Choreographer) is a director/playwright and intimacy chorographer, pursuing a M.F.A. in Directing at The University of Texas at Austin. Currently, Shoemaker is also in rehearsals for Flora Circular by Thom May, which will premiere as part of UTNT (UT New Theatre) in spring 2019. Shoemaker’s own plays have enjoyed extended runs in Chicago and Los Angeles. kt shorb (Director) is a Ph.D. in Performance as Public Practice candidate. They are the producing artistic director of the Generic Ensemble Company. Directorial credits include Carmen, 893 | Ya-ku-za, Scheherazade, The Mikado: Reclaimed and

Robin Hood: An Elegy. GenEnCo’s work has earned multiple B. Iden Payne and Austin Critics’ Table Award nominations. Opera directing includes: Gallantry, Rinaldo (assistant director) and Così fan tutte (assistant director). shorb has acted in many venues including: Victory Gardens Theater, the Electric Lodge, Vortex Rep, the Off Center and Mary Moody Northen Theatre.

David Tolin (Technical Director) was born and raised in Casper, Wyoming. He attended the University of Nevada, Las Vegas where he received his B.A. in Theatre with a concentration in design/technology. In 2006, he interned with Cirque du Soleil’s Mystère (Treasure Island) and served as a stagehand for Desert Entertainment for several concerts, productions and events across Las Vegas. He received a M.F.A. in Scenic Technology from The University of Texas at Austin before teaching at Westlake High School for seven years. Tolin joined the staff of the Department of Theatre and Dance in 2017.

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CAST

Brisa Shaw

Jessica PeĂąa Torres

Cat Palacios

Elizabeth George

Vivian Gonzalez

Anapaula Guajardo

Natalia de Maar

Jane Elise Palacios

Andrew G. Rodriguez

Guinevere Govea

CAST Brisa Shaw (Cassandra 1) is a second-year B.A. in Theatre and Dance major with an emphasis in stage management. She has an extensive background in acting and has appeared in various short films in addition to the ensembles of ENRON (Texas Theatre and Dance, 2018) and Loverboy (UTNT (UT New Theatre), 2018).

Cat Palacios (Cassandra 3) is a secondyear B.A. in Theatre and Dance major with an emphasis in performer’s process and a dual major in Radio–Television–Film.

Recent Texas Theatre and Dance credits include the role of “Lester Stilwell” in Matawan (2018) and the ensemble for Loverboy (UTNT (UT New Theatre), 2018).

She has also been seen in Eurydice, The Not Knowing and The Last Ones Out (Round About Players).

Elizabeth George (Cassandra 4) is a second-year B.F.A. in Acting major at The University of Texas in Austin pursuing a minor in arts management. She was previously seen as a member of the ensemble in Loverboy (UTNT (UT New Theatre), 2018). This is her second mainstage production with Texas Theatre and Dance.

Vivian Gonzalez (Cassandra 5) is a secondyear B.A. in Theatre and Dance major with an emphasis in performer’s process and a minor in arts management. She hails from the Rio Grande Valley and is a two-time member of the Camille Summer Stock Company where she has appeared in Angels in America, Evita, Macbeth, A Midsummer Night’s Dream and Rock of Ages.

She was recently seen as “Sebastian” in The Tempest: A Gentrification Story (Performance as Public Practice Graduate Student Alliance). This is her first mainstage production with Texas Theatre and Dance.

Anapaula Guajardo (Cassandra 6) is a second-year B.A. in Theatre and Dance major with an emphasis in performer’s process

also pursuing a B.S. in Radio–Television– Film. She was recently seen as a member of the acting ensemble in Matawan (Texas Theatre and Dance, 2018). She has also starred in multiple films in Austin and the Rio Grande Valley.

Natalia de Maar (Cassandra 7) is a secondyear B.A. in Theatre and Dance major. Her recent acting credits include “Trinculo” in The Tempest: A Gentrification Story (Performance as Public Practice Graduate Student Alliance) and as a member of the ensemble for Loverboy (UTNT (UT New Theatre), 2018).

Jane Elise Palacios (Cassandra 8) is a second-year B.A. in Theatre and Dance major with an emphasis in performer’s process with a dual major in neuroscience. She was recently seen as “Medea” in (& Medea) directed by Jess Shoemaker. Upon graduation, she plans to pursue a career in acting.

Andrew G. Rodriguez (Euripides) is an actor and director based in Austin, Texas. Recent theatre credits include: The City Wears a Slouch Hat (Rude Mechs), *some humans were harmed in the making of this show (En Route Productions), Richard III (Hidden Room Theatre), Dairy Queen (MouthRadio Theatre), Henry IV (Hidden Room Theatre) and A Few Good Men (TexArts). Rodriguez is a UTeach Theatre major at The University of Texas at Austin. andrewgrodriguez.com Guinevere Govea (Footnote) is a secondyear B.A. in Theatre and Dance major at The University of Texas at Austin. She recently appeared as “( )” in Matawan (Texas Theatre and Dance, 2018) and as a member of the ensemble in Loverboy (UTNT (UT New Theatre), 2018).

CREW ASSISTANT DIRECTOR SAMANTHA OMARI ASSISTANT STAGE MANAGERS HANNAH KELLY LINDSEY OLLINGER ASSISTANT SCENIC DESIGNER CHRIS CONARD ASSISTANT LIGHTING DESIGNERS SARA CHANEY AMBER WHATLEY ASSISTANT SOUND DESIGNER MIKAELA KELAREK SOUND ENGINEER MALYSSA QUILES ASSISTANT INTEGRATED MEDIA DESIGNER GRIFFIN HANSON SCENIC STUDIO SUPERVISOR J.E. JOHNSON SCENIC ART SUPERVISOR KAREN MANESS ASSOCIATE SCENIC STUDIO SUPERVISOR JASON HUERTA MASTER CARPENTER HANK SCHWEMMER ASSISTANT CHARGE SCENIC ARTIST ASHTON MURPHY GRADUATE PRODUCTION ASSISTANTS ZOE ANDERSEN JENNICA DOMBROWSKI

ADMINISTRATIVE ASSISTANT ALY REDLAND PRODUCTION LEADS NATASHA COSME BATISTA DARSHAN DESAI CAROL ENDICOTT DAVID HERNANDEZ JAREN HORN TAYLOR JONES JUAN LEYVA JULIO MUNOZ BRIAN NGUYEN ERIC RAMIREZ CHRISTAIN SCHELLER ROHIT SWAMINATHAN HENRY WHEATLEY-RUTNER

PRODUCTION ASSISTANTS SULTAN ABBOUSHI RYAN ALVARADO ANNA ALTAMIRANO MARIA ARELLANO NATALIE DI GRAZIA CRYSTAL GLASS VIVIAN GONZALEZ ANGEL HIMENEZ ELIJAH HOLLAND MALAIKA JHAVERI MARIANNA GARCIA MARÓN CELINE NDIBWAMI ZOE SKEWES CHRISTIANA THOMAS TONY TIMERMAN NATHAN TRAN CONSULETE WILSON AIDAN WILT PROP SHOP SUPERVISOR REBECCA SWITZER ASSOCIATE PROP SHOP SUPERVISOR CAROLYN ALLINGHAM HARDIN

DRAPERS SARAH ALDRIDGE SARAH BARBOUR SAMANTHA GASHETTE VANESSA LOPEZ POUA YANG FIRST HANDS STEPHANIE FISHER JOSEPH HARRINGTON AARON KUBACAK JESSI ROSE ANNIE ULRICH STITCHERS MIA BARRERA LAURA GONZALEZ ADVANCED COSTUME PRODUCTION TECHNIQUES TEACHING ASSISTANT SAMANTHA GASHETTE

PROP ARTISANS MADELEINE HAYES DIAMANTE MARTINEZ MORGAN RIDDLE TAYLOR TRAVIS

COSTUME PRODUCTION CREW AMAYA ARMSTRONG AYLA AZIZOGLU CHRISTINA BLAKE RYAN CRUZ JAMES HOAG KARYSHMA KHAN ISAAC KRESTA NATALIA DE MAAR INDYA MCKNIGHT KACI PELIAS SARAH POEHLER SARAH SCHNEIDER LAUREN WEIK DEJANIRA WHITE MELISSA WONG-SIMPSON

PROP SHOP ADMINISTRATIVE ASSISTANT AND STOCK MANAGER SKYLER TATEN

HAIR AND MAKEUP CONSULTANTS TARA COOPER ANNA FUGATE

PROPS CONSTRUCTION CREW CAMRYN BASILE KAITLYN GRACIA BRANDON PEGRAM GRAYSON PENNINGTON INDIRA RAMPERSAD

WARDROBE SUPERVISOR ROXANNE ROHMANN

STAGE HANDS DANIELLE KANE CELINA NDIBWAMI

WARDROBE CREW ABBY BOLDT LIBBY CARR KATHLEEN GUERRERO ATTIA RASUL

PROP MASTER R. SWITZER PROP SHOP GRADUATE ASSISTANT ZOE ANDERSEN

COSTUME PRODUCTION DIRECTOR NANETTE ACOSTA COSTUME SHOP ASSOCIATE MANAGER DARCY WEBERG

WARDROBE CREW CHIEFS HSIAO-WEI CHEN JENNIFER MARGOS

COSTUME CRAFTS ARTISAN TANYA OLALDE COSTUME CRAFTS ASSISTANTS SAMANTHA COLE ALEXANDER GREER

CREW COSTUME SHOP OFFICE ASSISTANT LINDSEY THURSTON COSTUME STOCK SUPERVISOR DESIREÉ HUMPHRIES COSTUME STOCK ASSISTANTS AUSTIN ALVAREZ MELISSA WONG COSTUME DESIGN ASSISTANT HAILEY ROBERTS 324P LIGHTING FACULTY SUPERVISOR SADIE LANGENKAMP TEXAS PERFORMING ARTS SUPERVISING ELECTRICIANS SARAH CANTU SEB BOONE TEXAS PERFORMING ARTS LIGHTING SUPERVISOR JEFF ELLINGER SENIOR LIGHTING TECHNICIANS AARON CURRY QI JIAJING WILLIAM RIOS AUSTIN SHIRLEY AMBER WHATLEY KENDRA WILEY TEXAS THEATRE AND DANCE LIGHTING CREW AVERY ARNOLD BENJAMIN GALVAN AUSTIN HILLE SHANNON HOMAN CECILA IBARRA WILLIAM KACHI NWOBUM NOAH TUCKER KENNEDY WOODARD TEXAS PERFORMING ARTS LIGHTING CREW BENJAMIN GALVAN LIBBY JANTZ ALEXANDRA JEREB ADRIANA LARA BRISA SHAW

AUDIO PRODUCTION STUDENT CREW BEN CAMPBELL BENJAMIN GALVAN MIKAELA KELAREK WYATT LASTER MALYSSA QUILES JESSICA SELL TEXAS PERFORMING ARTS AUDIO CREW MIKELA KELAREK WYATT LASTER MILA LUNA MALYSSA QUILES JESSICA SELL AUDIO BOARD OPERATOR RACHAEL NSEK MEDIA SHOP SUPERVISOR EARNEST MAZIQUE MEDIA GRADUATE ASSISTANTS JESSE EASDON KAIWEN FA ALEX J. GENDAL LOGAN SMITH MINGXIANG YA MEDIA SHOP CREW AUDREY GERTHOFFER HANNAH KELLY BELLA MEDINA SOPHIA POLLOCK AZARI SUMBLER REBEKAH URBAN MEDIA OPERATORS OLIVIA FEAGINS TORI SCHULZE STAGE MANAGEMENT ADVISOR RUSTY CLOYES DIRECTING ADVISORS ALEXANDRA BASSIAKOU SHAW KIRK LYNN KJ SANCHEZ PATRICK SHAW COSTUME DESIGN ADVISOR SUSAN MICKEY

LIGHT BOARD OPERATOR BEN HARD

COSTUME TECHNOLOGY ADVISOR JAMES GLAVAN

AUDIO SUPERVISOR MIKE MALAK

LIGHTING DESIGN ADVISOR ANN G. WRIGHTSON

ASSOCIATE AUDIO SUPERVISOR KENNY KUYKENDALL

INTEGRATED MEDIA DESIGN ADVISOR SVEN ORTEL

SCENIC DESIGN ADVISOR WILLIAM BLOODGOOD SOUND DESIGN ADVISORS CAROLINA PEREZ BEN TRUPPIN-BROWN ACADEMIC PRODUCTION MANAGER JEFF GRAPKO PHOTOGRAPHER LAWRENCE PEART GRAPHIC DESIGNERS NICK GALUBAN JEFF GRAY SPECIAL THANKS ALEXANDRA BASSIAKOU SHAW NAWAR BULBUL QUETTA CARPENTER LINA CHAMBERS NANDITA DINESH SIRI GURUDEV MICHAEL LOVE KIRK LYNN KHRISTIÁN MÉNDEZ AGUIRRE SUSAN MICKEY KRISTIN PERKINS BART PITCHFORD KATE PROIETTI MASON ROSENTHAL KJ SANCHEZ PATRICK SHAW WE WOULD ALSO LIKE TO THANK ALEX MCCOY, DIAMANTE MARTINEZ AND CASSIDY KAYE FOR BEING PART OF THE GENERATIVE PROCESS.