SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY - Jaclyn Jermyn
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March - April 2020
Albert Theatre
SCHOOL
GIRLS;
OR, THE AFRICAN
MEAN GIRLS PLAY
PLAYBILL
PLAYBILL
Managing Editor:
Editors:
Jaclyn Jermyn
Neena Arndt
contents
Joe Giovannetti
Denise Schneider
features
Contributing Writers: Neena Arndt
Thomas Connors
Jaclyn Jermyn 4 A Note from the Artistic Director
Graphic Designer: Alma D'Anca
6 Meet the Contestants for Miss Ghana 1986
Goodman Theatre
170 N. Dearborn St. 8 Top of Her Class
Chicago, IL 60601
Box Office: 312.443.3800 12 Skin Deep
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the production
23 School Girls; Or, The African
CEO & President: Philip S. Birsh
Chief Financial Officer: Shamindra Jagnanan Mean Girls Play
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26 Artist Profiles
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Thomas Connors
Maude Popkin
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18 Now & Next
Managing Program Editor: Matt Bonanno
Program Editors: Christy Admiraal
Katie Labovitz 16 Accessibility
Brian Libfeld
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Andrew Rubin 36 About Goodman Theatre
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37 Staff
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40 Leadership
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PLAYBILL
welcome
According to an old theater adage, dying is easy, but comedy
is hard. Even harder, I believe, is infusing a humorous play
with serious, relevant themes without diluting or distorting it.
Jocelyn Bioh’s play School Girls; Or, The African Mean Girls
Play delivers laugh-out-loud comedy based on the familiar trope
of the “mean girl,” who in this case is a Ghanaian high school
senior in 1986. But this girl, the queen bee of her small boarding
school, doesn’t know that larger societal forces—racism,
colorism and bigotry—can upend her ambitions as quickly as she
squelches those of her classmates. Jocelyn skillfully weaves a
story that stylistically nods to the 2004 hit film Mean Girls, but
defies its aesthetic origins to pack a thematic punch.
Jocelyn, a Ghanaian-American playwright and actor, won a Lucille Lortel Award, a
John Gassner Award and a Drama Desk nomination when School Girls premiered off
Broadway at MCC Theater in 2017. The play established her as a vital contemporary
voice, and I'm thrilled to welcome her to the Goodman for the first time.
I also warmly welcome back Lili-Anne Brown, who directed last year’s premiere
of Ike Holter's Lottery Day, a critical and audience favorite in our Owen Theatre. I
have long considered Lili-Anne an important Chicago artist; in addition to serving
as the Artistic Director of Bailiwick Chicago—where she won a Jeff Award for
her production of Dessa Rose—her credits include work at Jackalope Theatre,
American Theater Company and Firebrand Theatre, among others. Lili-Anne’s
precision and sharp sense of timing allows her to adeptly showcase the humor
in School Girls, while her passion for social justice enables her to thoughtfully
render the characters’ confrontations with racial discrimination.
I invite you to laugh wholeheartedly at the characters and situations Jocelyn has
created. That laughter need not detract from the empathy I hope you will feel for
the complex young women depicted on stage. In fact, the humor might open your
heart an extra inch.
Robert Falls
Artistic Director of Goodman Theatre
4
PLAYBILL
Meet the Fabulous Students
of Aburi Boarding School
Do they have what it takes to be Miss Ghana 1986?
By Jaclyn Jermyn
"Headmistress likes
to make ever yone
feel like they have a
fair chance, but we all
know I’m the best. ”
PAULINA
SARPONG
CIERA DAWN
a lot
“It’s going to take
mpty
more than some e
e.”
threats to shake m
KYRI E COURTE R
ERICKA BOAFO
Jaclyn Jermyn is the Publicity Coordinator for Goodman Theatre.
“ Paulina only m
ade us
all sign up to au
dition
because Headm
istress said
there needed to
be at least
five names on th
e list.”
AMA KATH ER IN E LE
E BOUR NÉ
“You know I am always
nice with ever yone.”
ASHLEY CROWE
NANA
’t be
“We know we won
n at
picked, but we ca
least look good.”
JOHN SON
TIFFANY RE NE E
MERCY
“It doesn’t matter how
we answer the questions,
because the recruiter
will be too focused on
our amazing dresses! ”
GIFTY ADIA ALLI
Top of Her Class
Lili-Anne Brown isn’t afraid of high school mean girls–
or directing a big, boisterous play about them either.
By Thomas Connors
For most of us, success doesn’t
come overnight, but it can
appear that way to others when
good things seem to happen all
at once. Take Chicago’s Lili-Anne
Brown. She has been performing
and directing for years, making a
name for herself locally, but these
days, her career trajectory is taking
off. On top of her laudable credits
as Artistic Director of Bailiwick
Chicago. She won Joseph
Jefferson Awards for her 2019
staging of Caroline, or Change
with Firebrand Theatre and Timeline
Theatre Company and her 2018
LILI - ANNE BROWN staging of Buddy: The Buddy Holly
Story at American Blues Theater.
Just last year, she helmed two
much-lauded productions: The Color Purple at Drury Lane Theatre and the world
premiere of Ike Holter’s Lottery Day at Goodman Theatre. Now, she returns to the
Goodman to direct the Chicago premiere of Jocelyn Bioh’s School Girls; Or, The
African Mean Girls Play.
“I started my directing career in summer stock, so I work very fast, but stay loose
and ready for Plan Z,” says Brown, offering a glimpse of her work ethic. “I came
into my own in storefront theaters, so I have my eye on the budget, no matter
where I am now. I abhor wasting resources.” As for engaging with performers,
she notes that she spent 15 years as a professional actor, adding “I know what
actors go through. So my prime directive is simply, 'how I can help them get out
of their own way?' That's all they really need me for.”
Brown started out in musical theater and comedy, genres she still holds dear.
“I will find the absurdity in even the most serious piece,” she says. “I will bring
8PLAYBILL
out the music and rhythm and high theatricality in a straight play. If you want a
hyper-real, grimy kitchen sink drama, I am probably not your girl. I would want
that kitchen sink to run with blood or glitter.”
School Girls is set in a Ghanaian high school in the 1980s and revolves around
that volatile mix of envy, ambition and admiration that rules the lives of young
people, especially young women. Looking back at her own years at St. Ignatius
College Prep, Brown says, “I may have had some inadvertent mean girl moments
early on. I was bullied in elementary school and I was anxious to reinvent myself
as cool in high school–but by senior year, I pulled a Jerry Maguire in my bougie
social group over some mean girl stuff that was happening. It sucked. I lost my
friend group that I'd been with all four years, and I didn't get to do any of the fun
graduation or prom stuff, all because I stood up for someone who was being
slandered—who I think still ended up hanging out with these girls anyway. That's
high school!”
As her career continues to pick up speed, Brown exudes the enthusiasm of an
artist for whom passion is everything and the future is rich with possibility. “At the
end of the day, all this is in service to the why−why this story, why now, why this
way?” she says. “I think any ‘you're in the big leagues now’ nerves are gone. It
feels like coming home to return to the Goodman.”
Thomas Connors is a Chicago-based freelance writer and the Chicago
Editor of Playbill.
10“A MUSICAL TUG AT THE HEARTSTRINGS”
–Denver Post
American
Mariachi
By José Cruz González, Directed by Henry Godinez
A Co-Production with Dallas Theater Center
When a forgotten record album sparks her mother’s memory, Lucha and her cousin
strike upon a radical idea: to create an all-female mariachi band. Infused with live music,
American Mariachi reveals how music and love can make just about anything possible.
APRIL 25 – MAY 31
Produced in association with Teatro Vista.
Presented in collaboration with the Chicago Latino Theater Alliance and Sones de México Ensemble.
312.443.3800 | GoodmanTheatre.org
Groups of 10+ only: 312.443.3820Skin Deep
A Brief History of Race and the Beauty Pageant
By Neena Arndt
In School Girls; Or, The African Mean Girls Play, the teenage
characters pine to win the Miss Global Universe Pageant, 1986. In the
midst of their youth and enthusiasm, these Ghanaian young women aren’t yet
aware that they are entering into a system rigged against them. The beauty
pageant, as we know it, was born out of the idea that being beautiful required
white skin.
The first Miss America contest–billed as a “bathing beauty” competition–was
held on the beaches of Atlantic City in September 1921. Though 19th century
festivals, including May Day and Mardi Gras celebrations, had often featured the
crowning of a “queen,” the standalone beauty pageant emerged as American
women gained more access to the public sphere, including the right to vote,
and the Victorian constraints around decorum and sexuality began to relax
(whether the pageant embraced that newfound independence or aimed to
preserve Victorian ideals of femininity is up for debate). What is certain is that
the pageant’s organizers aimed to
celebrate and idealize only white
women. All eight of the bathing
beauties who graced the beach
in 1921 were white; 16-year-
old Margaret Gorman won the
competition and was praised for
her sweetness, short stature and
flowing tresses. Two years later,
in 1923, African-American women
made their first appearance in the
event—but not as competitors.
Instead, they played “slaves”
in a musical number. For nearly
half a century, the pageant’s
bylaws restricted participation
to “members of the white race,”
and until the 1940s entrants
were required to catalogue their
genealogy.
Photo by Livingstone Ochieng from Pexels.PLAYBILL
As the century progressed and beauty pageants gained popularity worldwide,
women of color found success in pageants outside of America, though
international pageants still favored women with light skin. It was not until after
the Civil Rights Movement that a black woman competed in the Miss America
Pageant, and not until 1983 that a black woman won. That woman, Vanessa
Williams (who would eventually be stripped of her title after Penthouse published
nude photos of her without her permission) later spoke of the many reactions to
her victory. “There were a lot of people,” she noted in 2010, “that did not want me
to be representative of the United States and Miss America.”
In 1989, six years after Williams’ win, black journalist Monte R. Young wrote in the
Chicago Tribune about his complex interpretations of watching a mixed-race woman
represent black Americans. “It had to do with her cat-green eyes, and the golden-
brown shoulder-length hair flowing in waves over her light mocha skin,” he writes. “It
had to do with the way she looked. With the white man’s stereotype of black beauty.”
He goes on to note that when Williams nailed the talent portion of the competition, it
was with her rendition of “Happy Days Are Here Again,” in which she “sounded more
like Barbara Streisand than Aretha Franklin.” Even when a black woman won, Young
implies, she did so because of her proximity to whiteness.
As for the current state of the crown, just last year, the four United States-based
pageants (Miss America, Miss USA, Miss Teen USA and Miss Universe) were all
won by black women for the first time ever. The current reigning Miss Universe,
Zozibini Tunzi, is a black South African woman. In reflecting on her win, Tunzi said,
“may every little girl who witnessed this moment forever believe in the power of her
dreams and may they see their faces reflected in mine.”
The young characters in School Girls, coming of age in Ghana in the 1980s,
long to grow into their own power and beauty. But what or who has the power
to define beauty?
Neena Arndt is the Resident Dramaturg at Goodman Theatre.
14“A DEEPLY MOVING MEDITATION
ON HOPE, CHANGE AND DESPAIR”
-The New York Times
BY BRIAN FRIEL
DIRECTED BYROBERT FALLS
MARCH 27 – APRIL 26
BRENDAN CHRISTOPHER KATE FRY
COYLE DONAHUE
Having lost her sight at infancy, Molly agrees to an operation that
could restore her fifth sense. But is it she who benefits most—or her
hopeful husband, or her ambitious doctor?
Todd Rosenthal: Set Design, Noël Huntzinger: Costume Design, Eric Southern: Lighting Design, Richard Woodbury: Original Music and Sound Design.
GoodmanTheatre.org
Corporate Sponsor Contributing
312.443.3800
Partner Sponsor Groups of 10+ only: 312.443.3820accessibility
Audio-Described Performance and Touch Tour
An onstage Touch Tour precedes the performance, beginning at 12:30pm.
School Girls | Saturday, April 4 at 2pm
Molly Sweeney | Sunday, April 19 at 2pm
American Mariachi | Saturday, May 23 at 2pm
Unlock tickets with promo code AUDIO.
American Sign Language (ASL) Interpreted Performance
School Girls | Wednesday, April 8 at 7:30pm
Molly Sweeney | Saturday, April 25 at 2pm
American Mariachi | Wednesday, May 27 at 7:30pm
Unlock tickets with promo code SIGN.
SCOTT AND LENORE ENLOE
Accessibility Sponsors
Open-Captioned Performance
School Girls | Saturday, April 11 at 2pm
Molly Sweeney | Sunday, April 26 at 2pm
American Mariachi | Saturday, May 20 at 2pm
Unlock tickets with promo code OPEN.
ELIZA AND NEIL STERN
Open-Captioned Performance Sponsors
The Goodman is proud to offer an inclusive range of programs and services that help make
performances accessible to more audiences, including enhanced performances, accessible
seating, braille and large print programs and complimentary Assistive Listening Devices and
Sensory Bags. Complimentary tickets for Personal Care Assistants and professional caregivers
are also available. For additional information, assistance or an accommodation not listed, visit
our Guest Services Desk today or e-mail Access@GoodmanTheatre.org.
More details about accessibility services can be found at GoodmanTheatre.org/Access.
16THE
OUTSIDERS
Based on the Novel by S.E. Hinton and Francis Ford Coppola’s
Motion Picture, Book by Adam Rapp, Music and Lyrics by
Jamestown Revival (Jonathan Clay and Zach Chance) and
Justin Levine, Directed by Liesl Tommy
JUNE 26 – AUGUST 9
The story that defined a generation comes to the stage—
in a groundbreaking new musical! Don't miss the aching
souls and romantic dreams of Ponyboy Curtis, Johnny Cade
and their band of greasers, retold for a new generation.
TICKETS ON SALE NOW!
Discounted tickets available for groups of 15+
Groups@GoodmanTheatre.org or 312.443.3820.
312.443.3800 | GoodmanTheatre.org
Lead Corporate Official Lighting Groups of 15+ only: 312.443.3820
Sponsor Sponsornow & next
Join us for these Goodman Theatre events.
March 27 – April 26
Molly Sweeney
Robert Falls directs a major revival of
this “astonishing, highly entertaining,
deeply moving meditation on hope,
change and despair” (The New York
Times). In the Owen Theatre.
April 25 – May 31
American Mariachi
Familia, amor and tradición are
at the heart of this hilarious and
heartwarming new comedy about
the freedom to dream big. In the
Albert Theatre.
April 30
Community Night
Save the date for an evening
of cocktails, appetizers and a
performance of American Mariachi.
Don’t miss the chance to hear directly
from a member of the artistic team.
18For details about these events and
more, visit GoodmanTheatre.org
or call 312.443.3800.
May 16
Shades of Cool Gala
Grammy Award nominee Cheyenne
Jackson headlines the annual Goodman
Theatre black-tie gala, with proceeds
benefiting the Goodman’s Education
and Engagement programs. At the
Fairmont Chicago.
June 11 – July 5
A Paris Love Story
Virtuoso Hershey Felder takes
us on a personal journey as he
explores the life and music of
Impressionist composer Claude
Debussy. In the Owen Theatre.
JUST ANNOUNCED!
January 2021
Good Night, Oscar
It's 1958, and Jack Paar hosts the
hottest late-night talk-show on television.
His favorite guest? Erstwhile character
actor, pianist and wild card Oscar Levant
(Sean Hayes). In the Albert Theatre.
19major contributors
Goodman Theatre proudly thanks the following contributors
for their generous support of the 2019/2020 Season.
Abbott/Abbott Fund Goodman Theatre
Lester and Hope Abelson Fund Women’s Board
For Artistic Development Illinois Arts Council Agency
Allstate Insurance Company ITW
Susan and James Annable The Joyce Foundation
American Airlines KPMG
Paul M. Angell Family Foundation The John D. and Catherine T.
The Edith-Marie Appleton MacArthur Foundation
Foundation/Albert and Nancy Lauter McDougal
Maria Goodman James and Madeleine McMullan
Bank of America Family Foundation
Roger and Julie Baskes Swati and Bobby Mehta
BMO Harris Bank JPMorgan Chase
The David Q. and Mary A. The Elizabeth Morse
Bell Foundation Charitable Trust
Joyce Chelberg Northern Trust Bank
The Chicago PepsiCo
Community Trust PNC
Joan and Robert Clifford Polk Bros. Foundation
ComEd/Exelon Carol Prins and John Hart
Patricia Cox Pritzker Pucker Family Foundation
The Crown Family The Rhoades Foundation
Julie M. Danis and Alice and John Sabl
Paul F. Donahue
The Michael A. Sachs
Ruth D. and Ken M. Davee Family Foundation
New Works Fund
Cynthia and
Shawn M. Donnelley and Michael R. Scholl
Christopher M. Kelly
Shubert Foundation
Fifth Third Bank
The Harold and Mimi Steinberg
David and Alexandra Fox Charitable Trust
Julius N. Frankel Foundation The Wallace Foundation
Ruth Ann M. Gillis and Kimbra and Mark Walter
Michael J. McGuinnis
Denise and John Ginascol
As of January 2020
20Spend your summer at Goodman Theatre!
Are you a Chicagoland student between ages 14-18?
If so, you're invited to apply for our two summer programs:
PlayBuild Youth Intensive and Musical Theater Intensive,
which both culminate in a public showcase!
Learn more at GoodmanTheatre.org/PlaybuildYouth and
GoodmanTheatre.org/MusicalTheaterIntensive.
KENNETH
SAWYER
GOODMAN
SOCIETY
Goodman Theatre celebrates our longtime donors of 25
years or more for their support of our productions and
programming. Thank you so much for your generosity! KSG
Society members are recognized on the screens in the lobby.
For more information, please call the Development office
at 312.443.3811 ext. 566.PLAYBILL
Robert Falls, Artistic Director Roche Schulfer, Executive Director
presents
School Girls;
Or, The African Mean Girls Play
By
Jocelyn Bioh
Directed by
Lili-Anne Brown
Set Design by
Yu Shibagaki
Costume Design by
Samantha C. Jones
Lighting Design by
Jason Lynch
Sound Design by
Justin Ellington
Casting by
Adam Belcuore, CSA
Lauren Port, CSA
Dramaturgy by
Fatima Sowe
Production Stage Manager
Alden Vasquez*
Stage Manager
Kimberly Ann McCann*
World Premiere at the MCC Theater, October 16, 2017
(Robert LuPone, Bernard Telsey & William Cantler, Artistic Directors; Blake West, Executive Director)
Originally developed as part of The New Black Fest at The Lark, 2016
Additional development as part of the MCC Theater PlayLabs series, 2016
“The Greatest Love Of All” By Linda Creed and Michael Masser
Used by Permission of EMI Gold Horizon Music Corporation; EMI Golden Torch Music Corporation. All rights reserved.
JPMORGAN CHASE & CO ITW PWC LLP
Major Corporate Sponsor Corporate Sponsor Partners 23SCHOOL GIRLS;
OR, THE AFRICAN
MEAN GIRLS PLAY
cast
Gifty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adia Alli
Ama. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Katherine Lee Bourné *
Ericka Boafo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kyrie Courter *
Nana.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ashley Crowe
Paulina Sarpong. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ciera Dawn *
Mercy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tiffany Renee Johnson *
Headmistress Francis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tania Richard *
Eloise Amponsah.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lanise Antoine Shelley *
Assistant Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Am’Ber Montgomery
Voice and Dialect Coach. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phyllis Griffin
Dance Consultant.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cheretta Hill
SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY is presented by special arrangement with
Dramatists Play Service, Inc., New York.
Understudies never substitute for a listed player unless an announcement is made at the beginning of the play.
Rory Furey-King–Ericka Boafo; Maya Prentiss–Mercy/Gifty/Nana; Adhana Reid–Paulina Sarpong/Ama;
Shariba Rivers–Headmistress Francis/Eloise Amponsah
The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.
Goodman productions are made possible in part by the Illinois Arts Council, a state agency.
Goodman Theatre is a constituent of the Theatre Communications Group, Inc., the national service organization
of nonprofit theaters; the League of Resident Theatres; the Illinois Arts Alliance and the American Arts Alliance;
the League of Chicago Theatres; and the Illinois Theatre Association.
Goodman Theatre operates under agreements between the League of Resident Theatres and Actors’ Equity
Association, the union of professional actors and stage managers in the United States; the Society of Stage Directors
and Choreographers, Inc., an independent national labor union; the United Scenic Artists of America, Local 829,
AFL-CIO and the Chicago Federation of Musicians, Local No. 10-208, American Federation of Musicians. House crew
and scene shop employees are represented by the International Alliance of Theatrical Stage Employees, Local No. 2.
*Denotes member of Actors’ Equity Association, the union of professional actors and stage managers in the United States.
24PLAYBILL
profiles
ADIA ALLI (Gifty) returns to the Goodman where previous credits include
The Wolves (Assistant Director). Chicago credits include: The Niceties
(Writers Theatre); United Flight 232 (The House Theatre of Chicago);
Cardboard Piano (TimeLine Theatre); The Escape (Art Institute of Chi-
cago); No Child... (Definition Theatre); Curves and Edges (Interrobang
Theatre Project); The Doppelgänger (Steppenwolf Theatre Company);
Insurrection: Holding History (Stage Left Theatre); Sweet (Fleetwood-Jour-
dain Theatre); First (For Youth Inquiry). TV/Film: Seeds! A Nigerian-born,
Michigan-raised artist, Adia holds a BA in theatre, a specialization in Afri-
can American and African studies and a minor in economics from Michigan
State University. She is represented by Gray Talent Group.
KATHERINE LEE BOURNÉ* (Ama) makes her Goodman Theatre
debut. Chicago credits include Beauty and the Beast, Newsies (Para-
mount Theatre); Mamma Mia!, A Christmas Carol (Drury Lane Theatre);
Heartbreak Hotel (BIC Broadway Playhouse); Marie Christine (BoHo The-
atre); New Faces Sing Broadway 1959 (Porchlight Music Theatre); Songs
for a New World (Blank Theatre Company). @katherineleebourne
KYRIE COURTER* (Ericka Boafo) makes her Goodman Theatre debut.
Chicago credits include Next to Normal (Writers Theatre, Jeff nomination
for Performer in a Supporting Role); Marie Christine (BoHo Theatre, Jeff
nomination for Performer in a Principal Role); Legally Blonde (Paramount
Theatre); Seussical, The Color Purple (Drury Lane Theatre); Company
(Venus Cabaret Theater); BLKS (Steppenwolf Theatre Company); Thadde-
us and Slocum (Lookingglass Theatre Company); Dreamgirls, Applause,
Babes in Arms (Porchlight Music Theatre). She is represented by Stewart
Talent. @kyriecourter
ASHLEY CROWE (Nana) makes her Goodman Theatre debut. Chicago
credits include Sugar in Our Wounds (First Floor Theater); truth and
reconciliation (Sideshow Theatre Company, Jeff nominated); The Veil (Idle
Muse Theatre Company); Speed of Light (Otherworld Theatre Company);
fml: how Carson McCullers saved my life (Loyola University Chicago).
Television credits include Chicago PD. Ashley is a graduate of Loyola
University Chicago and is represented by Big Mouth Talent.
26profiles
CIERA DAWN* (Paulina Sarpong) makes her Goodman Theatre debut.
Chicago credits include: A Man of No Importance (Pride Films and Plays);
We Are Proud To Present…(Steppenwolf Theatre); The Mutilated (A Red
Orchid Theatre); Next to Normal (BoHo Theatre); Jesus Christ Superstar,
The Little Mermaid (Paramount Theatre); Madagascar (Chicago Shake-
speare Theater); Other Than Honorable (American Blues Theater). Film &
TV credits: Chicago Fire and Pitch Perfect. Education: Emerson College,
Theatre Performance and The School at Steppenwolf. cieradawn.com |
@thisiscieradawn
TIFFANY RENEE JOHNSON* (Mercy) makes her Goodman Theatre debut.
Chicago credits include: A Doll’s House, Ma Rainey’s Black Bottom (Writers
Theatre); Flyin’ West (American Blues Theater); Red Velvet (Chicago Shake-
speare Theater); Saint Joan (Poetic Forum Collective); truth and reconciliation
(Sideshow Theatre Company); VANYA (or, “That’s Life!”) (Rasaka Theatre
Company); Hairspray (Drury Lane Theatre); The Nativity (Congo Square The-
atre). Regional: Race (Next Act Theatre). Television: Shameless, Soundtrack,
Chicago Med, Chicago P.D., Chicago Fire, APB and Embeds. A Chicago
native and Howard University alumna, Tiffany is represented by Gray Talent
Group. TiffanyReneeJohnson.com | @TiffanyReneeJ_
TANIA RICHARD* (Headmistress Francis) returns to the Goodman,
where previous credits include A Christmas Carol and By the Music of the
Spheres. Chicago: This (Windy City Playhouse); Everyman, Nomathemba
(Steppenwolf Theatre); Iphigenia at Aulis (Court Theatre); Old Wine in
New Bottles, Slaughterhouse 5, Cattle 0, Brother, Can You Spare Some
Change? and Studs Terkel Is Not Working (The Second City); Truth Be
Told (Fleetwood-Jourdain); Voyeurs de Venus (Chicago Dramatists); The
People’s Temple (American Theater Company). Broadway: The Song of Ja-
cob Zulu. Regional: Blues for an Alabama Sky, Valley Song (Portland Center
Stage); Nomathemba (The Kennedy Center). Film/TV: Work in Progress,
NeXt, Chicago Fire, Chicago PD, Chicago Justice, Empire and The Chi.
LANISE ANTOINE SHELLEY* (Eloise Amponsah) returns to the Good-
man, where previous credits include An Enemy of the People and Stop.
Reset. Chicago: Familiar (Steppenwolf Theatre) and work with Looking-
glass Theatre, Chicago Shakespeare Theater, Victory Gardens and Back-
room Shakespeare. Regional: Glass Menagerie, Gem of the Ocean, King
Lear, Intimate Apparel, Sueño, …Young Lady From Rwanda, The Crucible
(Milwaukee Repertory Theatre) and work with American Repertory Theatre,
Indiana Repertory Theater, Book-It Repertory Theater, Seattle Repertory
Theater, Outside the Wire, Shakespeare Santa Cruz, Kansas City Rep.
International: Macbeth, All My Sons, Aeneid (Stratford Festival); Nutcracker Turbo (Moscow Art
Theatre). TV/Film: Chicago Fire, Chicago Med, The Inner Room, Discovery World and Macbeth
HD. She was the Stratford Shakespeare Festival's 2016 Chicago Fellow and she received her
MFA from ART/MXAT at Harvard University.
27profiles
JOCELYN BIOH (Playwright) is a Ghanaian-American writer and performer from New York City.
Bioh’s plays include School Girls; Or, The African Mean Girls Play (2016 Kilroys List, MCC The-
ater, Center Theatre Group); The Ladykiller’s Love Story, Happiness and Joe, Nollywood Dreams
(2015 Kilroys List, Cherry Lane Mentor Project) and African Americans (2011 Southern Rep Ruby
Prize finalist, 2012 O’Neill Center semi-finalist, Howard University). Bioh’s acting credits include
work on Broadway as well as productions with Soho Rep, The Public Theater, Playwrights Hori-
zons, Classical Theater of Harlem, Wilma Theater and Signature Theater. Television writing credits
include She’s Gotta Have It and Russian Doll.
LILI-ANNE BROWN (Director) returns to the Goodman, where she recently directed Lottery
Day by Ike Holter. A native Chicagoan, Brown works as a director, actor and educator, and has
performed in, directed and produced many award-winning shows, both local and regional. She
is the former Artistic Director of Bailiwick Chicago, where she focused programming on Chica-
go-premiere musicals and new play development with resident playwrights. Recent credits include
The Color Purple (Drury Lane Theatre) and Put Your House in Order (La Jolla Playhouse). She is
a member of SDC, AEA, and SAG-AFTRA, is a graduate of Northwestern University and is repre-
sented by William Morris Endeavor.
YU SHIBAGAKI (Scenic Design) is a Chicago and NYC based set designer, born and raised
in Japan. Recent Chicago credits include The Brothers Size (Steppenwolf Theatre Company); X
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(Sideshow Theatre); Cambodian Rock Band, Fun Home (Victory Gardens Theater); Witch, Viet-
gone (Writers Theatre); Mansfield Park (Northlight Theatre); The Father (Remy Bumppo Theatre)
and more. Regional credits include Cambodian Rock Band (Merrimack Repertory Theater, City
Theatre Company); Pride and Prejudice (Heritage Theater Festival); Engaging Shaw, Maids, The
Island, The Year of Magical Thinking (American Players Theatre).
SAMANTHA C. JONES (Costume Designer) returns to Goodman Theatre where previous credits
include Lottery Day. Chicago credits include work with Court Theatre, Victory Gardens Theater,
Steppenwolf Theatre, Northlight Theatre, Drury Lane Theatre, Writers Theatre, Lookingglass Theatre
Company, Chicago Children’s Theatre, American Blues Theater, TimeLine Theatre Company,
Porchlight Music Theatre, Jackalope Theatre and others. Regional credits include work with Kansas
City Rep, The Alley, Seattle Children’s Theatre, First Stage Theatre, Skylight Music Theatre, Indiana
Repertory Theatre, Peninsula Players Theatre and others. Upcoming productions include King James
(Steppenwolf Theatre) and Black Odyssey (Oregon Shakespeare Festival). SamanthaCJones.com
JASON LYNCH (Lighting Designer) returns to the Goodman, where recent credits include Lottery
Day, How to Catch Creation and An Enemy of the People. Additional Chicago credits include
work with Northlight Theatre, Victory Gardens Theater, Chicago Shakespeare Theater, Steppenwolf
Theatre Company, among others. Regional credits include work with Alley Theatre, Dallas Theater
Center, Denver Center for the Performing Arts, The Repertory Theatre of St. Louis and Oregon
© 2020 JPMorgan Chase & Co.
CULTIVATING GIFTED ARTISTS.
PROMOTING INNOVATIVE WORKS.
JPMorgan Chase proudly supports Goodman Theatre and applauds its
production of School Girls; Or, The African Mean Girls Play.profiles
Shakespeare Festival. He is also the recipient of the 2019 Michael Maggio Emerging Designer
Award which recognizes emerging theatrical designers within the Chicago area. Jason is a proud
member of The Association of Lighting Designers.
JUSTIN ELLINGTON (Sound Designer) returns to Goodman Theatre where he previously
served as composer and sound designer for Father Comes Home from the Wars (Parts 1, 2 &
3) and Until The Flood. Justin also provided original music for How to Catch Creation. Additional
Chicago credits: Familiar (Steppenwolf Theatre Company). Broadway credits: Other Desert Cities.
Off-Broadway credits: Heroes of the Fourth Turning (Playwrights Horizons); The House That Will
Not Stand; Fetch Clay Make Man (New York Theatre Workshop); The Rolling Stone, Pipeline,
Pass Over, Other Desert Cities (Lincoln Center); He Brought Her Heart Back in a Box, The Win-
ter’s Tale (Theater for a New Audience).
FATIMA SOWE (Dramaturg) makes her Goodman Theatre debut. Past dramaturgy work includes
Caroline, or Change (Firebrand Theatre in partnership with TimeLine Theatre); Assistant Dramaturg
for Paradise Blue (TimeLine Theatre) and Scottsboro Boys (Porchlight Music Theatre). Additional
Chicago credits include Movement Choreographer for Cardboard Piano (TimeLine Theatre); Assis-
tant Director for Rutherford and Son (TimeLine Theatre); Assistant Director for True West and The
Curious Incident of the Dog in the Night Time (Steppenwolf Theatre Company).
Goodman Theatre thanks the following
individuals for their generous support!
The Edith-Marie Appleton Foundation/ SCHOOL GIRLS SPONSORS
Albert and Maria Goodman
Roger and Julie Baskes Cecilia Conrad and
Llewellyn Miller
Joan and Robert Clifford
Elaine R. Leavenworth
David and Alexandra Fox Randy and Lisa White
Kimbra and Mark Walter Directors Society Sponsors
2019-2020 Season Sponsors
Julie M. Danis and
Carol Prins and John Hart Paul F. Donahue
2019-2020 Albert Season Sponsors Rebecca Ford and Don Terry
Catherine Mouly and
The Michael A. Sachs LeRoy T. Carlson, Jr.
Family Foundation Gloria A. Walton
Education Season Sponsor Education and Engagement
Sponsorsprofiles
ALDEN VASQUEZ* (Production Stage Manager) has stage managed over 85 productions at
Goodman Theatre, including 29 productions of A Christmas Carol. His Chicago credits include 14
productions at Steppenwolf Theatre Company, including the Broadway productions of The Song of
Jacob Zulu (also in Perth, Australia) and The Rise and Fall of Little Voice. His regional theater credits
include productions at American Theater Company, American Stage Theatre Company, Arizona
Theatre Company, Ford’s Theatre, Madison Repertory Theatre, Manhattan Theatre Club, Northlight
Theatre, Peninsula Players Theatre, Remains Theatre, Royal George Theatre, Teatro Vista, Trinity
Repertory Company and the Weston Playhouse Theatre Company. He teaches stage management at
DePaul University, is a 35-year member of Actors’ Equity Association and a U.S. Air Force veteran.
KIMBERLY ANN MCCANN* (Stage Manager) is in her sixth season with Goodman Theatre,
having most recently worked on A Christmas Carol. Chicago credits include Mansfield Park, The
Book of Will, Miss Bennet and You Can’t Take It with You at Northlight Theatre and Million Dollar
Quartet. Broadway credits include Curtains. Off-Broadway credits include Bill W. and Dr. Bob,
How to Save the World and John Ferguson. Regional credits include work with Milwaukee Reper-
tory Theater, Skylight Music Theatre, Tuacahn Center for the Arts and The Juilliard School.
ROBERT FALLS (Goodman Theatre Artistic Director) recently revived his 2014 production of Don
Giovanni for the Lyric Opera, and he will direct Brian Friel’s Molly Sweeney at the Goodman this
spring. Last season, Falls directed Shakespeare’s The Winter’s Tale and David Cale’s We’re Only
Bravo.
Encore!
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support Goodman
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which contribute to
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Alive for A Short Amount of Time (Goodman Theatre, Public Theater). Other recent productions
include Pamplona, starring Stacy Keach; Rogelio Martinez’s Blind Date; and his own original adap-
tation of Ibsen’s An Enemy of the People. Recent credits also include 2666, adapted from Roberto
Bolaño’s epic novel and co-directed with Seth Bockley; The Iceman Cometh, starring Nathan Lane
and longtime collaborator Brian Dennehy (Brooklyn Academy of Music); and Beth Henley’s The
Jacksonian. Falls’ Broadway productions include Death of a Salesman, starring Dennehy; Long Day’s
Journey into Night, starring Dennehy, Vanessa Redgrave, Philip Seymour Hoffman and Robert Sean
Leonard; Eric Bogosian’s Talk Radio; the American premiere of Conor McPherson’s Shining City;
and Horton Foote’s Pulitzer Prize-winning The Young Man from Atlanta. His Broadway production
of Elton John and Tim Rice’s Aida, for which he also co-wrote the book, continues to be produced
around the world. Previous Goodman productions include, most notably, Arthur Miller’s Finishing
the Picture; The Seagull; Uncle Vanya; Measure for Measure; King Lear; Desire Under the Elms;
The Misanthrope; Pal Joey; Galileo; the American premiere of Alan Ayckbourn’s House and Garden;
the world premieres of Rebecca Gilman’s A True History of the Johnstown Flood, Blue Surge,
Dollhouse and Luna Gale; and Gilman’s Soups, Stews, and Casseroles: 1976. Falls’ honors for
directing include a Tony Award (Death of a Salesman), a Drama Desk Award (Long Day’s Journey
into Night) an Obie Award (subUrbia), a Helen Hayes Award (King Lear) and multiple Jeff Awards.
For “outstanding contributions to theater,” he has also been recognized with such prestigious honors
as the Savva Morozov Diamond Award (Moscow Art Theatre), the O’Neill Medallion (Eugene O’Neill
Society), the Distinguished Service to the Arts Award (Lawyers for the Creative Arts) and the Illinois
Arts Council Governor’s Award. Falls was inducted into the Theater Hall of Fame in 2015.
LEAVE
“Long after you and I have spent
our last night of the universe, footsteps
will echo across the stage and, in
YOUR
a language that is universal, will
announce their presence with song
and surety. Embodied in them will
LEGACY
be the duty of remembrance and
celebration. The duty of exploration
and preservation.”
–August Wilson
Join the Spotlight Society by making
a planned gift and ensure that the
Goodman you enjoy today will be here
for generations to come. For more
information about estate gifts and
the benefits of membership, contact
MartyGrochala@GoodmanTheatre.org
or call 312.443.5572.profiles
ROCHE EDWARD SCHULFER (Goodman Theatre Executive Director) started working in
the Goodman Theatre box office and became executive director in 1980. Since that time he has
overseen more than 350 productions including more than 150 premieres. He initiated the
Goodman’s annual production of A Christmas Carol, which celebrated 42 years as Chicago’s
leading holiday arts tradition in 2019. In partnership with Artistic Director Robert Falls, Mr.
Schulfer led the establishment of quality, diversity and community engagement as the core
values of Goodman Theatre. During their tenure, the Goodman has received numerous awards
for excellence, including the Tony Award for Outstanding Regional Theater, recognition by Time
magazine as the “Best Regional Theatre” in the U.S., the Pulitzer Prize for Lynn Nottage’s Ruined
and many Jeff Awards for outstanding achievement in Chicago area theater. Schulfer has nego-
tiated the presentation of numerous Goodman Theatre productions to national and international
venues. He coordinated the 12-year process to relocate the Goodman to the Theatre District
in 2000. To mark his 40th anniversary with the Goodman, his name was added to the theater’s
“Walk of Stars.” Schulfer was a founder and twice chair of the League of Chicago Theatres, the
trade association of more than 200 Chicago area theaters and producers. He has been privi-
leged to serve in leadership roles with Arts Alliance Illinois (the statewide advocacy coalition);
Theatre Communications Group (the national service organization for more than 500 not-for-prof-
it theaters); the Performing Arts Alliance (the national advocacy consortium of more than 18,000
organizations and individuals); the League of Resident Theatres (the management association of
over 70 leading U.S. theater companies); Lifeline Theatre; the Arts & Business Council and The-
ater Wit. Mr. Schulfer is honored to have been recognized with the League of Chicago Theater’s
Goodman Theatre salutes its supporters of the Community
Engagement Series during the 2019/2020 season:
Community Engagement Sponsors Women's Night Sponsors
Marcy and Harry Harczak Julie M. Danis and
Paul F. Donahue
Elaine R.
Leavenworth
Lead Event Sponsor
for Women's Night Elizabeth Raymond
and Paul Hybel
Alice and
John Sabl
As of February 17, 2020profiles
Lifetime Achievement Award; Theatre Communication Group’s Visionary Leadership Award;
Actors’ Equity Association for promoting diversity and equal opportunity in Chicago theater; the
American Arts Alliance and Arts Alliance Illinois for arts advocacy; the Arts & Business Council
for distinguished contributions to Chicago’s artistic vitality; Chicago magazine and the Chicago
Tribune as a “Chicagoan of the Year”; the City of Chicago; the Chicago Loop Alliance’s “Illumina-
tion Award,” honoring his commitment to Chicago’s theater district; Columbia College Chicago
for entrepreneurial leadership; the Joseph Jefferson Awards Committee for his partnership with
Robert Falls; Lawyers for the Creative Arts; Lifeline Theatre’s Raymond R. Snyder Award for
Commitment to the Arts; Season of Concern for support of direct care for those living with HIV/
AIDS and Vision 2020 for promoting gender equality and diversity in the workplace. He taught
at the theater school at DePaul University, lectured annually on strategic planning in the arts at
Southern Methodist University and frequently consults with local and national theater companies.
Schulfer received a degree in economics from the University of Notre Dame where he served as
cultural art commissioner and currently conducts an annual seminar on theater management. He
received an Honorary Doctor of Fine Arts degree from North Central College in 2009. His cele-
brated presentation on the economics of the performing arts and business models in the theater
industry, WHY NOT FOR PROFIT THEATER, has been seen by numerous theater companies
and at national conferences over the past two years. Mr. Schulfer was born in Chicago and is a
lifelong resident of the area.
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312.660.8866 312.724.6000PREMIERE
SOCIETY
WHERE YOU BELONG
A theater family—just for you.
When you join Goodman Theatre’s Premiere Society, you belong
to a core group of Chicago theater champions. Premiere Society
membership offers behind-the-scenes access and premium tickets,
and provides the unique opportunity to meet others who share your
love of the arts. With this exclusive access to the Goodman, you’ll find
out how you can use your passion for theater to make a true impact.
Through core support of the Goodman’s productions, education programs and
accessibility initiatives, Premiere Society donors directly impact the Chicago
community for the better. For more information about the Premiere Society, contact
Victoria Rodriguez, Manager of Individual and Major Gifts at VictoriaRodriguez@
GoodmanTheatre.org or 312.443.3811, ext. 539.
“It’s more than just coming
to shows. It’s about being
a part of the Goodman.”
Mark Hudson and Russell Johnson, Premiere Society since 2005
PREMIERE
SOCIETYabout us
AMERICA’S “BEST REGIONAL THEATRE” (Time magazine), Goodman
Theatre is a premier not-for-profit organization distinguished by the excellence and
scope of its artistic programming and civic engagement. Led by Artistic Director
Robert Falls and Executive Director Roche Schulfer, the theater’s artistic priorities
include new play development (more than 150 world or American premieres in the
past three decades), large scale musical theater works and reimagined classics
(celebrated revivals include Falls’ productions of Death of a Salesman and The
Iceman Cometh). Goodman Theatre artists and productions have earned two
Pulitzer Prizes, 22 Tony Awards, over 160 Jeff Awards and many more accolades.
In addition, the Goodman is the first theater in the world to produce all 10 plays
in August Wilson’s “American Century Cycle;” and its annual holiday tradition
A Christmas Carol, now in its fourth decade, has created a new generation of
theatergoers. The Goodman also frequently serves as a production partner with
local off-Loop theaters and national and international companies by providing
financial support or physical space for a variety of artistic endeavors.
Committed to three core values of Quality, Diversity and Community, the Goodman
proactively makes inclusion the fabric of the institution and develops education
and community engagement programs that support arts as education. This
practice uses the process of artistic creation to inspire youth, lifelong learners
and audiences to find and/or enhance their voices, stories and abilities. The
Goodman’s Alice Rapoport Center for Education and Engagement is the home
of such programming, most offered free of charge, and has vastly expanded the
theater’s ability to touch the lives of Chicagoland citizens (with 85% of youth
participants coming from underserved communities) since its 2016 opening.
Goodman Theatre was founded by William O. Goodman and his family in honor
of their son Kenneth, an important figure in Chicago’s cultural renaissance in the
early 1900s. The Goodman family’s legacy lives on through the continued work
and dedication of Kenneth’s family, including Albert Ivar Goodman, who with his
late mother, Edith-Marie Appleton, contributed the necessary funds for the creation
of the new Goodman center in 2000.
Today, Goodman Theatre leadership also includes the distinguished members
of the Artistic Collective: Brian Dennehy, Rebecca Gilman, Henry Godinez,
Dael Orlandersmith, Steve Scott, Kimberly Senior, Chuck Smith, Regina Taylor,
Henry Wishcamper and Mary Zimmerman. David W. Fox, Jr. is Chairman of
Goodman Theatre’s Board of Trustees, Denise Stefan Ginascol is Women’s Board
President and Megan McCarthy Hayes is President of the Scenemakers Board
for young professionals.
36staff Robert Falls
Artistic Director
Roche Schulfer
Executive Director
ARTISTIC COLLECTIVE Rachael Jimenez Adrian Abel Azevedo
Casting Associate Education & Engagement Associate
Chuck Smith
Resident Director Julie Massey Sam Mauceri
Assistant to the Artistic Director School Matinee Series Coordinator
Mary Zimmerman
Manilow Resident Director Emma Gruhl Liam Collier
Casting Assistant Education & Engagement Assistant
Henry Godinez
Resident Artistic Associate Lena Romano MARKETING & SALES
Producing Assistant
Brian Dennehy
Jay Corsi
Rebecca Gilman DEVELOPMENT Director of Marketing
Steve Scott Dorlisa Martin Gabriela Jirasek
Kimberly Senior Director of Development Director of Digital Strategy
Regina Taylor Martin Grochala Jenny Gargaro
Henry Wishcamper Associate Director of Development/ Director of Advertising
Artistic Associates Senior Director of Major and
Planned Gifts Kimberly D. Furganson
Dael Orlandersmith Marketing Associate/
Artistic Associate and Jeff M. Ciaramita Group Sales Manager
Alice Center Resident Artist Senior Director of Special
Events & Stewardship Mary Alex Nosek
ADMINISTRATION Marketing and Research Manager
Kate Welham
Gavin Damore
John Collins Senior Director of Institutional
Marketing Associate
Giving and Development Operations
Managing Director
Victoria S. Rodriguez Garrett Reeves
Lewis Warrick Digital Marketing Associate
Manager of Individual and
Director of Finance and
Major Gifts
Administration Casey Chapman
Jodi J. Brown Amy Szerlong Associate Director of
Manager of Institutional Giving Outbound Sales
Manager of the Business Office
Christine Obuchowski Shari Eklof
Richard Glass Outbound Sales Associate
Board Relations and
Director of IT
Major Gifts Manager
William Opel
Marissa Ford Jeannine Burgdorf Outbound Sales Shift Supervisor
Associate Managing Director
Prospect Research Manager
John Donnell
Ashley Jones Joe Giovannetti
Payroll Coordinator Linda Grossman
Development Communications
Drew Blau Coordinator Robert Hunter Bry
Raymond James
Company Manager Mishari Lee Zambrano
Owen Brazas Coordinator of Stewardship and John Paul Nelson
Systems Administrator Community Engagement Events Matthew Padora
Ashley Klingler Delaney Sterling Hamid Razik
Executive Assistant Annual Fund Coordinator Byron Simpson
Daryn Robinson Peter Utman
ARTISTIC Institutional Giving Assistant Membership Sales/Fundraising
Adam Belcuore Melanie Leftakes
COMMUNICATIONS
Managing Producer Board Relations and Individual
Giving Assistant
Neena Arndt Denise Schneider
Resident Dramaturg Director of Communications
EDUCATION & ENGAGEMENT
Lauren Port Jaclyn Jermyn
Casting Director
Willa J. Taylor Publicity Coordinator
Walter Director of
Ken-Matt Martin Education & Engagement Laura Hooper Doughty
Associate Producer Creative Content Manager
Quenna Barrett
Jonathan L. Green Associate Director of Cori Lewis
Literary and New Works Manager Education & Engagement Senior Designer, Brand Strategy
37staff
Cecily Pincsak SCENIC ART Patrick Hudson
Senior Designer, Creative Content Electrics Head
Karl Kochvar
Alma D’Anca Resident Scenic Artist, USAA Bill McGhee
Graphic Designer
Donna Slager Jay Rea
Cody Nieset Scenic Artist Sherry Simpson
Video Producer
Aimee Sweet
SCENERY
Alberto Mendoza Electricians
Videographer
Mark Prey Ali Wojcikiewicz
TICKET SERVICES
Technical Director Michael Barahura
Lydia Pustell Matt Bearor
Erik Schnitger Associate Technical Director Electrics Overhire
Director of Ticket Services
Dave Stadt Andrei Borges
Summer Snow Scene Shop Foreman Assistant Lighting Designer
Associate Director of
Ticket Services Sandy Anetsberger SOUND
Rachael Swann William Czerwionka
Michael Frohbieter Richard Woodbury
Ticket Services Manager Resident Sound Designer
Rachel Robinson Stephen Geis
David Naunton
Alex Meyer Casey Kelly House Audio Supervisor
Carpenters
Assistant Ticket Services Managers
Bradford Chapin
Philip Lombard Jordan Siragusa Audio Head
Scene Shop Apprentice
Group Sales Representative
Claudette Przygoda
Scott Kloosterman Krissy Cralle Sound Board Operator
Mary Iris Loncto Jonathan Dean
Assistant Carpenters Rodrigo Garcia-Flores
Ron Popp Mic Runner
James Norman
Shawn Schikora House Carpenter COSTUMES
Ticket Services Representatives
Jess Hill
House Rigger Carpenter
Heidi Sue McMath
PRODUCTION Costume Shop Manager
Scott Conn PROPERTIES Eileen Clancy
Production Manager Assistant Costume Shop Manager
Alice Maguire
Felicia Hall-Smith Properties Supervisor Kelly Rose
Associate Production Manager, Costume Shop Coordinator
Albert Christopher Kolz
Properties Carpenter Kara Tesch
Madeleine Borg Assistant to the Designer
Associate Production Manager, Jeff Harris
Owen Properties Artisan Jessica Rodriguez
Amber Porter Kathryn Johnson Shop Assistant
Production Coordinator Assistant Properties Supervisor Emily Robertson
Meghan Savagian Draper
STAGE MANAGEMENT Props Assistant Liz Taylor
Alden Vasquez Vanessa Thomas First Hand
Production Stage Manager Props Head Allison Ernst
Kimberly Ann McCann Scott Dickens Stephany Sheppard
Stage Manager Assistant Props Carpenter Stitchers
Veronica Bustoz ELECTRICS
Allison Ernst
Floor Manager Stitcher
Gina Patterson Susan Lemerand
Lighting Supervisor Crafts
Preston Reynolds Jeneé Garretson
Assistant Lighting Supervisor Wardrobe Supervisor
38staff
Colleen Hagerty Madi Lang-Ree Ellwood & Associates
Wardrobe Judy Loyd Investment Consultants
Evelyn Danner Keri Mack Medical Program for
Rueben Echoles Giuliana Marchese Performing Artists
Costume Construction Apprentices Medical Consultants
Tab Mocherman
FACILITIES Raul Orozco Integrated Facility
Gabrielle Owens Management
Frank Leyden Maggie Perisho Consulting, LLC
Facilities Manager Facility Management Consultants
Taylor Pittman
Patrick Feder The Kaleidoscope Group
Lead Facilities Technician
Ginny Reynolds
Full Service Diversity &
Aaron Thiel
Sharon Flowers Inclusion Partner
Facilities Technician
Chloe Ward
Carlo Zenner INTERNS
Valentino Davenport Front of House Staff
Facilities Apprentice Allison Sparrow
Casting
Beverly Hatchett GUEST SERVICES
Custodial Supervisor Maddie Mueller
Tim Maples Development
Tawanda Brewer Guest Services Manager
Miguel Melecio Abby Wesley
Kyle Cornell Education
Randy Sickels Desmond Gray
Custodians
Guest Services Associates
Eli Cohen
Maurice Henry Jane Peña
Matthew Lightfoot Literary Management
Part-time Custodian
Tab Mocherman and Dramaturgy
Thomas Demke Lewis Rawlinson Maggie Collins
Carlos Hernandez Maya Wallace Marketing
Part-time Facilities Technicians
Brittani Yawn Mia Guevara Morgan
FRONT OF HOUSE Part-Time Guest Services Associates PR/Publicity
Claire Fogle
Chris Smith AFFILIATED ARTISTS
Front of House Manager Adeline Snagel
Monty Cole Aaron Thiel
Demi Smith
Special Events and House Manager
Nancy García Loza Stage Management
Alex Lubischer
Andy Wilson
House Manager and
Steve Pickering
Accessibility Coordinator Playwrights Unit
Sean Grosshans Spenser Davis
Lounge Lead Maggio Directing Fellow
Rebecca Cao Romero CONSULTANTS &
Front of House and Events SPECIAL SERVICES
Apprentice
Ty Bonneville Plante & Moran PLLC
Auditors
Arthur Mathews
Patrick Wozny M. Graham Coleman
Assistant House Managers Davis Wright Tremaine LLP
Legal Counsel
Erin Cleveland
Corinne Hastings Richard L. Marcus/
Jake Hoover Ogletree, Deakins, Nash,
Daniel Howie Smoak & Stewart P.C.
Local Labor Counsel
Peter Kattner
Michael Krystosek Campbell & Company
Fundraising Consultants
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