THE NEVERLAND - Krannert Center for the Performing Arts
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
THE NEVERLAND
ILLINOIS THEATRE
By Madeline Sayet
Madeline Sayet, guest director
Flying Effects provided by ZFX
Thursday-Friday, April 7-8, 2022, at 7:30pm
Saturday, April 9, 2022, at 2pm
Wednesday-Friday, April 13-15, 2022, at 7:30pm
Saturday, April 16, 2022, at 2pm
Colwell PlayhouseTHE ACT OF GIVING
THANK YOU TO OUR SPONSORS
This performance of The Neverland is sponsored
in part by the following generous donors:
SUSAN & MICHAEL HANEY
2PROGRAM
THE NEVERLAND
ILLINOIS THEATRE
By Madeline Sayet
Madeline Sayet, guest director
Thursday-Friday, April 7-8, 2022, at 7:30pm
Saturday, April 9, 2022, at 2pm
Wednesday-Friday, April 13-15, 2022, at 7:30pm
Saturday, April 16, 2022, at 2pm
Colwell Playhouse
TIME: Now
PLACE: Christian Betterment Boarding School, Connecticut, USA
The Neverland
The Everland (Turtle Island)
This production will include a 20-minute intermission.
Trigger warning for survivors of residential schools, conversion schools, and other forms of assimilative
violence.
This production includes smog and smoke effects, strobe lighting, and gun shots.
Flying Effects provided by ZFX.
The Neverland is presented in part thanks to support from the University of Illinois Presidential Initiative
to Celebrate the Impact of the Arts and the Humanities.
3DIRECTOR'S NOTE
What if we believed in more, not less? What if we or mythological instead of very real sovereign
actually listened to everyone around us? nations with our own distinctive cultures, beliefs,
and ways of seeing the world. Peter Pan is one
Today, this story is being told in Illinois, a place of the greatest causes of Redface performance
that is home to the Peoria, Miami, Kaskaskia, in the American theatre. So today we offer an
Piankashaw, Wea, Mascoutin, Odawa, Sauk, alternative.
Mesquaki, Kickapoo, Potawatomi, Ojibwe, and
Chickasaw Nations—tribal nations with deep Today’s story isn’t Peter Pan. It’s a different kind
connections to these lands and their stories. of adventure.
But none of these tribes have federal recognition An opportunity to go on a journey that follows
in the State of Illinois, because the federal a Native character instead. It is built on both the
government removed them at gunpoint and inequities our world surrounds us with—and also
forced them out. Made it clear that they were not the possibilities for a better future.
welcome in their home anymore. That is a story
the land here speaks everyday—whether or not It imagines a world in which all of us are valued for
you are listening. who we are instead of expecting us to be one way.
Many of you in this audience probably know There are still spirits and friendship and villains
more about Peter Pan—a story written by a man and laughter—just as there are in the real
an ocean away—than you do about the people world around us. But this story is an attempt at
whose home you occupy. Have you interacted considering:
with Native people beyond cheering for a mascot What if we opened our eyes to what is around us
that depicts us as less than human? instead of believing in less and less as time goes
I grew up feeling deeply conflicted, as a Mohegan on?
person, about Peter Pan. There are things in it What if we could really understand the
that bring joy and wonder, and there are things possibilities our world has held all along?
in it that are deeply harmful, that perpetuate a
worldview in which Native people are imaginary —Madeline Sayet, playwright and director
4THE NEVERLAND
PLAYWRIGHT AND DIRECTOR ACCOMPANIST, PIANO
Madeline Sayet* Justin M. Brauer
COMPOSER FLIGHT DIRECTOR
Ed Littlefield Andrea Gentry
SCENIC DESIGNER FIGHT AND MOVEMENT DIRECTOR
Emma Brutman Zev Steinrock
COSTUME DESIGNER STAGE MANAGER
Kelsea Andrade Mary Kate Baughman
LIGHTING DESIGNER DIALECT COACH
Zack Saunders Allison Moody
SOUND DESIGNERS DRAMATURG
Kayla Sierra-Lee Emily Goodell
Abbey Nettleton
MEDIA DESIGNER
M Ospina-Lopez
*Stage Directors and Choreographers
Society (SDC)
5CAST
PAN OMAI/ADULT VOICE
Kenny Ramos Corey Barlow
WENDY/JEETS BODERNASHA BEAU/ADULT VOICE
Marion Jacobs Jamal Turner
HOOK/TEACHER MEDINA/PIRATE 1
Gabrielle DeMarco Ethan Solomon
SMEE KALEEN/PIRATE 2/CHILD HOOK VOICE
Jimmy Ladd Sarah Clement
MARY 1/KARILAGAN MARY 1/KARILAGAN, MARY 2/ANDREA,
Madelyn Childress MARY 3/CHESA, JOHN, MICHAEL/PALASH
UNDERSTUDY
MARY 2/ANDREA Guinevere Brown
Jailene Torres
OMAI, BEAU, MEDINA/PIRATE 1, KALEEN/
MARY 3/CHESA PIRATE 2 UNDERSTUDY
Kim Fernandez Gracie Benson
JOHN/ADULT VOICE PAN UNDERSTUDY
Ben Mathew Gabriel Ortiz
MICHAEL/ PALASH NEVER VOICES
Palash Ranjit Lisa Dixon
Genesee Spridco
TINK Zev Steinrock
Emily Albert-Stauning Nisi Sturgis
6DRAMATURG'S NOTE
A child’s imagination is a precious thing, meant It must be acknowledged that the classroom in
to be nourished. Unfortunately, the education this play is deeply real. During the first month of
system in the United States has not and does not rehearsal for this production, Florida and Texas
protect all of our youth. In our reimagined world of passed legislation restricting pupil and parental
Neverland, we witness the effects of a system that civil liberties. Nineteen states still allow corporal
was built to oppress those with the least power. punishment in K-12, many that cite the benefits
for delinquent students. Reform schools, religious
Indigenous peoples in North America have long education, and private institutions take liberties
suffered the consequences of education reform. with curriculum and punishment alike.
This past year, now defunct residential schools
have made global headlines that detailed legacies Enter Wendy. Indigenous in 2022. Alive and well
of harm. The Neverland begins in a classroom and unwilling to sacrifice any more of her culture,
that alludes to those recently closed institutions. identity, or voice. Pan sees her strength and takes
Yet, that is not the only issue with the education her to an imaginary place where one can exist
of and about Indigenous people. Current safely simply as they are. May we give that to our
curriculum includes tall tales of Thanksgiving, children: a real Neverland.
terra nullius, Manifest Destiny, and the last (insert
tribe here). —Emily Goodell, dramaturg
7PROFILES
Emily Albert-Stauning, she/ and Chip Tolentino in The 25th Annual Putnam
her, (Tink) is a Senior County Spelling Bee, the Busboy in She Loves
Chancellor Scholar studying Me, and Don Ottavio Cover/Ensemble in Don
acting (BFA) and neuroscience Giovanni with Lyric Theatre @ Illinois. Barlow is
(BS). She has performed in also a singer/songwriter and occasionally releases
over 40 film, theatre and original music.
television productions across
Gracie Benson (Omai, Beau,
the Midwest. In 2016, she
Medina/Pirate 1, Kaleen/Pirate
received an Emmy Award for
2 Understudy) is currently a
Best Children’s TV Series for hosting Into the
sophomore pursuing a BFA in
Outdoors. During her time at the University of
acting at the University of
Illinois, she has been honored to perform in Lyric
Illinois Urbana-Champaign.
Theatre @ Illinois’ Crazy for You (Lottie Child) and
This is her third production
Illinois Theatre’s Lysistrata (Myrrhine), She Kills
with Illinois Theatre; she was
Monsters (Fariah), We’re All Gonna Die Here
previously seen in Native
(Felicity), Native Gardens (Understudy for Virginia
Gardens (Landscaper) and The Gulf (Kendra).
Butley), and Redline Collection (Beth). Albert-
Benson has taken part in many productions with
Stauning is also a singer/songwriter and recording
Libertyville High School prior to joining the Illinois
artist (Sony Records 2016) and the host of the Made
Theatre program including Love/Sick (Kelly),
to Lead podcast by the Illinois Leadership Center.
Pippin (Aerialist/Ensemble), and Romeo and Juliet
Corey Barlow (Omai/Adult (Benvolio). In addition to these performances, she
Voice) is a senior BFA acting performed with Improv Playhouse, her local
major. He most recently community theatre, in The Diary of Anne Frank
represented Illinois Theatre as (Anne Frank) and A Thousand Paper Cranes
the Narrator in an adaptation (Sadako).
of Why Did Desdemona Love
the Moor? by Tennessee
Williams in both the St. Louis
and the Provincetown
Tennessee Williams Festivals. Additional past
credits include King Venceslas/3rd Witch/
Rensky/1st Murderer in Pshitter! A Drinking Song
for the Year of Our Lord 2020 by Henry
Wishcamper; Randy/Walter in We’re All Gonna
Die Here by Rachael Fox; Emcee in Illinois
Theatre’s joint production of Cabaret; Young
Lucius in Titus Andronicus with Illinois Theatre;
8Guinevere Brown, she/they, Sarah Clement, she/her,
(Mary 1/Karilagan, Mary 2/ (Kaleen/Pirate 2/ Child Hook
Andrea, Mary 3/Chesa, John, Voice) from Lindenhurst,
Michael/Palash Understudy) is Illinois, is a senior pursuing her
a sophomore from Carbondale, BFA in acting at the University
Illinois, pursuing her BFA in of Illinois Urbana-Champaign.
acting at the University of Clement has recently been
Illinois. Her Illinois Theatre seen as Victoria (Townsperson)
credits include The 48 (Hero, in Varslaren (The
Everybody’s Hero) and The Heist: A Theatrical Whistleblower) this past February at Krannert
Escape Room (Understudy). Some of her favorite Center. Her other works include The
productions include The Diary of Anne Frank (Anne Commentator in Illinois Theatre’s production of
Frank) with the Stage Company, Twelfth Night Pshitter! A Drinking Song for the Year of Our Lord
(Andrew Aguecheek and others) with Stone Soup 2020, Eurydice in Eurydice at the Armory Free
Shakespeare, and Cinderella (Charlotte) with Theatre, Margaret in Everybody’s Hero featured
Kr8ive Fine Arts Academy. in The 48, a Female Chorus Member in Illinois
Theatre’s production of Lysistrata, and an
Madelyn Childress, they/she, Understudy for Emma in Great Scenes from
(Mary 1/Karilagan) is making American Kitchen Sink Theatre. She was also
their Illinois Theatre debut. featured in the student-directed musical Gay
They are pursuing an acting Card, which was released on film last spring. This
BFA at the University of Illinois summer, she will be directing and designing Willy
after transferring from Wonka Jr. at Discovery Day Camp and
Parkland College where they participating in the Disney College Program
received their AA in theatre beginning in July.
performance. They have been
performing on stage and screen throughout the Gabrielle Demarco (Hook/
Champaign-Urbana community since 2012. Their Teacher) is currently a
Parkland credits include A Midsummer Night’s sophomore at the University of
Dream (Peter Quince), Between Two Friends (B), Illinois, pursuing her BFA in
and Scheherazade (Girl). They also appeared in I acting. As a transfer student,
Hate Hamlet (Deirdre McDavey) at The Station she has already completed her
Theatre. Behind the scenes, Childress has worked associate degree, receiving an
as an assistant music director and sound board AA in theatre performance
operator within the Champaign Urbana Theatre from Parkland College. This is
Company’s branch of The Penguin Project. Demarco’s first Krannert Center show since joining
the program. Some of her previous work
includes Steel Magnolias (Shelby) at the Champaign
Urbana Theatre Company, Bus Stop (Cherie) and No
Exit (Ines) at the Twin City Theatre Company,
and Dear Brutus (Alice) and The Servant of Two
Masters (Claire) at Parkland College.Kim Fernandez, she/her, Jimmy Ladd, he/him (Smee) is
(Mary 3/Chesa) is a junior a senior BFA acting student at
pursuing a BFA in acting at the University of Illinois. His
the University of Illinois credits since coming to the
Urbana-Champaign. Past University of Illinois include
credits include She Kills Fugitives in America (Multiple
Monsters (Tilly) and Redline Roles) and Gay Card (Logan).
Collection (Laurel), making Before moving to Urbana, his
this her third performance at acting credits consisted of
the University of Illinois. Previous acting credits Holler If You Hear Me (J. Edgar Hoover) with
before arriving at the U of I include In the Leading Man Productions, By the Way Meet Vera
Heights (Nina), tick, tick . . . Boom! (Susan), Stark (Mr. Slasvick/Brad Donovan) with the Loop
and The Matchmaker (Irene Malloy). Alongside Players, A Midsummer Night’s Dream
acting, she is also a content creator and streams (Demetrious) with the Loop Players, and Farinelli
on Twitch. and the King (Jasper) at The Station Theatre.
Marion Jacobs (Wendy/Jeets Ben Mathew, he/him, (John/
Bodernasha) is proud of her Adult Voice) is currently a
Skwxwú7mesh (Squamish), senior pursuing a BFA in
Snuneymuxw, and Bahamian acting at the University of
ancestry. Growing up in the Illinois. This production of The
village of Xwemelch’stn Neverland will be his sixth
(Capilano Indian Reserve) in performance with Illinois
Vancouver, British Columbia, Theatre. In the past, he has
her grandmother was her appeared in such productions
biggest fan and would make the whole family as Titus Andronicus (Lucius), Eurydice (The Nasty
watch whatever production she put together. From Interesting Man/Hades), Lysistrata (Male Chorus
there, Jacobs’ love of acting only grew, and before 1), She Kills Monsters (Chuck), and Origin Story
she knew it, she found herself at The American (Dex) at the University of Illinois, as well as various
Musical and Dramatic Academy (AMDA) College roles at the Illinois Shakespeare Festival in the
of the Performing Arts in Los Angeles where she summer of 2021. In his free time, Mathew
received a BFA with honors. Since then, she has performs and tours nationwide with The Other
enjoyed performing with the Yale Indigenous Guys, a comedy octet. The Other Guys are also
Performing Arts Program in New Haven, the music ambassadors of the University of Illinois.
Connecticut, Kitchen Dog Theater in Dallas, and
the Kennedy Center American College Theater
Festival (KCACTF) Region 7 in Colorado. Most
recently, Jacobs was pleased to be part of A
Contemporary Theatre’s (ACT) production of A
Christmas Carol in Seattle. Her story continues
@mjacobsacting.
10Gabriel Ortiz, he/him, (Pan His favorite acting credits include the world
Understudy) is from Chicago, premiere productions of Larissa FastHorse’s
Illinois, and is a senior pursuing Urban Rez and Native Nation (Cornerstone), Mary
a BFA in acting at the Kathryn Nagle’s Return to Niobrara (The Rose/
University of Illinois Urbana- Omaha Theater Company), Vera Starbard’s
Champaign. Ortiz’s previous Devilfish and Tlingit Christmas Carol
credits with Krannert Center (Perseverance Theatre), and Dillon Chitto’s Bingo
for the Performing Arts include Hall (Native Voices). He has also worked at South
Varslaren (The Whistleblower) Dakota Shakespeare Festival, Passage Theatre,
(Anders), Bitterroot (William Clark), We’re All Oregon Shakespeare Festival, Denver Center, and
Gonna Die Here (Ori), Pshitter! A Drinking Song The Kennedy Center. Ramos is a proud ensemble
for the Year of Our Lord 2020 (Old Man/Junkherr member at Cornerstone Theater Company and a
Mathias von Königsberg/Peasant), Cabaret current Artist-in-Residence at La Jolla Playhouse.
(Bobby), and Titus Andronicus (Alarbus/Goth).
Other credits include Operation SGE (Chris) and Palash Ranjit (Michael/Palash)
Just Five Minutes (Jay) with Horizon Theatre Palash Ranjit, he/him,
Company; Fugitives in America (Joshua) with (Michael) is from Morton
Chicago Pride Arts; Latinx Scene Readings (Elliot) Grove, Illinois, and currently is
at The Station Theatre; Footloose! (Garvin) and a senior pursuing his BFA in
Mamma Mia! (Harry Bright) with Illini Musicals; and acting at the University of
Gay Card (Corey), which was directed, produced, Illinois Urbana-Champaign.
and choregraphed by Jordan Ratliff. Recently, he Not only is he an actor, but he
was seen in a screen dance entitled Losing My also is a real estate marketing
Mind, choreographed by Rachel Maramba and assistant at American Campus Communities,
presented by Dance at Illinois. small business entrepreneur with TeeSpring, and
social media content creator. Ranjit’s previous
Kenny Ramos (Pan) is a credits with Krannert Center for the Performing
Kumeyaay theatre artist from Arts include Fugitives in In America (Joshua) and
the Barona Band of Mission Cabaret (Victor). He has previously been filmed in
Indians who collaboarates on A Tale of Two Labs with NCPRE, Gay Card with
theatre that centers Native New Revel Players, Together at Illinois, COVID-19
perspectives and asserts tribal commercial, Track Thirteen, and Harlem
sovereignty. He grew up on Renaissance Poems at the University of Illinois.
the Barona Indian Reservation Other credits include The Messenger at the
in southern California and Amphitheatre, Love/Life with New Revel Players,
graduated from UCLA with a BA in American Mamma Mia! with Illini Student Musicals, and
Indian Studies. For his theatre work, he’s received TMLMTBGB with IHSTF. He has also appeared in
First Peoples Fund’s Cultural Capital Fellowship, the Chicago Tribune and the suburban Chicago
Theatre Communications Group’s Fox Foundation newspaper Daily Herald for his performance as
Resident Actor Fellowship, and Yale Center for Peter Pan in Peter Pan at ME Fine Arts.
the Study of Race, Indigeneity, & Transnational
Migration’s Mellon Arts Practitioner Fellowship.
11Ethan Solomon, he/him, Jailene Torres, she/her,
(Medina/Pirate 1) is currently a (Marys/Andrea) is currently a
senior pursuing a BFA in sophomore studying acting at
acting at the University of the University of Illinois.
Illinois Urbana-Champaign. Native Gardens was her debut
The Neverland will be his at Krannert Center. She was
second production with Illinois also an understudy for Illinois
Theatre with Pshitter! A Theatre’s production of
Drinking Song for the Year of Redline Collection. Torres
Our Lord 2020 being his debut (Ross/The Puppets performed all throughout her middle school and
on the Heath). He has performed in other new high school career in Chicago, Illinois. Her most
plays such as The Wedding Present at Talking notable performances include Titania in A
Horse Productions in Columbia, Missouri. Midsummer Night’s Dream, Lilith in She Kills
Solomon has also been seen in Carrie at Illini Monsters by Qui Nguyen, and Elvira in Blithe
Student Musicals playing George. He also Spirit by Noel Coward. Torres is a proud queer
traveled to Boston for the American Physics Latina artist who embraces her sexuality and her
Society Annual Meeting with a devised theatre Puerto Rican culture. When she’s not acting, she
piece named Quantum Voyagers under the loves to do her makeup, cook, and spend time
direction of Latrelle Bright. Over the course of the with friends and family.
last two years, he has become interested in film
and photography and has had the chance to Jamal Turner, he/him, (Beau/
photograph Armory shows such as The Gulf Adult Voice) is a sophomore
directed by Dani Brown and Final Rotations BFA acting student at the
directed by Ari Kelo. He has also notably been a University of Illinois. The
camera director for Illinois Theatre’s New Work Neverland is his debut at
Festival and Dance at Illinois’ production of Krannert Center. Throughout
February Dance. Turner’s high school career, he
was involved in many
productions at Walter Payton
College Prep and in the surrounding Chicago
area. Notable productions include Seussical the
Musical (Horton), Peter and The Starcatcher
(Peter), Lord of the Flies (Piggy), Ragtime (Multiple
Roles), and he has also performed alongside
Roosevelt University’s Chamber Choir at the
Chicago Symphony Orchestra for their Home
Alone in Concert show. Alongside acting, Turner
enjoys playing video games, exercising, and
spending time with friends.
12Madeline Sayet (Playwright/ in the premier of Battles of Fire and Water and
Director) is a Mohegan theatre written and performed an original score for
maker who believes the stories Eurydice for Perseverance Theatre in Juneau,
we pass down inform our Alaska. He has done sound design and composition
collective possible futures. For for the world premieres of Our Voices Will Be Heard
her work as a director, writer, and composition and cultural advisor for They Don’t
and performer, she has been Talk Back at Native Voices at the Autry, La Jolla
honored as a Forbes 30 Under Playhouse, and Perseverance Theatre. Most
30, TED Fellow, MIT Media recently, he was the composer and sound designer
Lab Director’s Fellow, National Directing Fellow, for Off the Rails at the Oregon Shakespeare Festival
Native American 40 Under 40, and a recipient of and Sovereignty at Arena Stage.
The White House Champion of Change Award
Kelsea Andrade (Costume Coordinator) is a
from President Obama. Her play Where We
second-year costuming MFA candidate and one-
Belong is about to begin its national tour this
half of a costume coordinating duo for Dance at
April produced by Woolly Mammoth Theatre
Illinois this year. She has a BA in theatre, film, and
Company in association with the Folger
digital production from the University of California,
Shakespeare Library. Her other plays include The
Riverside. Previously at this university, she was the
Fish, Up and Down the River, Antigone or And Still
costume designer for The Heist: A Theatrical Escape
She Must Rise Up, and Daughters of Leda. Recent
Room produced by Illinois Theatre. As costume
directing work includes Tlingit Christmas Carol
designer for The Neverland, she has had quite an
(Perseverance Theatre), Henry IV (Connecticut
adventure discovering the characters and making
Repertory Theatre), Whale Song (Perseverance
her vision for Tink come true.
Theatre), As You Like It (Delaware Shakespeare),
Poppea (Krannert Center), The Magic Flute Mary Kate Baughman (Stage Manager) is a
(Glimmerglass), Miss Lead (59e59). Sayet is a clinical senior in the stage management program at
assistant professor at Arizona State University with the University of Illinois Urbana-Champaign.
the Arizona Center for Medieval and Renaissance Previously, she has worked with Dance at Illinois
Studies and the executive director of the Yale as production stage manager for March Dance
Indigenous Performing Arts Program. and stage manager for November Dance (Cedar
Closet). Baughman served as assistant production
Ed Littlefield/
manager for Origin Story, floor manager for
Shaakindustóow-Tlingit
Pshitter! A Drinking Song for the Year of Our Lord
(Composer) is a freelance
2020, and as the assistant stage manager for Titus
percussionist, educator, and
Andronicus and Because I Am Your Queen with
composer based out of Seattle,
Illinois Theatre. She also stage managed for The
Washington. He is Tlingit from
Last American Hammer and was child supervisor for
Sitka, Alaska, and has released
La Bohème with Lyric Theatre @ Illinois. Last year,
three albums featuring
Baughman traveled to the Provincetown Tennessee
traditional native melodies with
Williams Theater Festival as the stage manager
the Native Jazz Quartet called Walking Between
for Why Did Desdemona Love the Moor? She is
Worlds, NJQ: Stories, and most recently NJQ:
currently employed as the logistics and community
Southeast: Northwest. Littlefield has played K’alyaan
intern at Motorola Solutions Research Park.
13Justin M. Brauer (Piano) is a director, musician, Allison Moody (Dialect Coach) is the teaching
and educator whose career includes work with assistant professor of voice and speech in the
Music Theatre International, the Curtis Institute of Department of Theatre. Previous Illinois Theatre
Music, Purdue University, Children’s Musical Theater productions include Dialect Direction for Cabaret
San Jose, Arkansas Shakespeare Theatre, the and The Curious Incident of the Dog in the
Champaign-Urbana Symphony Orchestra, Parkland Night-Time and vocal coaching for Varslaren (The
College, Illinois Summer Youth Music, the Illinois Whistleblower), Pshitter! A Drinking Song for
High School Theatre Festival, and other colleges the Year of Our Lord 2020, Titus Andronicus, An
and high schools across the country. His work American Daughter, Marat/Sade, and Because
with Illinois Theatre includes Failure: A Love Story, I Am Your Queen. She also made her acting
Assassins, and A Funny Thing Happened on the debut at Krannert Center as Soccer Mom in The
Way to the Forum. Courses he has taught include Wolves. Moody has worked as an actor, director,
Acting in Musical Theatre and Broadway Musicals in and voice/dialect coach in New York City on
US Culture. Brauer holds an MM in musicology with numerous Off-Off Broadway shows as well as at
a focus on American musical theatre and a BME in many LORT and SPT theatres across the Midwest.
choral music from the University of Illinois Urbana- She also travels nationally and internationally to
Champaign. In his free time, he enjoys baking bread coach financial professionals in public speaking,
and making puppets. Twitter: @JMBrauer; www. networking, and executive impact. She is one
JustinMBrauer.com of the founding members of Chicago’s Brown
Couch Theatre Company and is an Artistic
Emma Brutman (Scenic Designer) is a third-year Associate for Project: Theater in New York City.
MFA candidate in scenic design. Previously, Moody is also a Designated Linklater Teacher
she has served as the media and background and a Guild Certified Feldenkrais Practitioner.
designer for Illinois Theatre’s production of She Her professional affiliations include the Kristin
Kills Monsters: Virtual Realms and the scenic Linklater Voice Centre, AEA, VASTA, and the
designer for Origin Story. Brutman holds a BA in Feldenkrais Guild of North America.
theatre and English from Augustana College in
Rock Island, Illinois, where she has also worked Abbey Nettleton, she/they, (Co-Sound
as a visiting artist and interim technical director. Designer) is a senior in the sound design and
Professional scenic design credits include James technology program at the University of Illinois
and the Giant Peach (Davenport Junior Theatre), Urbana-Champaign. Her previous credits include
The Drowsy Chaperone (Augustana College), sound design for Illinois Theatre’s Theatre
and In the Next Room (or the Vibrator Play) Studies New Works Festival, She Kills Monsters:
(Augustana College). Virtual Realms, and the workshop production
of Tocaya. She has also worked as the assistant
Emily Goodell (Dramaturg) is a PhD candidate sound designer for Illinois Theatre’s Origin Story
in theatre. Previously, she was the dramaturg for and Dance at Illinois’ March Dance and was the
The Wolves at the University of Illinois Urbana- audio engineer for Lyric Theatre @ Illinois’ Lyric
Champaign. She holds a master’s in theatre Under the Stars in 2020 and 2021.
from Binghamton University and a BA in musical
theatre from American University. Her current
research project examines colonial theatre
practices in the United States and Canada.
14M Ospina-López, they/them, (Media Designer) Kayla Sierra-Lee (Co-Sound Designer) Is
is a videographer and multimedium artist from finishing their third-year and final year as a sound
Bogotá, Colombia. They are currently a third-year design MFA at the University of Illinois. While The
MFA candidate in media design at the University Neverland is their largest and first devised theatre
of Illinois Urbana-Champaign. As part of La design, they previously designed Native Gardens;
Compañía Estable and freelance projectionist, designed and engineered March Dance 2021 and
Ospina-López have worked for operas like The Tryon Scenes; engineered November Dance 2020
Magic Flute, Candide, Dido and Aeneas, María and Titus Andronicus; and was the mix engineer
de Buenos Aires, and Florencia en el Amazonas. for Cabaret and Ordinary Days. While away from
In 2019, they created the touring live show Krannert Center, Sierra-Lee is a sound designer
for Cimarrón Joropo Ensemble. In 2020, they and mix engineer at Circa ‘21 and Quad City
designed for Illinois Theatre’s production of the Music Guild and was previously a technician at
new play Pshitter! A Drinking Song for the Year Walt Disney World.
of Our Lord 2020. Most recently, they were the
media designer for Great Scenes from American Zev Steinrock (Fight & Movement Director) is
Kitchen Sink Theatre and the dance performance a fight director, intimacy director, teacher, and
of Délivrance by Roxane D’Orleans Juste at performer, currently serving as assistant professor
Krannert Center for the Performing Arts. In of acting at the University of Illinois Urbana-
community making practices, their most recent Champaign. He holds certifications from the
video installation was a collaboration with artist Society of American Fight Directors and Intimacy
Olly Greer for their Fat Holds and Folds exhibition. Directors & Coordinators and is a recipient of the
The team is now producing Wet Dreamz, a monthly Paddy Crean Award and Darrel Rushton Teaching
queer experience. Award for his contributions to the field of stage
combat. Fight and intimacy direction credits
Zack Saunders (Lighting Designer) is currently across the country include South Coast Repertory
a senior pursuing a BFA in theatre with a Theatre, Paper Mill Playhouse, Notre Dame
concentration in lighting design and technology Shakespeare Festival, Arkansas Shakespeare
at the University of Illinois Urbana-Champaign. Festival, The Williamston Theatre, and Definition
His recent lighting design credits include Theatre Company. Steinrock holds degrees in
Armory Free Theatre’s productions of Buyer acting from Michigan State University and the
and Cellar and Impulse 24/7; Lyric Theatre @ University of Illinois.
Illinois’ production of Lyric Under the Stars; Hope
Summer Repertory Theatre’s productions of A
Night of Music with Alex Thompson and A Year
with Frog and Toad; Illinois Theatre’s production
of the Theatre Studies New Work Festival; and
Dance at Illinois’ production of Studiodance II.
15PRODUCTION STAFF
PRODUCTION MANAGER SCENIC CHARGE
Terri Ciofalo Christina Rainwater
TECHNICAL DIRECTOR HEAD ELECTRICIAN
Pat Storey Conner Jones
PROPERTIES MANAGER ASSISTANT HEAD ELECTRICIAN
Binky Donley Elliot Hubiak
HAIR AND MAKEUP COORDINATOR AUDIO ENGINEER
Colin Grice Madison Ferris
ASSISTANTS TO THE DIRECTOR PERFORMER FLIGHT CAPTAIN
Dani Brown Addie Hoegberg
Samantha Shaw
SCENIC ARTIST
ASSISTANT STAGE MANAGERS Blaine Fuson
Sidney Sprunger
Al Vogelmeier ASSISTANT HEAD ELECTRICIAN
Yingman Tang
ASSISTANT TO THE FIGHT DIRECTOR
Ari Kelo ASSISTANT AUDIO ENGINEER
Will Mixter
ASSISTANT SCENIC DESIGNER
Kate Spademan STAGE CARPENTER
Jesse McKenzie
ASSISTANT COSTUME DESIGNER
Maggie Horstman FLY RAIL OPERATORS
David Sommer
ASSISTANT LIGHTING DESIGNER
Adam Major LIGHT BOARD OPERATOR/PROGRAMMER
Quinn Schuster
ASSISTANT PRODUCTION MANAGER
Maria Miguens SOUND BOARD OPERATOR
Anjelica Jones
ASSISTANT TECHNICAL DIRECTOR
Lucas Streit MEDIA BOARD OPERATOR
Dan Drew
CRAFTS HEAD
Sarah Havens
16AUTOMATION PROGRAMMER HAIR AND MAKEUP SUPERVISOR
Tara Kisacanin Melissa Hall-Reynolds
DECK CREW HAIR AND MAKEUP CREW
Becca Brown Anishi Patel
Alexia Chur
Darien Durrel FOLLOW SPOT OPERATOR
Eden Lee Meici Yang
Amanda Rokosz
FLIGHT SWING
PROPS CREW Bree Kazinski
Sofia Schmelzer
Alaina Stukel FLIGHT OPERATORS
Ron Hardy
WARDROBE SUPERVISOR Chad Schwenk
Maggie Horstman Rob Zachary
WARDROBE CREW
Destiny Jordan
Takashe Fulce
Claire Yuccas
17Land Acknowledgement
The University of Illinois System carries out its mission in its
namesake state, which includes the traditional territory of the
Peoria, Kaskaskia, Piankashaw, Wea, Miami, Mascoutin, Odawa,
Sauk, Mesquaki, Kickapoo, Potawatomi, Ojibwe, Menominee,
Ho-Chunk, and Chickasaw Nations. These lands continue to
carry the stories of these Nations and their struggles
for survival and identity.
As a land-grant institution, the University of Illinois has a particular
responsibility to acknowledge the peoples of these lands,
as well as the histories of dispossession that have allowed
for the growth of this institution for the past 150 years. We are
also obligated to reflect on and actively address these histories
and the role that this university has played in shaping them.
This acknowledgement and the centering of Native peoples
is a start as we move forward for the next 150 years.
Krannert Center affirms the commitment by the university to move
beyond these statements, toward building deeper relationships
and taking actions that uphold and preserve Indigenous
rights and cultural equity.
As we gather to experience this performance, we have an
opportunity to reflect on the ways that systems of oppression
have shaped our society. We can work together to create
systems that support human dignity, establish equity,
strengthen cross-cultural relationships, and draw upon the
creative capacity of all people that make up
this community, state, nation, and world.
18FRIENDS
OF ILLINOIS THE ATRE
MAKING THEATRE MAKERS SINCE 1967
We are living through history. In the midst of it, Illinois Theatre continues to be a
leader in producing art that helps us know ourselves and the world we live in. We
are training students today to imagine the art of tomorrow. If you’d like to help, we
welcome you as a Friend of Illinois Theatre. We’ll use your financial contributions to
support our students through scholarships, visiting artist residencies, new work
development, and production. Help Illinois Theatre make theatre that matters
today, tomorrow, and beyond.
Contributions to Friends of Illinois Theatre can be made by visiting
theatre.illinois.edu/giving, scanning the QR code, or by check payable to
UIF/Friends of Illinois Theatre and sent to: University of Illinois Foundation,
PO Box 3429, Champaign, IL 61826-3429.
19ILLINOIS THEATRE DONOR SUPPORT The Illinois Department of Theatre is grateful to those who support us in providing opportunities for our theatre students to grow and develop their skills in all facets of production and performance. Thanks to all of the 2021-22 donors listed below for your generous contributions. Lisa and Jeffrey Adler Brian LaDuca Carolyn Anderson William Lang Ang Lee Productions Nissa Larson Forough Archer Dr. Jane Lin and Ang Lee Michael Barrett Alan Lindahl Richard and Misaho Berlin Landis and Kathleen Magnuson Hannah and Justin Brauer Norma and Herbert Marder Ian and Rebecca Brooks Robin McFarquhar Camille Cerrado Patricia McKenzie Candice Chirgotis Patrick and Julie Mills Susan Cohen and George Monahan Timothy Ortmann John Coleman and Kristin Patton Brenda and Stephen Pacey Rebecca Crystal and Paul Balik Alan Rapoport and Tess Chappuis Jane and Daniel Curry Mark Rhodes Diana and Robert Dignan Adam Rowe Lisa G. Dixon Fred Rubin and Marley Sims J. Doolen Jon and Emily Salvani Nancy and Harold Drake Phillip Seldis Stephanie Drake Petros Sofronis and Eleni Petropoulou Eileen and David Dunlap Marc and Avigail Snir Nicole Durham Gabriel and Ellen Solis Susan Eichman-Parcell Starbucks Albert and Barbara England Mary and Ronald Suter Marita Geraghty Katherine Van Dyck-Oxford Eric Godoy Timothy Veach and Christina Kirk Richard and Cindy Hall Steve Walker Susan and Michael Haney Royal Ward Marie Hobart and Bill Kadish Wells Fargo Ins Svcs USA Lon Hoegberg Linda Wharton Bruce and Jean Hutchings Travis Williams Robert Jenista Carl Wisniewski Jean Jones Matthew Zimmerman Daniel and Lyra Kelly Claire Zinnes Dr. Ah-Jeong Kim 20
DEPARTMENT OF THEATRE
FACULTY Carol Symes (History) Austin Fuoss Feinberg
Gabriel Solis (Head) Ariana Traill (Classics) Emily Goodell
Lisa Gaye Dixon (Producer) Deke Weaver (Art+Design) Katie Greve
Robert G. Anderson Colin Grice
Latrelle Bright Counseling Center/Theatre Faculty Angela Harrington
Kim Curtis Lisa Fay Sarah Havens
Jośe Díaz-Soto Hannah Haverkamp
Jeffrey Eric Jenkins EMERITUS FACULTY Erica Cruz Hernandez
Rose Kaczmarowski John Ahart Charence Higgins
Olga Maslova Kathleen F. Conlin Margaret Hortsman
Thom Miller James Berton Harris Carlee Ihde
Tom Mitchell Wendy McClure Knight Conner Jones
Allison Moody Robin McFarquhar Courtney Anderson Kelly
J.W. Morrissette (Associate Head) Kathy Perkins Dan Kipp
Aaron Muñoz Shozo Sato Ann Kolaczkowski-Magee
Brant Murray Meghan Landon
Robert Perry (Co-director, Level 21) Minghan Ma
ADMINISTRATION
Kirsten Pullen Kaitlyn Meegan
Academic Advisor and Assistant to the Maria Miguens
Christina Rainwater
Head: Cathy Feely
Valleri Robinson Toyosi Tejumade-Morgan
Business Services Manager: Cindi
Genesee Spridco Andrew Morrill
Vandeventer
Zev Steinrock Ian Olson
Business Services Support: Debbie
Nisi Sturgis M. Ospina Lopez
Delaney, Stacey Elliott, Tara Heiser
Daniel Sullivan (Swanlund Chair Charles Pascale
Office Administrator: David Swinford
in Theatre) Taylor Pfenning
Photographer: Darrell Hoemann
Treasure Radice
Krannert Center/Theatre Faculty Nathan Ramsey
Andrea Bouck GRADUATE STUDENTS Devin Richard
Terri Anne Ciofalo (Co-director, Level 21) Capri Agresta Daniel Rivera
Megan Dietrich Kelsea Andrade Katayoun Salmasi
Andriane Binky Donley Emily Baker Quinn Schuster
Richard Gregg Tracee Bear Mariana Seda
Tatsuya “Tito” Ito Kathryn Blakeslee Will Sexton
Lisa Kidd Samantha Boyarsky Kayla Sierra-Lee
Cynthia Kocher Emma Brutman Nicolas Sole
Alec LaBau Brandon Burditt Kathryn Spaderman
Kira Lyon Sarah Calvery Sidney Sprunger
Rick Scholwin Vincent Carlson Patrick Storey
Amber Dewey Schultz Mitchel Civello Timothy Swift
Ryan Schultz Megan Coffel Yingman Tang
Michael Williams Julia Kalvaitis Colombo Alyssa Thompson
Julia Colpitts Amy Toruño
Affiliate Theatre Faculty Dakota Erickson Khetag Tsabolov
Robert Barrett (English) Madison Ferris Yu Wu
Jeffrey Magee (Music) Rachael Fox Kyle Wurtz
Sandra Ruiz (Latina/Latino Studies & Zia Fox Danny Yoerges
English) Gillian Frame Nick Yovina
Andrea Stevens (English) Tanner Funk Thom Zhang
21KRANNERT CENTER VOLUNTEERS
COMMUNITY Peter Floess Feikai Lin James Quisenberry Susie Wright
VOLUNTEERS Patricia Floess Xiao Lin Jill Quisenberry Lei Xia
Paula Abdullah B. Jean Flood Sheila Loosevelt Anne Raczak Yu Xia
Nisha Aggarwal Richard Flood Penny Lopez Beverly Rauchfuss Nancy Yeagle
Elizabeth Allison Elizabeth Frankie Lynda Lopez Sam Reese Sally Zahos
Harold Allston Roger Fredenhagen Robert Lou Victoria Rice Jennie Zermeno
Brant Asplund Bianca Galvez Ginger Lozar Monique Rivera Nicole Zhang
Tammy Asplund Zeidy Garcia Michelle Lynn Gill Marcelo Rosa Mazzocato Rui Zhao
Mike Atkinson Inga Giles Janice Maddox Laurel Rosch Wenbin Zhou
Debora Avelino Emma Glezer Marguerite Maguire Joyce Ruder Jackson Bruce Zimmerman
Ron Baker Robin Goettel Mary Manley Tanya S KRANNERT CENTER
Jane Barry Michelle Gonzales Marina Marjanovic Faaiza Saif STUDENT ASSOC.
Heather Baseler Gene Grass Nenad Marjanovic Corinne Saldeen Administrative Board
Pam Bedford Sandy Haas Nicole Martinez Uriel Sanchez
Diana Pham, President
Paul Beinhoff Catherine Haney Bobbi McCall Jean Sandall
Alexa Bucio, Vice President
Janice Bellington Katherine Hansen Teri McCarthy Christian Sarol
Rochelle Tham, Secretary
Ann Bergeron Susan Hansen Sarah McDougal Barbara Schleicher
Trevor Santiago, RSO
Kathy Bergeron Tonya Hartman Jim McEnerney Dawn Schultz
Liaison Officer
Priya Bhatt Mike Havey Linda McEnerney Izzy Scott
Judy Chiang, Event
Shohan Bhattacharya Kathy Havey Liz McMillen Christel Seyfert
Coordinator
Karen Bojda Judith Haydel Susan Meinkoth Lei Shanbhag
Emily Yan, Website Chair
Brunna Bozzi James Hayes Jr. Kathy Metcalf Edward Snyder
Cedric Mathew, Treasurer
George Brock Kate Heiberger Sharron Mies Isaac Soloveychik
Jonne Brown Cynthia Helms David Mies Jennifer Steele Members
Krishni Burns Kathy Henry Martha Milas Carolyn Stewart Aki Akhauri
Mark Casco Abby Heras Carol Miles Margaret Stillwell Michelle Burns
Felix Chan Joan Hood Carol Miller Carrie Storrs Jingwen Dai
Yoline Chandler Peter Hood Michael Miller Judy Swiger Rowan Frantz
Coco Chen Mary Hosier Julie Mills Weifeng Sun Elena Gonzalez
Wen-Chi Chen Betsy Hunter Patrick Mills Casey Tan Jessica Gossen
Kathleen Corley Ingrid Hutchings Jihyeon Min John Taylor Stanley Gu
Kathleen Correa Elizanena Ibarra Margrith Mistry Alice Taylor Ally Guo
Jessica Crane Janice Impey Frank Modica Adrian Testo Hayley Kelleck
Jessica Dager Laurie Jacob Martha Moore Jamie Thomas-Ward Haley Kennedy
Millie Davis Roland Jean Thom Moore Lee Trail Ryan Lin
Cara Day Cynthia Jean Pnina Motzafi-Haller Pat Tuchman Xiao Lin
Kasandra Delafuente Sten Johansen Christina Myers Allan Tuchman Jenny Liu
Lori Deyoung Diana Johnsn Jane Myers Barbara Turner Seren Liu
William Dick Marcy Joncich Manisha Naganatanahalli Julia Ulen Sian Liu
David Dorman Carlton Kagawa Linda Neider Lynda Umbarger Yuanze Luo
Astrid Dussinger Debra Karplus Michael Nelson Valeria Vargas Christine Millins
Kathy Dwyer Karan Keith Peter Newman Dianna Visek Samantha Moran
Sheryl Dyck Janeane Keller Jerome Ng Frank Vivirito Jess Nathan
Peter Dyck Patti Ketchmark Johnson Nguyen Kathy Vivirito Daniel Oster
Debra Eichelberger Ashley Kirby Dick Norton Louise Walczak Yueting Su
Stacey Elliott Daniel Krehbiel Saray Ocampo Spencer Walden Fu Sun
Beth Engelbrecht-Wiggans Spencer Landsman Alejandra Ochoa Anna Maria Watkin Haley Van Patten
Richard Engelbrecht Linda Larson Marjorie Olson Jean Weigel Claire Wu
-Wiggans Diane Lassila Carol Osgood Whitney Welsh Xuan Yi
Roger Epperson Warren Lavey Brenda Pacey Linda Wessels Andy Yoon
Vennie Ewing Josephine Lee Cynthia Perez Jasmine White Menghao Yu
Elizabeth Faulkinberry Hannah Lee Pezz Pezz Kathy Wicks Yangxue Yu
Judy Federmeier Eunsun Lee Joel Plutchak Liesel Wildhagen Lucia Zhang
Cliff Federmeier Vincent Leonard Renee Potter Diane Wilhite Valerie Zhao
Dee Feickert Jennifer Lin Carolyn Presley Ed Wilhite
22
Andrea Fierro Fei Lin Robbie Pulliam Douglas WilliamsKRANNERT CENTER STAFF
Mike Ross, Director Building Operations
Terri Anne Ciofalo, Associate Director John O. Williams, Facility Manager PRODUCTION
for Production Tony Mapson, Assistant Facility Manager Terri Anne Ciofalo, Associate Director
Maureen V. Reagan, Associate Director Joe Butsch, Building Electrician for Production
for Marketing Jared Painter, Assistant Chief Building Amber Dewey Schultz, Assistant
Cindi Vandeventer, Associate Director Operations Engineer Production Director
for Finance and Operations Jerry Bonam, Eric Carr, Emmett Catlin,
Austin Dearth, John Ekstrom, Bryan Audio Department
Franzen, Mark Lashbrook, Jacob Rick Scholwin, Audio Director
ARTISTIC SERVICES
Lerch, Kevin Logue, Jessica Fancher, Alec LaBau, Assistant Audio Director/
Jason Finkelman, Artistic Director of Attendants Video Director
Global Arts Performance Initiatives Glenda Dalton, Office Support Associate
Andrew Giza, Events Director Costume Shop
Andrew Almeter, Senior Production
MARKETING Andrea Bouck, Costume Director
Coordinator for Events
Richard Gregg, Costume Rentals Director
Bree Brock, Production Coordinator Maureen V. Reagan, Associate Director
April McKinnis, EB McTigue,
for Events for Marketing
Cutters/Drapers
Seth Wheeler, Technical Coordinator
Julianna Steitz, Theatrical Stitcher
for Events Communications Office
Janet Huber, Program and Web Editor Lighting Department
ADVANCEMENT Nicholas Mulvaney, Senior Designer
Michael W. Williams, Lighting Director
Cheryl Snyder, Director of Advancement Lisa Kidd, Associate Lighting Director
Engagement
Bethany Whoric, Assistant Director
of Advancement Emily Laugesen, Co-Director of Properties Department
Ellen Fred, Advancement Support Engagement
Adriane Binky Donley, Properties Director
Associate Monique Rivera, Co-Director of
Kira Lyon, Assistant Properties Director
Engagement
Sam Smith, Director of Civic Engagement Scene Shop
FINANCE AND OPERATIONS and Social Practice
Cindi Vandeventer, Associate Director Ryan Schultz, Technical Director
for Finance and Operations Patron Services Tatsuya Ito, Associate Technical Director
Bill Kephart, Scene Shop Chief Clerk
Lisa Lillig, Co-Director of Patron Services
Business Office Elizabeth Henke, Catering Manager Dylan Kind, Theatrical Scene Shop
Katie Brucker, Debbie Delaney, Stacey Michael Bunting, Intermezzo Supervisor Coordinator
Elliott, Shelly Thomas-Eichorn, Chuck Hanson, Intermezzo Assistant Vincent Meade, Theatrical Scene Shop
Accounting Staff Taylor McCoy, Snack Bar Attendant Assistant
Tara Heiser, Gina Moton, Zia Moon, Patron Services Assistant Bobby Reynolds, Theatrical Scene Shop
Human Resources Support Assistant
Ticket Services
Stage Management
Whitney Havice, Ticket Services Director
Ty Mingo, Jon Proctor, Ticket Office Cynthia Kocher, Production Stage Manager
Supervisors
Nick Wurl, Ticket Sales Supervisor
23WE’RE SO GLAD YOU’RE AT THE CENTER
We work to create the best possible setting for the experiences you seek and find here.
NECESSARIES LOST ITEMS
At the time of printing this program booklet, all If you are in need of Lost and Found, please visit
audience members must wear a face covering the Patron Services counter. We will do our best
throughout any in-theatre event or performance. to reunite object and owner!
Restrooms are located in the foyers of Foellinger TICKET RETURNS
Great Hall, Tryon Festival Theatre, and Colwell If you find you can't attend a performance, please
Playhouse; the east entrances on the Lobby level; contact the Ticket Office in advance, preferably
and in each elevator lobby on Level 1 and Level by 6pm the day before the performance
3. Lobby restrooms and one restroom in each (kran-tix@illinois.edu or 217.333.6280). We never
elevator lobby are fully accessible and contain charge a handling fee on ticket transactions.
baby-changing stations.
SERVICES
Ushers will be happy to provide you cough drops Krannert Center for the Performing Arts is
courtesy of St. Joseph Apothecary, or disposable committed to making experiences accessible for
foam earplugs if the place starts rockin’. all patrons, and we are delighted to provide a
If you or a companion needs medical assistance, number of services to assist you. Krannert Center
contact an usher or other staff member. is equipped with an assisted listening system,
wheelchair-accessible and no-step/few-step seating,
Please take a moment before the performance and large-print programs, Braille programs, and
to note the theatre exits nearest to you. If it American Sign Language interpreters are available
becomes necessary to evacuate the theatre, with three weeks’ advance notice.
please remain calm, follow the instructions of the
house staff, and exit in an orderly fashion to the For assistance regarding your visit, please email:
appropriate safe meeting location, which will be Para ayuda en relación con su visita, favor de
announced to you. enviar un email a:
Pour vous aider dans votre visite, prière de nous
SIGHTS AND SOUNDS envoyer un courriel à:
The use of cell phones, cameras, and recording
devices during performances is prohibited unless ! ,
otherwise announced from the stage. ! ...
LATE ARRIVALS
PATRONSERVICES@KRANNERTCENTER.ILLINOIS.EDU
As a courtesy to performers and audience mem-
217.333.9716
bers, latecomers will be seated only at times
selected in advance by the artist. Should you find
that you’ve arrived late to a performance, our
Patron Services staff will keep you informed
about the earliest seating opportunity.
24DINING
Our lobby services are open day and evening to serve you:
SMOOTH SELECTIONS +
SUSTAINABLE SPECIALS + ARTISANAL APPETIZERS
EVERYDAY INDULGENCES
WHY WAIT?
Order before you head into the theatre, and we’ll have your food and
beverages waiting for you at intermission or after the show.COME AS YOU ARE. LEAVE DIFFERENT. U of I students, come on in. In whatever clothes, whatever state of mind, from whatever world of experience, you are welcome here. We don’t have a dress code, we don’t have an opinion code, and we want the Center to be your kind of place. Because of the vital support of Krannert Center donors and the Krannert Center U of I student fee, U of I students never pay more than $10 for a ticket, and dozens of events each year are completely free. Your presence helps to make Krannert Center a place like nowhere else—and what you can experience here makes your education like nobody else’s. If you are inspired by what you find here, invite others to join you. When you come to Krannert Center, we promise that you’ll leave different: refreshed, reaffirmed, renewed!
You can also read
