By William Shakespeare
Adapted and Directed by Eddie DeHais
Staged by Annie G. Levy

In this radically queer version of As You Like It, our main characters—Orlando, Rosalind, and Cedric—run away from home in order to become who they really are. In the Forest of Arden, you’re just as likely to fall in love with someone else as you are to fall in love with yourself, as each character leans into what makes them happiest, whether that’s writing terrible poetry, melancholic monologuing, or epic dance-offs. Rosalind has Orlando woo her under the guise of “curing” him of his love for Rosalind, while they both discover that this flirtation is impossibly tantalizing in itself. Queer love, joy, and acceptance are at the center of this riotous production.

February 17-20, 2022
Semel Theater 

All performances open to the public

A note on COVID safety: Please know that as an audience member for any of our performances, you will be required to wear a mask and present your vaccination card before entering the performance space. Additional safety requirements may be added at any time at the discretion of Emerson College, the City of Boston, and the Commonwealth of Massachusetts. Any prospective ticket buyer with concerns about health safety protocols is encouraged to call our Box Office at 617-824-8400.

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Production Photos by Craig Bailey/Perspective Photo. View full album.

Creative Team

Scenic Design

Emily Geldermann

Costume Design

Trixie Ward

Lighting Design

Piper Phillips & Scott Pinkney

Sound Design

Kai Bohlman

Props Lead

Ryan Bates


Maia Tivony


Elena Ring


Michelle Garcia

A note from the
Adaptor & Director, Eddie DeHais

This play is queer.

​Queerness is not about labels. Anyone—anyone!—who tries to define, box in, or gate-keep others based on some conception or understanding of gender or sexuality is definitely not acting in the spirit of queerness and should be kindly told to fuck off.

Queerness is a space of possibility and discovery. A space of gaps, overlaps, collisions, contradictions, abundances, and questions. Queerness is not white. Queerness is not binary. Queerness is not thin, ableist, aligned with Eurocentric beauty standards, or corporate in any way. The first pride was a direct response to police brutality that was directed at black and brown bodies, at trans folks, at those who weren’t allowed to be themselves in public. To embrace queerness is to honor these ancestors us by living with radical joy and acceptance, and showing up for others who are not allowed to exist in safety as themselves.

Queerness is about community. Together, we build a space where we are allowed to remain fluid and forever changing. Human beings are a process, not a fixed set of characteristics. Community loves us into being. That’s what this play is about: a group of people who are rejected by society, and instead of falling into despair, they thrive by building something new…

However, labels can give us a guide, and they’re important when they help us think more deeply and expansively about how we are telling story in the context of the society in which we live. In my history as a director, I have often cast actors who revealed something new and powerful to me about a character or story. To me, that is true queer casting.

This play should only open doors; not close them. Every role was open to anyone. Queerness was centered in the casting of this play, but actors did not need to identify as queer in order to audition for or be cast in this play. BIPOC actors, TGNC actors, actors with disabilities, neurodivergent folks, no matter what body shape you have or cultural background you are from: all are enthusiastically invited to the Forest of Arden.

A note from the
Dramaturg, Michelle “Shell” Garcia

Eddie DeHais opened the December 13th workshop of their adaptation of Shakespeare’s As You Like It by stating that the original Globe Theater neighbored, and competed with, what was known as the Bear Gardens: a place where hundreds of Londoners flocked to watch animals fight to the death. DeHais brought this up to emphasize the point that even though this bear baiting game was loved by many (because what else do you do in Elizabethan times?), Shakespeare’s plays continuously won the attention of the crowd. A theater which could fit 3500 audience members remained packed weekly. This speaks to both the power of the text and of the actors who hold it in its truth, a power that the cast understood that they most surely hold today.

​The workshop style mixed the energies of a classroom and summer camp. A place where lessons were learned through open discussions and play. Beginning with having the company bring in different devices of light and sound, the start of collaborative playing began. With different tools such as lava lamps, a violin, flashlights, and even a cat keyboard, the company experimented with the different ways both light and sound can be manipulated, shaped, and used. Discussions of what associations were made led to ideas of how these same concepts could be applied in this production. This sort of group playing is a theme that has threaded throughout the entire workshop experience and into the rehearsal process, thus creating the perfect real life example of “queer joy” that DeHais worked to have in their adaptation.

While subsequently diving intro text work, the workshop’s energy transferred into a safe classroom; one where we were able to have candid conversations about the importance of making this show queer and why we need to tell this story now. Queer has been defined as inclusive; a queer world is where everyone (yes everyone) can be seen as equals. The term “queer joy” sprouted from that definition. A queer joy is a joy that can be shared by all and shared abundantly. The multiple identities that the cast embodies speaks to the why now of this production. BIPOC, Trans, Queer, Questioning, etc., this cast is filled with a queer voice that has been silenced so many times before. Together, in combination with the text and the ways they already see themselves in it, the cast launched into the process, trusting themselves and each other to create a show where a queer joy can touch all who come.

Meet the

Cedric/Aliena — RYAN BAKER
LeBeau / LeVaux — DOM LETTERII
Phoebe / Lady Denise –– MARGARET MCLOUGHLIN
Rosalind / Ganymede –– KANDYCE WHITTINGHAM
Touchstone –– OLIVIA WOLFF


Orlando/Amiens — ALEX GOLDMAN
Rosalind / Duke Senior –– SABRINA MANGONE
Touchstone / Audrey –– GRACIE MARTIN

Meet the
Artistic and Production Staff

Assistant Director — ERIN HUIETT
Assistant Director ––JOSH O’BRIEN
Assistant Director –– MICHELLE GARCIA
Assistant Music Director & Composer –– ALEX GOLDMAN
Assistant Music Director & Composer –– BRENDAN MASSAR
Vocal & Text Coach –– TOM GIORDANO
Assistant Scenic Designer — HARVEY JOHNSON
Paint Charge — ALEX MOLLO
Assistant Costume Designer — CAITLIN JOHNSON
Wardrobe Supervisor — MOLLY SHAUGHNESSY
Assistant Wardrobe Supervisor — ATHENA PARKMAN
Associate Lighting Designer — SHELBY MARSH
Assistant Lighting Designer — LAUREN HODGKINS
Production Electrician — BAZ KOUBA
Lead Electrician — MILLER KOPPANG
Assistant Lead Electrician — HENRY KACIK
Assistant Sound Designer — BELLA PAGAN
Production Sound Engineer — MADDIE HANLEY
Assistant Production Sound Engineer — BEN RUIGOMEZ
Assistant Props Lead — AMIRA ALLAWI
Assistant Technical Director — MERCY SUAREZ
Assistant Stage Manager — MOLLY BERCUTT
2nd Assistant Stage Manager — CASPER APODACA
Production Assistant — KAYLA COPPING
Production Assistant –– SUSAN WEINHARDT
Associate Production Supervisor — CHARLIE BERRY
Assistant Production Supervisor — ELISE TUCKWOOD
Company Manager — CARLEIGH ALLEN
Assistant Company Manager — MADISON SELBY
Run Crew

Cast Bios

RYAN BAKER (he/him) — Cedric / Aliena

BFA ’22 Theatre Education & Performance. Emerson Stage credit: 10 Out of 12 (Tim). Regional credits: Wheelock Family Theatre’s Stuart Little (Harry Jamison). Thank you to my Family, Messes, X- Golf, Speridakis, WHSTE, and this immaculate cast.

ALIEYAH BROWN (they/them) — Duke Senior

BFA ’23 Acting. Emerson Stage credits: Men on Boats (Sumner), Marisol (Angel), and This Girl Laughs, This Girl Cries, This Girl Does Nothing (Narrator). Emerson College credits: Flawless Brown’s LOUD (Ensemble), and Stop Kiss (Mrs. Winsley/Nurse); Musical Theatre Society’s Pippin (Berthe); and Musical Theatre Against the Grain’s Musical Match Game (Audra McDonald). Much love to this beautiful cast who has spread such an immense amount of love throughout this process. Thank you to everyone who has come out to party with us.

LAUREN CARTER (she/her) — Swing

BFA’ 24 Musical Theatre. Emerson Stage Debut! Select credits: University High School’s Our Town (Emily Webb), Cinderella (Ella), and Fiddler on the Roof (Shprintze); and Good Company Player’s A Christmas Story: the Musical (Goggles Kid, u/s Schwartz), Into the Woods (Milky White), Hello Dolly!, and Annie. Thank you to everyone who comes and supports this wonderful show.

HARRISON EMERLING (he/they) — Charles

BFA ’22 Theatre and Performance. Emerson Stage credit: The Resistible Rise of Arturo Ui (Bowl/Judge). Emerson College credits: Liftman (Will); The Haunted Hour (Drew); emShake’s 6 Characters in Search of an Author (Leading Man); and Women in Motion’s Look Through the Window (Ed). He’d like to thank his family and friends and everyone in between!

ZACH FULLER (he/him) — Jaques

BFA ’23 Acting. Emerson Stage credit: Interior of the Artist Without Her Sister (George/Roger/Julian). Emerson College credits: Full Fathom Productions’ Fefu and Her Friends (Co-Director); Musical Theatre Society’s Fun Home, Pippin, and Emerson Fights AIDS Miscast Cabaret; emShakes’ Vera; or the Nihilists, and [Enter Messenger]; and Musical Theatre Against the Grain’s Inaugural Cabaret. Love and praise to the company, and mom and dad.

ALEX GOLDMAN (he/him) — U/S Orlando, Amiens

BFA ’24 Theatre & Performance. Emerson Stage Debut! Emerson College Credits: emShakes’ Romeo and Juliet (Romeo). Lots of love to all my friends, and to my amazing boyfriend.

LOEY JONES-PERPICH (she/they) — Duke Frederick

BFA ’24 Theatre & Performance. Emerson Stage Debut! Emerson College credit: Musical Theatre Society’s First Lady Suite (Lady Bird/Kay Summersby). Other credits: Community Ensemble Theatre’s School of Rock (Rosalie Mullins). Thanks to my moms, Walden, 1403, and Matt for all the love.

DOM LETTERII (they/them) — LeBeau / LeVaux, U/S Cedric

BFA ’23 Theatre Design & Technology. Emerson Stage credit: Everybody (Understudy, Somebodies). Emerson College theatre credits: Musical Theatre Society’s La Cage Aux Folles (Jacob); Kidding Around’s 13! The Musical (Richie) and The Girlie Project (Troupe Member) Thanks to Mom, Dad, Kyle, Claire, Gabby, Austin, Jake and all my friends who I love. I couldn’t have done it without you.

SABRINA MANGONE (she/her) — Sylvia, U/S Rosalind, Duke Senior

BFA ’24 Theatre & Performance. Emerson Stage Debut! Emerson College credits: emShakes’ Romeo and Juliet (Mercutio) and Mercutio Troupe’s Snatch (Assistant Director). Thank you to this wonderful cast and artistic team for bringing this show to life. Much love to my family, friends, and everyone supporting live theatre during this wacky time.

GRACIE MARTIN (she/her) — Amiens, U/S Touchstone, Audrey

BFA ’23 Theatre Education & Performance. Emerson Stage Debut! Emerson College credits: emShake’s Cymbeline (Co-Director) and Much Ado About Nothing (Ursula); Graduate Project’s Antigone (Haimon/Ensemble); and Mercutio Troupe’s Together Under the Sunshine (Ensemble). Thank you to all my friends and family for always being my support system.

BRENDAN MASSAR (he/they) — Swing

BFA ’22 Musical Theatre. Emerson Stage credits: Good Breeding (Zeus), This Golden Day (Derrick), and Spring Awakening (Adult Men). Emerson College credits: American Idiot (Director), Children of Eden (Adam/Noah), First Date (Gabe), and Heathers: The Musical (JD).  Other favorite stage credits: Les Miserables, Newsies, West Side Story (Tony), and Blood Brothers (Mickey). Brendan is thrilled to be working with such a wonderful group of people! He would like to thank his friends and family for all their love and support.

MARGARET MCLOUGHLIN (she/her) — Phoebe / Lady Denise

BFA ’22 Theatre & Performance. Emerson Stage Debut! Emerson College credit: Interior of Peder and Marie (Marie). Other credits: Rumors (Chris Goreman), Antigone (Antigone), Legally Blonde (Vivienne Kensington), and Romeo and Juliet (Juliet). Film credits: The Society (High School Student) and Manège (Rose). Thank you to the entire cast and crew for this wonderful experience.

CARINA PARK (he/him) — Adam

BFA ’23 Theatre & Performance. Emerson Stage Debut! Thanks to Shakespeare and friends for the support.

MAGGIE SHERIDAN (she/they) — Orlando

BFA ’23 Theatre and Performance. Emerson Stage Debut! Emerson College credits: Kidding Around’s She Kills Monsters (Tilly); and Musical Theatre Society’s Ordinary Days and La Cage Aux Folles (Music Director). Many thanks and congratulations to the production and design teams and cast of this show for their incredible work and creative support, and the deepest of love and gratitude to my family and friends.

ANGELA VALENTINO (she/her) — Audrey

BFA ’22 Theatre and Performance. Emerson Stage Debut! Emerson College credits: Emerson Dance Company (dancer/choreographer); Musical Theatre Society’s American Idiot (Dance Ensemble); Kidding Around’s Musical Adventures of Flat Stanley (Samantha); and Emerson Independent Video’s Ruth(less) (Sonya Lance). Favorite credits: Macbeth (Weird Sister), Radium Girls (Kathryn Schaub), and Cabaret (Kit Kat Girl/Two Ladies/Dance Captain). All my love to this amazing cast and crew, thank you for frolicking in the forest with me. To all my friends, family, and teachers, Brett, and Mama, thank you for everything, always.

KANDYCE WHITTINGHAM (she/they) — Rosalind / Ganymede

BFA ’23 Acting. Emerson Stage credits: Everybody (Usher/God/Understanding) and Corduroy (Mother). Emerson College credits: Mercutio Troupe’s All Night: a party in the suburbs (Melanie) and Snatch (Isaiah/Emmet/Anita/Izzy); Kidding Around’s She Kills Monsters (Kaliope); and RareWorks Theatre Company’s The Clinic (Monette). All the love in the world to the incredible team of artists that made this special production happen, and to my wonderful family and friends who have held me every second of the way, especially Mom, Erin, Ant, and Joe.

ETHAN WILLIAMS (he/him) — Oliver

BFA ’22 Acting. Emerson Stage credits: Marie Antoinette (Revolutionary), This Golden Day (Understudy), The Resistible Rise of Arturo Ui (Ragg/Dullfeet), Good Breeding (Achilles), and Stupid F##king Bird (Dev). Emerson College credits: Mercutio Troupe’s When Her Art Is No Longer Her Own (B); Musical Theatre Society’s American Idiot (Will), Children of Eden (Storyteller), and Heathers: The Musical (Ram’s Dad). Regional Credits: Apollinaire Theatre’s Romeo and Juliet (Mercutio); Unified Theatre Company’s Red (Ken); and Richmond Triangle Players’ Corpus Christi (Thaddeus) and Slipping (Eli). Thank you to Ethan’s friends and family for their support along with everybody who worked to make this show happen.

OLIVIA WOLFF (she/her) — Touchstone

BFA ’22 Acting. Emerson Stage credit: Spring Awakening (Adult Woman Understudy). Emerson College credits: Musical Theatre Society’s American Idiot (St. Jimmy) and Children of Eden (Storyteller); and RareWorks Theatre Company’s Elephant’s Graveyard (Muddy Townsperson). Vice President of Emerson College Acappellics. Many thanks to the cast and crew for all their hard work, and to my friends and family for all their support! Mom, this one’s for you.

Creative Team Bios

EDDIE DEHAIS (they/them) — Adaptor and Director
Eddie DeHais (they/them) is a Franco-American trans director-choreographer who creates explosive, fantastical, transformative work that connects across all boundaries. They are a worlds-creator and world-traveler, crafting plays, operas, and events in the US and internationally to catalyze conversation, connection, and curiosity. Their work is sensorial and deeply empathic. Eddie received their MFA in Directing from Brown University in 2021. Selected theatre directing credits: Death and the Maiden (Pell Chafee Performance Center); Breadcrumbs (Ars Nova); Age of Bees (Theater at Monmouth, Massachusetts); MacbethWho’s Afraid of Virginia Woolf, Import Speech-MemoryWe Are Camera (Brown-Trinity Rep); Into the DeepsBIG BADMad Scientist Cabaret (DangerSwitch!); Sundown at the Devil’s House (Café Nordo); Scary Mary and the Nightmares Nine (Annex Theatre). Assistant: Macbeth (Robert O’Hara, Denver Center for the Performing Arts); MARY (May Adrales, Goodman Theatre); Thyestes (JoAnne Akalaitis, Court Theatre); Hunchback (Leslie Danzig, Redmoon Theatre); Marisol (Brian Mertes, Trinity Rep). Selected opera directing credits: Silhouette (Annex Theatre). Assistant: War Requiem (d. Daniel Kramer, Gran Teatre del Licieu, Barcelona, Spain) and Turandot (Daniel Kramer, Grand Théâtre du Genève, Switzerland). Additional credits: Artistic Director, DangerSwitch! (2015-2018, Seattle) and Director of New Works, Café Nordo (2016-2018, Seattle).

EMILY GELDERMANN — Scenic Designer
BFA ’21 Theatre Design & Technology. Emerson Stage credits: Marie Antoinette (Costume Designer), Marisol (Scenic Designer) and Amanuensis, or The Miltons (Co-Costume Designer). Emerson College credits: Mercutio Troupe’s All Night: a party in the suburbs (Scenic Designer); The 40th EVVY Awards (Co-Scenic Designer); The 39th EVVY Awards (Stylist); emShakes’ Helen (Costume Designer); Musical Theatre Society’s Children of Eden (Costume Designer); and Kidding Around’s Mermaid Tales (Costume Designer).

TRIXIE WARD — Costume Designer
BFA ’23 Theatre Design & Technology. Emerson Stage credits: Baltimore (Assistant Costume Designer), Interior of the Artist Without Her Sister (Costume Designer), Marisol (Wardrobe Supervisor), This Golden Day (Assistant Costume Designer), and The Last Days of Judas Iscariot (Assistant Wardrobe Supervisor) Emerson College credits: Mercutio Troupe’s The Room In The Attic (Costume Designer) and Hush Hush (Costume Designer); Full Fathom Productions’ Fefu and Her Friends (Costume Designer); The 40th Annual EVVY Awards (Co-Wardrobe Stylist) and The 39th Annual EVVY Awards (Assistant Wardrobe Stylist).

PIPER PHILLIPS — Lighting Designer
BFA ’23 Theatre Design & Technology. Emerson Stage credits: Marie Antoinette (Production Electrician), This Girl…Nothing (Associate Scenic Designer), Spring Awakening (Lead Electrician), and Everybody (vMix Technician). Emerson College credits: Musical Theatre Society’s La Cage Aux Folles (Lighting Designer); The 40th Annual EVVY Awards (Production Electrician); and Mercutio Troupe’s The Trial of Errors (Lighting Designer). Thanks to SP, SM, LH, and electrics!

SCOTT PINKNEY — Lighting Designer
BFA ’24 Theatre Design & Technology. Broadway: Harvey Fierstein’s Tony Award winning Torch Song Trilogy. Off-Broadway: Vincent, Becoming Dr. Ruth, Majestic Kid, Divine Fire, Nymph Errant and The World is Made of Glass. Regional Theatres: The Guthrie, Denver Center, The Huntington, George Street Playhouse, TheatreVirginia, Olney Theatre. Barrington Stage (named an Associate Artist in 2014), more than 35 productions including American Son, Best of Enemies, Whipping Man and Follies. International: ART and Kiss of the Spider Woman for Singapore Rep, and Concerts for Club Mohamed-Ali in Cairo. Boston: Ulysses on Bottles (IRNE Nomination), Israeli Stage; Comedy of Errors, Commonwealth Shakespeare (Norton Award); Don Giovanni, NEC Opera; Freud’s Last Session for New Rep, and many productions for Emerson Stage. He serves as a Professor of Lighting Design at Emerson.

KAI BOHLMAN — Sound Designer, Music Director, and Composer
BFA ’24 Theatre Design & Technology. Emerson Stage credits: Marisol (Production Sound Engineer), Everybody (Assistant Sound Designer), Going to California (Sound Designer), and The Late Wedding (Sound Designer). Other credits: Chaffey College Theatres’ Macbeth (Assistant Sound Designer), Love & Information (Co-Sound Designer), As You Like It (Sound Designer), and The Taming of the Shrew (Sound Designer); and Ophelia Jump Productions’ Stupid F##king Bird (Lighting and Projections Designer). Upcoming at Emerson Stage: Into the Woods (Associate Sound Designer).

RYAN BATES — Props Lead
Emerson Stage credits: This Girl Laughs, This Girl Cries, This Girl Does Nothing, Corduroy, and Everybody. Ryan is the Props Director for Emerson Stage and has worked as a props lead and scenic designer throughout New England, including productions at New Repertory Theatre, Bridge Repertory Theatre, The Umbrella, Gloucester Stage Company, InMotion Theatre, Middlebury College, Longwood Players, Off the Grid, Fresh Ink, and many more. Ryan teaches Stagecraft at Emerson and has served on the faculty at Boston University. MFA: Boston University.

MAIA TIVONY (she/her) — Stage Manager
BFA ’22 Stage & Production Management. Emerson Stage credits: 10 out of 12 (2nd Assistant Stage Manager), This Golden Day (1st Assistant Stage Manager), Interior of the Artist Without Her Sister (Stage Manager), Stupid F##king Bird (Assistant Production Supervisor), Spring Awakening (Associate Production Supervisor), The Late Wedding (Company Manager), and This Girl…Nothing (Company Manager). Emerson College credits: RareWorks Theatre Company’s Phoenix (A Box Play) (Assistant Stage Manager); Mercutio Troupe’s All Night: a party in the suburbs (Stage Manager); National Broadcasting Society’s Musicians Wanted (Stage Manager); and EVVY40 (Stage Manager). All thanks and love to: mama and aba, this giving cast and creative team, Molly, Casper, Kayla and Susan, and partner oh partner.

BFA ’25 Theatre Education & Performance. Emerson Stage debut! Past credits: The Tempest (Assistant Director), Twelfth Night (Olivia), and A Midsummer Night Dream (Puck). She would like to thank the entire company for their hard work and constant support. Would also like to thank her close friends here at Emerson who have encouraged her throughout this entire process. 

Meet the
Emerson Stage Staff


Artistic Director — Annie G. Levy
General Manager — David Colfer
Assistant General Manager — Alix Bigley
Production Manager — Timothey Sullivan
Technical Director — Kristin Knutson
Head Carpenter
— Connor Thompson
Scenic Painter
— Joe Keener
Props Director
— Ryan Bates
Assistant Properties Manager
— Lauren Corcuera
Costume Shop Supervisor
— Richelle Devereaux-Murray
Assistant Costume Shop Supervisor
— Brian Choinski
— Laurie Bramhall
Resident Sound Designer
— Elizabeth Cahill
Sound Technician
— Steven Deptula


Stage and Production Management — Debra A. Acquavella
Scenic Design — Debra Booth
Scenic Painting — Joe Keener
Costume Design — Chelsea Kerl
Lighting Design — Scott Pinkney
Sound Design — ​Elizabeth Cahill
Fight & Intimacy — Ted Hewlett
Dramaturgy — Robert Duffley

Student Staff

Emerson Stage Office Assistants — Casper Apodaca, Shannon Horsey, Alex Tawid Di Maggio, Jake Tolentino
Production Management Assistants — Carleigh Allen and Anthony Feola
Videographers — Benjamin Bernard and Jacqueline Thom
Scenic Technicians — Jonah Barricklo, Sean Dougherty, Marco Giacona, Emerson Hart, Sam Kisthardt, Baz Kouba, Dylan Norris
Scenic Artists/Painters — Emily Curtis, Sofia Goldfarb, Serino Nakayama, Kimberly Ndegwa, Fernando Rueda, Garrett Traer
Paint Shop Assistant — Matthew Baynes and Leah Heath
Prop Shop Assistant
— Delene Beauchamp, Evy Burch, Briana Figarella, Oliver Hawke, Mariel Richardson, Ava Scanlon, Mercedes Suarez
Stitchers — Tayla Dixon, David Estabrooks, Grace Fitzgerald, Emily Geldermann, Caitlin Johnson, Lorence Jones-Perpich, Dominic Letterii, Justina MacNeil, Molly Shaughnessy, Munroe Shearer, Trixie Ward
Laundry Assistants — Aleah Bloom and Angelina Parillo
Stock Attendants — Megan Decker, Jessica Immel, Lucile Lyon
Crafts — Madeline Yazel