IMOGEN SAYS NOTHING
By Aditi Brennan Kapil
Directed by Rebecca Goodheart
A feminist hijacking of Shakespeare that investigates the voices that have been absented from our canon, and the consequences of cutting them.
October 16-19, 2024
robert j. orchard stage
Paramount center
All performances open to the public
“Imogen Says Nothing” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
Run Time: TBA
Content Advisory: This play explores themes of erasure and what happens when an individual’s humanity is denied or discounted. As such, there are moments of cruelty depicted when a person is mistreated for their physical appearance, sexual orientation, gender, youth, and/or culture, including a depiction of a forced castration hazing ritual. Because the story is told through the allegory of ‘Bears’, there is discussion and depiction of the mistreatment of ‘animals.’ Finally, the story contains depictions of consensual sex between adults, suicidal thoughts, and violence which results in death.
IMOGEN SAYS NOTHING
Creative Team
Scenic Design
Ava Scanlon
Costume Design
Madeline Henry
Lighting Design
Davis Kranchalk
Sound Design
Lorenzo Sosa Lopez
Props Lead
Ryan Bates
hair & Makeup design
Liv Miller
STAGE MANAGER
Susan Weinhardt
PRODUCTION SUPERVISOR
Halle Hart
Dramaturg
Ciara Berardi
A note from the
Director, Rebecca Goodheart
This is not a play about Shakespeare. Or history. Or bears. It is a play about us, about who we see … and don’t see. It is about who we accept as worthy of attention, belonging, life. It’s about stories, true and untrue. About who gets to tell them and what they leave out. About communities and who gets to join them, and who they exclude. In rehearsal, we found it difficult that a play seemingly about the erasure of a woman is told through the buffoonery of six men and the evil of another. But that is often the way our world works. We struggled with finding Imogen’s voice, her reality. So much happens around her and she just… is. But then that’s the point, isn’t it? She is. Whether bound or freed by ink, she exists because we see her here. She is not allowed, and yet… she is. She walks through the world, she loves, she fights for her reality and the reality of others. She has stories of her own, as we all do. This is a story about each of us and about our world. It is a reflection, a warning, and an invitation. It asks who you turn a blind eye to and who you hurt. It warns of the inevitable consequences of erasing someone. But it also suggests that we can create our world …in words, in actions, in dreams of what is possible. We can change things, become what we are have not been before. We are all hungry to be seen, to be heard. We each have the opportunity to get the story right, to tell it just and true. Or else…
I hope you enjoy our version of this story. It surely misses something, leaves something out … as we all do, but it is offered in a spirit of collaborative creation and earnest reflection. As a guest, I have been humbled by the deep thought, deep kindness and deep belonging offered to me here at Emerson. I have been moved by the students’ desire to create a better world and a better theatre. So, this is truly not a story about Shakespeare, or history. In the best possible way, it is a story about who we are and who we might become. These are the artists that will tell our stories tomorrow and we are in good hands.
A note from the
Dramaturg, Ciara Berardi
The Man or the Bear? How Imogen Says Nothing uses Shakespeare to Reflect Modern Themes
What if something, or someone, doesn’t want to be erased? Imogen Says Nothing features Imogen, a silent character in the first folio of Shakespeare’s Much Ado About Nothing,who is never seen again. It is speculated that she is most likely a typo. Imogen Says Nothing acts as Imogen’s origin story, explaining what led to her erasure and the consequences that follow.
Imogen Says Nothing, by Aditi Brennan Kapil, was commissioned for Yale Repertory Theatre by Jennifer Kiger, Associate Artistic Director and Director of New Play Programs at Yale Rep, in March 2011. The play took 7 years to complete. While perusing the Yale Center for British Art, Kapil first found the town of Quaere. However, when she found a map from around 1578, she discovered that the town had indeed been mislabeled for 145 years. The village of North Burcombe was labeled the village Quaere (Latin for ‘to question’) which was presumably a placeholder and meant to be fixed. The mapmaker likely used the name Quaere to make a note to look up what the town’s name was. The mistake extended when the previous map was utilized around 1611-1612 in “The Theatre of the Empire of Great Britaine,” the first English attempt at creating a large-scale atlas. A quote from Kapil in CT Inside states, “The play examines what happens when entire voices, entire people are systematically cut from history and the canon of literature….it’s about the responsibility of erasure.” Although there are many themes prevalent in Imogen Says Nothing, the consequences and responsibility that comes with erasure are the most important.
Furthering the importance of erasure, ink itself acts as the driving force of Imogen Says Nothing’s narrative, determining ownership of words and presence. How are stories made and who owns them? Who decides how you are written in history? This can be seen in the history of the First Folio. The First Folio was a collection of Shakespeare’s plays, first published in 1623, seven years after Shakespeare’s death in 1616. John Heminges and Henry Condell used Shakespeare’s original prompt books, quartos, and notes to put together the final collection. The entire process was difficult, with financial and procedural issues. It ended up that mistakes became fixed as the books were printed, so every First Folio is an amalgamated collection of corrected and uncorrected pages. Without the First Folio, there would be no record of 16 of Shakespeare’s plays. This history is also explored in another play, Lauren Gunderson’s Book of Will. The usage of the First Folio in Imogen’s story demonstrates the power of writing things down.
The erasure of women in history and story is also prevalent in the main plot of Imogen Says Nothing. Women’s roles being portrayed by male actors began in Ancient Greece, with sexist restrictions that continued into Shakespeare’s England. Commercial acting forbade women from being on stage until 1661. What should be noted is that acting was seen as a “lowly” profession, especially by the orthodox Christian church, which rejected theatre, but saw all-male companies as socially legitimate due to the idea of women being portrayed and not “reality.” There were illegal street performances done by women which were associated with prostitution, lasciviousness, and indecency. The treatment of male vs. female performers was hypocritical: it was normalized for men to portray women in theatre, but women that dressed as men faced stigmas and had the added risk of arrest and imprisonment.
Finally, there is the connection to freedom vs. captivity. An important aspect of Imogen Says Nothing is the practice of bear-baiting in the story. Bear-baiting was a blood sport from the 12th to 19th century, popular specifically in Shakespearean England. The sport featured bears, dogs, bulls, chimps, and other animals that fought to death. These took place in the Bankside District of London, where there were arenas built specifically for this extremely violent sport. Other than theatre, bear-baiting was one of the most popular forms of entertainment. The bear would be brought into the arena and chained, then taunted and attacked by dogs. It would end when multiple dogs were killed or the bear went into submission. A lot of care was taken that bears would not be killed due to their value for the impresarios. These actions were inhumane, with teeth being filed short and bears were blinded and whipped for amusement. Theatre and blood sports had a lot of influence on each other. The arena for these sports likely influenced the theatrical stages. Due to the close proximity to the Globe, there is a possibility that real bears were used for The Winter’s Tale. Two of the bears featured in Imogen Says Nothing, Ned Whiting and Harry Hunks, were real celebrities of the sport. Imogen Says Nothing uses the past and Shakespeare to tell a modern story. Ink, the First Folio, women on stage, and bear-baiting are rewritten to remix history. The show is accurate and inaccurate, allowing audiences to break down what has been written, and rewritten, to create their own story.
Meet the
Cast
Imogen — MOLLY HOWARD
John Heminges / Leonato / Ned Whiting — ZACK DEMERS
Henry Condell / Don John / Antigonus — CRUZ PLASENCIA
Alexander Cooke / Beatrice / Fluffy 1 — NATE OAKS
Nicholas Tooley / Hero / Fluffy 2 — JAVIER GARCIA
Richard Burbage / Don Pedro / Harry Hunks — ANTHONY SPIDELL
William Shakespeare / Messenger / Warden / Friar –– JASON KORN
Crier / Isaac / Conrade / Benedick –– SETH WANNEMACHER
Anna Roos / Bear on Ice –– EMELIA ARAGON
Understudies
Imogen — EMELIA ARAGON
John Heminges / Leonato / Ned Whiting — LOUIS CORRERO
Henry Condell / Don John / Antigonus — FRANKIE MENDEZ
Alexander Cooke / Beatrice / Fluffy 1 –– REED ATHERTON
Nicholas Tooley / Hero / Fluffy 2 –– ZEKE MANRY
Richard Burbage / Don Pedro / Harry Hunks –– EMMA LAVENSON
William Shakespeare / Messenger / Warden / Friar –– MARINA KOSOR
Crier / Isaac / Conrade / Benedick –– RAINER OCHS
Anna Roos / Bear on Ice –– CALLIE PANG MAYER
Meet the
Artistic and Production Staff
Assistant Director — CIARA BERARDI
Assistant Director –– AMALIA SANDINE
Observing Director –– ELIZABETH TIPPENS
Vocal Coach –– TOM GIORDANO
Assistant Scenic Designer — ALEXA LUNNEY
Associate Costume Designer — EVELYN WALYUS
Wardrobe Supervisor — ZEE COWAN
Assistant Lighting Designer — EMERY FROST
Assistant Lighting Designer — ARI FLAHERTY
Production Electrician — ELI GOLDBERG
Lead Electrician — CHIRON SPEIDEL
Assistant Lead Electrician — NATE PRITZKER
Assistant Lead Electrician –– KELLY FURMAN
Assistant Sound Designer — IAN SONNABEND
Production Sound Engineer — JO WILLIAMS
Assistant Production Sound Engineer — SPENCER SWETLOW
A1 –– LIZZIE LAMB
A2 –– SAM GRODIN
Assistant Props Lead — MADDISON NIDEFFER
Assistant Stage Manager — OLIVER WORNER
2nd Assistant Stage Manager — RYAN O’CONNOR
Production Assistant — LEO MARGIL
Associate Production Supervisor — JOANNA SU
Assistant Production Supervisor — ALYSSA SCHLAIFER
Company Manager — LUCY PAGE
Assistant Company Manager — SHAE MUCHLER
Assistant Company Manager — ANNA BIGELOW
Run Crew
ZYAIRE GADDY, STYX HATCH, ANDREW HOFFMAN, HENRY LEAHY, JENNA MACINTYRE, EMILY MARTIN, KIANA MCCULLY, MAX NAIDL, CHARLOTTE PERNICONE, ERNEST SHAO, XINYI SUN, SANTIAGO TONELLI, RAFAEL VALDES
Cast Bios
EMELIA ARAGON (she/her) — Anna Roos / Bear on Ice, U/S Imogen
BFA ’25 Theatre Education & Performance. Emerson Stage credits: New Fest Short Works Cat’s Out Of The Bag (Jane) and Chekhov’s Gun (Clerk). Emerson College credits: emShake’s Lord of the Flies (Piggy), emShake’s Death of a Salesman (The Woman/Jenny), and Stroopwafel Improv. So much love and gratitude to my family and friends for the support. @emeliaaragon
REED ATHERTON (he/him) — U/S Alexander Cooke / Beatrice / Fluffy 1
BFA ‘27 Theatre & Performance. Emerson Stage credits: NFSW Chekhov’s Gun (Jacob) Emerson College theatre credits: Almost, Maine (Director) for Kidding Around; 13 (Richie) for Musical Theatre Society. Other credits: Alumni of UNCSA’s High School Drama Program; Regional Credits: Parkway Playhouse’s Little Women (Laurie) Parkway Playhouse’s You’re a Good Man Charlie Brown (Charlie Brown) Thanks to: Mom and Dad and the entire community of love that surrounds him. @reedatherton
LOUIS CORRERO (he/him) — U/S John Heminges / Leonato / Ned Whiting
BFA ’27 Theatre & Performance. Emerson Stage credits: NewFest Short Works “Roadmap” (Hercules). Emerson College credits: RareWorks Theatre Company’s Cast Thy Bread (Joshua); BlueJay Theater Collective’s Dog Sees God (Van). Other credits: Prep Dramatics’s Macbeth (Macbeth); Prep Dramatics’s Puffs (Ernie Mac/Others). Thanks to Emerson Stage and the cast and crew of Imogen Says Nothing!
ZACK DEMERS (he/him) — John Heminges / Leonato / Ned Whiting
BFA ’25 Acting. Emerson Stage credits: A Doll’s House (Nils Krogstad), Little Women (U/S Mr. Laurence, Doctor/Mr. Dashwood), and Paris (Carlisle). Emerson College credits: MTAG’s Fun Home (Bruce Bechdel), emShakes’ Metamorphosis (Mr. Samsa), emShakes’ The Lord of the Flies (Naval Officer), and MTS’ The Secret Garden (Ben Weatherstaff). Dedicated to the countless women whose stories have never been told, and to those who have been erased. instagram: thezackdemers
JAVIER GARCIA (he/they) — Nicholas Tooley / Hero / Fluffy 2
BFA ‘25 Acting. Emerson Stage credits: A Doll’s House (Dr. Rank); Little Women (u/s Laurie); Are You Someone To Somebody?: A New Devised Piece (Ensemble); NFSW: Where The Fireworks Come From (Tony). Emerson College credits: Mercutio Troupe’s In The Waiting Room (The Stranger), All Night: a party in the suburbs (Theo) and Compensation (Sound Design); RareWorks’ To the End of the World (Assistant Director). Thankful for every creative that made this enormous, ferocious world come to life! RAWR @jvirgrca
MOLLY HOWARD (she/her) — Imogen
BFA ’25 Acting. Emerson Stage credits: Bonnets: How Ladies of Good Breeding Are Induced to Murder (Daniel Stone), Are You Someone to Somebody?: A New Devised Piece (Ensemble), Paris (Maxine), and The Loyals (Peggy Chew/Varick). Emerson College credits: Mercutio Troupe’s Romeo and Juliet (Director), In the Waiting Room (Co-Hair and Makeup Designer), Musical Theater Against the Grain’s 25th Annual Putnam County Spelling Bee (Assistant Director), Hot Dam! (Hair and Makeup Designer). Thank you to this incredible cast and crew, as well as to her mom and dad and all of the wonderful people in her life who taught her that she is worthy of taking up space. Enjoy the show! @hollymoward
JASON KORN — William Shakespeare / Messenger / Warden / Friar
BFA ’25 Musical Theatre. Emerson Stage credits: Little Women (Laurie), A Dolls House (Messenger/Torvald U/S), The Loyals (John André), The Spitfire Grill (The Visitor/Eli). Emerson College credits: MTS’s You’re a Good Man, Charlie Brown (Charlie Brown). Thanks to my loving family and friends who are amazing. @jason_korn1204
MARINA KOSOR — U/S William Shakespeare / Messenger / Warden / Friar
BFA ‘26 Acting. Emerson Stage credits: NFSW Payphone (Women #2) and Approaching September 1st (Wendy) Emerson College credits: Mercutio Troupe’s Romeo and Juliet (Prince/Peter) Kidding Around’s Barry and the Bear (Sprout), Kidding Around’s Snow Angel (Betty/Fran), MTAG’s Hot Dam (Contextual Citizen/US Brody and Chick) Thank you to my family!
EMMA LAVENSON (they/she) — U/S Richard Burbage / Don Pedro / Harry Hunks
BFA ’27 Theatre Education & Performance. Emerson Stage Debut! This is my first Emerson show and I am very excited for more to come! Thank you to my suitemates for helping me run lines!
ZEKE MANRY (any pronouns) — U/S Nicholas Tooley / Hero / Fluffy 2
BFA ’26 Musical Theatre. Emerson Stage credits: Natasha, Pierre… (Swing). Select Emerson College credits: MTAG’s A Chorus Line (Greg), 25th Annual Putnam… (Barfée), Tanner Maverick’s Book of Sound (Jack, u/s Tony), and Mercutio Troupe’s Trail to Oregon! (Choreographer). Proud member of both Emerson Dance Company and Emerson Urban Dance Theatre. Regional credits: Woodstock Playhouse’s Murder on the Orient Express (Hercule Poirot), Chitty Chitty Bang Bang (Baron Bomburst), Anything Goes (Dippy), and Escape to Margaritaville (Ensemble). Special thanks to the cast and crew, my wonderful family, Juliet, and KJ. @manryonthestage
CALLIE PANG MAYER (she/they) — U/S Anna Roos / Bear on Ice
BFA ’26 Theatre & Performance, Dance Minor. Emerson Stage Debut! Emerson College credits: EmShakes’ A Midsummer Night’s Dream! (Hermia); Jake Tolentino’s Antony & Cleopatra! (Agrippa); A Tail of Socks the Street Cat (Aristotle); Directors Fest Fall 2023 (Wren, Raelynn); Jelly’s Last Jam! (Asst. Costume Designer). Thank you to the entire company for such an incredible, wonderful experience, and to Callie Mayer supporters worldwide. Let love radiate! @typicalcallie
FRANKIE MENDEZ — U/S Henry Condell / Don John / Antigonus
Bio coming soon!
NATE OAKS (he/they) — Alexander Cooke / Beatrice / Fluffy 1
BFA ’26 Theatre & Performance. Emerson Stage credits: Little Women (Robert March), The Impracticality of Modern Day Mastodons (US Pat), NFSW Fluff (Sage). Emerson College credits: Rarework’s Stains (Tucker), MTS’s 13 (Simon), The Ballgame (Rodney) and The Summer I Turned Pretty (James). Regional credits: Lanes Coven Theatre Co’s Midsummer Nights Dream (Flute/Thisbe), Gloucester Stage Company’s To Kill a Mockingbird (Jem). Thank you to my endlessly supportive family for pushing me to pursue what I love to do, I am former in debt to you all. Follow my instagram @nathanieloaks and TikTok @nateoaks ENJOY THE SHOW
RAINER OCHS (he/they) — U/S Crier / Isaac / Conrade / Benedick
BFA ‘27 Theatre & Performance. Emerson Stage Debut! Regional credits: A Comedy of Errors (Antipholus of Syracuse); The Merry Wives of Windsor (Abraham Slender); Les Misérables (Thénardier); Footloose (Willard Hewitt); You’re A Good Man, Charlie Brown (Charlie Brown); Clue (Wadsworth). Thank you to Mom, Dad, Atticus, Sodasia and Danrley for keeping me sane! IG: @rainerochsofficial
CRUZ PLASENCIA — Henry Condell / Don John / Antigonus
Bio coming soon!
ANTHONY SPIDELL (he/him) — Richard Burbage / Don Pedro / Harry Hunks
BFA ‘26 Acting, Dance Minor. Emerson Stage credits: 16 Winters (U/S Pol/Bear). Emerson College credits: Pass Over (Director), Jelly’s Last Jam (Buddy Bolden, Dance Captain), MTAG’s Wild Party (Mr. Black + Eddie U/S), Emerson Urban Dance Theatre’s Sincerely, EUDT (Dancer), Emerson Urban Dance Theatre’s PANIC (Dancer). Thanks to all of my close friends and family for all of their constant support! Instagram: @anthony.spidell
SETH WANNEMACHER (he/him) — Crier / Isaac / Conrade / Benedick
BFA ’26 Theatre Education & Performance. Emerson College credits: Crown’s Passover (Mister/Ossifer), MTS’s Dogfight (Eddie Birdlace), MTAG’s Tanner Maverick’s Book Of Sound (Jason Maverick), Mercutio Troupe’s The Trail to Oregon! (Mcdoon/Everyone Else), and MTAG’s Andrew Lippa’s Wild Party (Oscar D’Armano) Special thanks to my parents and family, as well as all the educators that have believed in me every step of the way!
Creative Team Bios
REBECCA GOODHEART (she/her) — Director
Rebecca Goodheart is in her 9th season as Producing Artistic Director of Elm Shakespeare Company, where she has directed Richard III, Love’s Labor’s Lost, Comedy of Errors, and The Tempest, as well as performing Tina Packer’s Women of Will. She has been a director, actor, and teacher specializing in Shakespeare and Voice for 30 years, who has directed over 30 professional and 50 educational productions, working with a dozen Shakespeare theaters around the world, including tenures as Director of Training at San Francisco Shakespeare Festival, Producing Artistic Director for Maryland Shakespeare Festival (an equity theater she founded in 1999), Artistic Director of the Metawhateverphor Theater in NYC, and Director of Education for Baltimore Shakespeare Festival. She is a designated Linklater Voice and classical text teacher serving on the faculties of Shakespeare & Co., Southern CT State University, and the Hartt School of Theatre. Rebecca serves on the Executive Committee for the Shakespeare Theatre Association, the Board of Directors of Yale’s Summer Cabaret and is a fellow at Yale’s Hopper College, along with being a proud member of V.A.S.T.A., Society of Stage Directors and Choreographers(SSDC) , and Actor’s Equity Association. She holds a BFA from NYU/Stella Adler Conservatory, a Master of Letters in Shakespeare & Renaissance Literature, and an MFA in Directing (both from the American Shakespeare Center/Mary Baldwin College). Rebecca is a published scholar known for her research into physicalizing Shakespeare’s wit and rhetoric onstage, and is extremely excited to have her first book, Shakespeare’s World: Seeing the plays through Elizabethan Eyes, which she co-Authored with Josh Lubarr and Dennis Krausnick, being published in 2025 by Bloomsbury/Applause.
AVA SCANLON (pronouns) — Scenic Designer
Bio coming soon!
MADELINE HENRY (she/her) — Costume Designer
BFA ‘26 Theatre Design & Technology. Emerson Stage credits: The Impracticality of Modern-Day Mastodons (Assistant Costume Designer), Bonnets (Wardrobe Supervisor), Old Jake Skirts (Wardrobe Crew). Emerson College credits: Kidding Around’s Socks the Street Cat (Co-Costume Assistant). Emerson Film credits: Speedwell (Costume Designer), The Sundowner (Costume Designer).
DAVIS KRANCHALK — Lighting Designer
BFA ‘25 Theatre Design & Technology. Select Emerson Stage credits: Second Star to the Right (Lighting Designer), The Impracticality of Modern-Day Mastodons (Production Electrician), Little Women (Lead Electrician), Mary, Sweet Mary (Production Electrician), Paris (Assistant Technical Director), The Spitfire Grill (Assistant Lighting Designer). Emerson College credits: Feeding the Moonfish (Lighting Designer). Regional credits: College Light Opera Company’s 2024 Season (Technical Director), Snow Productions’s Spongebob the Musical (Lighting Designer). He would like to thank his parents and friends for their constant support, and his sister for being his forever theatre buddy!
LORENZO SOSA LOPEZ (he/they/she) — Sound Designer
BFA ’26 Theatre Design & Technology. Emerson Stage credits: Natasha, Pierre & the Great Comet of 1812 (Co-Production Sound Engineer), How We Got On (Asst. Sound Designer), Cabaret (Asst. PSE), Secret in the Wings (Asst. PSE), The Spitfire Grill (A2). Emerson College credits: How Macy Survived Without Her Wisdom Teeth (SD) and Gold (SD) for RareWorks Theatre Company. Regional credits: Hartford Stage’s Simona’s Search (Asst. SD), Lyric Stage’s Trouble in Mind (Asst. SD). Gracias a mi familia por su apoyo eterno.
RYAN BATES (he/him) — Props Lead
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 has taught Stagecraft at Emerson, and served on the faculty at Boston University. MFA: Boston University. www.ryanbatesdesign.com
LIV MILLER (she/her) –– Hair & Makeup Designer
BFA ‘25 Theatre Design & Technology. Emerson Stage credits: Natasha Pierre and the Great Comet of 1812 (Assistant Props Lead), Second Star to the Right (Scenic Designer), Bat Boy: The Musical (Hair/Makeup Designer), Bonnets: How Ladies of Good Breeding are Induced to Murder (Hair/Makeup Designer), The Loyals (Wardrobe Supervisor), The Secret in the Wings (Props Lead), Paris (Assistant Costume Designer), Old Jake’s Skirts (Assistant Scenic Designer), Into the Woods (Wig Runner), RAGE (Assistant Wardrobe Supervisor), Next to Normal (Assistant Props Lead). Emerson College credits: Mercutio Troupe’s Romeo and Juliet (Hair and Makeup Artist and Designer); MTAG’s Rock of Ages (Hair/Makeup Designer); MTS’s La Cage Aux Folles (Hair/Makeup Artist and Designer).
SUSAN WEINHARDT (she/her) — Stage Manager
BFA ’24 Stage & Production Management. Emerson Stage credits: 16 Winters (Associate Production Supervisor), Bat Boy The Musical! (1st Assistant Stage Manager), How We Got On and Little Women (Company Manager), Are You Someone To Somebody?: A New Devised Piece (2nd Assistant Stage Manager), The Wolves (Assistant Production Supervisor), As You Like It (Production Assistant). Emerson College credits: BlueJay Theater Collective’s Significant Other (Stage Manager); RareWorks’ Escape (or The Piña Colada Play) (Dramaturgy), Hookman (Producer). All my love and gratitude to: Dad, Jo Ann and Thomas; this giving cast and creative team; Halle and Ethan; Support Group; Oliver, Ryan and Leo, my bookworm and, of course, Mom <3.
HALLE HART (she/they) — Production Supervisor
BFA ’25 Stage & Production Management. Select Emerson Stage credits: …Mastodons (1st Assistant Stage Manager); NewFest 2024 (Company Manager); Little Women (Associate Production Supervisor); Mary, Sweet Mary (2nd Assistant Stage Manager); Cabaret (Assistant Production Supervisor); Baltimore (Production Assistant). Select Emerson College credits: emShakes Theatre Co. (Production Manager); Kidding Around’s Snow Angel (Stage Manager); RareWorks’ How Macy Survived…(Stage Manager); emShakes’ A Midsummer Night’s Dream! (1st Assistant Stage Manager). Thank you to Joanna and Alyssa for being such an awesome team! All my love to Susan, Ethan, and my dearest Pierce. For my mom, as always.
CIARA BERARDI (she/her) — Dramaturg
BFA ’24 Theatre (concentration in Directing & Dramaturgy). Emerson Stage credits: NewFest Short Works’ Don’t Be A Stranger (Director), 16 Winters (Asst. Director and Asst. Dramaturg), Bat Boy (Dramaturg), Are You Someone To Somebody? (Asst. Company Manager), Old Jake’s Skirts (Asst. Company Manager), The Spitfire Grill (Dramaturg), and Into the Woods (Dramaturg). Emerson College credits: emShakes’ Metamorphosis (Producer), Lord of the Flies (Dramaturg) and A Midsummer Night’s Dream! (Co-Dramaturg). Other credits: Surflight Theatre’s 2024 Summer Stock Season (Company Manager) and Surflight Theatre’s Titanic (Dramaturg). Thank you to my friends and family for your never-ending support!
Meet the
Emerson Stage Staff
Staff
Artistic Director — Kate Cherry
Production Manager — Timothey Sullivan
Technical Director — Kristin Knutson
Head Carpenter — Connor Thompson
Scenic Area Advisor –– Luciana Stecconi
Scenic Painter — Joe Keener
Props Director — Ryan Bates
Assistant Properties Manager — Lauren Corcuera
Costume Area Advisor –– Tristan Raines
Costume Shop Supervisor — Richelle Devereaux-Murray
Assistant Costume Shop Supervisor — Becky Pieroth
Draper/Cutter — Laurie Bramhall
Lighting Area Advisor –– Jason Lyons
Electrics Advisor — Nicole Cerra
Advisors FOR THIS PRODUCTION
Stage and Production Management — Debra A. Acquavella
Scenic Design & Props — Ryan Bates
Scenic Painting — Joe Keener
Costume Design — Chloe Moore
HMU Design –– Rachel Paula-Shefult
Costume Production –– Richelle Devereaux-Murray
Lighting Design — Anshu Bathia
Electrics — Nicole Cerra
Sound Design — Aubrey Dube
Dramaturgy — Marissa Friedman
Vocal Coach — Tom Giordano
Student Staff
Emerson Stage Office Assistants — Kayla Copping, Alayna Domboski, Karli Fisher, Carly Mentis, JJ Moore, Liliana Ravins
Production Management Assistants — Esther Chilson, Oliver Worner
Videographers — Vincent Chen, Ethan West
Scenic Technicians — Lúa Azancot, Nel Blinman, Kieran Graeff, Davis Kranchalk, Bee LaClair, Elodie Lambert, Aiden Lank, Echo Lu, Oscar McQuilkin, Zoe Mills, Brooklyn Williams
Volunteer Scenic Technicians –– Mack MacIntyre, Kiana McCully
Scenic Artists/Painters — Yara (Rayan) Afif, Nel Blinman, Paige Boyon, Lily Hourin, Elodie Lambert, Sienna Leone, Liz Nunnery, Leo Servetar, David Staats, Charlize Tabrizi
Paint Shop Assistant — Maggie Stewart
Prop Shop Assistants — Amaya Gonzalez-Mollmann, Ava Scanlon
Prop Technicians –– Eri Lackey, Bee LaClair, Georgie Ten Eyck, Sydney Williams
Stitchers — Anna Ten Eyck, Zee Cowan, Amanda Jacobson, Izzy Bacallo, Nina Turovskiy, Madeline Henry, Alexa Peterson-Ismail, David Schell, Heidi Keithahn
Stock Attendants — Sierra Bivins, Isabella Fortebuono
Light Lab Inventory Assistant — Eli Goldberg