By Kate Hamill
Adapted from the novel by Louisa May Alcott
Directed by Kate Cherry

There is nothing typical about Jo March; she’s headstrong and independent and one day she is going to be a great American novelist. In a war-torn world defined by gender, class, and personal tragedy, Jo March gives us her greatest story: that of the March sisters, four dreamers destined to be imperfect little women.

September 27-30, 2023


All performances open to the public

LITTLE WOMEN is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service collection. (

LITTLE WOMEN was commissioned and originally produced by the Jungle Theater (Sarah Rasmussen, Artistic Director), Minneapolis, MN
New York City premiere at Primary Stages (Andrew Leynse, Artistic Director; Shane D. Hudson, Executive Director; Casey Childs, Founder), June 2019
Developed at the Colorado New Play Festival, Steamboat Springs, June 2018

Run Time: 2 hours and 15 minutes, including a 15 minute intermission

Content Advisory: The play features a depicted moment of sexual harassment, as well as discussions of war, slavery, and sexism.

View Production Media

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

Creative Team

Scenic Design

Mariel Richardson

Costume Design

Athena Parkman

Lighting Design

Oliver Hawke

Sound Design

Sarah Miller

Props Lead

Ryan Bates


Mina-Claire Paz-Le Draoulec


Michael Menor


Grace Elphinstone


Conall Sahler


Kwezi Shongwe

A note from the
Director, Kate Cherry

I was delighted to be invited to direct Little Women by Emerson Stage,  It is a book I loved as a child until Jo for some reason completely unfathomable to the 10 year old version of me, married a professor and Amy got married to Laurie.  As I inhaled the book under a quilt reading by flashlight light long past my bedtime over several nights, the sisters became real to me.  As a girl who loved wearing black boots with dresses, wanted to be a writer, and could not bear the thought of ever tying myself to a man, I found Jo’s change of heart about marrying gobsmackingly strange. If she had to subject herself to matrimony she could have married the dashing Laurie, gone to Europe and been supported to write.  Jo’s rejection of Laurie’s proposal left me confused.  I had thought she was an adventurer who refused to conform.  I almost could not bear to read the rest of the book.  And now, many years later, married, still wearing army boots and silk dresses and happily married, I rediscover Little Women, thanks to a brilliant American playwright, who specializes in modernising classics, and I realise how much I did not understand about my beloved book.  Jo married because the publisher with whom Louisa May Alcott worked forced her to marry Jo off.  There were codes in the book I had not understood, codes for how Alcott had to lead her life.  Her bids for freedom were through her writing.  Alcott’s chosen life was solitude.  And now Kate Hamill takes the background of the book, the civil war, a war between brothers, and lets her play resonate with all the fractured relationships and fear for the union we now have, teasing out a civil war between sisters.  Could the family survive? Could the country? Would the union hold? Will it now?  Can great love and an almost superhuman ability to forgive those who trespass against us, mean the union can survive? Kate Hamill not only posits this century old question, she answers it.  Not only can sisters find a way back to one another with love they do it through ART. ART that shapes our conscience and helps us find the courage to live by revealing our truths, for seeking to understand ourselves and others is what sets us free.  Fear and hatred destroys and teaches us to go against our nature, to live in closets, to give and receive shame.  ART can give us resilience by giving our griefs and our joys shape and offering us a collective journey of hope, inspiration and optimism.

Thank you Kate Hamill.  Thank you to the lion heart cast.  Thank you to Annie Levy and Lindsay Beamish for carefully casting this production.  Thank you to the designers and their mentors for inviting me in when their design process was already underway.  Thank you to everyone who has worked hard to make this production.  Thank you most vociferously to the understudies who bring light and empathy to every rehearsal, the presence of these highly talented young people has added wisdom and tenacity, and on more than one occasion kept the show going.  This play is special.  Thank you for sharing it with us.

A note from the
Dramaturg, Grace Elphinstone

“The rose would wilt if she gave it the care of another flower, and the violet too. One isn’t better than the other. They just need different things to grow…Look at them: Aren’t they beautiful together?” – Marmee March

Over a century after its publication, the characters and themes of Little Women continue to resonate with audiences of all ages. Meg, Jo, Beth, and Amy broke the standards for typical 1860s “women’s literature” characters; the four sisters each had artistic dreams and weren’t afraid to be themselves, even if that meant rejecting the pressures of “ladylike” behaviors. As time went on, the story continued to weave itself into the lives of adolescent girls and women alike, providing them with realistic literature in which they could finally picture themselves. For decades, people have been able to see themselves reflected in Little Women’s characters and audiences identify with the messages of unity, individuality, and sisterhood.

Louisa May Alcott published her novel Little Women in 1868, shortly after the Union victory in the American Civil War and the abolishment of slavery. From 1861 to 1865, the U.S. split in two: the Confederacy fought to uphold slavery, while the Union fought for its abolishment. American values shifted during this time as more people viewed selflessness as a patriotic way to serve their country. These values are reflected in the March family dynamic, where the girls are constantly encouraged to help others in need and reminded of how grateful they should feel. Both armies accepted volunteer soldiers until the 1863 Conscription Act established mandatory registration for the draft. Little Women is set in the early 1860s, so Robert March would have been a volunteer in the Union Army.

During the Civil War, Louisa May Alcott was living in Massachusetts, a Union state, but traveled to Washington, D.C. to aid the war efforts as a nurse. During her time there, she created one of her breakout publications, Hospital Sketches. Alcott continued to write and publish short stories anywhere possible to relieve her family’s financial struggles. After several of her horror and ghost stories were released, her publisher encouraged her to shift gears and write about domesticity – a more ordinary story about family life. Alcott hesitantly agreed, but the immediate success of Little Women led her to write a second part and two accompanying stories, Good Wives, Little Men, and Jo’s Boys. The success of Little Women never truly faded and the story repeatedly has been adapted for numerous media, ranging from movies to Broadway plays and musicals.

Generations of Americans have each experienced different renditions of Little Women, but none quite compare to Kate Hamill’s 2018 adaptation of the Alcott classic. Hamill is an American playwright and actress from Lansing, New York. After graduating from Ithaca College with a BFA in Acting, she began adapting classic stories into plays for today. Her other works include Pride and Prejudice, Emma, and a “feminist revenge fantasy” version of Dracula. Hamill’s overarching goal in adapting classics like Little Women is to revamp them to fit the narrative of today’s society. 

“I am deeply interested in ‘reclaiming’ the classics; in order to create inclusive stories in which each of us can see reflections of our experiences.”
– Kate Hamill

Emerson Stage’s 2023-2024 season theme involves a hunger for authenticity and self-expression, and Hamill’s adaptation of Little Women is a phenomenal opener. From struggling with ever-changing familial relationships to exploring concepts like identity and grief, the characters guide us through the nostalgic and eye-opening experience of growing up in America.

As you watch this play, ask yourself, what does it really mean to “grow up” in a country whose ideals are so complexly layered, and how does that experience shape or alter our worldviews and relationships later in life?

Meet the

At this performance, the role of Marmee March, normally played by KATE RILEY, will be played by ELIZABETH NUNNERY

Marmee March — KATE RILEY
John Brooks / Parrot — CONALL SAHLER
Hannah / Messenger — ADELAIDE WILLERT
Mr. Dashwood — CONNOR ROSSI
Mr. Laurence / Doctor — SAGE BEASLEY
Robert March — NATE OAKS
Mrs. Mingott — ANNA BAKER


Meg March, Aunt March — MARIANA MERLOS
Amy March — ELLA HAGG
Marmee, Hannah, Messenger, Mrs. Mingott — ELIZABETH NUNNERY
John Brooks, Parrot, Robert March — PETER KOLODZIEJ
Mr. Dashwood, Mr. Laurence, Doctor — ZACK DEMERS

Meet the
Artistic and Production Staff

Assistant Director — KWEZI SHONGWE
Assistant Scenic Designer — MJ FOX
Associate Costume Designer — DAVID ESTABROOKS
Assistant Costume Designer — ALEXA PETERSON-ISMAIL
Wardrobe Supervisor — HEIDI KEITHAHN
Assistant Lighting Designer — STEL STEIN
Production Electrician — MIA MOORE
Lead Electrician — DAVIS KRANCHALK
Assistant Lead Electrician — LENA SCHMITT
Assistant Sound Designer — MATT DANDINO
Production Sound Engineer — JO WILLIAMS
Pianist –– JASON KORN
Assistant Props Lead — SAMANTHA AUTUMN
Assistant Stage Manager — ALAYNA DOMBOSKI
2nd Assistant Stage Manager — ELIZABETH TIPPENS
Associate Production Supervisor — HALLE HART
Assistant Production Supervisor — BEE LACLAIR
Assistant Fight Director — KWEZI SHONGWE
Company Manager — SUSAN WEINHARDT
Assistant Company Manager — NONA FERNEY
Assistant Company Manager — OLIVER WORNER
Run Crew

Cast Bios

ANNA BAKER — Mrs. Mingott

BFA ‘24 Theatre Education & Performance. Emerson Stage Debut! Emerson College credits: EmShakes’ A Midsummer Night’s Dream! (Bottom); MTAG’s The 25th Annual Putnam County Spelling Bee (Carla Mom); and MTS’s First Lady Suite (Mary Gallagher). All my love and thanks to the cast, stage management team, and production team! Thankful for the support from family and friends, couldn’t do it without y’all! @theannabaker

SAGE BEASLEY (he/him) — Mr. Laurence / Doctor

BFA ’24 Theatre & Performance. Emerson Stage credits: Eternity 5 (Eternity 5). Regional credits: Troilus and Cressida (Hector) at The Carriage House Players. I’d like to thank my whole family for their lasting support, and my partner Desiree for being my partner in every sense of the word.


BFA ’25 Theatre & Performance. Emerson Stage credits: RAGE (Props Lead), Mary, Sweet Mary (Dramaturg), The Loyals (Peggy Shippen). Emerson College Credits: The First Woman (Playwright), Story of Lilith (Director), And She Dwelt Upon The Wall (Assistant Director). IG: lara.brinkman

ZACK DEMERS (he/him) — U/S Mr. Dashwood, Mr. Laurence, Doctor

BFA ’25 Acting. Emerson Stage credits: Paris (Carlisle). Student Theatre credits: MTS’ The Secret Garden (Ben Weatherstaff); emShakes’ Lord of the Flies (Naval Officer). Don’t forget to give yourself the water and sun that you need. instagram @thezackdemers


BFA ’25 Acting. Emerson Stage credits: Are You Someone To Somebody?: A New Devised Piece (Ensemble); NFSW: Where The Fireworks Come From (Tony). Emerson College credits: All Night: A party in the suburbs (Theo); Compensation (Sound Designer); To The End of The World (Assistant Director). Big thanks to my family, friends, and all those who have guided me! All love for this wonderful ensemble and team! Onward and upward! Huzzah!

MICHELLE GARCIA (any pronouns) — Meg March

BFA ’25 Theatre Education & Performance. Emerson Stage credits: As You Like It (Assistant Director), Are You Someone To Somebody (Cast). RareWorks’ To The End Of The World (Director), MTAG’s Hot Dam! (Director), Mercutio’s True West (AD/Costumes) and Our Dear Dead Drug Lord (Squeeze). I would like to say thank this entire crew and cast for creating a space where this story was able to not be viewed as history but of human experiences. Thank you to my sisters from other misters Loey, Alexa, and Gen for being the best people to play with. Mariana for your incredible work and support. And to my favorite women of all, my mom Ana and my best friend/partner, Sophia, thank you for allowing me to define what being a woman is in my own time and space.

ELLA HAGG (she/her) — U/S Amy March

BFA ’25 Theatre & Performance. Emerson Stage Debut! Emerson College credits: EmShakes’ Humble Boy (Mercy Lott); and Alex Serino’s Gruesome Playground Injuries (Kayleen).

GENEVIEVE HOWLEY (she/her) — Amy March

BFA ’24 Theatre & Performance. Emerson Stage credits: The Wolves (#2), The Loyals (U/S Joseph Stansbury, John Andre, Laurence, Benedict Arnold), NewFest ShortWorks The Funeral (Anna). Emerson College credits: Rarework’s Feeding the Moonfish (Moonfish, Intimacy Director), Kidding Around’s A Tail of Socks The Street Cat (Melpomene), emShake’s A Midsummer Night’s Dream (Intimacy Director), Kidding Around’s A Wrinkle in Time (Intimacy Director), EIV’s Like Home (Lexi, Intimacy Director), EIV’s Abducted Anonymous (Emma, SFX Makeup Artist). Big love and thanks to my Mom, Dad, the Howley Family, my sweet friends, Remy, Lola, Mr. Staggs, and Coco Cohn!

LOEY JONES-PERPICH (she/they) — Jo March

BFA ’24 Theatre & Performance. Emerson Stage credits: The Secret in the Wings (Actor 3), As You Like It (Duke Frederick), and New Fest Short Works’ The Archetypes (Doctor Symbolism). Emerson College credits: RareWorks’ How Macy Survived Without Her Wisdom Teeth (Playwright/Co-Director); emShakes’ A Midsummer Night’s Dream! (Titania/Theseus); and MTAG’s The 25th… Spelling Bee (Chip’s Mom). Film credits: Floor 13’s Looking Down (Realtor). Thank you to Kate, Kwezi, Mina, and the entire team for a month of laughter and learning. For my moms, who are my favorite women in the world. @loeykjp

PETER KOLODZIEJ (they/them) — U/S John Brooks, Parrot, Robert March

BFA ‘26 Theatre & Performance. Emerson Stage Debut! Emerson College credits: Musical Theatre Society’s Ride the Cyclone (Noel/Ricky Swing). Thank you so much to mom, dad, Sander, and Charlie for the support!

JASON KORN (he/him) — Laurie

BFA ‘25 Musical Theatre. Emerson Stage credits: Spitfire Grill (The Visitor/Eli), The Loyals (John André). Emerson College credits: MTS’s You’re a Good Man Charlie Brown (Charlie Brown). Thanks to my loving family and friends for the support. @jason_korn1204

MARIANA MERLOS (she/her) — U/S Meg March, Aunt March

BFA ’25 Theatre & Performance. Emerson Stage credits: NewFest Short Works: Biscotti (HR Amy). Emerson College credits: Kidding Around’s A Wrinkle in Time (Mrs. Which/Reader 10), Musical Theatre Society’s Tavern Song (Margaret MacIntyre), emShakes Theatre Company’s Romeo and Juliet (Benvolio). Thank you to the cast and crew of Little Women for a wonderful process and a beautiful show!

HANNAH NILSSON (she/they) — Aunt March

BFA ’24 Theatre Education & Performance. Emerson Stage credits: The Wolves (Soccer Mom), This Girl Laughs, This Girl Cries, This Girl Does Nothing (Albienne). Emerson College credits: NFSW – Biscotti (Director), Dragged (Dawn), Storm Clouds for Lonely Hearts (Claire), and selections from Fatchley (Ensemble). Thank you to all my friends and family for their endless support, and a special thank you to the Emerson Performing Arts faculty for shaping me into the artist I am today.

ELIZABETH NUNNERY (she/her) — U/S Marmee, Hannah, Messenger, Mrs. Mingott

BFA ‘26 Theatre & Performance. Emerson Stage Debut! Emerson College credits: Kidding Around’s Seussical (Ensemble, Dance Captain). Elizabeth is thrilled to be a part of her first Emerson Stage production and so grateful to work with this incredible group of people.

NATE OAKS (he/they) — Robert March

BFA ’26 Theatre Education & Performance. Emerson College credits: The Summer I Turned Pretty (James), DirectorsFest (Mitchell). Other stage credits: To Kill A Mockingbird (Jem). Nate wants to thank his supporting friends and family for all of his artistic endeavors. If you want more of Nate follow him on Instagram @nathanieloaks and tiktok @nateoaks

ALEXA POPLAWSKY (she/they) — Beth March

BFA ’24 Theatre & Performance. Emerson Stage credits: Mary, Sweet Mary (Agnes). Emerson College credits: Mercutio Troupe’s A Hanukkah Story (Dot Garber) and emShakes’ Macbeth (Lennox). Film credits: Intermission (Robbie), Waist Deep (Liza), And Again (Nora), Small Talk (Bellamy), Charlie Rackett and the Evil Sorcerer Killer (McKenna), Matched (Kayla), I Still Haven’t Found What I’m Looking For (Alaina). Thank you to my family, my friends, and this very special set of artists for making this possible <3

KATE RILEY (she/her) — Marmee March

BFA ’24 Theatre Education & Performance.  Emerson Stage credits: RAGE (Jaz/FRANKLY-I-DON’T-GIVE-A), The Spitfire Grill (u/s Hannah). Emerson College credits: director, performer, stage manager, producer, scenic designer, lighting designer, and script writer on various Musical Theatre Society, Musical Theatre Against the Grain, and Kidding Around Productions, including co-directing MTS’s Ride the Cyclone! Member of Kidding Around Board, host on Standing Room Only (WERS). As a girl growing up with sisters in Massachusetts, this story has always been a dream to tell. Love to my family, my friends, my teachers, and this amazing team.

GRACE LENORE ROGERS (she/her) — U/S Beth March

BFA ’25 Theatre Education & Performance. Emerson Stage credits: Old Jake’s Skirts (Storyteller). Emerson College credits: Musical Theatre Society’s Tavern Song (Saorise), EFA Cabaret, Musical Theatre Against the Grain’s Dream Cabaret and emShakes’ The Moors. She’d like to thank her dear friends, partner and parents for all of their support. @gracelenore

CONNOR ROSSI (he/him) — Mr. Dashwood

BFA ‘26 Theatre & Performance. Emerson Stage Debut! Emerson College credits: RareWorks’ Feeding the Moonfish (Martin); and EmShakes’ A Wrinkle in Time (Calvin). Thank you to Mom and Aidan for the love and support!

CONALL SAHLER (he/him) — John Brooks / Parrot & Fight Director

BFA ’24 Acting. Emerson Stage credits: The Secret in the Wings (Actor #7), Old Jake’s Skirts (E.B. Sweeney, Good Samaritan), RAGE (Conflagration Ensemble, covering Leveler and Ballzindorf), This Girl Laughs, This Girl Cries, This Girl Does Nothing (Male Understudy). NewFest ShortWorks: The Rock (Robert), Where the Fireworks Come From (Gabe), Vampire Therapy (Doctor). Emerson College credits: RareWorks’ The Sympathy Play (Marcus), Gold (Assistant Director, Male Understudy). I would like to thank my family and friends for their love and support!

ADELAIDE WILLERT (she/her) — Hannah / Messenger

BFA ’23 Theatre & Performance. Emerson Stage Debut! Emerson College credits: EmShakes’ Romeo & Juliet (Lady Capulet). Regional credits: Garland Summer Musical’s Seven Brides for Seven Brothers (Dance Ensemble). Film credits: EIV’s How You Get the Girl (Dir. Grollman, Kivle), Playpen (Dir. De Jong, Doty), Assassination (Dir. Zhong); Conversation in a Coffee Shop (Dir. Rubinic), The Fall (Dir. Hoskins). Thank you to my family, especially Blake, for their endless support, and for my friends and the faculty at Emerson who have helped me grow to the person and artist I am today! @adelaidewillert

Creative Team Bios

KATE CHERRY — Director
As an Australian Creative Leader in Arts and Education, Kate Cherry has led 2 major cultural institutions, the National Institute of Dramatic Art (NIDA) and Black Swan State Theatre Company. She was the Associate Director at Melbourne Theatre Company when it doubled subscriptions to over 20,000 people. She has programmed and produced over 100 productions, directed over 70 professional productions in opera and theatre internationally and nationally, and taught or directed at leading Performing Arts Institutions in the United States and Australia.  Her work has smashed box office records throughout Australia. Cherry was the first Artistic Director in Australia to initiate collaborations with the National Theatre of China and to simulcast a theatre production — both for Black Swan State Theatre Company (BSSTC). At BSSTC, in collaboration with Rio Tinto, Kate created the Rio Tinto Commissioning Fund and the $20.00 ticketing scheme to ensure accessibility for all.  She also established numerous programmes that created pathways between educational institutions and professional theatre companies and created numerous accessibility programmes.

Kate initiated the commissioning, development, and production of The Sapphires.  She later took the production to South Korea and London and was delighted when it was turned into a Hollywood film, giving witness to an Indigenous story that had hitherto been disbelieved by many. Kate’s collaborators include Ben Mendelsohn, Guy Pearce and Greta Scacchii.  She has directed numerous world premieres including David Hare’s The Bay at Nice for Lincoln Center Theatre Lab and the Australian premiere of The Goat or Who is Sylvia? Under Kate’s innovative leadership, NIDA achieved an acclaimed growth in prestige when Hollywood Reporter moved its ranking from 16 to 10 amongst world-wide Performing Arts schools in 2018 and Black Swan State Theatre Company doubled subscriptions, achieved growth in prestige, finances, and audiences was recognised and rebranded as a state theatre company.

She has an MFA from UCLA in Directing, and a BA from Bard College.  She is a Williamson Leadership Fellow, a Drama League Fellow, a Member of the Advisory Panel for Shakespeare & Company’s Fellowship for Female Directors in honour of Tina Packer, and a Gielgud Award Winner for Best Emerging Director of the Classics.  Her theatre and opera productions have won numerous awards and nominations including Helpmann’s and Green Room Awards.  Kate is very happy to be back in her adopted home surrounded by her found family. She dedicates this production to her father, Wal Cherry. 

BFA ’24 Theatre Design & Technology. Emerson Stage credits: Mary, Sweet Mary (Props Lead), Old Jake’s Skirts (Co Props Lead), The Wolves (Asst. Scenic), Into The Woods (Props Asst.), Baltimore (Paint), Rage (Asst. Scenic). Emerson College credits: Full Fathom’s Fefu and Her Friends (Props Lead), Rarework’s Sub (Props Lead). I want to thank my friends and family for supporting me!

ATHENA PARKMAN (she/her) — Costume Designer
BFA ’25 Theatre Design & Technology. Emerson Stage credits: The Loyals (Assistant Costume Designer), The Secret in the Wings (Wardrobe Supervisor), The Spitfire Grill (Assistant Costume Designer), As You Like It (Assistant Wardrobe Supervisor), and The Late Wedding (Wardrobe Crew). Thank you to my family and friends for always supporting me!

OLIVER HAWKE (he/him) — Lighting Designer
BFA ’24 Theatre Design & Technology. Emerson Stage credits: Mary, Sweet Mary (Co-Lighting Designer), Cabaret (Lead Electrician), The Spitfire Grill (Co-Production Electrician).

SARAH MILLER — Sound Designer
BFA ’24 Theatre Design & Technology. Emerson Stage credits: Cabaret (Sound Designer), The Secret in the Wings (Production Sound Engineer), The Spitfire Grill (Production Sound Engineer), The Wolves (Sound Designer), Into the Woods (A2), RAGE (Sound Designer), Next to Normal (Production Sound Engineer). Emerson College credits: Rareworks Theatre Company’s Feeding the Moonfish (Sound Designer) and SUB (Associate Sound Designer). Regional credits: Who’s There? (Sound Designer) at Boston Theatre Marathon; Into the Woods (Assistant Sound Designer) at Boston Conservatory; The Great Leap (Assistant Sound Designer) at Lyric Stage Company. Thank you to my friends and family for their support!

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 teaches Stagecraft at Emerson, and has served on the faculty at Boston University. MFA: Boston University.

BFA ’24 Stage & Production Management. Emerson Stage credits: The Loyals (1st Assistant Stage Manager), The Late Wedding (2nd Assistant Stage Manager), Marisol (Production Assistant), Old Jake’s Skirts (Associate Production Supervisor), The Spitfire Grill (Assistant Company Manager), The Wolves (Assistant Company Manager). Emerson College credits: Our Dear Dead Drug Lord (Stage Manager) for Mercutio Troupe; Big Fish (Co-Costume Designer) for Musical Theater Society. An incredibly special thank you to their family, and her best friends Grace, Jake, and Nars for their continued support and unconditional love, as well as Alayna Domboski and Elizabeth Tippens, her unwavering stage management team.

MICHAEL MENOR (he/him) — Production Supervisor
BFA ’24 Stage & Production Management. Emerson Stage credits: NewFest Short Works (Production Supervisor), The Secret in the Wings (1st ASM), Three Romances… (1st ASM). Emerson College credits: You’re A Good Man, Charlie Brown (SM). Other Credits: Cirque du Soleil’s The Beatles LOVE (Stage Management/Company Management Intern) and Mystère (Company Management Intern), Spiegelworld’s Atomic Saloon Show (On-Call ASM) and OPM (On-Call ASM), Boston Symphony’s Ragtime: The Symphonic Concert (Tanglewood: SM/ Symphony Hall: ASM).

GRACE ELPHINSTONE (she/her) — Dramaturg
BFA ’26 Theatre Design & Technology. Emerson Stage credits: Paris (Light Board Operator), The Loyals (Assistant Lead Electrician), Little Women (Dramaturg). Thanks to my family for all of their support!

KWEZI SHONGWE (she/her) — Intimacy Director & Assistant Director
BFA ’24 Acting. Emerson Stage credits: The Late Wedding (ensemble). Emerson College credits: Flawless Brown’s I Was Baked For All of WWIII (Bruce); Musical Theatre Society’s Cabaret of Color (Ensemble); emShakes’ The Moors (Agatha) & Lord of the Flies (Ralph); Mercutio Troupe’s Dance Nation (Zuzu); Musical Theatre Against the Grain’s Hot Dam! (Old Joe Schmo). Outside credits: Apollinaire Theatre Company’s Hamlet (ASM/Ensemble). Little Women is a timeless show filled with loveable characters and relatable motifs. This show can make you feel seen in the times you feel invisible. This cast, this crew, this adaptation, has helped me during my growing pains and encouraged me to choose my own destiny. Little Women is for us all. Enjoy the show 🙂 LinkedIn :

Meet the
Emerson Stage Staff


Artistic Director — Annie G. Levy
General Manager — David Colfer
Assistant General Manager — Joshua M. Feder
Production Manager — Timothey Sullivan
Technical Director — Kristin Knutson
Head Carpenter — Connor Thompson
Scenic Carpenter –– Raven Whyles
Scenic Painter — Joe Keener
Props Director — Ryan Bates
Assistant Properties Manager — Lauren Corcuera
Costume Shop Supervisor — Richelle Devereaux-Murray
Assistant Costume Shop Supervisor — Becky Pieroth
Draper/Cutter — Laurie Bramhall
Electrics Advisor — Nicole Cerra
Resident Sound Designer — Elizabeth Cahill


Stage and Production Management — Debra A. Acquavella
Scenic Design — Ryan Bates
Costume Design — Chloe Moore
Lighting Design — Scott Pinkney
Sound Design — ​Elizabeth Cahill
Fight & Intimacy — Ted Hewlett
Dramaturgy — ​Alexandra Juckno
Vocal Coach — ​Tom Giordano

Student Staff

Emerson Stage Office Assistants — Jake Tolentino, Kayla Copping, Alayna Domboski, Samantha Duggan, Karli Fisher, Carly Mentis
Production Management Assistants
— Blake Berggren, Esther Chilson
— Xiao Chen, Ethan West
Scenic Technicians
— Casper Apodaca, Cora Glazer, Davis Kranchalk, Bee LaClair, Oscar McQuilkin, Harley Novy, Mercedes Suarez, Elise Tuckwood
Scenic Artists/Painters
— Rayan Afif, Nel Blinman, Paige Boyon, Elizabeth Fuire, Sophia Inez Bulbulia, Katherine Kendrick, Elizabeth Nunnery, Leo Servetar, David Staats, Charlize Tabrizi
Paint Shop Assistant
— Maggie Stewart
Prop Shop Assistant
— Delene Beauchamp, Amaya Gonzalez-Mollmann, Oliver Hawke, Mariel Richardson, Ava Scanlon, Mercy Suarez
Izzy Bacallao, David Estabrooks, Madeline Henry, Amanda Jacobson, Lorence Jones-Perpich, Heidi Keithahn, Alexa Peterson-Ismail, David Schell, Ava-Sofia Settoon, Anna Ten Eyck, Nina Turovsky
Laundry Assistants — Angelina Parillo
Stock Attendants — Sierra Bivins, Isabella Fortebuono, Ashleigh Jones, Lucile Lyon
Crafts — Wei Zhao
Light Lab Inventory Assistant
Eli Goldberg