THE GREAT GOD PAN
By Amy Herzog
Directed by Lindsay Beamish
Jamie, a journalist, is confronted with the possibility that he was abused as a chid, forcing him to confront his past and questions the reliability of his memories and relationships.
February 25-28, 2026
GREENE THEATRE
All performances open to the public.
The Great God Pan is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service collection. (www.dramatists.com)
THE GREAT GOD PAN
Creative Team
Scenic Design
MJ Fox
Costume Design
Alexa Peterson-Ismail
Lighting Design
Ryan Tse
Projection Design
Emery Frost
Sound design
Catalina M. Mayoral
Props Lead
Lauren Corcuera
STAGE MANAGER
Nathan A. Hernandez
PRODUCTION SUPERVISOR
Kylah Nee
DRAMATURG
Paige Boyon
Voice and text coach
Tom Giordano
intimacy coordinator
Dr. Ayshia Mackie Stephenson
A note from the
Director, Lindsay Beamish
When I was asked which play I thought best to direct for this Emerson Stage season, I had one immediate answer— my favorite play ever written, The Great God Pan by Amy Herzog. It’s my favorite play because it combines my only two interests: absolutely perfect, economical, deeply nuanced writing and the endless complexities of human behavior, human relationships, and the agony and joy and desire for connection therein.
The writing. For about ten years I have used the script as part of my curriculum in my Scene Study 1 class to teach students how to read a play as an actor. That is an ask that involves incredibly detailed detective work, in which an actor needs to treat the text as a treasure trove of clues to be mined. And there is no better play to practice that work on than this one. It’s my take that the main thing that makes acting compelling is subtext (what is not being said, underneath the lines), and this play has some of the most perfectly encoded subtext that I have ever encountered. You can read this whole play, and after your first pass, walk away missing huge subtextual meanings and undercurrents of the characters’ experiences. One of my favorite parts of teaching this script in Scene Study 1 is when we finish our first read out loud and then go back in and start digging for subtext, and a whole other world of story is revealed. And once you uncover these subtextual undercurrents, the textual evidence is everywhere. This play is profoundly tightly written. Every pause, every bit of punctuation, every sentence that trails off in the middle – nothing is without meaning, and each tendril of meaning actively deepens the interior of the story and the interior of each character’s experience. And in the rehearsal room for this production, this script continued to reveal more and more subtleties and nuances and connections that I had missed in those past ten years of teaching the play. The text of The Great God Pan is like the gift that keeps on giving, and I don’t think I will ever get to the limit of what the play has to reveal in its writing. It constantly unfolds and reveals more, and even now, I am sure we all missed some aspects of its deeply encoded subtextual offerings. But what an artistic gift to get to dig and dig and never reach the bottom.
The Human Behavior. At its heart, this play is about people absolutely trying to do their best, and about their deeply felt need and desire to connect, and about their failures in attempting to do so. Everyone is trying so hard. Everyone loves each other. Everyone is dying to connect and fumbling their attempts. The characters are all living in a present that is invisibly controlled by the hand of an unseen past. They think they are making independent decisions, but they are more like marionettes operating under the puppeteer-like rule of the subconscious. And the rule book running the show is seepage from their unspoken past. As humans, we think we are free agents making free-will decisions and following our free-will predilections, but this play reveals how much we are simply beholden to our earliest experiences, and especially those experiences that have been kept covered and unseen. This play examines the cost and the gain of the pursuit of truth, how silence shapes identity, and how the stories we tell ourselves can both protect and imprison us.
I love these characters so much and feel for them enormously. The tragedy of the play is that no one here is in the wrong. Everyone is fighting for their lives, and their actions are messy and flawed and imperfect. But, my god, are they trying. The structure of this play is not really external. It unfolds with the quiet inevitability of memory itself, revealing character and story through accumulation rather than spectacle. Our goal in the acting and in the design of this show was to give voice to these internal landscapes that drive the characters. To bring them into light. The play unfolds over the season of spring, and the stage directions for the final scene between Jamie and Frank set the scene on a “beautiful late spring day.” Darkness into light. Renewal, rebirth, hope, and blossoming. A new beginning. Regeneration.
A note from the
Dramaturg, Paige Boyon
“What was he doing, the great god Pan, down in the reeds by the river?“
— Elizabeth Barrett Browning
The God Pan is a deity of wild places. He is depicted as a Satyr, or half man, half goat, a form symbolizing his undomesticated and lustful personality. The myths that mention him are tales of the destruction he leaves in his wake (the word panic derives from his name), most notably in his interactions with a wood nymph, Syrinx. In their myth, Pan is deeply infatuated with Syrinx, who consistently refuses his advances and angers the God. He ends up trapping her near a riverbed, and her sisters save her by turning her into a river reed. By becoming one with the marsh, the nymph is able to escape Pan.
In Amy Herzog’s play, several characters recite and reflect on stanzas from Elizabeth Barrett Browning’s poem, A Musical Instrument (1860). The piece is told from the perspective of an onlooker watching Pan discover the river reeds, trying to make sense of the chaos he causes without knowing the context of Syrinx. The observer sees Pan crafting the reeds into a flute, but not without the disruption of the world around him, concluding his actions make him more beast than man.
Likewise, Amy Herzog’s play is interwoven with themes of memory and nature. Jamie’s journey of uncovering his past is in parallel with Syrinx’s transformation, in which both of their lives are literally and metaphorically uprooted. The play is set in springtime, and the nonlinear reveal of Jamie’s childhood is a reflection of Earth’s reawakening of the season. Discovering the past offers a new perspective, but it begs the question whether there is more fear in remembering or forgetting. Terror is present in the repression of memory, but both Jamie and the poem’s narrator embodies resilience by continuing to ask questions to get to the truth.
CAST
Jamie — MAX RIPLEY
Paige — NUALA DOUGHERTY
Doug — SOFONYAS
Cathy — LIZ NUNNERY
Frank — JJ MOORE
Polly — ROMA WELSH
Joelle — GEORGIA RAE
UNDERSTUDIES
U/S Jamie — LIAD LEWANDOWSKY
U/S Paige — PEYTON FENNER
U/S Doug — RAINER OCHS
U/S Cathy — CHARLOTTE WEISSMAN
U/S Frank — BEN MCGEE
U/S Polly — EMMA MASON
U/S Joelle — ROWEN GORING
Meet the
Artistic and Production Staff
Assistant Director — SAMANTHA AUTUMN
Observing Director — BRIANNA HESSION
Technical Director — KRISTIN KNUTSON
Assistant Scenic Designer — ERNEST SHAO
Additional Scenic Technicians — SOMERS EBERLY, MCKAYLA DO, INDIA STULTS
Additional Scenic Painters — KAT FRISTROM, MADELEINE YORK
Assistant Props Lead — SAMUEL GREENSTEIN
Assistant Costume Designer — PARKER FEDAK
Wardrobe Supervisor — HEIDI KEITHAHN
Assistant Wardrobe — RYLAN SUMMERS
Costumes/Hair/Makeup Crew — NATALIE ALPERT
Assistant Lighting Designer — MAYA SHOKRIAN
Production Electrician — LIZZIE LAMB
Assistant Production Electrician — VERRINE FARAG
Lighting/Projections Crew — HUGO BILLIAU, SOFIA MARGARINT, GWENDOLYN FARNSWORTH, JUSTYCE EASTER-BUTCHER
Assistant Projections Designer — NATHAN KIKONYOGO
Projections Engineer — KB BALLAY
Production Sound Engineer — HENRY HOUGHTON
Assistant Sound Designer — EVELYN WALYUS
Assistant Stage Manager — AMIT KESHET
2nd Assistant Stage Manager — CORA GLAZER
Production Assistant — EMILY DEICH
Associate Production Supervisor — ALYSSA SCHLAIFER
Assistant Production Supervisor — CHARLIE O’CONNOR
Company Manager — JESSE LIPSHUTZ
Run Crew — INIKA MUKHERJEE, LEXI DONOVAN, MAYA SHAND, SCARLET SHINKLE, RUBY MERKEL, GIULIA VENTELLO, SAMMY LI, PATRICK BRUDERLE, OLIVER PETERSON, ARIANNA AROCHO, FIONNTÁN MAC SEÁIN, VIVIAN THOMASSET
Cast Bios
MAX RIPLEY (he/him) — Jaime
BFA ‘27 Acting. Emerson Stage credits: The 25th Annual Putnam County Spelling Bee (Douglas Panch), The Miraculous Journey of Edward Tulane (Edward Tulane). Emerson College credits: MTAG’s Spring Awakening (Otto), MTS’s Dogfight (Bernstein, U/S Birdlace). Thank you mom and dad, Tessa, my closest friends, and my professors for all the courage and support you have given me. @maxripley05
NUALA DOUGHERTY (they/them) — Paige
BFA ’27 Theatre & Performance, Interdisciplinary Studies. Emerson Stage credits: Julius Caesar (Cinna the Poet/Strato, Lepidus U/S). Emerson College film credits: Victoria Capitano’s “Birds in Glass Houses” (Max), Sandro Mercado’s “Memories of the Forest” (Sophie), Matchbox Mouse Studios’ “Necrosis” (Aria), EIV’s Framheim (Cameron/Sverre). Emerson College credits: Emerson Urban Dance Theatre Presents: “REM,” “Sincerely, EUDT,” “PANIC,” “FAME,” and “Time & Time Again.” Regional Theatre credits: Beasts of Crete (Ariadne, Vermont Broadway World Award for Best Performer in a Play) at Between the Willows Theatre. this cast + crew #rocks thank you all!! shoutout to the rents + gretel + martha! YATB! ❤️❤️
SOFONYAS (he/him) — Doug
BFA ‘26 Acting. Emerson Stage credits: I Love XXX (Ensemble), Confederates (Abner/Malik). Emerson College credits: Crown Studios’ Pass Over (Kitch); EmShakes’ Metamorphosis (Gregor, EVVY Award Winner); Jelly’s Last Jam (Jack); Mercutio Troupe’s The Effect (Tristan Frey) and Write Me Down I Was Here (Core Ensemble/Deviser); True West (U/S Austin, Lee, Saul). Regional credits: The Chain Theatre’s, off-off broadway, Romeo and Juliet (Romeo), Foundry Theatre’s Will Miracles Never Cease (Hobbes); Vegas Theatre Company’s On Golden Pond (Billy Ray Jr.); Dead Poets Society: Musical Workshop (Gerard Pitts). Upcoming: Commonwealth Shakespeare’s Romeo and Juliet (Paris), Harvard Signet Society Stage’s Pillowman (Michal), Emshakes’ Streetcar Named Desire (Stanley). I attribute all glory to the man upstairs, and would not be here today without him. Can I get an Amen!? AMEN! I love you Mom, Dad, Kebi, Philip, Danny. @sofu4real
LIZ NUNNERY (she/her) — Cathy
BFA ‘26 Acting. Emerson Stage credits: Edward Tulane (Track 8), Second Star to the Right (Hook), Little Women (U/S Marmee, Mrs. Mingott, Hannah). Emerson College credits: Mercutio Troupe’s The Effect (Dr. Lorna) and Jamie has a Bomb (Fight Coordinator); MTAG’s Tanner Maverick’s Book of Sound (Lauren) and Spring Awakening (Fight Coordinator); Kidding Around’s Seussical (Ensemble) and June July August (co-Hair/Makeup Designer);MTS’ Sweeney Todd (Fight Coordinator) and High School Musical (Choreographer); BlueJay’s Overbridge High… (Fight Coordinator); Emshakes’ The Sea Ends at Troy (Fight Coordinator); RareWorks’ The Ball Game (Choreographer); Crown’s Passover (Props and Scenic Designer). Thank you to everyone who has made this show possible.
JJ MOORE (they/them) — Frank
BFA ’26 Acting, minor in Creative Writing. Emerson Stage credits: Julius Caesar (Lucius), NewFest Short Works: “Convenience of Proximity” (Director), POTUS (U/S Dusty), and A Doll’s House (Fem Swing). Emerson College credits: The Revolutionists (Marie Antoinette), BlueJay’s OverBridge High (Co-Writer/Director) and BlueJay’s SLUT: The Play (Jane); MTAGS’ Hot Damn! (Really Reasonable Citizen). Independent credits: How to Make Friends and Then Kill Them (Director). J.J. Moore is a co-founder and Co-Artistic Director of BlueJay Theatre Collective. Endless thanks to family and friends for the constant love and support — adore y’all. @jjmoorethepoet
ROMA WELSH (she/they) — Polly
BFA ’26 Acting. Emerson Stage credits: NewFest Short Works: “Second Place” (Agatha). Emerson College credits: Mercutio Troupe’s The Thanksgiving Play (Logan), Kidding Around’s Tuck Everlasting (Mother Foster), MTS’ Bare: A Pop Opera (Claire). She would love to thank her perfect supportive family (especially her dog and cat!), her perfect supportive friends, the perfect and sensitive and beautiful cast and crew of The Great God Pan for this perfect experience, and finally she would love to thank all the pigeons she talked to while on the way to rehearsals. Go Great God Pan go!
GEORGIA RAE (she/her) — Joelle
BFA ’27 Acting. Emerson Stage debut! Emerson College credits: Emshakes’ Macbeth (Donalbain/Seyton); Kidding Around’s June, July, August (Magdalena); How to Make Friends and then Kill Them (Sam U/S). Additional credits: Heathers (Veronica); Trojan Barbie (Cassandra); She Kills Monsters (Orcus); Phantom of the Opera (Mme. Giry/Christine U/S); The Little Mermaid (Ursula). Thank you to my roommates, friends, family and far away lover. You all encourage me to be proud of all my mistakes — ensuring me that no matter how tough it is to fail, there’s never harm in trying again. Here’s to more failure 🙂 I love you all! @georgia_raeee
LIAD LEWANDOWSKY (he/him) — U/S Jamie
BFA ’27 Acting. Emerson Stage debut! Emerson College credits: Mercutio Troupe’s The Thanksgiving Play (Caden). Thanks to all the people who give me hope for a better world.
PEYTON FENNER (she/her) — U/S Paige
BFA ’27 Theatre and Performance. Emerson Stage credits: Confederates (U/S Missy Sue/Candice) Emerson College credits: EmShakes’ Death of A Salesman (Howard/Ben) and Macbeth (Captain/Macduff); Rareworks’ Wings (Guard 1/Old Woman).
RAINER OCHS (they/he) — U/S Doug
BFA ’27 Theatre and Performance. Emerson Stage credits: Limber, a Love Story (U/S Ezra), I Love XXX (Ensemble), Imogen Says Nothing (u/s Crier/Isaac/Conrade/Benedick). Emerson College credits: EmShakes Theatre Company’s Macbeth (Ross/Lord) and Mercutio Troupe’s My Dearest Apologies (Male Swing). Regional credits: A Midsummer Night’s Dream (Nick Bottom) at Carriage House Players. Thank you so much to Mom, Dad, Atticus, Sodasia, Danrley, and my lovely team of support! @rainerochsofficial @masterandmargaritamusical
CHARLOTTE WEISSMAN (she/any) — U/S Cathy
BFA ’27 Theatre and Performance and Dramatic Writing. Emerson Stage Credits: Julius Caesar (Metellus Cimber, U/S Cinna/Strato/Pindarus/Soothsayer), NewFest Short Works: “second place” (Playwright), NewFest Short Works: “goose” (Playwright). Emerson College credits: Musical Theatre Society’s Sunday in the Park with George (U/S George, Ensemble) and Dogfight (Assistant Director); Kidding Around’s Alice by Heart (Tabatha/Cheshire); Musical Theatre Against the Grain’s Tanner Maverick’s Book of Sound (Cassidy Martin). Love you family always. @charlotteevvee
BEN MCGEE (he/him) — U/S Frank
BFA ’28 Theatre Education & Performance. Emerson Stage debut! Emerson College credits: MTAG’s Hair (Ensemble/Dad/Hubert), The Guy Who Doesn’t Like Musicals (Professor Hidgens), The Cradle Will Rock (Harry Druggist); Emshakes’ The Inheritance Part 1 (Toby Darling/Track 10); 172 Below: “Miscast March,” “Slumber Party Concert” and “Sexy September” (Singer), 172 Below (Advisory Board Member); Musical Theatre Society’s “GleEFA Cabaret” (Track #14). Other Credits: Evil Dead: The Musical (U/S Ash and Scott). Ben wants to thank his friends and family for supporting him throughout this entire process. He can’t wait for everyone to see this beautiful show with this beautiful group of people. Enjoy the show!! @ben.mcgee2006
EMMA MASON (she/her) — U/S Polly
BFA ’27 Theatre & Performance, minor in Dance. Emerson Stage credits: NewFest Short Works: Period (.) Play” (Mikaela); NewFest Short Works: “Don’t Be A Stranger” (Maia). Emerson College credits: RareWorks Theatre Company’s Days of Rage (Jenny) and Hookman (Props/Scenic Lead); Kidding Around’s Tuck Everlasting (Nana, Ensemble); BlueJay Theater Collective’s SLUT: The Play (U/S Joey and Sylvie); Musical Theatre Society and Musical Theatre Against the Grain’s “GleEFA Cabaret” (Performer); The 43nd and 44rd Annual EVVY Awards (Dancer); Emerson Dance Company’s “Digital,” “Masquerade,” and “Game Night” (Dancer); Member of Emerson Treblemakers, host of WERS’ Standing Room Only. Thank you to everyone who supported me during this process, so much love for y’all.
ROWEN GORING (she/her) — U/S Joelle
BFA ’26 Theatre and Performance. Emerson Stage credits: Red Wolf (Miranda). Emerson College credits: MTAG’s Fun Home (Small Alison) and The Guy Who Doesn’t Like Musicals (Charlotte). Thank you to this fantastic cast and crew for this amazing experience! @rowenboring
Creative Team Bios
LINDSAY BEAMISH (she/her) — Director
Lindsay Beamish has been a professional film, television, and theater actress in Los Angeles and New York City for over twenty years. She was most recently seen in the film Forgetting the Girl for which her performance received favorable reviews in The New York Times and Variety. Before that she appeared in the independent film The Greatest, starring Pierce Brosnan, Susan Sarandon, and Carey Mulligan, which premiered at Sundance Film Festival. Other film work includes John Cameron Mitchell’s Shortbus, which premiered at the Cannes Film Festival. Lindsay’s performance in Shortbus was notably reviewed by David Ansen in Newsweek and Tom Carrao in Film Monthly, was awarded the Lulu Award for Best Supporting Actress, and was nominated for a Gotham Award (NYC). She appeared with the film at the Cannes International Film Festival, Toronto International Film Festival, Chicago Film Festival, and the Bergen International Film Festival (Norway). Other film and television work includes performances on/in CSI, Gilmore Girls, Six Feet Under, The Pretender, Jimmy and Judy, Strong Medicine, and Miranda July’s seminal film Nest of Tens. Lindsay’s recent stage performances include Grapes of Wrath (Grandma), The Bacchae, Flash, and The Faust Projeckt. Recent devising/directing work includes the multi-media full-length performance 38 1/2, as well as Wigs, which was developed with support of UC Davis’s Institute for Theater, Dance, and Performance. Her film directing work includes the experimental short In Can Can Descent, which was nominated for Best Experimental Short at the South by Southwest Film Festival, and played at the NY and Chicago Underground Film Festivals. Recognition for Lindsay’s creative writing includes the 2011 Iron Horse Discovered Voices Award, and she was the Iron Horse nominee for the 2012 Pushcart Anthology. In her graduate studies at UC Davis, Lindsay received the Provost’s Fellowship for the Arts and The John Shields Award in Acting. Lindsay is a proud member of SAG/AFTRA.
MJ FOX — Scenic Designer
BFA ‘26 Theatre Design and Technology. Emerson Stage credits: Digging Up Dessa (Props Lead), Amour (Scenic Designer), Second Star To The Right (Asst. Technical Director), Bat Boy (Asst. Props), Little Women (Asst. Scenic Designer), The Loyals ( Asst. Props/Scenic Designer).
ALEXA PETERSON-ISMAIL (she/they) — Costume Designer
BFA ’26 Theatre Design & Technology. Emerson Stage credits: The Spitfire Grill (Wardrobe Crew), Secret in the Wings (Assistant Costume Designer), Little Women (Assistant Costume Designer), Batboy (Assistant Wardrobe Supervisor), The Impracticality of Modern Day Mastodons (Wardrobe Supervisor), POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive (Costume Designer). Emerson Costume Shop Employee Fall 2023 – May 2026. Emerson College credits: Kidding Around’s Wrinkle in Time (Assistant Costume Designer), BlueJay Theater Collective’s Dog Sees God (Costume Designer). Film: Hazbin (Superhero Costume Designer & Stitcher), When Summer Ends (Co-Costume Designer). Alexa is proud of the work she has put forth.
RYAN TSE (he/him) — Lighting Designer
BFA ’26 Theatre Design & Technology. Emerson Stage credits: Digging Up Dessa (Company Manager); Spelling Bee (Assistant Company Manager); Limber: a Love Story (Lighting Designer); POTUS (Production Electrician); Edward Tulane (Production Sound Engineer); Second Star to the Right (Assistant Sound Designer); 16 Winters (Assistant Lighting Designer); Bonnets (Assistant Lead Electrician); How We Got On (Assistant Production Sound Engineer); NewFest Short Works (Production Assistant); Mary, Sweet Mary (Assistant Lead Electrician); The Spitfire Grill (Production Assistant). Emerson College credits: Mercutio Troupe’s Thanksgiving Play (Lighting Designer), Emshakes’ The Inheritance: Part One (Lighting Designer), Kidding Around’s Barry and the Bear (Lighting Designer) and Almost, Maine (Lighting Designer). I want to thank my mom, dad, and grandpa for coming all the way from California! @ryantselighting on Instagram!
EMERY FROST (she/her) — Projections Designer
BFA ’27 Theatre Design & Technology. Emerson Stage credits: I Love XXX (Projections Designer), Imogen Says Nothing (Assistant Lighting Designer), Natasha, Pierre and the… (Assistant Lighting Designer), Bat Boy: The Musical (A2). Select Emerson College credits: Mercutio Troupe’s Jamie has a Bomb (Projections Designer) and The Effect (Projections Designer); BlueWorks’ The Omniscient Bus (Head Writer/Projections Designer); BlueJay Theater Collective’s SLUT: The Play (Projections Designer); MTS and MTAG’s EFA Cabaret 2024 (Projections Designer). Other credits: The Moderate (Assistant Projections Designer) at Central Square Theatre; Battle of the Books and FATED at Andy’s Summer Playhouse (Projections Designer). Many thanks to Mom and Dad, Kylee, Lindsay, and my beautiful friends! @emeryfrost.design
CATALINA M. MAYORAL — Sound Designer
BFA Fall 26’ Design/Technology. Emerson Stage credits: The Miraculous Journey of Edward Tulane (Asst. Sound Designer), I Love XXX (Assoc. Production Sound Engineer), POTUS (Asst. Production Sound Engineer), The 25th Annual Putnam County Spelling Bee (A1), Amour (A1). Catalina is incredibly grateful to her sound team for their hard work and generosity throughout this process, and to her best friend and family for their ongoing love and support. @Mae.Catalina
LAUREN CORCUERA — Props Lead
Emerson Stage credits: Into the Woods, Cabaret, The Impracticality of… Mastodons, Limber, Confederates. Other select prop credits: The Cake, The Last Five Years, The Light, Fabulation or, The Re-Education of Undine, Preludes, Rooted, Assassins, Thirst, Urinetown: The Musical, ART, Peneleope (Lyric Stage Boston); Seared, Grand Horizons (Gloucester Stage Co.); Chicken and Biscuits (Front Porch Arts Collective); Next to Normal, Mrs. Warren’s Profession, Summer 1976 (Central Square Theater Co.); The Winter’s Tale, As You Like It (Commonwealth Shakespeare Co). Thanks to: Ryan, Sam, Amit, the prop shop crew, and all the other students I have the pleasure of working with!
NATHAN A. HERNANDEZ (he/him) — Stage Manager
BFA Fall ’26 Stage and Production Management. Emerson Stage credits: 25th Annual Putnam County Spelling Bee (Associate pSupe); Limber: A Love Story (2nd ASM); POTUS (Associate pSupe); Bat Boy: The Musical (2nd ASM); Natasha, Pierre, and the Great Comet of 1812 (PA). Emerson College credits: The 45th Annual EVVY Awards (UPM), MTAG’s Alice by Heart (SM). Professional credits: Contemporary American Theater Festival’s Enough to Let the Light In (SM Intern) and Happy Fall: A Queer Stunt Spectacular (PA). Thanks to Deb, Amit, Cora, Emily, the DLCs, and all of the other educators who got me here!
KYLAH NEE — Production Supervisor
BFA ’26 Stage and Production Management. Emerson Stage credits: Mary Sweet Mary (PA), How We Got On (2nd ASM), Head Over Heels (1st ASM). Digging Up Dessa (SM) Emerson College credits: Mercutio Troupe’s Our Dear Dead Drug Lord. Outside Credits: Boston Ballet Summer Season 2025 (PA), The American Ballet Theatre Summer Season 2025 (PA).
PAIGE BOYON (she/her) –– Dramaturg
BFA Spring ‘26 Theatre Education and Performance. Emerson Stage Credits: NewFest Short Works — “The Blue Dress” (Director); Limber, A Love Story (U/S Phoebe & Others); The Miraculous Journey of Edward Tulane (Assistant Director).Emerson College Credits: MTS’s Sweeney Todd: The Demon Barber of Fleet Street (Director, Scenic Designer), High School Musical (Scenic Designer), Falsettos (Scenic Designer), Heathers (Ensemble, Heather Chandler U/S); Kidding Around’s Tuck Everlasting (Director, Scenic Designer); EmShakes’ The Sea Ends at Troy (Scenic Designer); Rareworks’ The Ball Game (Scenic Designer); MTAG’s Tanner Maverick’s Book of Sound (Assistant Director and Scenic Designer). Congratulations to this wonderful company! www.paige-boyon.com
TOM GIORDANO –– Voice and Text Coach
Tom Giordano has been on faculty at Emerson since 2020, and also teaches at Shakespeare & Company and Commonwealth Stage Company. He is a Designated Linklater Voice teacher, and is certified to teach Colaianni Speech. Also a director and actor, Tom recently appeared in NETWORK at Umbrella Arts. Tom earned his M.F.A. in Acting from Columbia University.
DR. AYSHIA MACKIE-STEPHENSON (she/her) –– Intimacy Director
MFA CalArts 2009. Regional credits: Boston Playwright’s Theatre’s The Ceremony; Trinity Repertory Theatre’s Blues For An Alabama Sky; Huntington Theatre Company’s The Grove, Our Daughters Like Pillars, The Bluest Eye, Hurricane Diane; Louisiana State University’s Marburg; Fresh Ink Theatre’s Shrike, Maiden Voyage; Walpole Footlighters’s Calendar Girls. Thanks to my family Carlin and Josephine for the love and support! www.AyshiaStephenson.com
Meet the
Emerson Stage Staff
Staff
Director of Theatre Operations — Eric Paris
Production Manager — Angela Harrington
Artistic & Production Associate — Katie Meade
Technical Director — Kristin Knutson
Head Carpenter — Connor Thompson
Scenic Painter — Saskia Martinez
Properties Director — Ryan Bates
Assistant Properties Manager — Lauren Corcuera
Costume Shop Supervisor — Richelle Devereaux-Murray
Draper/Cutter — Erika Krause
Electrics Supervisor — Timothy Fairley
Mentors & Advisors FOR THIS PRODUCTION
Stage and Production Management Advisor — Debra A. Acquavella
Scenic Area Advisor –– Luciana Stecconi
Scenic Design & Props Mentor — Ryan Bates
Costume Area Advisor –– Tristan Raines
Costume Design Mentor — Chloe Moore
Lighting Design Mentor — Dan Jentzen*
Projections Design Mentor — Kylee Loera*
Electrics Mentor — Timothy Fairley
Sound Design Mentor — Ben Emerson*
Student Staff
Emerson Stage Office Assistants:
Emery Frost, JJ Moore, Liliana Ravins, Alyssa Schlaifer, Joanna Su, Elizabeth Tippens
Production Management Assistants:
Mariana Morales, Oliver Worner
Assistant Technical Director:
Mack MacIntyre
Scenic Technicians:
Lúa Azancot-Garcia, Verrine Farag, Kieran Graeff, Lizzie Lamb, Aiden Lank, Oscar McQuilkin, Zoe Mills, Kaliope Tapper, Brinley Tate
Volunteer Scenic Technicians:
Samuel Greenstein, Ernest Shao
Scenic Painters:
Rayan Afif, Nel Blinman, Gabriella Berry, Paige Boyon, Sophia Da Silva, Lily Hourin, Elodie Lambert, Kristen Lee, Kiana McCully, Liz Nunnery, Leo Servetar, Maggie Stewart
Prop Shop Assistants:
Eri Lackey, Bee LaClair, Alexa Lunney, Georgie Ten Eyck, Sydney Williams
Costume Shop Office Assistant:
Ila Nabi
Stitchers:
Anna Ten Eyck, Zee Cowan, Amanda Jacobson, Nina Turovskiy, Alexa Peterson-Ismail, Heidi Keithahn, Sidra Sundberg, Morgan Burke, Chiron Speidel, Evelyn Walyus, Parker Fedak, Jaidyn Wein
Crafts:
Madeline Henry, Georgianne Ten Eyck
Stock Attendants:
Sophia O’Quest, Maria-Renee Herman
* Denotes staff external to the college