THE LATE WEDDING
By Christopher Chen
Directed by Javier Hurtado
In a series of disjointed vignettes of marriage and work-worn love, The Late Wedding travels through space and time (quite literally) to depict the core of what makes a successful partnership and what subtly chips away at its foundation.
September 23-26, 2021
Jackie Liebergott Black Box
All performances open to the public
The Late Wedding was originally commissioned and produced by Crowded Fire Theater Company, San Francisco, CA, Marissa Wolf, Artistic Director.
The Late Wedding is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRODUCTION AND DISTRIBUTING RECORDINGS OR STREAMS IN ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR(S)’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. FOR MORE INFORMATION, PLEASE VISIT: concordtheatricals.com/resources/protecting-artists
Content Advisory: This play includes references to gun violence and drowning. All fur and taxidermy used on stage is faux fur and fabricated taxidermy.
THE LATE WEDDING
A note from the
Director, Javier Hurtado
The relationship between writer and notebook is an intimate one. Blank pages offer the brave space of possibility where anything can happen. The empty notebook is permission to be promiscuous, to vacillate freely between worlds and across genres without pressure to fit into a neatly structured, dramatic arc. It’s a place where reflexive prose can share space with half-thoughts and to-do lists because it’s a private space to gather thoughts and make sketches. But what happens then, when a director gets ahold of these disparate portraits and decides “to stage these sketches anyway—in their random, shambolic states.” Then you get Christopher Chen’s The Late Wedding, a simultaneous meditation on what it means to be in intimate communion with each other in the theatre and beyond.
Like all other live performances, Emerson Stage productions were halted in March 2020 as the world was asked to embrace distance as an act of care. 559 days later, the pandemic is still with us. Vaccines and strict, careful protocols (like the mask you are wearing, right now as you sit in the audience) have allowed the artists of Emerson Stage to come back together for the first time, to share in the collaborative process of making live theatre. The Late Wedding, a play whose central themes are love and longing is a great way to open the season because, in part, it asks us to examine both the distances that keep us apart and how sometimes distance keeps us together. Knowing that this fun, winking look at love and theatre would invite audiences back to the Jackie Liebergott Black Box Theatre and usher in a season of live performance at Emerson Stage.
Reading the play for the first time, I was struck by the questions Chen asks. The Late Wedding invites the audience to think about its own expectations and challenges the production team to maintain deep-seated humanity on the precipice of so much spectacle. I also believe that this play invites both the audience and the production team to meet (at long last) in the theater to have fun. As the director of this production, I sincerely hope you enjoy this evening’s performance of The Late Wedding.
Thank you for coming, and welcome back to the theater.
A note from the
Dramaturg, Elena Freck
In The Late Wedding, a variety of imagined cultural marriage customs are examined under the lens of tribal anthropology, and many of them may seem, at first glance, to be full of contradiction and rigidity. But told from a distant vantage point and with a desire to shock readers rather than to capture truth, U.S. cultural practices can seem perplexing as well. The Late Wedding showcases how anthropology can be used and misused. Ethnography can be an excellent and broad-reaching methodology for building cultural understanding, empathy, and connection, or, as the fictional Mertos tribe in The Late Wedding could attest, anthropology and ethnography can be applied to the creation of stereotypes and misrepresentation of groups that often cannot represent themselves. The play raises some of the complex ethical dilemmas that surface in the practice of anthropology; but in true metatheatrical fashion, those same predicaments arise in the creation of theatre.
Artistic and Production Staff
Assistant Director — JESSE FULTON
Assistant Director –– RAINIER PEARL-STYLES
Assistant Scenic Designer — BELLA PAGAN
Assistant Costume Designer — MAX SEMRAU
Wardrobe Supervisor — EMILY GELDERMANN
Associate Lighting Designer — BAZ KOUBA
Assistant Lighting Designer — HANNAH FORSBERG
Production Electrician — MADDIE HANLEY
Lead Electrician — FELIX CLARKE
Assistant Lead Electrician — MILLER KOPPANG
Assistant Sound Designer — SARAH MILLER
Production Sound Engineer — AMANDA RYAN
Assistant Production Sound Engineer — SAMUEL KISTHARDT
Assistant Stage Manager — MADISON SELBY
2nd Assistant Stage Manager — MINA PAZ-LE DRAOULEC
Production Assistant — ESTHER CHILSON
Associate Production Supervisor — MICHAEL MENOR
Company Manager — MAIA TIVONY
Assistant Company Manager — BLAKE BERGGREN
LISA DOUBEK-KRAFT, FRANCESCA FOTI, ELIJAH GOLDBERG, GABRIELA HERNANDEZ, BOWEN HUANG, AMELIA LASAINE, ATHENA PARKMAN, TIANA PÉREZ-TORO, LILITH PINKERTON, ADELAIDE SAVERY, AVA SCANLON, KATHRYN STEPHAN, SIGRID MARIE VON TETZCHNER, ELEANOR WINROW, KAIYANG ZHANG, ETHAN WEST
BFA ’23 Musical Theatre. Emerson Stage credits: Corduroy (Corduroy), New Play Workshop: An Interior of the Artist Without Her Sister (Thoby/Paul). Emerson College credit: Kidding Around’s Frog and Toad (Toad). Regional credit: Dr. Phillips Center for Performing Arts’ A Funny Thing Happened on the Way to the Forum (Marcus Lycus). Thanks to family, friends, and professors for all the love!
BFA ’22 Acting. Emerson Stage credits: Corduroy (Clown) and Augusta and Noble (Ricardo Wojciechowski). Emerson College credit: Kidding Around’s She Kills Monsters (Miles). Thank you to everyone who helped make this show possible; it has been an incredible experience.
BFA ‘22 Acting. Emerson Stage credits: 10 Out of 12 (Eva) and Fatchley (Bridgitte). Regional credits: New Moon Theatre’s The Wolves (#00) and Theatre Memphis’ August Osage: County (Jean). Thank you to mom and dad for all the support and love these past four years and all the years before.
BFA ’22 Acting. Emerson Stage credits: Good Breeding (Hera) and Men on Boats (O.G. Howland). Emerson College credit: Emerson Shakespeare Society’s Helen (Helen). She is the proud Artistic Director of Mercutio Troupe!
BFA ’24 Theatre and Performance. Emerson Stage debut! Thanks to my parents for the constant encouragement.
BFA ’23 Musical Theatre. Emerson Stage credits: Men on Boats (Bradley) and Spring Awakening (Martha). Thanks to friends and family for the support!
BFA ’22 Theatre and Performance. Emerson Stage debut! Emerson College credits: Emerson Shakespeare Society’s Eurydice (Orpheus); Mercutio Troupe’s The Painted Handgun (Aaron Ankler/Fats Sleeply); and Musical Theatre Society’s Next to Normal (Henry). Regional credits: Gatehouse Theatre San Francisco’s Heathers (Ensemble). Thanks to my friends, family, and my teachers.
BFA ’21 Theatre Education and Performance. Emerson Stage credits: Good Breeding (Furious Leader) and The Resistible Rise of Arturo Ui (Sheet/The Actor). A huge thanks to the entire cast and crew for making my final Emerson Stage experience so incredible! Mom, I cannot thank you enough for all of the love and support!
BFA ’24 Musical Theatre. Emerson Stage debut! Other Emerson credits: First Lady Suite (Jacky Kennedy) and Musical Match Game (Mandy Gonzalez). Boston credit: My Mothers Dream (Guadalupe).
BFA ’22 Theatre Education and Performance (he/him/his). Emerson Stage credits: Amanuensis, Or The Miltons (Thomas). Emerson College credits: Mercutio Troupe’s The Painted Handgun (Kirby); Rareworks Theatre Company’s Baby Shower (Baby Gent); and Emerson Shakespeare Society’s The Winter’s Tale (Hermione).
BFA ’24 Theatre & Performance. Emerson Stage creditS: NewFest Short Works: Fatchly. Emerson College credit: I Was Baked For All of WWIII (Flawless Brown). I would like to thank all of my friends, family, and loved ones who have always believed in me and held my hand throughout my journey.
Creative Team Bios
JAVIER HURTADO — Director
Javier earned an MFA in Writing for Performance from UC Riverside and is currently a doctoral candidate in the Department of Theatre, Dance, and Performance Studies at Tufts University. Javier is a proud Lambda Literary Fellow in Playwriting, a GLUCK Foundation Theater Fellow, an alumnus of the NALAC Leadership Academy, the Maria Irene Fornés Playwriting Workshop, and the LAByrinth Theatre Company’s Summer Intensive Ensemble. His plays have been produced by El Teatro Campesino, BRAVA Theater Center, The National Queer Arts Festival, SOMArts, and AS220. Javier currently serves as the Dramaturg-in-Residence for Teatro Alebrijes in San Jose, California.
MARIA LAIRD — Scenic Designer
BFA ’21 Theatre Design & Technology. Emerson Stage credits: 10 Out of 12 (Spot Operator), Corduroy (Scenic Charge), Marisol (Scenic Charge), and Going to California (Scenic Charge). Regional credits: Much Ado About Nothing by The Endangered Species Project (Props Master); Super: the Musical by MET-X @ NYC International Fringe Festival Jr. (Sound Technician); Sister Act by the Montgomery College Summer Dinner Theatre (Assistant Scenic Designer); and West Side Story by the Montgomery College Summer Dinner Theatre (Assistant Scenic Designer). Maria is a company member at the Maryland Ensemble Theatre.
MUNROE SHEARER — Costume Designer
BFA ’23 Theatre Design & Technology. Emerson Stage credits: Going To California (Costume Designer) and Corduroy (Asst. Costume Designer). Emerson College credit: 40th EVVY Awards (Co-Wardrobe Coordinator). Thank you to Max, Javier, and all of the DT staff for their help and patience in this undertaking.
JORDAN BARNETT — Lighting Designer
BFA ’21 Theatre Design & Technology. Emerson Stage credits: Marisol (Lighting Designer), This Golden Day (VMIX Engineer), Corduroy (Assistant Scenic Designer), Good Breeding (Assistant Scenic Designer), 10 Out of 12 (Assistant Lighting Designer), Arturo Ui (Head Electrician), and Squeaky Fromme Love Song (Head Electrician). Additional credit: Hysteria (Lighting Designer). Thank you to my wonderful LX team Baz, Hannah, Scott, Maddy, Felix, and Miller, as well as my parents Phil and Stacey Barnett.
KAI BOHLMAN — Sound Designer
BFA ’22 Theatre Design & Technology. Emerson Stage credits: Marisol (Production Sound Engineer), Everybody (Asst. Sound Designer), and Going to California (Sound Designer). Other credits: Chaffey College Theatres’ Macbeth (Asst. Sound Designer), Love & Information (Co-Sound Designer), As You Like It (Sound Designer), and The Taming of the Shrew (Sound Designer); and Ophelia’s Jump Productions’ Stupid F***ing Bird (Lighting & Projections Designer, Ophelia’s Jump Productions). Upcoming at Emerson Stage: As You Like It (Sound Designer) and Into the Woods (Associate Sound Designer).
SARABETH SPECTOR — Props Lead
BFA ’21 Theatre Design & Technology. Emerson Stage credits: The Last Days of Judas Iscariot (Props Lead), Men on Boats (Scenic Designer), Marisol (Props Lead), New Play Workshop: Mad Moon (Assistant Scenic Designer), and Flora, the Red Menace (Assistant Scenic Designer). Emerson College credits: Rareworks Theatre Company: What Every Girl Should Know (Scenic Designer); EVVY38 (Props Lead). Sarabethspector.com
CARTER WHITE — Stage Manager
BFA ’22 Stage & Production Management. Emerson Stage credits: Going to California (Stage Manager), Marisol (Production Supervisor), The Resistible Rise of Arturo Ui (1st Assistant Stage Manager), New Play Workshop: Amanuensis, or the Miltons (1st Assistant Stage Manager), and 10 Out of 12 (Associate Production Supervisor). Emerson College credits: Girl in the Machine (Assistant Stage Manager). Semi-frequent producer and on-air host with WECB. I owe everything to the whole and patient love granted by my peers, friends, and family. My path through this art has been unconventional, but worth every step. Kallisti.
ELENA FRECK — Dramaturg
BFA ’22 Theatre. Emerson Stage credits: Everybody (Dramaturg), A Stroke of State (Playwright). Emerson College credits: RareWorks Theatre Company’s Babel (Producer), Musical Theatre Society’s Fun Home (Prop Designer) and Children of Eden (ASM), Kidding Around’s Home: A Playmaking Piece (Dramaturg). Upcoming: Emerson Shakespeare Society’s Humble Boy (Director). Thank you to Robert for his continued guidance and support, and to my family, Izzy, Li’l Jake, and the skating snacks for the love!
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
Draper/Cutter — Laurie Bramhall
Resident Sound Designer — Elizabeth Cahill
Sound Technician — Steven Deptula
Advisors FOR THIS PRODUCTION
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
Emerson Stage Office Assistants — Casper Apodaca, Shannon Horsey, Alex Tawid Di Maggio, Jake Tolentino
Production Management Assistants — Carleigh Allen, Anthony Feola
Videographers — Benjamin Bernard, 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, Leah Heath
Prop Shop Assistant — Delene Beauchamp, Evy Burch, Briana Figarella, Oliver Hawke, Mariel Richardson, Ava Scanlon, Mercy Suarez
Stitchers — Tayla Dixon, David Estabrooks, Grace Fitzgerald, Emily Geldermann, Caitlin Johnson, Lorence Jones-Perpich, Dominic Letterii, Justina MacNeil, Molly Shaughnessy, Munroe Shearer, Beatrice Ward
Laundry Assistants — Aleah Bloom, Angelina Parillo
Stock Attendants — Megan Decker, Jessica Immel, Lucile Lyon
Crafter/Dyer — Madeline Yazel