How to Break – Musical – Village Theatre

Elevator Thoughts (aka Tweet): How to Break hip hop Latino mashup dance musical at Village Theatre. Interesting to attend the final concept after already seeing as a developing beta musical years ago. Cleaver lyrics. #dancing #theatre #Cancer #Latin

Synopsis from the Theatre: An electrifyingly innovative world-debut Mainstage production of new work developed by Village Theatre! Featuring a dynamic kaleidoscope of music, poetry, breakdancing, and beatboxing, How to Break follows two hospitalized teenage hip-hop dancers and how they navigate their adolescence in the confines of a hospital room, finding ways to love and learn amidst IV bags and chemotherapy as inspired by real-life events in writer Aaron Jafferis’ time as an artist in residence at a children’s hospital. Part commentary on the American health care system, part moving autobiography, and part profound journey through the joy and pain of growing up, How to Break reveals just how resilient the human spirit is in the face of change and transformation.

Reviewed Performance: 3/31/23 Opening Night – Sorry for the late review! But in my defense, you have about 2 months to see it. 🙂

Type: Musical

World Premiere: Yes

Several or Few Scenes: Several

Several or Few Settings: Several

Defined Plot/Storyline: Yes, but most (if not all) of the scenes took place in a single hospital ward and there’s only so much that can occur unless it’s a TV show like Grey’s Anatomy!

Live Band/Orchestra: I don’t think there was a live band especially since they didn’t credit a band in the program. I assumed it was mostly pre-recorded synthesized music. However, Olivia Griffin’s character played the guitar and John Kent Rickenbacker Jr’s character beatboxed, which was a unique mashup.

Recommendation: See it if either

  • You like musicals with substance
  • You like stories about poor inner-city teens like in Sister Act 2 and Freedom Writers
  • You liked the hip-hop and rapping portions of Hamilton
  • Or you’re not triggered by adolescent cancer

Was This the First Time I Attended a Production of this Show: No, I previously saw this as a developing beta musical.

Would I See It Again 3 Years from Now: No, I think twice is enough for me. In my defense, I’d say the same thing about Hamilton. I know, sacrilege!

Rating Compared to Other Shows with the Same Production Value:
4 Stars (Out of 5 Stars)

Equity Actors: 3

Total Number of Actors: 6

Length (Including Any Intermission): 2 hours, which seemed a bit long especially without an intermission

Intermission: No

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Beatboxing: John Kent Rickenbacker Jr’s character was a nurse who provided the beat and sound effects in this musical. He uniquely did not speak any lines and it was fun guessing what he was saying when he beatboxed his responses to other characters in “dialogue.”
  • Stage Design: The scenic design was simple with clean lines but still dramatic. Ironically, it reminded me of the Loony Toons concentric circles stage background. See the stage in my video below.
  • Stagehand Costumes: I appreciated that the stagehands wore scrubs when they performed their duties on-stage so they didn’t look out of place.
  • Powerful Voices: Talia Thiesfield and Olivia Griffin frequently showcased their showstopping voices in this production.
  • Favorite Line: When Maddy asked the Aana to join yoga or some other new age holistic therapy, Ana responded something like “if my family walks in, they’ll think we’re worshiping the devil.”
  • Medical Accuracy: As an oncology healthcare professional, I was impressed by the many correct aspects of cancer treatment they explained to the audience like the common acute lymphoblastic leukemia chemotherapy regimen consisting of an anthracycline, vincristine, and a glucocorticoid. For the record, they could have included pegaspargase though. Also, I’ve never seen an oncologist participate in yoga or chess with patients. Maybe they do that in pediatrics?

Rant(s)

  • Downer Show: As I alluded to previously, this musical has substance. But usually that means it’s a downer. They present an important perspective in this show, but I personally see musicals as an escape. Who wants to escape to sick kids? It didn’t help that a little too much silence and a little too much runtime (with no intermission) contributed to the slow pace. This was Village Theatre’s annual world premiere production where they choose one beta developing show from the last season. I much rather would have preferred Village Theatre to choose The Passage (which was also about cancer) than How to Break, since The Passage had more comedic relief and was overall less serious.
  • Inner-city Teen Trope: I mentioned this in my previous review, but I’m not a fan of stereotypical inner-city teen characters with nobody-understands-me rude attitude. It’s a tired old annoying trope.

Other Musing(s) and Observation(s)

  • Be the Match: This show inspired me to get on the ball and sign up for Be the Match. This nationwide non-profit helps match you with patients that need bone marrow transplant. It is especially important that people of color (like me) sign up since it’s usually difficult for POCs to find matching donors (like the main character). Bone marrow donation is similar to donating blood and does not require surgery. I’ve been meaning to sign up but always never get around to it. This musical is a perfect opportunity for Village Theatre to promote Be the Match.

Theatre Company: Village Theatre

Venue: Village Theatre – Issaquah

Venue Physical Address: 303 Front St N, Issaquah, WA 98027

Price: Medium

Ticket Affordability Options: Check out their discount tickets page. TodayTix and Goldstar usually offer good options too.

Dates: Issaquah March 29 – April 30, 2023 | Everett May 5 – May 28, 2023

Seating: Assigned Seating

Parking: Free street parking and some free parking lot. Lot parking is pretty difficult to find availability though. I’ve basically given up on that. I usually end up parking on Rainier Boulevard North. As a last resort, I think you can always find parking at the library but it’s a little far. Remember, there’s a bottom floor parking lot under the library’s main parking lot that most non-locals don’t know about.

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Other Video +/- Pictures: See pictures in video and under video below

Cast and Production Team: See after pictures and video below

@showsiveseen "How to Break" #hipHop #Latino mashup #dance #musical at Village Theatre. Interesting to attend the final concept after already seeing as a developing beta musical years ago. Cleaver lyrics. Photos: Angela Sterling. Review: showsiveseen.com/4676 #dancing #theatre #cancer #Latin #theatre ♬ Girl That Was Perfect – Alina Smith
Cheryse Dyllan and Andrés López-Alicea in Village Theatre’s How to Break (2023). Photo by Angela Sterling.
Cristian Rodriguez in Village Theatre’s How to Break (2023). Photo by Angela Sterling.
Cheryse Dyllan and Cristian Rodriguez in Village Theatre’s How to Break (2023). Photo by Angela Sterling.
Cheryse Dyllan and Talia Thiesfield in Village Theatre’s How to Break (2023). Photo by Angela Sterling.
Cheryse Dyllan and Cristian Rodriguez in Village Theatre’s How to Break (2023). Photo by Angela Sterling.
RoleName
Ana Cheryse Dyllan
Joel Cristian Rodriguez
Dr. Aden Talia Thiesfield*
Nurse Bowen John Kent Rickenbacker Jr.
MaddyOlivia Griffin*
Mr. Ramos Andrés Lopez-Alicea*
Ana u/s Ash Fetherbay
Joel u/s Dan Haile
Dr. Aden u/sCharles L. Simmons*
Nurse Bowen u/s Edward-Vincent Montemayor Bantasan
Maddy u/s Jasmine Joshua
Mr. Ramos u/s Quetzie Taborga
Director Logan Vaughn
Writer and Lyricist Aaron Jafferis
Composers Jacinth Greywoode, Rebecca Hart, and Kiriakos “Yako 440” Prodis
Conceived by the Mixing Texts Collective Aaron Jafferis, Adam Matta, Christopher Edwards, Gabriel “Kwikstep” Dionisio, & Ana “Rokafella” Garcia
Scenic Designer Jack Magaw
Projection Designer Elizabeth Barrett
Choreographer Kevin Boseman
Lighting Designer Robert J. Aguilar
Sound Designer Andrea Allmond
Music Director Jacinth Greywoode
Costume Designer Pete Rush
Stage Managers Miranda C. Pratt, Erin B. Zatloka
Assistant Stage ManagerIsabella Marziello
Director of Breaking Jerome Aparis
DramaturgMorgan Smart
Associate Director Tré Cotten
Intimacy Choreographer Moises “Moy” Hinojos
Assistant Projection Designer Hannah Gibbs
Associate Lighting Designer Casey Price
Original Projection Content Marcy Suarez
Production Assistant Kimberly Le
NYC CastingBase/Valle Casting (Gama Valle and Harriet Bass)
Head Stage Carpenter (Issaquah) Whitman Paylor
Head Stage Carpenter (Everett) Chris Mikolaizik
Head Sound Engineers (Issaquah) Lisa Finkral, Abigail Graham
Head Sound Engineer (Everett) Josh Blaisdell
Lead Stagehand — Deck (Issaquah) Justin Babbitt
Lead Stagehand — Deck (Everett) Kyle Morgan
Lead Stagehand — Props Chandler Eichele
Head Electrician (Everett) Brandon Cullinan
Head Electrician (Issaquah) Paul Arnold
Head Wardrobe (Issaquah) Kate Simpson
Head Wardrobe (Everett) Courtney Kessler-Jeffrey
Head Projection Techs Derick Avitt, Hannah Tran
Programmer Zac Andersen
Followspots Casey Leugemors, Olof Sander
Scenic Painter Gabrielle Duong
Scenic Carpenter Blake Whitmore
*The Actors And Stage Managers Are Members Of The Actors’ Equity Association, The Union Of Professional Actors And Stage Managers In The United States.

Free Ticket – Sense & Sensibility – Village Theatre

Update 4/6/23: Congrats to Annabel!

Leave a comment w/ your favorite play and why. Then I’ll choose a winner 48 hours from now.

Post your comment submission on my Facebook, Instagram, or Twitter. This is a free SINGLE ticket for any available “Section B” seat (worth about $56) to any of the remaining “Sense and Sensibility” performances at Village Theatre in EVERETT, Washington. The production run ends this weekend. This show is a play and not a musical. Read my review at showsiveseen.com/3773

Miss Step – Musical – Village Theatre

Elevator Thoughts (aka Tweet): Miss Step throwback musical at Village Theatre by Kit Yan and Melissa Li. Feel good love letter to the 80s that emphasized the “T” in LGBT! Bodacious dance ensemble. Totally tubular spandex aerobic-inspired choreography/costumes. Jane Fonda would be so proud.

Synopsis from the Theatre: Pam Carter is an unremarkable trans woman, working as a toll collector on the New Jersey turnpike. When a family tragedy uncovers her late father’s secret passion for competitive aerobics, Pam decides to step into her father’s sneakers and vault herself on a remarkable journey. This sweet, fun, 80’s throwback musical is a comedy for family members of all ages and genders. So slap on that spandex, throw on a headband, and get ready to clap your hands for MISS STEP!

Reviewed Performance: 2/16/23 Evening – Sorry for the late review. Since this wasn’t a press ticket and there were only two more shows left on this short run, I didn’t prioritize the review.

Type: Musical

World Premiere: “Pre-World Premiere” – It’s still in the development phase as part of the Village Originals Beta Series

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes – There was only a keyboardist and a drummer. I didn’t even notice there were so few musicians during the show. I was shocked there were only two band members listed in the playbill I read after the show.

Recommendation: See it!

Was This the First Time I Saw a Production of this Show: Yes

Would I See It Again 3 Years from Now: Absolutely! I’d love to compare and contrast this developmental production with the final world premiere production.

Rating Compared to Other Shows with the Same Production Value:
4.5 Stars (Out of 5 Stars)

Equity Actors: 9

Total Number of Actors: 14

Length (Including Any Intermission): 2 hours but it felt like the perfect length

Intermission: No

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Transgender/Queer Representation: This musical normalized LGBT+ characters/actors especially those who are trans. I like how the song “Unremarkable” punctuated how commonplace it was to be trans in this world. However, it felt like the cast was missing a bisexual character and it wouldn’t hurt to add another trans man. I thought it was interesting when an audience member from the aftershow talkback pointed out the juxtaposition between an older trans woman character who subscribed to traditional gender binary roles while her child supported a more modern non-binary gender role.
  • Cassi Q Kohl: I didn’t know Cassi Q Kohl (who played Cindy) had such a powerful voice! I’ve only seen her in Village Theatre’s previous production Cinderella where she played the fairy godmother. I guess her previous role didn’t let her showcase her voice as much.
  • Ending Reveal: The revealing twist at the end with the father was pretty cleaver.
  • Emcee: I previously saw Joel Domenico on-stage in Verlaine and McCann’s Land of the Sweets – The Burlesque Nutcracker as the charismatic emcee. He reprised a similar role in Miss Step as the competition emcee and as part of the energetic dance ensemble.
  • 1980s Theme: As someone born in the 80s, it was fun being reminded of elements that were popular in my childhood like Michael Bolton, John Stamos, kazoos, Operation boardgame, ankle warmers, headbands, Madonna, leotards, New Kids on the Block, wrist slappers, corny humor, the ThighMaster, and effortless plot resolutions.
  • Second Act Ballad: Janet (played by Bobbi Kotula) sung a wonderful ballad with a lovely melody. The playbill said the song was called “He Was My Trophy” but I thought it was called “It Wasn’t Me.” Since this was a dynamically-changing beta musical still in development, they might have added/changed the ballad after the playbill went to press.

Rant(s)

  • Microphone Queuing: There were numerous instances when the microphone turned on late. I’ll give them the benefit of the doubt that it was because of the dynamically-changing nature of a beta musical in development.
  • Accompaniment Key: There were 1-3 songs in the beginning that felt like the accompaniment key didn’t match well with the transgender performers’ best vocal range. The song(s) need(s) to be transposed.
  • Deadbeat Reasons: The show didn’t explained well why the dad left his family. The few potential reasons I gathered during the second act didn’t seem like compelling enough reasons to leave a family.
  • First Act Ballad: There was a slower song that Pam (played by MJ Rawls) sang in the beginning that either started too abruptly from a more energetic scene or ended too abruptly to a more energetic scene. I don’t remember.

Theatre Company: Village Theatre

Venue: Village Theatre – Hunt Family Theatre First Stage

Venue Physical Address: 120 Front St N, Issaquah, WA 98027

Price: Cheap

Ticket Affordability Options: Pay-what-you-will on 2/16/23

Dates: February 11 to 19, 2023

Seating: Assigned Seating

Parking: Free street parking and free lot parking. If you park in the lot, make sure the spot is not reserved for a business. As a last resort, you can always find parking at the library (10 W Sunset Way, Issaquah, WA 98027) but it’s a little far. Remember, there’s a bottom floor parking lot under the library’s main parking lot that most non-locals don’t know about.

Like/Comment/Share my Social Media Posts About this Performance:
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Other Video +/- Pictures: See pictures in video and under video

Cast and Production Team: See after pictures and video below

@showsiveseen "Miss Step" throwback #musical at Village Theatre by @kityanpoet & Melissa Li. Feel good love letter to the #80s that emphasized the "T" in #LGBT! Bodacious dance ensemble. Totally tubular #spandex #aerobic-inspired choreography/costumes. Jane Fonda would be so proud. Review: showsiveseen.com/4076. Photos by @nikkilong_. #theatre #aerobics #1980s ♬ Jump (Originally Performed by Van Halen) [Instrumental] – Backing Track Central
The cast of MISS STEP. Photo by Nikki Womac.
Kathryn Van Meter and the cast of MISS STEP. Photo by Nikki Womac.
Irene Rising, Vincent Milay, Cassi Q Kohl, MJ Rawls, Leah Sainz-Jones, and Tom Avery in MISS STEP. Photo by Nikki Womac.
MJ Rawls and Ethan Carpenter in MISS STEP. Photo by Nikki Womac.
Tori Gresham, Joel Domenico, Bridgid Abrams, Nehemiah Hooks, and Mackenzie Malhotra in MISS STEP. Photo by Nikki Womac.
RoleName
GailKathryn Van Meter *
Pam Carter MJ Rawls *
Janet Bobbi Kotula *
Cameron Carter Sr Ethan Carpenter *
CindyCassi Q Kohl *
Rachel Weissman Bridgid Abrams *
EliVincent Milay
PaulineIrene Rising *
TopazLeah Sainz-Jones
JayTom Avery
EnsembleJoel Domenico
Mackenzie Mathotra
Nehemiah Hooks *
Tori Gresham *
Keyboard/ConductorElisa Money
DrumsScot Sexton
Director & Co-ChoreographerConnor Gallagher
Co-Choreographer Jay Jackson “Laganja Estranja”
Writer/ComposerKit Yan and Melissa Li
Scenic Designer Jason Sherwood
Costume Designer Chelsea Cook
Lighting Designer Chih-Hung Shao
Sound DesignerErin Bednarz
Projection Designer Ahren Buhmann
Stage Manager Jessamyn Bateman-Iino
Gender Consultant Josephine Kearns
Dance Arrangements David Dabbon
New York Casting Judy Bowman
Music Director Elisa Money
Assistant DirectorCharlie Johnson
Assistant Stage ManagerKallen Pishue
Assistant Scenic Designer Jeremy Hollis
Production AssistantsLiam Nellis, Lainie Schwartz
Vocal CoachDanny Kam
Head Stage Carpenter Andrew Long
Head Lighting Engineer Zac Andersen
Head Sound EngineerAlex Wren
Wardrobe LeadMalena Langlie
Projection Technician Ahren Buhmann
* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in USA

Sense and Sensibility – Play – Village Theatre

Giveaway: I’m giving away a free ticket to this show. See more details here. Congrats to Annabel!

Elevator Thoughts (aka Tweet): Sense and Sensibility play by Kate Hamill at Village Theatre. Jane Austen meets Gossip Girl. Cute, basic (in a good way), & girly romantic comedy. Loved it! Clips by Nyhuis Creative. #theatre

Synopsis from the Theatre: A playful new adaptation of Jane Austen’s beloved novel follows the fortunes (and misfortunes) of the Dashwood sisters—sensible Elinor and hypersensitive Marianne—after their father’s sudden death leaves them financially destitute and socially vulnerable. In a classic-modern mashup of the beloved Jane Austen novel, Sense and Sensibility revisits the 18th-century England of the iconic characters through a contemporary lens. Layered with smart comedy and zany antics, this playful new adaption comes to life in a delightfully indulgent production directed by Jes Spencer. Sensible Elinor and sensitive Marianne’s fortunes become misfortunes after their father’s sudden death leaves them financially destitute and socially vulnerable. Navigating societal pressures and relatable modern gossip, the two sisters learn to love while expressing their own sensibilities. Cheekily underscored by a contemporary mix of your favorite pop songs, Sense and Sensibility’s simple beauty and timelessness is a breath of fresh countryside air.

Reviewed Performance: 2/10/23 on Opening Weekend

Type: Play

World Premiere: No

Awards: 2016 Off-Broadway Alliance Award

Defined Plot/Storyline: Yes

Recommendation: See it especially if you like Jane Austen or romantic comedies

Was This the First Time I Saw a Production of this Show: Yes

Would I See It Again 3 Years from Now: Yes if it was another Equity production

Rating Compared to Other Shows with the Same Production Value:
4.75 Stars (Out of 5 Stars)

Equity Actors: 3 but they were all good

Total Number of Actors: 10

Length (Including Any Intermission): 2.75 hours – The second act felt slightly long

Intermission: Yes

Other Rave(s) Not Mentioned in Elevator Thoughts

  • Ball: Once again, Village Theatre triumphantly put on a dazzling ball as they did in Cinderella, their previous production. The chandelier-like disco balls were a nice touch.
  • Drag: Nick DeSantis was a hoot as Mrs. Ferrars in drag. I looked forward to each of his over-the-top campy costumes like the stuffy “Michelin Man” dress and the crocodile boa.
  • Personified Animals: Village Theatre must have heard good feedback from their last show, Cinderella, when ensemble actors occasionally portrayed animals since they did the same thing in Sense and Sensibility. The barking dogs surprised me at first!
  • Stuffed Animals: Speaking of animals, I also looked forward to seeing each new stuffed animal that the youngest daughter Margaret Dashwood (portrayed by Sophia Franzella) played with in each of her scene.
  • Town Gossips: The town gossips were a clever way to narrate the story.
  • London Transition: The transition from simpleton country to glamourous city reminded me of scenes where midwestern country bumpkins arrive in Manhattan.
  • Understudies: Kudos to Nik Doner and Michael Wu for seamlessly filling in the roles of Calder Shilling and Richard Nguyen Sloniker respectively the day after opening night.
  • Cliffhanger: The end of the first act was executed dramatically. I liked how they resumed the second act at the exact same scene.
  • Design: The lighting design, scenic design, and costume design were well-coordinated in the same beautiful feminine motif of pastel watercolors w/ warm lighting. The giant papier-mâché flowers conveyed a wholesome countryside cottage feel.
  • Drawing: The reveal of what Edward (or was it Elinor?) drew at the beginning of the play was funny. I doubt audience members in the back could see it though…
  • Cast Doubling: I’m usually not a fan of extensive cast doubling especially when it’s difficult to discern between characters. But when done successfully, I think it showcases the actors’ range of abilities. In particular, the understudies’ switched well from the awkward stiff personalities of Colonel Brandon and Edward Ferrars.
  • Modern References: It was fun seeing the actors wear or use modern props and costumes in this regency era production. I saw headphones, martini glasses, airport luggage, sneakers, capris, cowgirl frills, a hoodie, a Gucci logo, a steering wheel, leopard print, a letterman jacket, and a windbreaker. Modern songs were also integrated throughout the show like Celine Dion. Most of the songs were in the style of Postmodern Jukebox.

Rant(s)

  • Phones: While I enjoyed seeing modern props in this regency era play, the cell phones were over showcased. Too many theatre productions use cell phones as an easy crutch to add a modern flair to shows that take place in a pre-modern era. However, it was clever for the horse carriage driver to text while driving.

Theatre Company: Village Theatre

Venue: Village Theatre

Venue Physical Address: 303 Front St N, Issaquah, WA 98027 or 2710 Wetmore Ave, Everett, WA 98201 depending on your performance date

Price: Medium-Expensive

Ticket Affordability Options: Check out their discount tickets page. TodayTix and Goldstar usually offer good options too.

Dates: February 1 to April 9, 2023

Seating: Assigned Seating

Parking: Free street parking and some free parking lot. Lot parking is pretty difficult to find though. I’ve basically given up on that. I usually end up parking on Rainier Boulevard North. As a last resort, I think you can always find parking at the library but it’s a little far. Remember, there’s a bottom floor parking lot under the library’s main parking lot that most non-locals don’t know about.

Like/Comment/Share my Social Media Posts About this Performance:
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Buy a Ticket or Learn More:

Other Video +/- Pictures: Performance clips in TikTok video are by Nyhuis Creative. Pictures under video are by Angela Sterling Photography.

Cast and Production Team: See after pictures

@showsiveseen “Sense & Sensibility” #play by @katehamill4sure at Village Theatre. #JaneAusten meets @xoxogossipgirl. #Cute, #basic (in a good way), & #girly #romanticComedy. Loved it! Review: showsiveseen.com/3773 Clips by Nyhuis Creative. #theatre ♬ Piano Concerto No. 22 3rd Movement Mozart(1003495) – takai
Sophia Franzella, Alegra Batara, and Sunam Ellis in Village Theatre’s Sense and Sensibility (2023). Photo by Angela Sterling.
Sophia Franzella, Calder Shilling, Alegra Batara, Suzy Hunt, Lindsay Welliver, Nick DeSantis, and Richard Nguyen Sloniker in Village Theatre’s Sense and Sensibility (2023). Photo by Angela Sterling.
Alegra Batara, Sunam Ellis, Josh Kenji, and Lindsay Welliver in Village Theatre’s Sense and Sensibility (2023). Photo by Angela Sterling.
Lindsay Welliver and Calder Shilling in Village Theatre’s Sense and Sensibility (2023). Photo by Angela Sterling.
Lindsay Welliver and Alegra Batara in Village Theatre’s Sense and Sensibility (2023). Photo by Angela Sterling.
RoleName
Marianne DashwoodAlegra Batara
Sir John Middleton / Mrs. Ferrars / Thomas / Gossip Nick DeSantis*
Mrs. Dashwood / Anne Steele / Gossip Sunam Ellis
Margaret Dashwood / Lucy Steele / Gossip Sophia Franzella
Mrs. Jennings / GossipSuzy Hunt*
Fanny Dashwood / Lady Middleton / Doctor / Gossip Jonelle Jordan
John Willoughby / Lady Middleton / Gossip Josh Kenji
Colonel Brandon / John Dashwood / GossipRichard Nguyen Sloniker*
Edward Ferrars / Robert Ferrars / Lady Middleton / GossipCalder Shilling
Elinor Dashwood Lindsay Welliver
Undeerstudies
Elinor Dashwood / Fanny Dashwood / Lady Middleton / Doctor / Gossip Shanna Allman
Marianne Dashwood / Margaret Dashwood / Lucy Steele / Gossip Cheyenne Barton
Colonel Brandon / John Dashwood / Sir John Middleton / Mrs. Ferrars / Thomas / Gossip Nik Doner
Edward Ferrars / John Willoughby / Lady Middleton / Robert Ferrars / GossipMichael Wu
Mrs. Dashwood / Anne Steele / Mrs. Jennings / GossipAnnie Yim
Stage ManagerShay Trusty*
Assistant Stage Manager Annika Evens
Production Assistant Ana Sepehri
DirectorJes Spencer
PlaywrightKate Hamill
Scenic Designer Parmida Ziaei
Sound Designer Tosin Olufolabi
Lighting DesignerAmiya Brown
Wig Designer Kaleena Jordan
ChoreographerKathryn Van Meter
Costume DesignerDanielle Nieves
Assistant DirectorBretteney Beverly
Associate Lighting DesignerCasey Price
DramaturgMarquicia Dominquez
Fight ChoreographerAlyssa Kay
Assistant Scenic DesignerLex Marcos
Dialect CoachGin Hammond
Intimacy DirectorKathryn Van Meter
Costume StitchersMeagan Kirby
Kali Pohle
* The Actors and Stage Managers are members of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.