THE HOBBIT | Cast & Creatives

CAST

Ryan Clemens*

(Balin/Voice of Spider/Others) is proud to work both on the main stage and with VSC's Education Department. VSC patrons may remember Ryan as Jaxton in The Thanksgiving Play, Mr. Wormwood in Matilda; Trinculo in The Tempest; Lieutenant Brannigan in Guys & Dolls; Vinnie in The Odd Couple; Mortimer in The Fantasticks; Bob Cratchit, Old Joe, or Ghost of Christmas Present in several years' versions of A Christmas Carol; or as his famous relative Sam Clemens in his one-man show Meet Mark Twain. Originally from Wyoming, Ryan began his career in a travelling Wild West show. He has worked at theaters around the country, including several seasons locally with the Virginia Shakespeare Festival and Tidewater Stage Company. He performs with Plan B Comedy at Zeider's American Dream Theatre. Ryan holds a BA in Theatre from Western Washington University and an MFA in Acting from Regent University. He also teaches at ODU. www.clemensistwain.com

Jeffrey A. Haddock*

(Bilbo) is a local actor and puppeteer, currently working as a Teaching Artist with Virginia Stage Company; he is excited to be making his performance debut with VSC, and to be returning after working backstage on Matilda The Musical. Since 2017, he has spent his Winters working on Nauticus’ Dicken’s Christmas Towne & Winterfest on the Wisconsin as a performer and production manager. Jeffrey holds a BA in Theatre Performance from Old Dominion University. Favorite credits include The Importance of Being Earnest (Algernon), Twelfth Night (Malvolio), Hair (Claude Bukowski), and The Burial at Thebes (Haemon). In his free time, he enjoys playing bass, practicing magic, and learning photography under his mentors at Lizard Leap Productions (@lizardleap/lizardleapproductions.com). Jeffrey would like to thank his lovely partner Krystal, his ever supportive family, and his friends who inspire him daily. “All we have to decide is what to do with the time that is given us.”

Thomas Hall*

(Thorin/Troll 2/Others) Debuting in his first ever VSC role, Thomas Arthur Hall is ecstatic to bring his energy to Wells Theatre. He was born and raised in Virginia Beach and studied with the George Mason University Players during his collegiate studies. Thomas has made appearances in The Importance of being Earnest, The Royal Family, and The Outsiders. He has also work in local film and television work and is represented by the Actors Studio. He looks forward to giving his all into bringing this show to life. 

Alana DODds Sharp*

(Gandalf/Bombur/Elven Queen/Others) Alana Dodds Sharp (Gandalf / Bomber & others) As a new resident to the Hampton Roads area from Northern VA, Alana is thrilled to make her debut at VSC. Recent area roles include Cynthia in SWEAT at Generic Theatre, and Arlena Cartwright in the 2022 Proteus Festival’s Likkor Outta Control at The Z. DC credits include the Cantor in The Jewish Queen Lear at Theatre J, Ensemble in The Great Society at Arena Stage, East of Eden as the Nurse & Eva at Next Stop Theatre and an understudying at The Folger Theatre in Henry IV, Part 1. Alana has also filmed a variety of commercials and videos for clients such as Berdon LLP, Shenandoah Valley Organic, MedStar Health, Medicaid Managed Care and the New York State’s Progressive Mobility Campaign. Originally from Ohio, Alana graduated with a BFA in Acting from Wright State University. Thank you Billy, Thom and Emel for this opportunity and thank you Sam, Gaby & Sebastian for letting me out to “play.” Loves you! 

Anna Sosa*

(Kili/Gollum/Others) is a proud Filipino American born and raised here in Norfolk.  She has worked locally and internationally in theater, film, improv comedy, and voiceover.  You may recognize her as Christmas Past from VSC's 2016 A Christmas Carol or Puck from a Midsummer Fantasy Festival in Town Point Park.  Favorite work includes her roles as Malcolm in Macbeth with CORE, as Denny in the world premiere of HOMEsick written and directed by Deborah Wallace, Catherine Givings from In the Next Room, or the Vibrator Play, and her Raven’s Hollow County Players.  She thanks CORE Theater Ensemble, Push Comedy Theater, TCC's Shakespeare in the Grove, and the growing Viewpoints community in this area for building opportunities for underrepresented artists.  She earned her BFA in Theater Performance from Virginia Commonwealth University.  To Bobby M., Matt C., her Sosa-clan and her Middle Earth tribe— espesyal na salamat.

Jayden Adams-Ruiz

(Ensemble) is excited to be making his debut with the Virginia Stage Company on the Wells Theater’s Equity Stage. Jayden is a 4th year performance student in the Theatre and Film Department of the Governor’s School for the Arts (GSA) in Norfolk, VA. He is also completing an Advanced Studies Diploma at Maury High School. Jayden has previously acted in the GSA stage performances of Eurydice, 39 Steps a Radio Show, No Child, What Where, and Hamlet. He also wrote, directed, and acted in the film Mind Games as well as acted in the films Terminally Online, BFF, Cardinal Sin, The Mission, and Street Cred. Jayden’s acting experience also includes performances with Generic Theater and Harrah Players. Jayden plans to continue studying and performing Theater and Film in college. For more information visit Jayden’s website: https://jaydenadams-ruiz.godaddysites.com

Mark Andris

(Ensemble) is honored to be one of the few students from The Governor’s School for the Arts to be invited to join this production. He loves performing for others and has been a part of All Together Now! and Bright Star at Hickory High School in Chesapeake. He also enjoys music and has played the viola for five years inside and outside school. 

Katherine Cottrell

(Ensemble) Katherine is absolutely thrilled to be making her VSC debut! She is a senior at the Governor’s School for the Arts in the Theatre/Film Department as well as Grassfield High School. Recent credits include: Eurydice, The 39 Steps, Anniversary,The Odyssey 2.0, The Best Christmas Pageant Ever, Pre-Nostalgia, Zoe, and “Get Batter Soon” (48 Hour Film Fest). She would like to thank Steve and Ricardo for helping her grow as both an artist and a human being, and Taylor Swift- for the same thing.

Gunar Pencis

(Troll 1/Ensemble) is a freshman at First Colonial High School in Virginia Beach. He is a first year student at Governors School for the Arts. Gunar grew up in Tyler, Texas where he attended Caldwell Elementary Arts Academy, it was here when his love for theatre began in 1st grade. Outside of school, Gunar can be found on the basketball court, or behind a drum kit. He loves his three dogs, Rock music (especially Van Halen) and his friends.

Kennedy Savage

(Troll 3/Ensemble) is a 14 year old girl currently attending the Governor’s School for the Arts as well as Princess Anne High School. Her hobbies include writing, debate, and forensics. This is her first professional theatre production as well as her first production with VSC. She’s super excited to be apart of the Hobbit team.

Kristina VanPeeren

(Ensemble) is a sophomore student at Western Branch High School, and it is also her second year attending The Governor’s School for the Arts. It is her debut with Virginia Stage Company. She has worked for four years in the musical theater industry, with some of her most memorable shows being Duffy in Annie Jr and Cheshire Cat in Alice in Wonderland Jr. In addition to theater she played the violin for four years and was in All-City and Junior District Orchestra. “I am so thankful for the love and sacrifices my family and friends have made for me to support my dreams.”

Zia Gulson

(Understudy) is an aspiring actress who is currently a student at both Governor’s School for the Arts and Cox High School. She adores acting and has been doing it her whole life, this show marks her first professional production. Some of her most memorable past shows include Eurydice as Eurydice, The Lion King as Zazu, and Treasure Island as Molly. Since arriving at Governor’s School, she has been in six films that allowed her to discover her love for the film industry and its creative process. Zia spends as much of her free time as possible indulging in her other creative passions; songwriting, playwriting, playing electric guitar and ukulele, singing, dancing, and painting. Zia is thrilled to be a part of a VSC production for the first time. She plans on taking her acting, directing, and playwriting skills to the next level in a BFA Arts program next fall. 

Savanna Stone

(Ensemble/US) is very excited to be involved in her first professional level performance. She is currently a senior at Governors School for the Arts, where she has participated in a film and The 39 Steps: A Radio Play. She is applying to the University of Virginia to continue pursuing her career after graduation.

CREATIVE TEAM

Billy Bustamante †

(Director) Credits include Off-Broadway productions of Notes From Now (Prospect), Whisper House (Civilians) and Cinderella (NAAP).  Other credits include, Gold Mountain (Utah Shakespeare Festival),  Into The Woods (Arden Theatre), Matilda (Virginia Stage Company), Goodspeed, Lincoln Center, and NAAP. Broadway performing credits: Miss Saigon (Engineer alt.), The King and I (Lun Tha u/s). Off-Broadway/Regional: Soft Power and Here Lies Love at the Public Theater, Center Theatre Group, Arena Stage, Old Globe and Paper Mill Playhouse. Billy’s co-founder of Broadway Barkada and on faculty at Jen Waldman Studio and Circle in the Square Theatre School. Billy is passionately committed to the development of new artists and building a more equitable world. www.BillyBustamante.com Insta: @BillyBCreative

Josafath Reynoso

(Scenic Designer) Award winning scenic designer Josafath Reynoso was born in Mexico and was awarded the Gold Medal for Scenic Design at the World Stage Design 2017 in Taipei, Taiwan for his production of Cat on a Hot Tin Roof. He also received the 2015 USITT Scenic Design Award, the 2014 SETC Scenic Design Award for Eugene O'Neill's The Hairy Ape; the 2013 BroadwayWorld Award for Our Country’s Good, and the SETC Ready-for-Work Award for The Threepenny Opera. Of his production of Crowns at Virginia Stage Company, Jeff Seneca of Alt Daily wrote, "the curtain opens on a set that will take your breath away. Josafath Reynoso has created truly magnificent scenery full of rich vibrant colors and wonderful use of space. I love when shows are able to build the music right into the set and Reynoso is able to do that with the organ and percussion right there onstage. It is an amazing set that truly shines as its own character in the show." Reynoso was also praised for his production of The Bluest Eye at Virginia Stage: “The real star of the show was the set. Josafath Reynoso took a simple idea of hanging laundry about the stage, from the rafters, from the box seats and the balcony and turned it to an elaborate display of color and whimsy." Mr. Reynoso was selected as a keynote speaker for Stage|Set|Scenery in Berlin and presented at the International Biennale of Architecture in Buenos Aires for his design of Noche Arabe.

Jeni Schaefer

(Costume Designer) is the Director of Design and Resident Costume Designer at the Virginia Stage Company in her 21st season. Regional credits include: A Christmas Story at Arkansas Repertory Theatre, Hound of the Baskervilles at The Hangar and White Heron Theatre, Always...Patsy Cline PCPA Theatrefest, World premiere of Tom Jones for Florida Studio Theatre, Wit for Playmakers Repertory Theatre. VSC productions including; Every Brilliant Thing, Dreamgirls,Merry Little Christmas Carol, Dear Jack Dear Louise, Hold These Truths, Sense and Sensibility, Guys and Dolls, Matilda, Secret Garden, Fun Home, Always Patsy Cline, Crowns,The Hound of the Baskervilles, Pride and Prejudice, The Wiz, A Streetcar named Desire, Oliver, Peter and the Starcatcher, All my Sons,The Great Gatsby,The Fantasticks, Death of a Salesman, Red, Around the World in 80 days, Crowns, Billy Bishop Goes to War, Hank Williams Lost Highway and A Christmas Carol. Jeni Schaefer holds a MAC in Theatre/Costume Design from Wichita State University. Thank you to my family Tony, Sara and Ethan for being my inspiration and for always believing in me.

Christina Watanabe §

(Lighting Designer) is an award-winning designer and educator for theatre, dance, music, and events. At VSC: Guys and Dolls, Every Brilliant Thing. Recent: Clue (Dallas Theatre Center), Gypsy, Jersey Boys (Theatre Aspen), Sueño (Trinity Rep), The 39 Steps (Rep St. Louis), Elf (Pioneer Theatre Company), This Bitter Earth (Theatreworks Hartford), Carla’s Quince (virtual, Drama League nomination), Where We Stand (WP Theatre), As You Like It (Oregon Shakespeare Festival), The Wild Party (Post Theatre Company), Peer Gynt (Barnard), Heartbreak House (Gingold Theatrical Group), A Christmas Carol (Florida Rep), Into the Woods (Charlottesville Opera), Peter and the Starcatcher (White Heron Theatre Company), Scissoring (INTAR), Dido of Idaho (Ensemble Studio Theatre), Small World: a fantasia (59E59), Neighbors: A Fair Trade Agreement (INTAR), Daniel’s Husband (Primary Stages/Cherry Lane), I Will Look Forward To This Later (New Ohio). TV: Colin Quinn: Red State Blue State (co-design, CNN). Lincoln Center Festival (2013, 2015-2017). USITT Gateway Mentor. Knights of Illumination winner. Faculty: Sargent Conservatory at Webster University. MFA: NYU. Member USA 829. www.StarryEyedLighting.com.

Steven Allegretto

(Sound Designer) is a proud graduate of Full Sail University’s Recording Arts program. Since graduating, Steven has worked relentlessly on perfecting his craft in both recording studio and live theatre environments. Steven also uses his expertise in professional audio to teach the upcoming generation as an Adjunct Professor of Theatre Sound Design at the College of William & Mary, as well as teaching privately. Steven has had the great pleasure of designing sound for past VSC shows including Matilda, Guys and Dolls, A Merry Little Christmas Carol, Dreamgirls, Every Brilliant Thing, and Cat on a Hot Tin Roof. Steven is very excited to be back at VSC, and to share the magical sonic landscape of The Hobbit with you and yours.

Jamison Foreman

(Music Supervisor/Composer) is excited to be a part of his first production with Virginia Stage Company, and to help create some magic with the cast of The Hobbit. He acts, teaches, and musical directs mostly in Philadelphia. REGIONAL: Arden, Walnut St, InterAct, People’s Light, Quintessence Theatre Group, Theatre Horizon, Inis Nua, Azuka, 11th Hour, Applied Mechanics, Act II, Commonwealth Classics, Philadelphia Shakespeare Theatre, Shakespeare Theatre (DC), Everyman (Baltimore). INTERNATIONAL: Fame (Chinese Tour), Overexposed (Edinburgh Fringe Fest). AWARDS: 2014 Barrymore Award Winner for Best Musical Direction. TRAINING: STC’s Academy for Classical Acting at George Washington University: MFA, Classical Acting; University of the Arts: BFA, Musical Theatre. TEACHING: The University of the Arts, Drexel University, George Mason University, West Chester University.

Daniel LeMien*

(Stage Manager) has been a proud member of the Actors Equity Association since 2003 and previously joined VSC for Dreamgirls. Daniel’s theatre credits include Spring Awakening, Mame, Cabaret, Fiddler on the Roof, Grey Gardens, Into the Woods, Bright Lights Big City and The Burnt Part Boys to name a few. Daniel has also toured with the 25th anniversary tour of Forever Plaid and Grammy nominated artist Jim Brickman for his holiday show. Daniel would like to extend his thanks to everyone involved in this production of The Hobbit. “Break em!”

Tom Quaintance

(Producing Artistic Director) is in his sixth year with Virginia Stage Company. At the Wells, Tom has directed A Merry Little Christmas Carol, Pride and Prejudice, The Santaland Diaries, and Matilda The Musical. Pre-pandemic, Tom traveled to Minneapolis where he directed Twelfth Night at the Guthrie Theater. As Artistic Director of Cape Fear Regional Theatre (CFRT), Tom produced over 35 plays and directed the World Premiere of Downrange: Voices from the Homefront, a play based on interviews with military spouses from Fort Bragg. Tom is an Associate Artist at PlayMakers Repertory Company in Chapel Hill where he directed An Enemy of the People, Shipwrecked! An Entertainment, The Life and Adventures of Nicholas Nickleby, and The Little Prince. He also directed The Little Prince at the 2007 Edinburgh Fringe Festival. As the founder of FreightTrain Shakespeare in Los Angeles, he earned a Drama-Logue Award for his direction of Pericles. Other Los Angeles credits range from King Lear to The Devil With Boobs. A member of the Stage Directors and Choreographers Society, Tom is a graduate of Wesleyan University (Middletown, CT) with a B.A. in Theatre and Economics, and the University of California, San Diego MFA directing program, where he was the assistant director on the original production of The Who’s Tommy. 

Jeff Ryder

(Managing Director) has been Managing Director of Virginia Stage Company since March 2022. Prior to coming to VSC, Jeff served in several roles at Cleveland Play House from 2013 to 2022. Jeff holds a Master of Public Administration Degree from the Levin College at Cleveland State University and a Bachelor’s Degree from Tufts University. At Levin, Jeff was inducted into Nu Lambda Mu, the international honor society for the study of nonprofit management and philanthropy. Jeff also holds a certificate in Diversity and Inclusion for HR Professionals from Cornell University. He has served on the boards of the Cleveland Kids’ Book Bank, Theatre Forward, the Young Nonprofit Professionals Network of Cleveland, and the Cleveland Professional 20/30 Club. In Cleveland, Jeff was honored to be a part of the Cleveland Leadership Center’s Advanced Leadership Institute and the Cleveland Foundation’s Foundations for Philanthropy Program. Jeff has also been a stage manager at several theatres including Talespinner Children’s Theatre, Cincinnati Playhouse in the Park, and Berkshire Theatre Festival.

ADDITIONAL SHOW STAFF

ASSISTANT STAGE MANAGER Emma Emde
FIGHT director GREGG LLOYD
RESIDENT CASTING DIRECTOR EMEL ERTUGRUL
STITCHEr VIRGINIA BIRD
WARDROBE SUPERVISOR CHELSIE CARTLEDGE ROSE
SOUND SUPERVISOR SHYLOH BAILEY
ELECTRICIANS RACHEL ELDER, WILLIAM DOWDY
CARPENTERS Elijah Righter, TRÉVEON PORCHIA
PROPERTIES Manager TUMÔHQ ABNEY
Scenic Charge George Righter
Scenic Painter Deanna Hammond

The Making Of...Cat on a Hot Tin Roof

Cat on a Hot Tin Roof has been almost two years in the making, and Virginia Stage Company couldn’t be more excited to share this production with Hampton Roads!

Watch as our incredible production team turns our beautiful stage into an extravagant bedroom on the Mississippi Delta where this tawdry tale takes place. Three weeks of work flash before your eyes in this beautiful 30-second clip that captures the real beauty of theater in motion!

Cat on a Hot Tin Roof, directed by Khanisha Foster, runs on The Wells Theatre stage from September 14th - October 2nd. Tickets can still be purchased by calling the box office at (757) 627-1234 or by clicking below!

Cat on a Hot Tin Roof | Cast & Creatives

CAST

John Cauthen Jr.

(Reverend Tooker) John’s previous VSC appearances include Our Town, Pride and Prejudice, The Parchman Hour: Songs and Stories of the ‘61 Freedom Fighters, All My Sons, and A Moon for the Misbegotten.  Currently a Williamsburg resident, John taught high school English for 18 years in Virginia Beach.  Cat on a Hot Tin Roof marks John’s 93rd theatre production since he first began acting onstage in 2005.

Angel Dillemuth*

(Gooper/Brother Man) was born and raised in the Bronx, NY. He received his M.F.A. from The Actor's Studio Drama School @ Pace University and attended The British American Drama Academy: Midsummer in Oxford program. He has primarily worked in television and film, appearing on Blue Bloods, The Equalizer, Person of Interest, Vox Lux, to name a few. Angel is excited to join VSC, working on Cat, which is on his bucket list. He is grateful for the opportunity. Angel is repped by Gray Talent. 

Marsha Estell*

(Big Mama) is a Chicago based actress and playwright. Regional Credits, Legacy Land - KC Repertory Theatre, First Breeze of Summer - Court Theatre, Blues for an Alabama Sky - Alabama Shakespeare Theatre. Favorite Chicago Theatre credits - My Other Full Time Job - Erasing the Distance Theatre, East Texas Hot links, Onyx Theatre Ensemble, Sty of the blind pig, Onyx Theatre Ensemble, Coffee will make you Black, City LIt Theatre, and her solo show Big Butt Girls and other Fantasies the Remix” was performed in Chicago, Detroit, New York and Los Angeles. TV Credits: Chicago P.D. (NBC) South Side, (HBO MAX) Proven Innocent, (FOX) and Electric Dreams (AMAZON). As a playwright, she is a recipient of the Illinois Art Council Fellowship for playwriting. Recently, she received a 3ARTs project match for her short film “Black Girl in Bathtub”(coming soon). She is a proud member of AEA and SAG-AFTRA. www.marshaestell.com

Jeffrey King*

(Big Daddy) was a member of the Oregon Shakespeare Festival acting company for 20 seasons where he appeared in more than 50 productions. Other theaters include Idaho Shakespeare Festival, Repertory Theatre of St. Louis, Berkeley Repertory Theater, California Shakespeare Festival, The Magic Theater, The Empty Space in Seattle, The Hippodrome and Asolo Theater in Florida. He originated the role of Joe Pitt in Angels in America, first performed at the Eureka Theatre in San Francisco and the Mark Taper Forum in Los Angeles. He has appeared also in television, film and radio.

Aaron Kirkpatrick

(Doctor Baugh) is thrilled to join the cast in his first production with Virginia Stage Company. A native of Virginia Beach, Aaron has worked as an actor in New York City, Philadelphia, Los Angeles, and hither and thither as the wind of opportunity blows. Aaron has an MFA in acting from Indiana University, and is an adjunct instructor of acting at Old Dominion University. Aaron would like to share his appreciation for the many talented artists whose work make this production come to life, and thanks to the company for the opportunity to work on this incredible play

Brianna Robinson

(Polly) is thrilled to be making her VSC debut! A couple previous credits include Tosca -- Virginia Opera, Disney The Lion King Experience -- Hurrah Players, Celebration of Music -- PBS TV. She’s also been blessed with the opportunity to sing the National Anthem for the MEAC Basketball Tournament, Norfolk Admirals Hockey Team, and The Tides Baseball Team. She has also been featured in print and commercial for Dickens’ Christmas Towne at Nauticus. For more on Brianna, follow her @SingerBriannaRobinson

Anna Sundberg*

(Margaret) is thrilled to return to Virginia Stage Company after having previously appeared in VSC's Disgraced. Anna is based in Brooklyn, New York. In NYC she has workshopped plays with Roundabout, Playwrights Horizons, and Fiasco Theater. She has performed locally at the Access Theater and regionally at the Great River Shakespeare Festival and GreenHouse Theatre Project. Prior to NYC, Anna worked for 10 years in Minneapolis, MN at the Guthrie Theater, Jungle Theater, Ten Thousand Things, Children's Theatre Company, Park Square Theater, The Playwrights' Center, and many more. She appears in the FX series Fargo, the film I Am Not A Serial Killer (with Christopher Lloyd), and the award-winning web series Theater People. Anna also has experience touring the South Island of New Zealand playing a sheep.

Gregory Warren*

(Brick) is an actor based in New York City. Select acting credits: Off-Broadway: Colorblind (Actors Temple Theatre). Other NYC credits: Watch Me Burn (The Wild Project), The Prisoners of Quai Dong (The Tank), Will (The Hudson Guild Theater), The Exonerated, The Tempest and The Motherf*cker With the Hat (The Secret Theatre). Chicago Credits: Mana and Her Underground Family (Gorilla Tango Theatre). In 2017, Greg received the award for Outstanding Performance in a Supportive Role at Fresh Fruit Festival Awards for his performance in Watch Me Burn. Training: Second City Acting program & Green Shirt Studio (Chicago)

Penelope Hanson

(Dixie) is thrilled to be a part of the Virginia Stage Company. She has recently been seen in Pippin and Matilda the Musical. She loves everything about theatre and, in her off time, enjoys dancing, singing, and grooving to her Walkman. Penelope loves to read, be a big sister, and strum on the guitar. She wishes to thank VSC for giving her this opportunity and experience.

Wallis Herst

(Mae/Sister Woman) is thrilled to be returning to the Wells with this lovely group of humans. Previously at VSC, she has been seen in Our Town, The Parchman Hour, and The Secret Garden. In Hampton Roads, she has also appeared in No Exit, Macbeth, and Niobe with Core Theatre Ensemble and a staged reading of the documentary theatre piece Orange Avenue Project about the Pulse nightclub shooting. During her years in North Carolina living adjacent to Fort Bragg, she was part of the development and world premiere of Downrange: Voices From the Homefront at Cape Fear Regional Theatre where she also appeared in Henry V, Around the World in 80 Days, and The Parchman Hour. In Los Angeles she appeared in the world premieres of Stranger at the Bootleg Theatre and Fables Du Theatre at The Unknown. Other LA and NY productions include A Midsummer Night’s Dream, Macbeth, Six Characters in Search of an Author, Blood Wedding, The Serpent, Antony & Cleopatra, The Trojan Women, and The Astonished Heart. Film credits include the locally produced Last Moment of Clarity, the short films Anna at Home and Phenobarbital, and The Craving. On television you may be able to briefly glimpse her on a couple episodes of Law & Order: SVU in syndication. She received her B.F.A from NYU’s Tisch School of the Arts where she studied with The Atlantic Theatre Company. Couldn't do any of it without the love, support, and patience of Tom, Miri, and Annika.

Miri Quaintance

(Trixie) is very excited to be a part of her first show at VSC! This past summer Miri participated in the VSC summer camp and loved it. Theater has been a big part of Miri’s life since she has been seeing shows from a very young age and she’s grateful for this opportunity to participate from the other side. In her free time, she likes to play softball, rock climb, and create art. Miri is very thankful for all the love and support from friends and family.

CREATIVE TEAM

KHANISHA FOSTER†

(Director) Khanisha’s work and her outrageous family history landed her writing opportunities with K&L Productions (Kay Cannon & Laverne McKinnon), as well as Julie Hébert (The Man in the High Castle), and Electric Shepherd Productions (stewards for the adaptations of the Philip K. Dick library). She was also a Fox Fellow, and her series Sancho was a semifinalist at the Austin Film Festival and is being produced by Max Arciniega (Breaking Bad/Better Call Saul) and Alonso Alvarez (Snowfall). She’s written video games for Probably Monsters (the company founded by the creators of Halo and Destiny), and for Episodes. Her solo show Joy Rebel, directed by Obie Award winner Lou Bellamy, received critical acclaim and was chosen as a DC Metro Staff favorite for 2019. Her plays have been commissioned by Penumbra Theatre, 1st Stage, and 2nd Story. She was a featured storyteller on NPR’s The Dinner Party. Along with Lena Waithe, and was named one of 18 Black Women We Think Are Phenomenal by Mater Mea Magazine. American Theatre Magazine named her in their Role Call series as one of the 6 Theatre Workers You Should Know. Broadway World named her Best Director for The Bluest Eye, which also won Best Production. Her production of Yellowman is currently nominated for 7 OC Theatre Guild Awards. After playing 26 Characters in Anna Deavere Smith’s Fires in the Mirror, Broadway World said about her, “Obviously, I can only speak of Foster. She is breathtakingly good. Every character she embodied, whatever the accent, age, race or gender, comes across as real and distinct.” Her film acting debut, Chicago Boricua, was an official selection of the Tribeca Film Festival. The Star Tribune called her writing “…risible and heartbreaking…”, the Compendium said she “…oozes charisma and charm, blinking in an instant between tremendous sadness and effervescent joy.” They added that her writing is “…lush and descriptive bearing hallmarks of Roxanne Gay, Lindy West, and Tracy K. Smith”, and the D.C. Metro said her work “comes from the rebellious joy of making others laugh so their days are not so dark. So they and anyone can enjoy laughter.”  If you’d like to enjoy a laugh, be sure to ask her about that time she broke onto the Queen of England’s land and got shot at, or when her sister — who is a legit Nigerian princess — showed up in Lagos two days late for her crowning ceremony, or about how she almost became a professional clown.

TENNESSEE WILLIAMS

(Playwright) Tennessee Williams, original name Thomas Lanier Williams, (born March 26, 1911, Columbus, Mississippi, U.S.—died February 25, 1983, New York City), American dramatist whose plays reveal a world of human frustration in which sex and violence underlie an atmosphere of romantic gentility. Williams became interested in playwriting while at the University of Missouri (Columbia) and Washington University (St. Louis) and worked at it even during the Great Depression while employed in a St. Louis shoe factory. Little theatre groups produced some of his work, encouraging him to study dramatic writing at the University of Iowa, where he earned a B.A. in 1938. His first recognition came when American Blues (1939), a group of one-act plays, won a Group Theatre award. Williams, however, continued to work at jobs ranging from theatre usher to Hollywood scriptwriter until success came with The Glass Menagerie (1944). In it Williams portrayed a declassed Southern family living in a tenement. The play is about the failure of a domineering mother, Amanda, living upon her delusions of a romantic past, and her cynical son, Tom, to secure a suitor for Tom’s shy and withdrawn sister, Laura, who lives in a fantasy world with a collection of glass animals. Williams’s next major play, A Streetcar Named Desire (1947), won a Pulitzer Prize. It is a study of the mental and moral ruin of Blanche DuBois, another former Southern belle, whose genteel pretensions are no match for the harsh realities symbolized by her brutish brother-in-law, Stanley Kowalski.  Williams was in ill health frequently during the 1960s, compounded by years of addiction to sleeping pills and liquor, problems that he struggled to overcome after a severe mental and physical breakdown in 1969. His later plays were unsuccessful, closing soon to poor reviews. They include Vieux Carré (1977), about down-and-outs in New Orleans; A Lovely Sunday for Crève Coeur (1978–79), about a fading belle in St. Louis during the Great Depression; and Clothes for a Summer Hotel (1980), centring on Zelda Fitzgerald, wife of novelist F. Scott Fitzgerald, and on the people they knew. Williams also wrote two novels, The Roman Spring of Mrs. Stone (1950) and Moise and the World of Reason (1975), essays, poetry, film scripts, short stories, and an autobiography, Memoirs (1975). His works won four Drama Critics’ awards and were widely translated and performed around the world. (https://www.britannica.com/biography/Tennessee-Williams) 

JOSAFATH REYNOSO

(Scenic Designer) Award winning scenic designer Josafath Reynoso was born in Mexico and was awarded the Gold Medal for Scenic Design at the World Stage Design 2017 in Taipei, Taiwan for his production of Cat on a Hot Tin Roof. He also received the 2015 USITT Scenic Design Award, the 2014 SETC Scenic Design Award for Eugene O'Neill's The Hairy Ape; the 2013 BroadwayWorld Award for Our Country’s Good, and the SETC Ready-for-Work Award for The Threepenny Opera. Of his production of Crowns at Virginia Stage Company, Jeff Seneca of Alt Daily wrote, "the curtain opens on a set that will take your breath away. Josafath Reynoso has created truly magnificent scenery full of rich vibrant colors and wonderful use of space. I love when shows are able to build the music right into the set and Reynoso is able to do that with the organ and percussion right there onstage. It is an amazing set that truly shines as its own character in the show." Reynoso was also praised for his production of The Bluest Eye at Virginia Stage: “The real star of the show was the set. Josafath Reynoso took a simple idea of hanging laundry about the stage, from the rafters, from the box seats and the balcony and turned it to an elaborate display of color and whimsy." Mr. Reynoso was selected as a keynote speaker for Stage|Set|Scenery in Berlin and presented at the International Biennale of Architecture in Buenos Aires for his design of Noche Arabe.

BRYCE TURGEON

(Costume Designer) is returning to VSC after designing Dreamgirls this past April, and The Legend of Georgia McBride in the 2020 Season. He has worked on and off Broadway for 8 years building for such shows as Aladdin, Fun Home, Cinderella, Wicked, Phantom, Gentleman’s Guide to Love and Murder, and many others. For the past  5 years Bryce has been the owner of his own fashion brand, “Florence d’Lee” where he specializes in couture fashion for high profile drag queens. Bryce’s work can be seen on Rupaul’s Drag Race seasons 9-13 (Sasha Velour, Aquaria, Nina West, Rosè, Scarlett Envy, Etc.) as well as Drag Race All-Stars seasons 4-7 (Shea Coulee, Monèt Xchange, Miz Cracker, Blair St.Claire, Etc). Bryce’s work has also been seen on various Broadway and Hollywood Red Carpets as well as The Met Gala. 

DAVID CASTANEDA

(Lighting Designer) has shed light on more than 500 productions around the country including Parchman Hour and The Bluest  Eye for VSC and will illuminate the upcoming Cat on a Hot Tin Roof. Some bright moments in NYC: Broadway: Irena’s Vow (Tovah Feldshuh), Helen Hayes: Marvin’s Room (T.R. Knight), The Directors Company: Murder in the First (Chad Kimball), Public Theatre, Peculiar Works Project, Abingdon Theatre, NY Fringe Festival.   Regional illuminations include Albany/Berkshire Ballet (NY/VT), Cape Fear Regional Theatre (NC), Broadway Rose (OR), Theatre Winter Haven (FL), Round Barn Theatre (IN), Temple Theatre (NC), Carousel Dinner Theatre (OH), Venice Stage(FL), Merrimack Rep (MA), ArtisTree Theatre Festival(VT), Seacoast Rep (NH), Millbrook Playhouse (PA), and many musicals in Spanish by ‘Misi’ in Bogota, Colombia. David radiates from the University of North Carolina School of the Arts.  

STEVEN ALLEGRETTO

(Sound Designer) is thrilled to be back at Virginia Stage, and to be collaborating with Norfolk State University as part of this amazing design team for Cat on a Hot Tin Roof. Steven graduated from Full Sail University in 2008, majoring in Recording Arts. Since then, Steven has worked relentlessly perfecting his craft in both recording studio and live theatre environments. Steven has had the great pleasure of designing sound for past VSC shows including Ring of Fire, Always...Patsy Cline, Matilda, Guys and Dolls, and A Merry Little Christmas Carol. Steven also uses his expertise in professional audio to teach the upcoming generation as an Adjunct Professor of Theatre Sound Design at the College of William & Mary, as well as teaching privately.

SASHA NICOLLE SMITH

(Intimacy Director) is a Chicago-based actor and violence and intimacy choreographer. Recent choreography credits include Familiar, You Got Older, How to Catch Creation, Ma Rainey, Smart People, Fear and Misery of the Third Reich, The Toilet, A Funny Thing Happened On The Way To The Gynecological Oncology Unit At Sloan-Kettering Memorial Cancer Center of New York City, Ideation, and Octagon. She is a company member pf Steep Theatre. She is a graduate of Columbia College Chicago. Sasha is represented by Shirley Hamilton Talent.

BINDER CASTING 

(NY Casting) Binder Casting, now part of RWS Entertainment Group, was founded by Jay Binder, CSA in 1984. Binder Casting has cast over 80 Broadway productions, dozens of National Tours, off-Broadway shows, full seasons for over 25 regional theatres, as well as feature films, episodic television and commercials. Binder has cast for Encores! at New York City Center since its inception in 1994. The office was also featured in the documentary, Every Little Step. Binder Casting is a twelve–time recipient of the Artios Award. www.bindercasting.com

CHARLES BAYANG*

(Production Stage Manager) Cat on a Hot Tin Roof is Charles's first production with Virginia Stage.  His work has been seen in other regional theatres including PlayMakers Repertory Theatre, Studio Arena Theatre, Merrimack Repertory Theatre, Huntington Theatre Company, Dallas Children's Theater, Dallas Theatre Center, Hartford Stage Company and Alabama Shakespeare Festival.  Charles holds an MFA from University of Alabama/Alabama Shakespeare Festival and just celebrated his 25th year as a member of Actors' Equity Association.

DANIEL RUIZ

(Associate Scenic Designer) is a very passionate Mexican scenic designer and filmmaker. He is a MFA Live Design & Production candidate at The University of Texas at Austin. He has recently assisted the scenic design of the play Network (Mexico City, Mexico), collaborated with the scenic design team of Cocolab at FRIDA INMERSIVA (Mexico City, Mexico) and  it's currently assisting the scenic design of The Hobbit (Virgina, USA). He has also been director and art director of several short films including  Eva/Ana which was selected by the SOUND OF THE SILENT FILM FESTIVAL (Chicago, USA) to be performed with live music. Daniel holds a B.Sc in Computer Science Technology with a concentration in Filmmaking from Tec de Monterrey (Mexico City, Mexico); as well as a Scenic Design Speciality from CENTRO (Mexico City, Mexico).

TOM QUAINTANCE

(Producing Artistic Director) is in his sixth year with Virginia Stage Company. At the Wells, Tom has directed A Merry Little Christmas Carol, Pride and Prejudice, The Santaland Diaries, and Matilda The Musical. Pre-pandemic, Tom traveled to Minneapolis where he directed Twelfth Night at the Guthrie Theater. As Artistic Director of Cape Fear Regional Theatre (CFRT), Tom produced over 35 plays and directed the World Premiere of Downrange: Voices from the Homefront, a play based on interviews with military spouses from Fort Bragg. Tom is an Associate Artist at PlayMakers Repertory Company in Chapel Hill where he directed An Enemy of the People, Shipwrecked! An Entertainment, The Life and Adventures of Nicholas Nickleby, and The Little Prince. He also directed The Little Prince at the 2007 Edinburgh Fringe Festival. As the founder of FreightTrain Shakespeare in Los Angeles, he earned a Drama-Logue Award for his direction of Pericles. Other Los Angeles credits range from King Lear to The Devil With Boobs. A member of the Stage Directors and Choreographers Society, Tom is a graduate of Wesleyan University (Middletown, CT) with a B.A. in Theatre and Economics, and the University of California, San Diego MFA directing program, where he was the assistant director on the original production of The Who’s Tommy. 

JEFF RYDER

(Managing Director) has been Managing Director of Virginia Stage Company since March 2022. Prior to coming to VSC, Jeff served in several roles at Cleveland Play House from 2013 to 2022. Jeff holds a Master of Public Administration Degree from the Levin College at Cleveland State University and a Bachelor’s Degree from Tufts University. At Levin, Jeff was inducted into Nu Lambda Mu, the international honor society for the study of nonprofit management and philanthropy. Jeff also holds a certificate in Diversity and Inclusion for HR Professionals from Cornell University. He has served on the boards of the Cleveland Kids’ Book Bank, Theatre Forward, the Young Nonprofit Professionals Network of Cleveland, and the Cleveland Professional 20/30 Club. In Cleveland, Jeff was honored to be a part of the Cleveland Leadership Center’s Advanced Leadership Institute and the Cleveland Foundation’s Foundations for Philanthropy Program. Jeff has also been a stage manager at several theatres including Talespinner Children’s Theatre, Cincinnati Playhouse in the Park, and Berkshire Theatre Festival.

ADDITIONAL SHOW STAFF

Assistant Stage Manager … Lauren Stubenhofer
Intimacy Coach … Jordan Setzer
Fight Consultant … Greg Lloyd
Dialect Coach … Rachel Finley
Assistant Costume Designer … Jem Tepe
Stitcher/Young Performer Supervisor … Virginia Bird
Resident Casting Director … Emel Ertugrul
Wardrobe Supervisor … Chelsie Cartledge Rose
Sound Supervisor … Shyloh-Symone Bailey
Electricians … Rachel Elder, William Dowdy
Carpenters … Phillip Martin, Darion Carr, TréVeon Porchia
Properties & Artisan Swing … Tumôhq Abney
Wig Designer … Brawna Brinkley Gfeller

Staff Spotlight: Jeff Ryder, Managing Director

Virginia Stage Company is thrilled to welcome our new Managing Director, Jeff Ryder! Jeff joins VSC after nine years in various finance, fundraising, and management positions at Cleveland Play House. He joined the VSC team on March 28th!

We got to sit down with Jeff, during his very busy first week to ask some ‘top-tier’ important questions about him and his move to Virginia. Please stop and say hi to Jeff when you see him at the Wells Theatre or out in the community!

Marketing Associate: How would you describe your position at VSC to someone who may not be familiar with the title or a day to day in your life here?

Jeff Ryder: The Managing Director partners with the Artistic Director to support a strong organization that fosters an environment where artists can do their best work. Specifically, I focus on financial management, marketing, sales, human resources, fundraising, supporting our Board of Trustees, and all the other nuts and bolts that make a nonprofit organization run. All of this is in support of the art that Virginia Stage Company creates for the Hampton Roads community.

MA: Can you tell us a little bit about your background? What got you started in theatre and led you to here?

JR: So I’ve had a little bit of a winding path in the theatre. A lot of people start as actors and find their way to other areas of our business. That was NOT my journey. I started working in props design in High School and then grew into Stage Management. I majored in Stage Management at Tufts University and then worked for about a year and a half as a Stage Manager before I decided that I wanted to pursue other areas of theatre management. The Cleveland Play House Apprentice Program offered me the perfect opportunity to learn about finance and human resources, and led to me spending almost 9 years there working in every one of the departments that I now manage.

MA: How did you come to work for Virginia Stage Company?

JR: It was a really attractive opportunity to be a Managing Director at such a great organization that is well positioned to come out of the pandemic and be successful. This theatre is also very artistically familiar to me. VSC programs plays and theatre education programs that are interesting, thought provoking, and boundary pushing, and that ultimately build a stronger, more connected community. It is incredibly rewarding to support this kind of work.

MA: What's the biggest thing you are excited to have influence or impact on while working for Virginia Stage?

JR: I hope to have an influence on making Virginia Stage Company an integral part of our community. I mean that in a lot of ways. Welcoming the ENTIRE Hampton Roads Community to authentically enjoy our space, but also looking out at how we can make Hampton Roads a better place to live in a broad sense. VSC is already doing this work, but I look forward to helping it continue to advance.

MA: Before VSC, what was the most unusual or interesting job you've ever worked on?

JR: I did all kinds of unusual things at Cleveland Play House, but I once spent two summers managing a snack bar at a swimming pool. It was a real trial by fire experience in customer service. Many complaints came my way that were well beyond my purview…everything from ‘Can I get a different kind of iced tea’ to ‘Can you fix this maintenance problem with the pool’. At the time, I didn’t realize what good training this was for customer service positions that I would later hold in theatre.

MA: Where have you lived, and what is the most fun place to visit at those places?

JR: I’m from Iowa originally, went to college in Boston, spent some time in the Berkshires and Cincinnati as a Stage Manager, and then was in Cleveland for about 9 years working at Cleveland Play House. Boston is a great city with a wonderful connection to American History, but the place I most look forward to returning to visit is Cleveland. I don’t think it is well enough known that Cleveland is a great city for arts and culture. It has many theatres, a world-class orchestra, great museums, and the Rock & Roll Hall of Fame. I also look forward to going back to visit the West Side Market.

MA: When you first started here at VSC, what productions or projects in this current season were you the most excited to be a part of?

JR: I was really interested in The Thanksgiving Play when I was interviewing for this position, but the thing that made me feel like this could be my next artistic home was when I heard VSC was doing Every Brilliant Thing….this made me feel like this was a place that shared some of my values and would also feel artistically familiar. VSC’s programming sparks important conversations for our community in a wide variety of topics. I am happy to be a part of that.

MA: If you won the lottery, what would be the first thing you'd buy?

JR: That is a tricky question. When I was in elementary school, I had to do that assignment of ‘what would you do if you had a million dollars?’ so I made a proposal to build a sanctuary for Orangutans. I know now that everything I wanted to do might take more than a million dollars…but maybe winning the lottery would be a good start.

MA: Are you a dog or a cat person?

JR: A dog person *answered confidently* I have a siberian husky named Togo. 

MA: Most obscure random fact you know off the top of your head?

JR: The weirdest fact I know is that Barbara Walters, Anne Frank, and Martin Luther King Jr. were all born in the same year.

Dreamgirls Interview: Tom Quaintance and Anthony Stockard

Virginia Stage Company couldn’t be more excited to welcome the Hampton Roads Community to the Wells Stage as it marks it’s fifth co-production with the talented and accredited artists at Norfolk State University Theatre Company in the form of Dreamgirls.

If you’re not excited yet then please take a listen to the words from Dreamgirls director and Norfolk State University Theatre Company Producing Artistic Director Anthony Stockard and VSC’s PAD Tom Quaintance as they exclaim the excitement, joy, and energy that is going to grace the Wells Theatre Stage.

This is a show you won’t want to miss! Make sure to get tickets at www.vastage.org/dreamgirls today!

Staff Spotlight: Bethany Mayo, Education Director

Bethany Mayo and Patrick Mullins discuss rehearsals or VSC’s Newest Education Tour ‘Greenbeats!’

Last week, Virginia Stage Company had the privilege of welcoming a new team member to its organization in the form of new Education Director Bethany Mayo (she/hers). Bethany is an electric personality, with an ecstatic sense of excitement at the opportunity to bring theatre integrated education to the local student communities of Hampton Roads through Virginia Stage Company’s programming. Before joining us, she was the Director of Education for the Baltimore Shakespeare Factory. From her work as an actor and artist, she began to develop a love for teaching theatre (and literature) through performance and classes with her students. While Shakespeare has been her recent main profession, her Master’s and thesis focus on integrated theatre into all forms of education and engaging students in History, English, Math, and in ways that move their body, engage their creative storytelling, and help them grow a passion for learning.

We are thrilled to share her infectious energy with you all, so we recently sat down with Bethany to learn a little bit more about her.

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Marketing Associate: How would you describe your profession to someone who might not be familiar with it?

Bethany Mayo: So…how I’ve described it in the past I “I make educational programing, for use in school or at the theatre, for K-12 students” so they can either use theatre to learn something or get more acquainted with other lessons. I’m excited to bring this experience to VSC, my previous experience was directly tied to Shakespeare and theatre education. We talked about language, rhetoric, or English classes…but here I’m more open to do everything! Which I think means more students can take advantage of the benefits of arts integrated learning. Connecting those things back to what students are learning in their classroom, or social skills, how to work in a group…all those skills you need to learn moving forward. It’s

MA: Can you tell me a little about your background?

B: I started a bank teller, believe it or not! My husband and I moved to Baltimore, and once there I finally found a theatre where I felt like I could find my full-time career as an artist. I auditioned, and found that there was a position available as a teaching artist. I took the job, hoping to lead to an opportunity there, but on my first job teaching students in an English class learning Romeo & Juliet I fell in love with the process and seeing what students learned from it. I continued as a teaching artist for 5 years, remaining with a focus on Shakespeare, and learning my voice and style as a theatre educator…I found an opportunity to be a Director of Education at another theatre and thought what’s the worst that could happen?

So I took a chance, applied, got it…found out I wasn’t half bad at it! And so I started to grow. While in the position, I started to wonder “!hat if we did this with other classes? How do we help theatre integrated teaching assist with teaching other courses like history where the content is so dense?” This was what started me on my Master’s Program…so I worked in my first Director of Education job at a theatre while beginning work on my Masters. 

Coming from my research, articles and news going all the way back to 1920 classroom professionals keep talking about how the next big thing will be ‘integrating theatre into classroom lesson plans for all topics’ but then here we are today…and it’s still going to be the next big thing. Imagine, What if you learned historical eras from what the most popular dance were? Kinesthetic learners can get engaged physically and hold onto new things learned if we expand their educational experience to include performance, movement, language in these new ways.
 
MA: How did you come to arrive at your position here at Virginia Stage Company?

B: I moved here with my husband, who’s in the military, and I looked at all the theatres I could back in December of 2020 but no one was hiring. But about 6 weeks ago, in the middle of the night, I had a sudden urge to go “I wonder if that theatre I liked was hiring?” I opened up my computer and saw the Director of Education position was available so I applied. It was like a voice from the universe!

MA: What impact do you hope to have with your time here?

B: What I want to do is…the way VSC’s current Education Program is built is made to operate externally and meet people where they are. What I feel is missing is how our program draws people in, so what I hope to do while I’m here is build the kind of Educational Programming that can bring people here. Combining arts integration skills to figure out where in the local school systems we can be of use, I’m a huge fan of arts in schools. It’s a wonderful tool that helps art meet those students in places and in opportunities where they might not normally get exposed to the theatre for a long time.

Rooting our external programs in a way that engages with the curriculum, but leaves bread crumbs to what we do with our shows back at the theatre and brings those students here. In the version where this doesn’t suck and I don’t get fired, of course!

MA: Before working at Virginia Stage, what was the most unusual or interesting job you’ve ever had?

B: Two come to mind, the first one is a specific assignment I had on one of the jobs. I was a Standardized Patient in Baltimore and we were working with medical students at the end of their unit on labor and delivery. I had a backpack with a hollow belly where we had a water-filled infant doll inside the hollow case. It was supposed to teach the doctor’s in training about how to build repour and comfort quickly with patients in a time-sensitive situation. I had one student catch and piledrive the doll into my chest, and I cannot forget that experience.

I also used to work for a murder mystery company that would go to locations, restaurants etc., performing live murder mystery theatre experiences. But sometimes you’d be invited to personal homes and be in these spaces for 3 -4 hours that you’d never been before and with people you’d never interacted with before. So our audience member interactions were always a stab in the dark…but it was a lot of fun too!

MA: What places have you lived before here?

B: I have lived in Des Moines, Iowa; Cavalier, North Dakota; Kansas City, Missouri; Fulton, Missouri; Pensacola, Florida; Baltimore, Maryland; and now HERE!

MA: When you started with Virginia Stage, what show or project were you most excited for?

B: When I looked through the season, in the early days before I applied, I saw that VSC tackled Pride & Prejudice and Sense & Sensibility. Both shows I loved, and with full casts that were made up of local and professional actors alike. A concerted effort to concentrate on hiring and presenting local talent alongside out of town talent to shape a full show that showcases the brilliant work of local artists.

MA: What is the first thing you would buy if you won the lottery?

B: Another house, real estate market y’all…that’s all I can say.

Thanksgiving Play | Meet the Dramaturgy w/ Courtney Mohler

Please join VSC Marketing Associate Connor Norton as he welcomes and introduces VSC to Dr. Courtney Mohler the Dramaturg/Cultural Consultant on VSC’s The Thanksgiving Play.

Contextualizing The Thanksgiving Play in the American Theatre

In 1931, playwright Lynn Riggs (Cherokee) was the first Native American playwright to have a full-length play produced on Broadway.  Lovingly dramatizing characters from his youth in Indian Territory at the turn of the century, Green Grow the Lilacs had a modest run of 64 performances.  Some years later Rodgers and Hammerstein adapted Riggs’ script into what would become the musical sensation Oklahoma!  In addition to replacing the Indian Territory folk songs with flashy Broadway musical numbers, Rodgers and Hammerstein omitted Riggs’ references to Native identity, traditions, and cultural concerns.  

As of 2022, Broadway has yet to mount a full production of another play by a Native American identified playwright.  However, as a testament to a more inclusive view of American storytelling and to Sicangu Lakota playwright Larissa FastHorse’s talent and tenacity, FastHorse became the first Native American playwright to receive the MacArthur Genius Award in 2020.  The Thanksgiving Play was among the top ten most produced in the 2019-2020 season, and continues to entertain audiences across the nation as theatres re-open their doors for the 2021-2022 season.

Despite what may appear to be sudden success, FastHorse has been writing plays for well over a decade. FastHorse considers her activism to be inseparable from her work in the theatre, and sees her plays as an opportunity to connect Native and non-Native communities.  Her work frequently features one or more Native American characters, and always seeks to explore issues and concerns that are central to Indigenous people.  Unfortunately, this has meant that many of FastHorse’s works have been deemed “unproducible,” because mainstream theatre companies assume it is impossible to find Native actors to cast.

Frustrated but determined, FastHorse decided to write a play that would call for four white-presenting actors, thereby erasing the perceived obstacle around casting. Responsible to her own activist agenda, FastHorse also set out to write this very funny, very producible play in a way that would reflect her dedication to illuminating present-day concerns for Native Americans.  This includes the national attachment non-Indigenous peoples have toward the ideas of Thanksgiving, “discovery,” and early European “contact” in the Americas. As a playwright, FastHorse also harnessed her own experience working in a field dominated by well-meaning white allies and the decades of obstacles she and other Indigenous artists face to make a seat at the table of theatrical representation.  

The Thanksgiving Play draws a parallel between the white privilege of not seeing settler colonialism as active and pervasive and the white ownership over cultural institutions including the American theatre. At the core of this play are the questions: Who gets to tell whose stories? Who benefits from telling the Thanksgiving myth as a peaceful celebration of two neutral cultures celebrating friendship together? What are the limits of white allyship and well-meaning “diversity” centered work?  And when does the artistic impulse to make something “meaningful” brush up against institutional expectations to “do the right thing,” or “to not offend anyone”?  Is it the job of (white) American theatre to “make space” for culturally diverse stories? And if these stories can’t be done “authentically,” is the right approach to do abandon those efforts all together?  Who benefits from passive white allyship?  And more importantly, if we are complicit in advancing white-centered stories at the expense of BIPOC ones, how do we change that?  

-Courtney Elkin Mohler, Ph.D (Santa Barbara Chumash)

THE THANKSGIVING PLAY Cast + Creative Team

Creative Team

Jessica Holt †

(Director | she/her/hers) is thrilled to return to Virginia Stage Company to direct Larissa FastHorse’s The Thanksgiving Play. This marks her fifth time collaborating with VSC. Previous productions include Kate Hamill’s Sense and Sensibility, Fun Home, Venus in Fur, and the recent virtual production of Something Delightful. Additional selected directing credits include: Ironbound by Martyna Majok (A.C.T.), The Resting Place, Bright Half Life, The Lily's Revenge (Magic Theatre), Speech and Debate (Barrington Stage Company), Rich Girl (Florida Studio Theatre), The Daughters (San Francisco Playhouse), and Ugly Lies the Bone (Alliance Theater). She has also developed and directed work at Cape Cod Theatre Project, Bay Area Playwrights Festival, Santa Cruz Shakespeare, Magic Theatre, Berkeley Rep's Ground Floor, Rivendell Theatre, NYU, Pocono Mountains Music Festival, Sewanee Writers Conference, among others. She is a proud graduate of the Yale School of Drama, where she received her MFA in Directing. Projects there include: The Seagull by Anton Chekhov, Shakespeare’s Twelfth Night, and the hip-hop musical The Children by Phillip Howze. She served as the Co-Artistic Director of the 2014 Yale Summer Cabaret, producing and directing a season of adventurous and daring work by contemporary American playwrights. Jessica is a 2016 National Directors Fellow with the Eugene O'Neill Theater Center, NNPN, the Kennedy Center, and SDCF, as well as a proud member of the following organizations: SDC, Ring of Keys, and Wingspace where she is a mentor for early career directors. For the last three years, she has directed the A.C.T. MFA Actor Showcase and looks forward to directing the Class of 2022 this spring. www.jessicaholt.org

Larissa Fasthorse

(Playwright | she/her/hers) is a 2020 MacArthur Fellow, award winning writer/choreographer, and co-founder of Indigenous Direction, the nation’s leading consulting company for Indigenous arts and audiences. Her satirical comedy, The Thanksgiving Play (Playwrights Horizons/Geffen Playhouse), is one of the top ten most produced plays in America this season. She is the first Native American playwright in the history of American theater on that list. Additional produced plays include What Would Crazy Horse Do? (KCRep), Landless and Cow Pie Bingo (AlterTheater), Average Family (Children’s Theater Company of Minneapolis), Teaching Disco Squaredancing to Our Elders: a Class Presentation (Native Voices at the Autry), Vanishing Point (Eagle Project), and Cherokee Family Reunion (Mountainside Theater). hoganhorsestudio.com/about-larissa

Charlotte Bydwell

(Choreographer | she/her/hers) is thrilled to be returning for her fourth production with Virginia Stage Company and with director, Jessica Holt. Previous VSC credits include the role of Vanda in Venus in Fur and the choreography for Sense & Sensibility. Charlotte has performed & choreographed at other leading theaters around the country, including The Old Globe, Williamstown Theater Festival, The Public Theater and the Maltz Jupiter Theater. She most recently served as choreographer for the 2021 National Tour, New York City and Chappaqua Performing Arts Center productions of A Charlie Brown Christmas. She has also worked on camera in recognized film/TV productions, most notably as the season choreographer on Comedy Central’s series Alternatino. Charlotte created and teaches ‘Moving into Language’, an approach to acting that uses movement as a launching pad for building character, unlocking scenes and arriving at a unique interpretation of spoken material. The course has been offered through Gibney Dance, BeMoving and Dance Device Lab. Professional dance credits include: Monica Bill Barnes & Co. (The Joyce, American Dance Festival, Jacob’s Pillow), Keigwin + Co (The Joyce). Education: Juilliard School, Dance BFA. The Old Globe/USD Graduate Acting Program, Acting MFA.

Dr. Courtney Elkin Mohler

(Cultural Consultant | she/her/hers) is delighted to have the opportunity to give dramaturgical support to VSC’s production of one of her favorite plays by one of her favorite Indigenous artists! As a stage director and dramaturg, Mohler concentrates on new works that push aesthetic and political boundaries aimed to affect a more equitable world and is dedicated to supporting new work by Indigenous playwrights. Some recent dramaturgy credits include Lying with Badgers by Jason Grasl (Blackfeet) at Native Voices at the Autry (NVA), Desert Stories for Lost Girls by Lily Rushing in a co-produced staged reading with PlayPenn and NVA, and Yu-Che-Wah-Kehn (Bitter) by Vickie Ramirez (Tuscarora), recipient of the National New Play Network’s Smith Prize for Political Theatre. When not in rehearsal, Courtney spends her time serving as Associate Professor of Theatre and Associate Dean for Inclusion, Diversity, Equity, and Access in Jordan College or the Arts at Butler University where she teaches Theatre History, Performance Studies, and directs. Specializing in Critical Race Theory, Native American Theater, and Performance Studies, she has published articles in Theatre Topics, Modern Drama, Text and Presentation, Platform, and Ecumenica, and has contributed chapters to numerous edited anthologies.  She also co-authored Critical Companion to Native American and First Nations Theatre and Performance: Indigenous Spaces (2020 Bloomsbury-Metheun Press), and holds a doctorate in Critical Studies in Theatre from UCLA.

David Castaneda

(Lighting Designer | he/him/his) has shed light on more than 500 productions around the country including Parchman Hour and The Bluest Eye for VSC and will illuminate the upcoming Cat on a Hot Tin Roof. Some bright moments in NYC: Broadway: Irena’s Vow (Tovah Feldshuh), Helen Hayes: Marvin’s Room (T.R. Knight), The Directors Company: Murder in the First (Chad Kimball), Public Theatre, Peculiar Works Project, Abingdon Theatre, NY Fringe Festival. Regional illuminations include Albany/Berkshire Ballet (NY/VT), Cape Fear Regional Theatre (NC), Broadway Rose (OR), Theatre Winter Haven (FL), Round Barn Theatre (IN), Temple Theatre (NC), Carousel Dinner Theatre (OH), Venice Stage(FL), Merrimack Rep (MA), ArtisTree Theatre Festival(VT), Seacoast Rep (NH), Millbrook Playhouse (PA), and many musicals in Spanish by ‘Misi’ in Bogota, Colombia. David radiates from the University of North Carolina School of the Arts.

Michael Costagliola

(Sound Designer | he/him/his) is a New York-based sound designer and composer. His work has been heard in New York in productions by The Public, New York Theatre Workshop, La MaMa, Rattlestick, and Ars Nova among others, as well as regionally at Two River Theater, Yale Rep, Alabama Shakespeare Festival, St. Louis Rep, and at various other theaters across the U.S., Europe, and India. BA in Music from Brown University, MFA in Sound Design from Yale School of Drama. michaelcostagliola.com

An-Lin Dauber

(Costume Designer | she/her/hers) is a New York based set and costume designer. Notable set and costume designs include Seven Guitars (Yale Repertory Theatre), Paul Swan is Dead and Gone (The Civilians), A Christmas Carol: The Live Radio Play (Alliance Theatre), It’s A Wonderful Life (Hartford Stage), And Then They Came For Me (Alabama Shakespeare Festival), The Song of Summer (Mixed Blood Theatre), The Rocky Horror Show (Park Square Theater), Macbeth (Theater Alaska), An Acorn; The Good Person of Szechwan (Brown/Trinity Rep), Marisol, Blood Wedding; The Bar Plays: Small Craft Warnings and The Time of Your Life; A Bright Room Called Day (The Williams Project), The Seagull (Serenbe Playhouse), Displaced: A Response to Qurban (Boston Conservatory at Berklee). She is a company member of The Williams Project, a living wage theater company committed to radical hospitality. MFA Yale School of Drama. www.anlindauber.com.

Edward Morris §

(Set Designer | he/him/his) Is a set and projections designer for live performance and a sustainability consultant. He believes in the power of art and design to increase empathy and facilitate positive social change. A member of United Scenic Artists Local 829 and Wingspace Theatrical Design, he graduated from University of Michigan with a BFA and holds an MFA in Scenic Design from the Yale School of Drama and has taught at The New School and Connecticut College. He keeps offices in New York and Oklahoma City where his wife Kelly Kerwin is the artistic director of Oklahoma City Repertory Theater. Edward has designed for Shanghai Dramatic Arts Center, Yale Repertory Theatre, Martha Graham Dance Company, LaMama, The Barrow Group, Goodspeed Opera House, Cherry Lane Theater, Opera Memphis, Parallel 45, Magic Theatre, Interlochen Shakespeare Festival, University of Michigan, Princeton University, and Columbia University among many others. Edward designed Halloween decorations for President Obama’s White House in 2015. https://www.edwardtmorris.com/

Kate Wellhofer *

(Stage Manager | she/her/hers) is thrilled to be making her Virginia Stage Company debut. Select past credits include: New York: Choir Boy (Manhattan Theatre Club); Kimberly Akimbo (Atlantic Theater Company); Merry Wives (Shakespeare in the Park: The Public Theater). Regional: One Man, Two Guvnors; A Midsummer Night’s Dream (Chautauqua Theater Company); Romeo and Juliet; Measure for Measure (Santa Cruz Shakespeare). BFA in Drama from New York University.

Cast

Lauren Blumenfeld *

(Logan) (she/her/hers) is thrilled to be reuniting with her former middle school drama teacher, Tom Quaintance, in her VSC debut. Some of Lauren's favorite theater credits include The Assembled Parties (Broadway), We are Proud to Present . . . (Soho Rep), and Sailor Man (NYC Fringe Award). She has performed abroad at the Old Vic (London) and regionally at the Williamstown Theatre Festival, the Old Globe (San Diego), and the Pittsburgh Public. Lauren was a series regular on the satirical television comedy Nightcap and has appeared in recurring roles on The Marvelous Mrs. Maisel, Kevin (Probably) Saves the World, Limitless, Doubt, and Deadbeat. Lauren's voice is featured as a unicorn on Tony Hale's animated series Archibald's Next Big Thing (Netflix). Her short film, Stepdaddy, premiered at SXSW and won the Golden Space Needle Award at SIFF. Lauren is an Orchard Project Episodic Television Writing Fellow, as well as a proud volunteer at the 52nd Street Project (New York) and School on Wheels (Los Angeles).

Ryan Clemens *

(Jaxton) (he/him/his) is proud to work both on the main stage and with VSC's Education Department. VSC patrons may remember Ryan as Mr. Wormwood in Matilda; Trinculo in The Tempest; Lieutenant Brannigan in Guys & Dolls; Vinnie in The Odd Couple; Mortimer in The Fantasticks; Bob Cratchit, Old Joe, or Ghost of Christmas Present in several years' versions of A Christmas Carol; or as his famous relative Sam Clemens in his one-man show Meet Mark Twain. Originally from Wyoming, Ryan began his career in a travelling Wild West show. He has worked at theaters around the country, including several seasons locally with the Virginia Shakespeare Festival and Tidewater Stage Company. He performs with Plan B Comedy at Zeider's American Dream Theatre. Ryan holds a BA in Theatre from Western Washington University and an MFA in Acting from Regent University. He also teaches at ODU. www.clemensistwain.com

Julian Stetkevych *

(Caden) (he/him/his) is happy to be back with this wonderful cast and team. At VSC he has appeared in Sense & Sensibility and Pride & Prejudice. Off-off Broadway: Richard III and The Two Gentlemen of Verona with Oxford Shakespeare Co., Dog Act with Flux Theatre Ensemble, The Silent Concerto at NY Fringe Festival, and staged workshops and readings at Playwright’s Horizons, Classic Stage Company, and Ensemble Studio Theatre. Regional: A Christmas Carol at American Conservatory Theater, The Berlin Circle at Steppenwolf Theater, and Les Liaisons Dangereuses at Theo Ubique. He is a member of Actors’ Equity Association and an Assistant Professor of Acting at Christopher Newport University. He holds MFAs from the American Conservatory Theater and the University of Pittsburgh.

Jenny Hickman *

(Alicia) (she/her/hers) is thrilled to be making her Virginia Stage Company debut! A New York City-based actor and classically trained singer, she was previously seen on the Broadway national tour of Hello, Dolly! (ensemble, u/s Irene, u/s Ernestina). Other recent credits include: Bull, What We're Up Against (both with New Wave Theater Collective), Mary Poppins (West Virginia Public Theater), Witches of Eastwick (Ogunquit Playhouse), Parade (The Carnegie Theater), Carrie (CCM, League of Cincinnati Theaters Award). Jenny holds a BFA in Musical Theater from the Cincinnati College-Conservatory of Music, and a BA in Psychology from the State University of New York. Love and thanks to her amazing family and her partner Nathan.

* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
† Member of the Society for Stage Directors and Choreographers, Inc., an independent labor union
§ Member of United Scenic Artist Association, a labor union and association for Stage Artists, Craftspeople, and Department Coordinators.