INTERVIEW WITH PLAYWRIGHT

ironic as well. Is the joy really because of the house? Or is it because of something else? And where can we find it?

Well that’s an intriguing food for thought and it doesn’t give away our plot. In the rehearsal room you have described more than once that the house is a romantic, and in the play you’ve described it in ways to represent its liveliness, and that it breathes and sees. How else would you describe this house?

It’s a trickster! Like Loki, it’s a trickster god. You don’t really know how to predict which way this god will act.

It doesn’t have rules?

It doesn’t have rules! It is capricious, it’s playful. It likes to poke things just to see what will happen. But it is alive and it is reacting to everything that’s happening inside of it. So it’s really an institution that is quite literally shaped by the people within it.

Has it always been alive in previous versions?

No.

When was the moment that you decided it needs to come to life, have its own agency, and become a character of its own?

I think in previous drafts I tried a little bit to abide by certain realities of history and realities of our world. But this is theater! And if my whole opinion, like I said, that it is an institution that is shaped by the people who live by it, then why not just see that happen on stage in a literal way? Sometimes the walls in this house are not the physical walls, they’re invisible. And it’s not just a metaphor, they’re actually invisible. It’s really fun to have a magical building on stage, absolutely. But also, it’s just a way of taking the metaphor and making it literal.

I would even say it’s joyous to have a magical house on stage.

It’s fun! It keeps you slightly disoriented in a fun way. But it also gives you agency because if things are constantly changing, then maybe you realize - I have the power to change them too. Maybe there’s a way I can get around this. It doesn’t feel as static and as permanent and as immutable as an ordinary building might feel. It feels more like the idea of an institution itself.

As you’ve mentioned, you started writing this in 2016 when you wanted to write a story that’s far away from modernday America. On the subject of agency and how that, right now, in 2022 we are living in a particularly tense moment in this country where women’s rights are on the line, and their agencies over their own bodies– that have been gained after decades of fighting for– are revoked. How do you think your play, right now, speaks to this reality, if at all?

When did we ever have full agency? If it can be taken away this easily, then we never really had it to begin with. People with power have always had more agency than people without power - and

those nuances exist within marginalized groups as well. Yeah, some women have had their rights absolutely demolished, but other women will be fine. Because that’s how our world works. So I don’t necessarily think this play is speaking to that different reality. And I know I sound super bleak.

I get what you mean, as a person who’s not from this country, I get it.

It’s like, obvious… it’s obvious. And I feel the same way.

That it can’t all be taken for granted?

Yeah. There are things that are taken for granted by a certain segment of the population, which have never been universal! Most women of color in this country have never had full rights over their bodies and their agencies for most of the history of this modern country. So yeah, it’s just that things are bad. They’ve been bad for a while. But things can change, we could change them!

And that’s why we do theatre and keep telling these stories. Do you have any final thoughts that you want the audience to have in their minds as they are about to experience the world of House Of Joy?

Just enjoy the incredible production put together by our brilliant team. Enjoy the beauty of the sets, the costumes, the props, lights, projections, and sound. And enjoy the absolute virtuosity of our actors. Enjoy what Lavina (our director) has done. Just have fun! I hope you have a lot of fun, that’s all.

THE REPERTORY THEATRE OF ST. LOUIS

augustin family artistic director

Hana S. Sharif

managing director

Danny Williams

presents

Author Madhuri shekar director lavina jadhwani

Scenic Designer Dahlia Al-Habieli

Associate Scenic Designer Natalie Rose Mabry Costume Designer Oona Natesan Lighting Designer Sarah Hughey sound designer Pornchanok (Nok) Kanchanabanca Projections Designer Stefania Bulbarella Fight/Intimacy Director Gaby Labotka Choreographer Aparna Kalyanaraman Dramaturg Salma S. Zohdi Associate director Karina Patel assistant Scenic Designer Chen-Wei Liao

Associate lighting designer Vianey Salazar assistant sound designer Daniel Etti-Williams

Associate Projections Designer Brian Pacelli

Projections Programmer Devin Kinch Projections Animator/Illustrator Joaquin Dagnino stage Manager Emilee Buchheit*

Assistant Stage Manager Lorraine Fiore* Production Assistant Shavante Brogley

CAST

Shape Shifter Regina A. Fernandez* gulal Miriam A. Laube*

Mariyam Emily Marso* Roshni Tina Muñoz Pandya* NOORAH Aila Ayilam Peck* Salima Omer Abbas Salem* Hamida Sumi Yu*

The play will be presented with one intermission.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

World premiere produced by California Shakespeare Theatre Artistic Director EricTing House Of Joy was originally workshopped and developed in the 2018 Pacific Playwrights Festival at the South Coast Repertory The play was developed with the support of New York Stage And Film’s 2018 winter season The play was developed at the 2018 Bay Area Playwrights Festival, a program of the Playwrights Foundation, Amy L. Mueller, Artistic Director.

the First Day of Rehearsal: A Note From the Director

As I was checking out at the Trader Joe’s on Friday, I started chatting with the cashier about working at The Rep. When I told them the title of our show, they asked me, “Is it really joyous? Or is the title ironic?” Though I’ve seen this script through multiple iterations – and though as I write this, I do not know how exactly it will end – I was thrilled to be able to say, with certainty, that the play is joyous. In Madhuri Shekar’s imaginative play, women dare to dream out loud, speak truth to power, and imagine change that will rattle the world. I’ve described this process multiple times as “jumping onboard a moving train” which is honestly one of my favorite tropes in Bollywood movies – when the hero extends their hand to the heroine to help them climb aboard. Our work can be dangerous, and I’m so honored to have some of my oldest friends and most trusted collaborators here to help prioritize everyone’s health and safety. We will take good care of each other and though I don’t know exactly where the finish line is right now, I can guarantee you that we will have a joyous time crossing it together. It is a joy to make art here at The Rep, in the inimitable Hana S. Sharif’s house; Hana is a leader and visionary whose ethic and aesthetic I’ve admired for over a decade and it’s an honor and a privilege to be bringing a company of incredibly talented artists from around the world together to make art here, in the Gateway to the West. Lavina Jadhwani, Director

REGINA FERNANDEZ (Bibi/Khadija/Mehr/ Shapeshifter) is thrilled to be making her Rep debut! Regina is a proud Filipina-American actress, choreographer,and singer based out of Los Angeles. Select regional credits include Bumbrake/Teacher in Peter and the Starcatcher at the Oregon Shakespeare Festival, Ayah in The Secret Garden at the Denver Center for the Performing Arts, Charmian in Antony and Cleopatra for Theatreworks, Marianne Dashwood in Sense and Sensibility, Ann Deever in All My Sons, and Emilie in The Moors at the Arvada Center for the Arts and Humanities. TV/Film credits include NBCUniversal’s Good Girls, Nickelodeon’s Side Hustle, and WatchEye Studios’ OTISE. Movement design credits include Shakespeare: Call and Response directed by Patricia McGregor for the Old Globe, El Borracho directed by Edward Torres for The Old Globe, and Around the World in 80 Days directed by Lavina Jadhwani for Theatreworks. Proud member of AEA and SAG-AFTRA. Warm thanks to Todd, ATB Talent, Harry, my family, Becks, Hana, and Lavina! Social Media @MabuhayItsRegina

EMILY MARSO (Mariyam) is making her Rep debut. A Chicago-based actor, her theatre credits include work with Goodman, Northlight, Writers, TimeLine, The Gift, Silk Road Rising, and more. If you like her acting but not how live it is, television credits include a recurring role on Chicago Med and Chicago Fire (NBC), and film credits include An Exquisite Meal; Swipe Up, Vivian!; and The Last Stand of Bobby Coe. If you prefer animation, her video game credits include performance capture for Kitana in the Mortal Kombat franchise (NetherRealm Studios) and motion capture for the Call of Duty franchise (Raven Software). And if you long for an audioonly experience, you can hear Emily narrate multiple titles as the voice of Disney/Pixar’s Turning Red audiobooks. Emily graduated with a BA degree in theatre, political science, and Chinese from Northwestern University. She’s represented by Paonessa Talent. For more information, visit: emilymarso.com., Social Media @missmarso

MIRIAM LAUBE (Gulal) In 16 seasons at the Oregon Shakespeare Festival: Cleopatra, Olivia, Hermione, Rosalind and Julia, The Witch in Into the Woods and Vasantasena in The Clay Cart. She is proud to have originated the roles of Gynecia in Head Over Heels, Maruca in Party People, and Cleo in Family Album. She was in the original Broadway cast of Bombay Dreams and has worked regionally at Berkeley Rep, Dallas Theater Center, Milwaukee Rep, Baltimore Center Stage, and The Guthrie Theater. She received a Henry Award for Best Supporting Actress for her work in the original production of The Book of Will at Denver Center. She is honored to be both a Fox Fellow and a Lunt-Fontanne

Fellow. Directing: The Tempest, Santa Cruz Shakespeare; Pirates of Penzance and Oklahoma (Associate Director) Oregon Shakespeare Festival. Producing: Senior Producer for The Play On Podcast Series for Next Chapter Podcasts; The Daedalus Project – Oregon Shakespeare Festival. Board: She serves on the boards of Play On Shakespeare and the Ashland New Plays Festival.

TINA MUÑOZ PANDYA (Roshni) is an actor, musician, and teaching artist based in Chicago, where her credits include: The Secretaries (First Floor Theater); Mr. Burns, a Post-Electric Play (Theater Wit); The Mousetrap (Court Theatre); X-Marks the Spot (Chicago Children’s Theatre); The Aristophanesathon (The Hypocrites); Pinocchio and The Great and Terrible Wizard of Oz (The House Theatre of Chicago); The Tall Girls (Shattered Globe Theatre); and Octagon (Jackalope Theatre). Touring credits include: The Merry Wives of Windsor and Henry IV Pt 1 (Montana Shakespeare in the Parks); HMS Pinafore, The Pirates of Penzance, and The Mikado (The Hypocrites); and A Midsummer Night’s Dream, Julius Caesar, and A Tale of Two Cities (National Players). You can also hear her on the Chicago-based audio drama The Vanishing Act. She is an ensemble member at Sideshow Theatre and Shattered Globe, a proud graduate of the University of Michigan and the School at Steppenwolf, and is represented by Gray Talent Group. AILA AYILAM PECK (Noorah) is a Chicago based actor and teaching artist. Chicago theatre credits include: Shakuntala (Goodman Future Labs), This Wide Night, Five Mile Lake (Shattered Globe), Birdland (Steep), Macbeth (Chicago Shakespeare Theatre), The Royal Society of Antarctica (The Gift), Miss Bennet: Christmas at Pemberley (Northlight), 1984 (Steppenwolf for Young Adults). Regional credits include: Brahman/i: a One Hijra Stand Up Show, Proof (Kitchen Theatre), The Who and the What (Huntington Theatre), A Doll’s House, Twelfth Night, Macbeth (American Player’s Theatre), Cyrano de Bergerac, Macbeth, You Never Can Tell (Montana Shakespeare in the Parks). Aila holds a BFA from North Carolina School of the Arts and is a proud alumna of School at Steppenwolf class of 2016. She is represented by Gray Talent Group.

OMER ABBAS SALEM (Salima) is an actor and playwright. His favorite acting credits include Light Falls, Linda, and Earthquakes in London (Steep Theater), INVASION! (Silk Road Rising), Pinocchio (The House Theatre), Princess Mary (Bailiwick), You Across from Me and A Christmas Carol (Actors Theatre of Louisville), Eddie and Dave (The Atlantic Theater), and We’re Going to Change the World (Roundabout Theater). His writing has been produced by Steppenwolf Theatre, The Goodman Theater, The Theater School of DePaul, Actors Theatre of Louisville, Jackalope Theater, Definition Theatre, The New Coordinates, National Queer Theater, and About Face.

His new play Mosque4Mosque will receive its World Premiere with About Face in the Fall of 2022. He is a proud ensemble member of Steep Theater, Jackalope Theater, First Floor Theater, and The New Coordinates. He is a graduate of the University of Illinois Urbana Champaign and the University of Chicago. He is represented by The Gersh Agency and DDO Artists Agency. For more information, visit www.omerabbassalem. com

SUMI YU (Hamida) is thrilled to be back on stage after a long pandemic! TV: Nozomi in Heels (STARZ), Rise (NBC). OffBroadway: Greater Clements (Lincoln Center Theater), Call Me Madam (Encores! New York City Center). Favorite regional credits: Hannah in Freaky Friday (La Jolla Playhouse, Cleveland Playhouse, Alley Theatre), Marcy in The 25th Annual Putnam County Spelling Bee (Bucks County Playhouse, ACT of CT), Laurey in Oklahoma! (Theatreworks Colorado Springs). Education: Elon University Music Theatre ‘15. Representation: SAKS& and The Mine. For more information, visit www.sumiyu.com Social Media @sumireyu DIRECTION & DESIGN

MADHURI SHEKAR (Playwright) Madhuri Shekar’s plays include House of Joy, Queen, A Nice Indian Boy, In Love and Warcraft, Antigone Presented By The Girls of St. Catherine’s, Bucket of Blessings and The Incredible Book Eating Boy - all of which have been produced around the country. Madhuri’s audio drama, Evil Eye, debuted at #5 on Audible’s bestseller list, and won a 2020 Audie Award from the Audio Publishers Association for Best Original Work. She wrote the film adaptation starring Sarita Chaudhury, which is available to stream on Amazon Prime. In other TV & Film work, Madhuri was a staff writer on HBO’s The Nevers, wrote the screenplay for the upcoming Sister Act 3, and is staffed on a new Netflix project from David Benioff & D.B. Weiss.

Madhuri is a Resident Playwright at New Dramatists and an alumnus of the Lila Acheson Wallace American Playwrights Program at Julliard. She is a recipient of the Lanford Wilson Playwriting Award and the Steinberg Playwriting Award. She has an MFA in Dramatic Writing from USC.

LAVINA JADHWANI (Director) is a Chicago-based director, adaptor, and activist. Directing credits include Asolo Rep, the Guthrie, Mixed Blood, Oregon Shakespeare Festival, Teatro Vista, and Rasaka Theatre Company, where she served as Artistic Director for seven years. Adaptations include A Christmas Carol (Guthrie Theater), The Sitayana (East West Players/Hypokrit Productions/EnActe Arts), Shakuntala (Goodman Theatre - FutureLabs) and four Chekhov plays.

Lavina serves on the board of the National New Play Network and the Chicago Inclusion Project and volunteers with Unlock Her Potential, a national mentorship program for women of color. She is a proud alum of the Illinois Mathematics and Science Academy, where she received the show choir’s Bob Fosse Choreography Award and the drama club’s “Lifetime Achievement” award. BFA/MA, Carnegie Mellon; MFA, DePaul University.

DAHLIA AL-HABIELI (Scenic Designer) recent and upcoming credits include designs for the Dallas Theatre Center, the Goodman, Trinity Rep, Virginia Stage Company, Fordham University, and Harvard University. Dahlia is currently a Special Visiting faculty member at the Carnegie Mellon University School of Drama, and has given guest lectures and workshops for NYU, Wellesley College, University of Texas-Austin, Binghamton University and many others. NATALIE ROSE MABRY (Associate Scenic Designer) is a Scenic & Projections Designer from Dallas, TX. Natalie is the recipient of The Bill and Gene Eckhart Award for excellence in stage design and, the Taubman Scholarship for excellence in stage design. Natalie has designed sets, video, costumes, lights, and/or stage managed over one hundred theatre, opera, dance and music productions mostly calling Texas Theatres and particularly Dallas, home. This is their first opportunity to work with The Rep of STL and have designed for other theatres such as the Dallas Theater Center, Shakespeare Dallas, Stage West Theatre, Dallas Childrens Theater, Theatre Three, WaterTower Theatre,Circle Theatre, The Bob Hope Theatre, The Greer Garson, And Margo Jones Theatres At SMU Meadows, The Point Theatre, and Lake Dillon Theatre among many others. Natalie is a Trans-Queer Designer focusing on stories for a new and modern audience.

OONA NATESAN (Costume Designer) is an Indian American multidisciplinary designer, with experience in costume,fashion and graphic design. Theater credits include: Little Red (PSF), The Jungle Book (Enacte Arts), Into the Woods (Phillip Chosky Theatre), Tughlaq ( The MadrasPlayers). Upcoming Projects include: The Night Diary ( Children’s Theatre of Charlotte). Her fashion debut collection in the USA was at the Pittsburgh Fashion Week (2018). Prior to her move to the East

coast , to pursue her MFA in Costume Design at Carnegie Mellon, she assisted Couture and Bollywood designer Manish Malhotra and Indian Film designer Deepali Noor. She recently just launched her Ready to Wear/ Pret Brand “Oona Atelier”, that focuses on using sustainable and ethically sourced fabric directly from Indian Weavers in contemporary fashion.

SARAH HUGHEY (Lighting Designer) is pleased to make her Rep debut. She has designed lighting at Oregon Shakespeare Festival, Portland Center Stage, The Guthrie, Asolo Rep, Kansas City Rep, City Theatre, Steppenwolf Theatre, Lookingglass Theatre Company, Writers Theatre, Victory Gardens, Court Theatre, and many others in Chicago. She has taught lighting design at Northwestern University, Columbia College Chicago, and Willamette University. She holds an MFA from Northwestern. Originally from Joplin, Missouri, she spent many years in Chicago before settling in Portland, Oregon.

NOK - PORNCHANOK KANCHANABANCA (Sound Designer) is a Thai artist, sound designer, musician, and composer. Recent productions include Sweat (Huntington Theatre Company), Skylight (McCarter Theater), The Seagull, Choirboy, The Great Leap (Steppenwolf), As you Like it (OSF), Be Here Now (Cincinnati Playhouse). Nok has worked with theatre companies across the United States including Lincoln Center, Rattlestick Theatre, Actors Theatre, Geva Theatre, Everyman Theatre, Montana Shakespeare, and Milwaukee Repertory Theater, among many others. She has also collaborated with performing groups and theatre companies in Thailand including B-Floor Theatre, Babymime, Crescent Moon and Democrazy Theatre Studio since 2008. Nok graduated from the Yale School of Drama and is a member of the Theatrical Sound Designers and Composers Associate (TSDCA) and a member of USA Local 829. For more information, visit www.wishnok-music.com

STEFANIA BULBARELLA (Projections Designer) is a Video and Projections Designer from Buenos Aires, Argentina based in Brooklyn, NY. Off Broadway credits include: Space Dogs (MCC), Semblance (New York Theatre Workshop), The Watering Hole (Signature Theatre), Will You Come With Me? (The Play Company), Turtle on a Fence Post (Theatre 555), Eva Luna (Repertorio Español). Nominations: Drama Desk and Outer Critics Circle Awards for Outstanding Video/Projection Design for Space Dogs. For more information, visit www.stefaniabulbarella.com

GABY LABOTKA (Fight/Intimacy Director) is a Chicago-based, multi-disciplinary theatre artist who works as an actor, director, intimacy director, fight director, and choreographer across the country. She is a fierce advocate for respect, empathy, representation, inclusion, and safety in the theatre, and they are dedicated to making art that reflects that. Selected: Paradise Square (Broadway, Intimacy Director); Revenge Song (Oregon Shakespeare Festival, Asst. Director/Asst. Fight Director); La Ruta (Steppenwolf, Fight Director); [Trans]formation (The Living Canvas, Director/Deviser/Choreographer); The First Deep Breath (Victory Gardens, Fight/Intimacy Director); Kinky Boots (Paramount, Intimacy Director); WHITE (Definition Theatre, Intimacy/Fight Director); A Story Told in Seven Fights (Neo-Futurists, Fight Director); Romeo and Juliet + The Family Crest (Jacaranda Collective, Prince/Fight Director); and Hamlet (Repertory Theatre St. Louis, Asst. Fight Director). Training: Intimacy Directors & Coordinators, Society of American Fight Directors, Royal Academy of Dramatic Arts (RADA), Pig Iron Advanced Performer Training, Illinois State University (BA, Acting and Directing with Exceptional Merit in the Arts). Representation: 3Arts Talent Agency. For more information, visit www.gabylabotka.com Social Media @Theatre_Warrior. Keep Smiling! APARNA KALYANARAMAN (Choreographer) is a mother, artist and arts educator. She has been teaching and choreographing dance in studios, schools, workshops and festivals for almost 20 years, including Festival of Nations, COCA, and the St. Louis Art Museum, and as a full-time dance teacher with St. Louis Public schools for 8 years. She has performed with dance companies Grupo Atlántico, Dances of India, and Afriky Lolo. She is certified to teach dance K-12 and has her BA and MAT in dance; however, her real dance education has come from communities of color and her students. In addition to completing her graduation in Bharatanatyam, she studies dances of the African diaspora and Indian folk dance. Aparna’s current work centers on unlearning the harmful effects of colonization on our bodies, expression and art. For more information, visit www. daughtersofthemountain.com

SALMA S. ZOHDI (Dramaturg) is an Egyptian Dramaturg based in New York City. Salma is the Associate Director of Development & Communications at Noor Theatre Company, an Adjunct Professor at NYU’s Department of Dramatic Writing, and was the New Work Specialist at The Public Theater. Salma’s theatre credits in the U.S. include The Mecca Tales, The Yacoubian Building, Operating Systems, Mix & Match, The Conversationalists, Pilgrims Musa & Sheri in the New World, Global Forms Theatre Festival (GFTF),

Google It’s Complicated!, Silueta, Once Upon A Time Called Now, and Drowning in Cairo. Salma aspires to create spaces where we can generously and inclusively examine art, culture, community building, and the necessary global and social justice conversations. MA: AUC - English & Comparative Literature. MFA: Columbia University - Theatre (Dramaturgy). For more information, visit zohdiscriptconsultancy.com

KARINA PATEL (Associate Director) is a theatre maker born in London, based in Chicago, and raised everywhere else. Most recently, she directed at The 24 Hour Plays: Nationals and assistant directed LOOKINGGLASS ALICE at Lookingglass Theatre Company. She is a graduate of Northwestern University, where she studied theatre, history and service design and discovered a love for stories that remind us the real world is full of magic. When not in rehearsal, you can find Karina doing puzzles, reading historical fiction novels, and making excuses to get bubble tea for the third time that week.

CHEN-WEI LIAO (Assistant Scenic Designer) is a New York City based scenic designer originating from Taipei, Taiwan. She has diverse experiences in theater, film and exhibition both in Taiwan and the United States. Growing up in a bilingual and multicultural environment, she is interested in observing and creating the connection between people, stories and space. One of her meditation topics is the relativity between Freedom - Rights - Responsibility. And she is interested in psychology, neuron science, social studies and animal behavior studies. She is a proud alumni of National Taiwan University and Carnegie Mellon University. Her upcoming project includes the The Skin Of Our Teeth and The Importance Of Being Earnest with the Phoenix Ensemble; Jersey Boys with the Maltz Jupiter Theatre. Other selected New York City theatre credits include NYT critic’s picks A Girl Is A Half-Formed Thing with the Irish Rep; the world premiere of Islands Of Contentment, produced by The Tank and The Hypokrit Theatre Company and more.

VIANEY SALAZAR (Associate Lighting Designer) is making her Rep debut! Other credits include Fires in the Mirror (Assistant Lighting Designer, co-production with Baltimore Center Stage and Long Wharf Theatre), The Half-Light (Assistant Lighting Designer, Portland Stage Company), Sing Me a Story (Lighting Designer, Portland Stage Theater for Kids), and Sans Merci (Lighting Designer, Not Your Average Ingenue Theatre Company). She graduated from Illinois Wesleyan University with a BFA in Theatre Design & Technology.

DANIEL ETTI-WILLIAMS (Assistant Sound Designer) is an up-and-coming Sound Designer and Engineer local to Chicago. After Studying Acting at Oklahoma City University, they moved to Chicago to participate in Steppenwolf Theatre Company’s Apprenticeship Program. Since then, they have had the opportunity to work all over Chicago making theatre and telling stories and expressing their passion through design.

Chicago design credits include Run The Beast Down (Strawdog Theatre Company); Hershel and the Hanukkah Goblins (Strawdog Theatre Company); Beatrix Potter’s Holiday Tea Party (Chicago Children’s Theatre); Haus of Atreus (Mudlark Theater); Peerless (Northwestern University Graduate Directing Program); On The Greenbelt (Strawdog Theatre Company); At The Vanishing Point (The Gift Theatre); Paris (Steep Theatre); Light Falls (Steep Theatre).

BRIAN PACELLI (Associate Projections Designer) is a Manhattan-based theatre designer. Selected designs include The Adult in the Room (Victory Gardens Theater), Farragut North (Hudson Guild), Tumbleweed (Dixon Place), Dutchman (Secret Theater), SubUrbia (Hudson Guild). Selected associate design credits include Broadway: Mr. Saturday Night, Harry Connick Jr…., Derren Brown: Secret. Off-Broadway: Bella Bella, The Revolving Cycles… Other: Mr. Holland’s Opus (Ogunquit Playhouse), Tristan und Isolde (Santa Fe Opera), M. Butterfly (Santa Fe Opera), The Scarlet Pimpernel (Lincoln Center), Rags (NYU Steinhardt), Footloose (Norwegian Cruise Line), Your Best One (Capital Repertory Theatre), Emojiland (NYMF). He holds a certificate in Technical Design & Production from Yale School of Drama. For more information, visit www.pacellistudios.com Social Media @pacellistudios.

DEVIN KINCH (Projections Programmer) Currently serves as an Associate Designer for The Virtual Design Collective and is the Projections Coordinator for The Clarice Performing Arts Center. Recent work includes Machinal (Media and Media Systems Design), Sense and Sensibility (Video Director), The Lady From the Village of Falling Flowers (Video Director).

EMILEE BUCHHEIT (Stage Manager) is very excited to be returning to The Rep for her twelfth season! During the 2021-2022 season, Emilee stage managed “The 39 Steps.” Other stage management credits include Shakespeare Festival St. Louis, The Arrow Rock Lyceum Theatre, Alabama Shakespeare Festival, Variety Theatre, The New Jewish Theatre, The Foolish Theatre Company (NY), and Little Theatre on the Square. Emilee is a proud graduate of the Sargent Conservatory of Theatre Arts at Webster University with a degree in Stage Management.

LORRAINE FIORE (Assistant Stage Manager) is a proud Equity Stage Manager with a BFA and MFA from Webster University. Lorraine is extremely excited to be making theatre magic! Some of Lorraine’s favorite Rep credits include The 39 Steps, Peter and the Starcatcher, To Kill a Mockingbird, Evita, Oslo, Follies and Pride and Prejudice. Lorraine has also worked as an Assistant Stage Manager at The Muny for the past 15 years. Most recently having worked on Sweeney Todd.

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