SDSU SCHOOL OF THEATRE, TELEVISION, AND FILM
PLAYBILL
WELCOME The School of Theatre, Television, and Film is honored to present to you the World Premier Musical of Postcard American Town. Ending our 2021/22 theatre season with the presentation of a World Premier is a remarkable indication of endurance after our collective recent experience of global historic lows. We are proud and deeply appreciative that you have remained with us, providing us the support and the strength, which guarantees that we gain fortitude and an upward momentum despite everyone’s recently-added personal challenges. We thank you for constantly checking-in on our well-being. There are not enough words or sentences, even adequate, that can capture and express our appreciation and gratitude. There are some in our community that cannot join us in witnessing and enjoying this performance. Their battle to return continues. We remember them, and we thank them. In the spirit of creating and fostering communities that strengthen our humanity we offer this original work. We cannot be prouder of our students and colleagues who shouldered this critical original project. Once again, thank you for your support and enjoy the performance. ‘Niyi Coker, Jr., Director | School of Theatre, Television, and Film
Postcard American Town is part of Arts Alive SDSU’s Discovery Series. Postcard American Town is a selection of the SDSU NEW MUSICAL INITIATIVE. The MFA Musical Theatre Program at San Diego State is committed to the creation of new works of musical theatre. Our objective is to nurture the creation of new musical theatre in San Diego and to provide an invaluable educational opportunity to our students to work directly with top professionals in the field over a two year period. The SDSU New Musical Initiative has been made possible by the generous support of Julia R. Brown. Postcard American Town was developed in part at Rhinebeck Writers’ Retreat. Please note: This production contains theatrical fog/haze. There is no scientific data showing any increased CoVid risk associated with atmospheric devices used in the industry.
POSTCARD AMERICAN TOWN
Book by Crystal Skillman Music and Lyrics by Lynne Shankel Story by Crystal Skillman and Lynne Shankel Orchestrations by Lynne Shankel Addt’l Orchestrations by August Eriksmoen and Robert Meffe Director/Choreographer: Stephen Brotebeck Musical Director: Robert Meffe Creative Consultant: Kim Montelibano Heil Scenic Design.........................................................................McKenna Perry°^ Costume Design....................................................................Miranda Sieber°^ Lighting Design..............................................................................Colby Freel°^ Sound Design.................................................................................Paul Peterson Projection Design............................................... Isabel Simoes DeCarvalho° Stage Manager................................................................................ Ruby Bowser Technical Director........................................................... Cynthia Bloodgood°
CAST
Emma Reed...............................................................Victoria Matlock Fowler* Dylan Bao.................................................................................Christopher Shin* Suzie Reed...............................................................................Melissa Glasgow* Mr. Minsheng Bao........................................................... Sheldon Gomabon* Mrs. Keller................................................................................. Maura Anderson Mr. Keller............................................................................................Casey Craig* Betty Treemount.........................................................................Audrey Deubig Ida Treemount.......................................................................Makenna Boutelle Nasha Jacobs............................................................................... Morgan Sayles Mr. Perez...................................................................................Julio Catano-Yee* Mrs. Perez.......................................................................................... Sophia Perez Andy Rogers......................................................................... Kyle Montgomery* Will Tallen..............................................................................Clinton Sherwood* Pastor Bob.................................................................................... Jackson Wright + MA in Theatre Arts *MFA in Musical Theatre °MFA in Design and Technology for Theatre, Television, and Film ^Qualifying or Thesis/Capstone Production
MUSICAL NUMBERS ACT ONE Come On Down (Company) What Just Happened? (Emma, Dylan) The Bao Philosophy (Mr. Bao, Dylan) Nice (Emma, Suzie) Anything Can Happen (Emma, Dylan) He Who Gives (Pastor Bob, Andy & Congregation) The Bao Philosophy - Reprise (Mr. Bao, Betty) Something Just for Us (Mrs. Perez, Dylan) Hold On (Company) Tradition Starts With You (Company) This is Not the Picnic I Wanted (Company) ACT TWO Wonderful Westville Day (Suzie, Emma, & Company ) Hold On Reprise/War of the Treemounts (Dylan, Betty, & Ida) Love is Love (Andy) Tradition Starts with You - Reprise (Company) The Wheels of Progress (Nasha, Dylan) Ahimsa (Mr. Bao, Emma) Little Needles (Dylan) Fireflies (Mr. Bao & Company) I Will Make Thunder (Emma, Dylan, & Company) Finale (Company)
BAND Conductor.........................................................................................Robert Meffe Keyboard...........................................................................................Ron Councell Electric Bass..................................................................................Michael Pearce Guitars/Mandolin.....................................................................Melanie Medina Guitars.........................................................................................................PJ Bovee Violin........................................................................................... Jennifer Williams Drums....................................................................................................... Don Kuhli
Q & A with the Creatives Behind Postcard American Town Since the fall of 2020, writers Lynne Shankel and Crystal Skillman have developed Postcard American Town with Stephen Brotebeck (Director), Robert Meffe (Music Director) and the cast of students at SDSU. Kim Heil, an Associate Producer at The Old Globe (San Diego, CA), joined the creative team in the spring of 2021. We asked Lynne, Crystal, and Kim their thoughts on developing a new musical and their hopes for Postcard American Town.
What was the inspiration behind creating Postcard American Town? Lynne Shankel: The idea for the show came
out of a few songs I wrote for my album Bare Naked, which was released in 2017. Crystal and I met on another project for which she was writing the book and I was arranging and music supervising. We had drinks one night to discuss actually writing something together and I had given Crystal my album to take a Postcard American Town Writers, Lynne Shankel and listen to beforehand. She said “I think there’s a show in here somewhere,” and that’s how Crystal Skillman the whole thing began! There’s a song, which actually isn’t in the show anymore, called “Postcard American Town,” and it is definitely still at the heart of the piece. Crystal and I spent about a year crafting a story before we ever delved into actually writing book or songs. At this point, there are just two songs in the show that were on my album. They exist in slightly different forms now, but they are still a vital part of the piece.
Kim, what role did you play in the development process of Postcard American Town? Kim Heil: I served as a sounding board for the creative team in the beginning, and then, as I joined rehearsals, I provided and facilitated the space for all involved to share their feedback and concerns. I’ve also served in a dramaturgical capacity by sharing my own thoughts and reflections about the story.
What interested you with participating in the New Musical Initiative at San Diego Stage University? Crystal Skillman: Lynne and I had just finished at the Rhinebeck Writers Retreat in the summer of 2018, when a few months later we were selected for a presentation in the New Works Series at New York Theatre Barn in New York. There we presented our revised thirty minutes, which included a new opening number. The reaction to the piece was very powerful—and we had a great desire to take what we learned in the entire script through rehearsing those new pages. A director friend had read this piece and thought it might be perfect for the New Musical Initiative. I had heard of the program as I work as well with composer Bobby Cronin, whose musical was selected for the years before us. The program itself had such talent; it felt like this would be a great match. Lynne Shankel and I are also passionate teachers, and we wanted the feedback and involvement from an ensemble of diverse, young, and passionate actors. So we submitted… and we were so moved when we were selected! Kim Heil: I found the premise of the story intriguing, and the chance to work with Rob, Stephen, Crystal, and Lynne was too amazing to pass up! What has been the most valuable part of the workshopping process during the last year and a half? Lynne Shankel: Oh my goodness it’s hard to pick just one!! I think the most valuable part has been being able to learn about these characters through the students. They have had such wonderful insights that have really led to fruitful development through this process. I love rewriting and we have done a tremendous amount over the last two years. We are very thankful to Rob, Stephen, and Kim. Crystal Skillman: Getting to flesh out each character in the town of Westville
and how their stories play out, following them very closely over seven days in the lead up to the event of the Settler’s Picnic. We were able to discover and rewrite towards a dual protagonist structure with this story, which follows Dylan as he tries to change the Settler’s Picnic rule, and Emma who digs her heels in to keep the event as it is. As the musical goes on, we discover why and explore those complexities. Each character in the town plays a huge role in this story as well, and have their own storylines affected by Emma and Dylan’s actions. As a character-driven musical, this allowed us to work closely with the students and hear their opinions and thoughts of the characters. Working with Kim, both in her conversations with us, as well as with the students, has fostered terrific conversation and insight into the piece that has been so helpful to our rewrites.
Kim Heil: Personally speaking, working on Postcard has been an incredible
learning experience. One of the most rewarding challenges of the work I do as a consultant is figuring out, as a team, how to make space for difficult but necessary conversations in a way that keeps the creators’ artistic vision wholly present. These conversations have certainly expanded my own perspective as a theatre maker. I’m so grateful that this wonderfully complex story has given us the opportunity to explore larger universal themes in a specific, microcosmic way.
What were the challenges, or advantages, in workshopping a new musical during the pandemic? Lynne Shankel: I was nervous about having to do readings on Zoom initially. But Stephen Brotebeck and Rob Meffe had everything SO down to a science that it worked really well! We learned so much. It was great and at the same time, it was really hard to work so intimately with a group of people we had never met face to face. We didn’t all actually meet in person until we did a reading in San Diego in fall of 2021—after having already worked with the students for almost a year. Crystal Skillman: When the pandemic hit America, and when Broadway
shut down, it was an emotional time for us all. Like many, I was unsure what theatrical projects would survive during this time. It was only a month later when we got the call Postcard American Town was selected. I cried. Working on this story, especially during this time, felt so important. While some of the original schedule had to change, Robert Meffe and Stephen Brotebeck were inventive and smart (and kept safe rooms) with those choices. The process gave us deadlines, and set read/sing throughs/internal showings. Working by Zoom for a writer does provide immediacy for new play development and sharing scripts, so for hearing and working through new changes, this worked well. The biggest challenge for working virtually is always with music, but the team really made it work—Lynne and Rob worked hard together to make sure this was possible. The students really threw themselves into the work. Both Lynne and I are so grateful that Rob and Stephen worked out a way for us to come in the fall of last year to have a weekend where we worked on the pre-production draft live (masked). It was an emotional weekend to meet the students finally in person, after having worked with them only online! Conversation in person is so important as well, and Lynne and I love the rich conversations that emerged out of this time, driving us to this production draft.
Kim Heil: A surprising advantage of working over Zoom is how direct conversations can become. We don’t have the luxury of trying to interpret body language, so faces are all we have—and, in my experience, that has become a real tool for getting to the point! But obviously, there are so many technical challenges in trying to create live performance in a virtual space. I believe there really is no substitute for being in a room to create theatre.
Kim, as someone who became part of the team later in the process, how have you seen the show evolve? Kim Heil: I have seen the characters have
become more vivid, more vibrant, and more real. They have become as complex as the world they inhabit. Also, the nuance of communitybuilding has sharpened in focus. I think Lynne Postcard American Town and Crystal have created a town that exists Creative Consultant, in tandem with so many other communities Kim Heil today that are struggling with change, and as such, Postcard has reflected these struggles in real time. That’s so hard to do as artists, because in some ways you don’t want to become too much of a period piece. You want the longest shelf-life possible, you know? But Lynne and Crystal have gotten to the heart of what it means to be in community, and that topic is timeless.
Why is this story important to tell in 2022? Lynne Shankel: Sadly, the story of Postcard American Town seems to only become more relevant. Our country is more divided than ever. It’s really difficult to have conversations about racial inequity and white privilege with folks who don’t seem to want to even acknowledge that the concepts exist. But somehow we have to have these conversations. I find it difficult in my own life—that’s why I write about it. We may never all agree, but somehow we have to get to a place where fruitful conversations about these difficult topics can happen or we are truly sunk as a country. Crystal Skillman: As we were living in such a divided country—and a world
struggling to bring empathy and compassion back—investigating a piece about how to affect change feels necessary. We must examine new ways to listen and communicate. By having the audience witness this story and follow in exacting detail the effects of trying to change an embedded ritual, the town has to ask, as I hope we do—what serves our community? What does our community need? How can our individual choices affect change within our community?
Kim Heil: I think that in 2022, two things (among many!) are happening: one,
the partisan splintering of communities all over the U.S., and two, the strange person-to-person connection forged by social media that FEELS real, but comes with new, ever-changing rules. Postcard captures these two very significant societal realities in a highly detailed and specific way. The complications, the downsides, the generational consequences—all these things are examined in this story.
What do you hope audiences take away from Postcard American Town? Lynne Shankel: My dream would be that our show could impact the
conversations audience members have with friends and family with whom they may disagree. Just try to have the conversation. Our show isn’t about teaching lessons or being right, it’s about finding a way forward.
Crystal Skillman: There is a lyric that I feel really reminds us of what the show is about: “Anything can happen—if you want it bad enough.” Change is possible, but it takes work. And it’s a choice. Over seven days we investigate this question, in following this one seemingly “small” situation of an annual historical picnic: can change happen in a small midwestern town?
Kim Heil: I hope audiences can use Postcard as both a mirror to their own
experience and as a way to talk with others about the issues raised in the show. Even if someone did not grow up in a small town (as I didn’t), the show does a brilliant job of bringing real people and situations to life—and I think audiences are going to recognize elements of their own communities in the story.
SDSU students in rehearsal for Postcard American Town - Photo by Virginia Michel
• Acknowledgments & Special Thanks • Laurinda Nikkel, Ron Councell, Karen Van Riper, Kristine White, Melanie Dumont, Timothy Powell, Stafford Arima, Joe Barros, Jen Sandler and NY Theatre Barn, NYU Steinhardt , August Eriksmoen
DIRECTOR
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TEPHEN BROTEBECK is a Professor in the MFA Musical Theatre program at San Diego State University where he has directed and choreographed numerous productions including Steel Pier, Pippin, James and the Giant Peach, The Full Monty and The Drowsy Chaperone (Craig Noel Award Nomination). Mr. Brotebeck is currently the Artistic Director of the Okoboji Summer Theatre in Okoboji, IA, where he has directed and choreographed Grease, Clue: On Stage, Gods of Comedy, Mary Poppins, Murder On The Orient Express, and The Spitfire Grill among others. Broadway: Ghost, Peter and the Starcatcher (Movement Associate). As a director Mr. Brotebeck has helmed the Off and Off-Off Broadway productions of The Shark Play, Breaking The Shakespeare Code, St. Francis (NY Fringe – Excellence in Directing Award), The Maltese Walter, Greasemonkey and Scenes from a Balcony. Kennedy Center: Spring Gala (Director), My Fair Lady, Camelot, and Children Of Eden (Associate Director/ Choreographer). Additional credits as a director and/or choreographer include Ghost at the Finger Lakes Musical Theatre Festival; Girlfriend and The Loneliest Girl In The World at Diversionary Theatre; Peter and the Starcatcher, Monty Python’s Spamalot, And The World Goes ‘Round (Oscar Wilde Nomination), and I Love A Piano (Oscar Wilde Nomination) at Farmers Alley Theatre; Looking For Roberto Clemente at Imagination Stage; The Great American Songbook Hall of Fame Induction Ceremony presented by Michael Feinstein. Internationally, Stephen has directed productions for Creativiva Caribbean, and choreographed multiple projects in Indonesia, China, and Guatemala for Passport to Broadway. BFA, Western Michigan University. MFA, Penn State. www.stephenbrotebeck.com
MUSIC DIRECTOR ROBERT MEFFE
Broadway: Associate Conductor of Little Women and the last six years of Les Miserables, keyboards for Evita (2012 revival), Newsies, The Phantom of the Opera, Avenue Q, Spelling Bee, Grey Gardens, and Bombay Dreams. National Tours: Music Director of Evita, The Phantom of the Opera, Associate Conductor of Les Misérables, Sunday in the Park with George. OffBroadway: Myths & Hymns, Violet, The Prince and the Pauper, and Gutenberg! The Musical!. TV: Encore! (Disney+), Earth to America (TBS), Renee Fleming-Live at Lincoln Center (PBS). Mr. Meffe is the Head of the MFA Musical Theatre Program at San Diego State University. At SDSU, he has music directed Little By Little, Pal Joey, Les Misérables, The Great American Trailer Park Musical, Into the Woods, The Drowsy Chaperone, Jesus Christ Superstar, The Full Monty, Enchanted April, Company, James and the Giant Peach, She Loves Me, Chess, Pippin, and Steel Pier.
C
BOOK AUTHOR
RYSTAL SKILLMAN is an award-winning Brooklyn based playwright. Her play Rian and Zoe Save the World premiered earlier this year at Jermyn Street Theater in London with Drew and Dane Productions. Her plays have earned four NYTimes Critics’ Picks including one for Open, which premiered at the Obie-Award winning Tank Theater and was live-streamed as part of last year’s Edinburgh Fringe, earning an 2021 Off-Fest Nomination. She is also the author of Geek (Vampire Cowboys), Cut (Theatre Under St. Marks), and Pulp Vérité (Kilroys List). She is the bookwriter of Mary and Max (Landestheater Linz, Theatre Calgary), adapted from the film by Adam Elliot, with composer Bobby Cronin (’Til Death Do Us Part’). Mary and Max has gone on to win in several categories for BroadwayWorld’s Austria and Canadian Awards, and was selected for Germany’s Mut Prize. She is a bookwriter on This Show is Money (Composer Gaby Alter) developed in The Civilians R&D Lab, Black-eyed Susan (Composer Matthew McCollum), recently a part of NYTheatre Barn’s New Work Series, and A New City (w/composer Sam Ratelle). Her work is available from DPS and Concord Theatricals. Crystal’s work as an author in fictional podcasting includes King Kirby (Co-written with Fred Van Lente and scored by Bobby Cronin) on the Broadway Podcast Network. Recently she sold her new series The Magician’s Magician (in development for audio and television). Work in comic books includes Adventure Time, Marvel, and WebToon Studios. @crystalskillman | www.crystalskillman.com
MUSIC, LYRICS AND ORCHESTRATIONS LYNNE SHANKEL is best known as an orchestrator
and arranger and with the show Allegiance, was the first woman to solely orchestrate a new musical on Broadway. She was music director/arranger for the B’way production of Cry-Baby and resident music supervisor for the Tony-award winning revival of Company, for which she conducted the Grammy-nominated cast album. Other credits as orchestrator/arranger include Altar Boyz, (Drama Desk nomination); The Extraordinary Ordinary (Drama Desk Nomination); Annie Live (NBC); Chasing The Song (La Jolla Playhouse); Life After (Toronto world premiere, The Old Globe 2019, The Goodman, summer 2022); Snow Child (Arena Stage); Breathe (2020 album and film); Allegiance (The Old Globe, Craig Noel Award for Orchestrations); Chita Rivera (Carnegie Hall, PBS); Darren Criss & the San Francisco Symphony; The New York Pops; The Radio City Christmas Spectacular. Lynne was the music director for the acclaimed Kennedy Center production of Tommy in 2019.
As composer: bare: The Musical (additional music); Red Velvet (original music, The Old Globe), HoT (Goodspeed Festival of New Works 2022, Johnny Mercer Foundation Writers Grove 2020, New York Theatre Barn New Works Series
2020, Dixon Place 2019; Perpetual Sunshine & The Ghost Girls (2022 Richard Rodgers Award, Rhinebeck Writers Retreat 2021, 5x15 Festival 2021). As composer and lyricist: Postcard American Town (New York Theatre Barn New Works Series 2019, Rhinebeck Writers Retreat 2018). 2021 ASCAP Lucille and Jack Yellen Award. Album: Bare Naked on Yellow Sound Label. Lynne teaches Musical Theatre Composition at the University of Michigan. lynneshankel.com.
CREATIVE CONSULTANT KIM MONTELIBANO HEIL, CSA is Casting
Director, a Producer, and Consultant in theatre and entertainment. She currently serves as an Associate Producer at The Old Globe. Most recently she was the Associate Producer and Casting Director for San Diego Repertory Theatre, and prior to that she was the Education Director at San Diego Junior Theatre. Kim has also acted as a Consultant to Moonlight Stage Productions, and to San Diego State University’s New Musical Initiative. Recent casting credits include the new musical adaptation of Lilian Lee’s Farewell My Concubine, by Jason Robert Brown and Kenneth Lin, and JQA by Aaron Posner, which received a Critic’s Pick from The New York Times. She was also the Casting Director on The Secret Club, written and directed by actress Kathy Najimy. Prior to working in San Diego, Kim was an associate for Broadway producer Arielle Tepper, and also served as the Associate Producer/ Dramaturg for Second Generation’s In The Works Reading Series, where she produced workshops of plays by emerging Asian-American playwrights. She currently serves on the Board of the National New Play Network, and has also served on the boards of Diversionary Theatre and Blindspot Collective. Kim was one of the inaugural Ambassadors for the San Diego Theatre Alliance, formed in response to the COVID-19 pandemic. As a passionate advocate of Equity, Diversity, and Inclusion, Kim recently completed her training as a member of the artEquity BIPOC Leadership Circle. Kim holds an M.A. in Performance Studies from New York University.
SCENIC DESIGNER MCKENNA PERRY
Originally from Northern California, McKenna returns to the west coast after seven years in Brooklyn, New York where she has been working with Konduit, Inc., a set fabrication company in Long Island City building and drafting sets for fashion shoots, commercial shoots, and high end corporate events. McKenna is so excited to be working on SDSU’s production of Postcard American Town with her fellow production team and wonderful cast, and hopes anyone who sees the performance walks away inspired to make thunder!
COSTUME DESIGNER MIRANDA SIEBER is a second year Costume Design and Technology MFA
student at SDSU and is excited to be designing the costumes for the world premiere of Postcard American Town. She has come to San Diego by way of Kalamazoo MI, Orlando FL, and her hometown of South Bend, IN. Favorite design credits include Matilda the Musical and Once on This Island at the Kalamazoo Civic Theatre and Twelfth Night at the Notre Dame Shakespeare Festival. See her designs at mirandasieber.com.
LIGHTING DESIGNER COLBY FREEL is a lighting designer with experience working in many areas
of lighting including plays, musicals, ballet, contemporary dance, and concerts, and architecture. Colby is the 2022 Hemsley Lighting Intern working with Paul Miller at the Pittsburgh Civic Light Opera. He is in his final semester of his MFA studies at the School of Theatre, Television, and Film at San Diego State University. His most recent production credits include lighting design for Sapience at the MOXIE Theatre and Postcard American Town at San Diego State University.
SOUND DESIGNER PAUL PETERSON
The Old Globe: over 100 shows, including Dr. Seuss’ How The Grinch Stole Christmas, The Brothers Size, God of Carnage, Nobody Loves You, Welcome to Arroyo’s, The Mystery of Irma Vep, Kingdom, The Women, Two Trains Running, Hold Please, Restoration Comedy, Pig Farm, Moonlight and Magnolias, Lucky Duck, The Intelligent Design of Jenny Chow, Blue/Orange, Time Flies, Pentecost, Compleat Female Stage Beauty, and many more. Regional: Milwaukee Repertory Theater, San Jose Repertory Theatre, Center Stage, La Jolla Playhouse, Sledgehammer Theatre (Associate Artist), Mo`olelo Performing Arts Company, San Diego Repertory Theatre. Radio Plays: Hamlet: On the Radio. Podcasts: Gather Round, Cocktails with the Canon. Education: B.A. in Drama with an emphasis in Technical Design from San Diego State University.
PROJECTION DESIGNER ISABEL SIMOES DECARVALHO is a first year Scenic and Projection Design
MFA candidate at SDSU. She comes from working in the Washington DC area after attending undergrad at George Washington University. Isabel is excited to design her first ever projection design for Postcard American Town.
CAST: WHO’S WHO Victoria Matlock Fowler
(Emma Reed) Victoria is best known for playing Elphaba in the iconic Wicked. She also starred on Broadway as Dyanne in Million Dollar Quartet, and reprised her role Off-Broadway and on the Las Vegas strip. She originated the role of Cindy Lou in the Off-Broadway production of The Marvelous Wonderettes, and can be heard on the cast album. Victoria has worked with Hal Prince, Jack O’Brien, Jerry Mitchell, Kathie Lee Gifford and Frank Wildhorn, toured nationally and internationally, and once ran away with the circus. Currently she can be seen on streaming platforms starring in the feature film Love Meet Hope, the horror short Crib, and the psychological thriller The Voices.
Christopher Shin
(Dylan Bao) SDSU Credits: Bill in Steel Pier, Theo in Pippin, Molokov in Chess in Concert. Chris made his Broadway debut in Mary Poppins and most recently toured with Irving Berlin’s White Christmas (directed and choreographed by Tony nominee Randy Skinner). Recent regional theatre credits include: Anything Goes at Arena Stage (directed by Molly Smith), South Pacific at Maltz Jupiter Theatre (directed by Gordon Greenberg), Thoroughly Modern Millie at Goodspeed Opera House (directed by Tony nominee Denis Jones), The Wizard of Oz at Walnut Street Theatre (directed by Glenn Casale). He has also worked at North Shore Music Theatre, Ogunquit Playhouse, Sacramento Music Circus, Kansas City Starlight, Arkansas Rep, and Westport Country Playhouse. Chris holds a Bachelor of Fine Arts in Theatre from New York University’s Tisch School of the Arts (CAP21). @chrisshinsplints
Melissa Glasgow
(Suzie Reed) Melissa is excited to be back onstage for her last musical at SDSU! She received her BFA in Musical Theatre at the University of California, Irvine. Favorite credits include: Peter Pan (Mrs. Darling), The Little Mermaid tour (Aquata), and A Chorus Line (Sheila). Thank you to Crystal and Lynne for working on this material with us and to Stephen, Rob, Ron, Ruby and the rest of this team for your dedication to making this production happen. It was a pleasure experiencing mask sweat with all of you.
CAST: WHO’S WHO Sheldon Gomabon
(Mr. Bao) Sheldon Gomabon is originally from Honolulu, Hawaii. He has a passion for developing stories that showcase authentic narratives from underrepresented communities, especially the voices of Native Hawaiian and Pacific Island storytellers. His most recent work has been developing new musicals regionally and in New York City with companies like Musical Theatre Factory, New Light Theatre Project, The Tank NYC, TheaterWorksUSA, and The Walt Disney Company. At SDSU, he was last seen in Pippin, Chess, and Steel Pier, and as associate director for MTC’s Spring Awakening. He holds a BA in Interdisciplinary Studies from The University of Central Florida with concentrations in Theatre and Cultural Studies, and is a graduate of the American Musical Dramatic Academy. Thank you to Lynne, Crystal, Kim, and the entire creative team for this wonderfully collaborative two-year process. It has been an honor creating this piece.
Maura Anderson
(Mrs. Keller) Maura is a third year Musical Theatre/Performance emphasis major. She’s pleased to be participating in her second New Works production at SDSU. In her free time, she enjoys crocheting, spending all day at the beach, and the teachings of Buddhism. Thanks to her family and friends for being a wonderful support system. Enjoy!
Casey Craig (Mr. Keller)
Casey is a director/choreographer/arts educator based out of Seattle, WA. He has worked with several arts organizations throughout the Pacific Northwest most recently working with Village Theatre, Central Washington University, and the Kennedy Center American College Theatre Festival. Select direction and choreography credits include Bye Bye Birdie (Leavenworth Summer Theatre), The Little Mermaid (Bigfork Summer Playhouse), Chicago (Central Washington University) and Tarzan (Village Theatre SummerStock). Select performance credits include West Side Story (Baby John, 5th Avenue Theatre), Zanna Don’t! (Zanna, Contemporary Classics), Hello Dolly (Barnaby, Village Theatre) and The Music Man (Tommy, ART). www.CaseyAdamCraig.com
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CAST: WHO’S WHO Audrey Deubig
(Betty Treemount) Audrey is excited to be at SDSU’s Don Powell Theatre and to share the stage with this amazing cast! Regional credit: Matilda the Musical (Ensemble) [Moonlight Stage Productions]. Memorable credits include Steel Pier (Hannah) [SDSU], Something Rotten (Portia), Matilda (Miss Honey), Crazy For You (Patsy) [Ovation Theatre], Freaky Friday (Torrey) [San Diego Musical Theatre], Little Women (Amy March), The 25th Annual Putnam County Spelling Bee (Logainne) [Moonlight Youth Theatre], Legally Blonde (Elle Woods) [Escondido High]. Audrey was named San Diego’s 2020 Artist of the Year [NYA] and performed as Host of the 2021 Rising Stars Cabaret [CCAET]. Special thanks to Audrey’s teachers, coaches, mentors, family & friends who faithfully support her in the audience & in life. Enjoy the show!
Makenna Boutelle
(Ida Treemount) Makenna is in her final year at SDSU pursuing her degree in Theatre Arts, Performance. Recent credits include SDSU: Steel Pier (Ensemble), She Loves Me (Ensemble), Spring Awakening (Swing). Modesto Performing Arts: Newsies (Katherine Plumber). San Diego Musical Theatre: Freaky Friday (u/s Katherine, Ensemble). Makenna would like to thank her family, friends, professors, and classmates for being so supportive during her four years here at SDSU. IG: @Makennkenn
Morgan Sayles (Nasha Jacobs)
This is Morgan Sayles’s third mainstage show here at SDSU that she has had the privilege of being a part of. She feels the opportunity to be working with this incredibly talented cast is something she could only dream of doing in her first year. She would like to thank Rob and Stephen for presenting her with this opportunity and sends her love to all the MFAs she has been working and bonding with over the past few months. She would also like to send a special shout-out to her Love, Quinn Husband, and her Mom and Dad, Arquill and Regina Sayles. We have made it a long way from the tiny black box theater. Thank you for always believing in me even when I didn’t. She hopes you enjoy the show!
CAST: WHO’S WHO Julio Catano-Yee (Mr. Perez)
National/International Tours: The Addams Family (Ancestor), West Side Story Centennial World Tour (Chino). Regional: Kiss My Aztec! (La Jolla Playhouse); Jerome Robbins’ Broadway (Theatre Under The Stars); Camelot (Shakespeare Theatre Company); Anything Goes (Arena Stage); West Side Story (Barrington Stage Company, Musical Theatre West and Lamb’s Players Theatre). Film/TV: Steven Spielberg’s West Side Story, Amazon’s The Marvelous Mrs. Maisel, FOX’s Pitch, TNT’s 12. Education: Dance B.F.A. from The Ailey School/Fordham University. Executive artistic director of Teatro San Diego and adjunct professor at Syracuse University. @juliocatanoyee @ teatrosandiego
Sophia Perez (Mrs. Perez)
Sophia Perez, originally from San Diego, is currently in her second year pursuing a degree in Music with an emphasis in Vocal Performance. She is excited to be performing in her first musical at SDSU after a year and a half of mainly studying and performing classical music. Sophia’s interest in multiple musical genres has led to a mix of recent performance experiences from playing Katherine in Disney’s musical Freaky Friday (Mira Mesa High School) to performing as Doña Severiana in the opera La verbena de la Paloma (SDSU).
Kyle Montgomery (Andy Rogers)
Kyle Montgomry does theatre. SDSU Credits: Chess: In Concert (Anatoly), Pippin (Berthe), Steel Pier (Mick/Pigeon); Regional Credits: DeafWest, Actors CoOp, Uptown Players, Lyric Stage, Trinity Shakespeare Festival, WaterTower Theatre, Circle Theatre, Theatre Three, StageWest. Kyle played Hermey in the International Tour of Rudolph the Red-Nosed Reindeer: the Musical for three years. Class of 2022, MFA in Musical Theatre at SDSU. BFA in Musical Theatre at Texas Christian University. AEA.
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CAST: WHO’S WHO Clinton Sherwood
(Will Tallen) Clinton Sherwood is a teacher and multidisciplinary artist who is currently based in San Diego. After receiving his BFA in Musical Theatre from Millikin University, he began performing across the country in regional theaters (select credits: Mary Poppins, Starlight Express, Hair, Cats, Hairspray) and in the national tours of Cats and West Side Story. After working on 90210, Clinton finally landed in NYC where he joined the Broadway company of The Book of Mormon and would soon be a traveling swing to cover all 3 companies of the show. While in NYC, he began to music direct productions at universities in the tri-state area. Recently, Clinton finished a 3-year position as an associate voice teacher for the Matt Farnsworth Vocal Studio, where he was teaching singers of all ages from young high schoolers to Broadway performers.
Jackson Wright
(Pastor Bob) Welcome to the show! Jackson is excited for you to see the worldwide premiere of Postcard American Town! Jackson is a San Diego based actor in his third year of a Musical Theatre, Performance emphasis major at San Diego State University. Some of his favorite roles have been Prince Eric in The Little Mermaid, Dennis in All Shook Up, and Hanschen Rilow in Spring Awakening. This summer, he will be appearing as an artist at the San Diego Symphony under composer Rob Fisher. When he is not performing, Jackson enjoys spending time relaxing with friends, seeing his family, and singing whatever song is stuck in his head that day. He hopes you enjoy the show!
MISSION The School of Theatre, Television, and Film provides a high quality education for undergraduate and graduate students that emphasizes excellence in the arts and technology, grounded in conceptual and historical foundations. support at psfa.sdsu.edu
PRODUCTION STAFF MANAGEMENT & DIRECTION
Production Manager & Stage Management Advisor....... Jay Sheehan Assistant Director..................................................................Christopher Shin* Assistant Choreographer...................................................Julio Catano-Yee* Assistant Stage Manager...............................................................DJ Maloney Dramaturgy Advisor..........................................................................Shelley Orr
SCENIC
Scenic Design Advisor............................................................. Ralph Funicello Assistant Scenic Design.........................................................Heather Larsen° Technical Direction Advisor............................................................... Ben Clark Technical Direction Advisor................................................Brian J. McVicker Assistant Technical Director......................................................Josh Munden Scene Shop Foreman......................................................................Noah Lange Scenic Carpenters...................... Kameron Grant, THEA 442A, THEA 440 Scenic Artist and Properties Master..................................Kristen E. Flores Scenic Painter and Properties Construction.................Heather Larsen°, .......................................McKenna Perry°, Cassidy Steele, Maya Aizenman Run Crew.................................................. Asabi Awe, Enrique Arana-Blanco Prop Crew.....................................................Shelby Wuitschick, Phi Nguyen
COSTUME
Costume Design Advisor................................................. Denitsa Bliznakova Costume Shop Manager................................................................ Teri Tavares Costume/Wig Technician.......................................................... Peter Herman Assistant Costume Design.........Laura “Lars” Sladich°, Claire Peterson° Drapers..................................................... Peter Herman, Katherine Paulsen° Costume Construction...........................Jacob Cooper, Mayte Martinez°, .................................................................Regan McKay°, Courtney Ohnstad°, .......................................................................... Waverly Strickland°, THEA 442B Costume Run Crew........Sophia Clouse, Sarah Glick, Samuel Hinsvark, ...............................Lillian Johnson, Jelaine Maestas, Scarlett Tabibzadeh Laundry............................................................................................Noah Uemura
PRODUCTION STAFF LIGHTING
Lighting Design Advisor........................................................Anne E. McMills Lighting, Sound, Projection Shop Supervisor...............Kat Makarushka Assistant Lighting Designer...............................................Danielle Johnson Assistant Lighting Designer.................................................Jacob Yurkovich Production Electrician......................................................................Ally Wood° Assistant Production Electrician........................................... Reid Semmens Assistant Production Electrician................................................Minera Josiff Lighting Programmer...................................................................Maile Varian° Light Board Operator....................................................................Nayeli Bailey Follow Spotlight Operators.................. Mia Nuciforo, Jessie Gunderson Electricians.................................................................Team Lighting, THEA240
SOUND
Lighting, Sound, Projection Shop Supervisor...............Kat Makarushka Sound Designer.............................................................................Paul Peterson Sound Board Operator....................................................Stephanie Celustka Sound A2.............................................................................................Megan Ross
PROJECTION/INTEGRATED MEDIA
Projection/Integrated Media Design Advisor............................................... ......................................................................................... Charles Murdock Lucas Projection Programmer........................................................ Joshua Heming° Projection Board Operator......................................................Vivian Romero
MARKETING & FRONT OF HOUSE
Box Office and Social Media Coordinator............................ Bryan Martin House Managers................................ Angelica Cruz, Catherine Schubert, ................................................................................................ Alejandra Guzmano Poster Design.......................................................................... Stephanie Layton
+ MA in Theatre Arts *MFA in Musical Theatre °MFA in Design and Technology for Theatre, Television, and Film ^Qualifying or Thesis Production
SDSU SCHOOL OF THEATRE, TELEVISION, AND FILM
FACULTY & STAFF
ADMINISTRATION ‘Niyi Coker Jr., Professor & Director of the School of Theatre, Television, and Film Kristine White, School Coordinator Melanie Dumont, Financial Coordinator Bryan Martin, Box Office & Social Media Coordinator TELEVISION, FILM, AND NEW MEDIA FACULTY/STAFF Greg Durbin, Professor Alex Farnsley, Lecturer Mark Freeman, Professor Brian Hu, Associate Professor Bob Jordan, Lecturer Martha M. Lauzen, Professor, Executive Director - Center for the Study of Women in Television and Film Stephanie Lee, TFM Shop Foreman David Morong, Professor, Graduate Advisor Greg Penetrante, TV/Film Studio Engineer Timothy A. Powell, Professor, Area Head Rebecca Romani, Lecturer Sam Shpigelman, Lecturer, Area Head of New Media Production Rich Underwood, Lecturer Stuart Voytilla, Lecturer, Undergrad Advisor
Shelley Orr, Associate Professor, Graduate Advisor for MA Theatre Arts Jesca Prudencio, Associate Professor Randy Reinholz, Professor Peggy Shannon, Professor, Dean of PSFA Jay Sheehan, Faculty Production Manager, Stage Management Advisor Teri McConnell Tavares, Costume Shop Manager Katie (Laura) Turner, Lecturer, Undergraduate Advisor Christopher Warren, Assistant Professor Andrew Young, Scene Shop Foreman
EMERITUS FACULTY Hayes Anderson, Professor Emeritus, Telecommunications and Film Carroll Blue, Professor Emerita, Telecommunications and Film Anne-Charlotte Harvey, Professor Emerita of Theatre Michael Harvey, Professor Emeritus of Theatre Elizabeth Heighten, Professor Emerita, Telecommunications and Film Kaye Jameson, Professor Emeritus, Telecommunications and Film Paula Kalustian, Professor Emerita, Head of MFA Musical Theatre Program THEATRE FACULTY/STAFF Margaret Larlham, Professor Emerita Adrian Alita, Associate Professor, Head of Acting Peter Larlham, Professor Emeritus Dani Bedau, Associate Professor Robert E. Lee, Professor Emeritus, Telecommunications and Film Denitsa Bliznakova, Professor, Head of Costume Design & Technology Roy Madsen, Professor Emeritus, Telecommunications and Film Stephen Brotebeck, Professor Donald R. Martin, Ph.D., Professor Emeritus Benjamin Clark, Assistant Professor Margaret McKerrow, Professor Emerita of Peter Cirino, Associate Professor Theatre Kristen Flores, Scenic Charge Artist/Prop Tom Meador, Professor Emeritus, Master Ralph Funicello, Don Powell Chair in Scene Telecommunications and Film Jack Ofield, Emeritus Professor of Film Design Michael Real, Professor Emeritus, Peter Herman, Wig Making, Make-up Telecommunications and Film Costume Construction Beeb Salzer, Professor Emeritus of Theatre D.J. Hopkins, Professor Charles Murdock Lucas, Associate Professor, Loren Schreiber, Emeritus Professor, Head of Scenic Design & Integrated Media Director of Technology Rick Simas, Lecturer Emeritus, Musical Anne McMills, Associate Professor, Design/Technology MFA Graduate Advisor Theatre Carolyn “C.J.” Keith, Lecturer Emerita Brian McVicker, Technical Director Robert Meffe, Professor, Graduate Advisor, John Witherspoon, Professor Emeritus, Telecommunications and Film Head of Musical Theatre Craig Wolf, Professor Emeritus Sharon Oppenheimer, Lecturer
GENERAL INFORMATION CELL PHONES As a courtesy to the actors and those around you, please turn off or silence cell phones while in the theatre. CAMERAS & RECORDING DEVICES The use of any cameras and/or recording devices is strictly prohibited without advance written permission from The School of Theatre, Television, and Film. LATE ARRIVALS & NO-SHOWS Please arrive on-time and do not be a no-show. Latecomers may be asked until an intermission to be seated; and, seats not claimed will be re-sold BOX OFFICE Hours of Operation: One-hour before Curtain
The Box Office is closed for all school holidays as well as during the summer vacation period.
Ticket Prices: $20 - General Admission $17 - Students, SDSU Affiliates, Seniors (60+), and Active Military
(Prices may vary for special events/productions)
Phone: 619-594-6884 Email: ttf.boxoffice@mail.sdsu.edu Purchase Tickets Online: ttf.sdsu.edu ADMINISTRATIVE OFFICES Phone: 619-594-5091 Theatre productions, film events, and TV programming are made possible by the generous support of our donors. To make a contribution to our outstanding programs, please call 619.594.4548 or visit psfa.sdsu.edu.
Offering a Master of Fine Arts degree founded on the model of the independent filmmaker, combining professional level training and rigorous theoretical study, based in one of the most prolific film programs in the nation.
School of
Theatre, Television and Film Offering a Master of Fine Arts degree founded on the model of the independent filmmaker, combining professional level training and rigorous theoretical study, based in one of the most prolific film programs in the nation.
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Theatre, Television and Film