Director
Vincent J. Cardinal

Music Director
Cynthia Kortman Westphal

Choreographer
Jane Bunting‡

Scenic Designer
Ceri Roberts†

Costume Designer
Camille Deering‡

Lighting Designer
Eliza Anker†

Sound Designer
Matt Berman‡

Hair & Makeup Designer
Brittany Crinson

Dramaturg
Karin Waidley

Resident Intimacy Choreographer and Cultural Consultant
Raja Benz

Production Stage Manager
Justin Comini†

Beverley / Annette & Others
Christine Chupailo

Claude & Others
Jason Thomas Clyde

Janice & Others
Tiffany Nagano

Bob & Others
Ezra Frazier

Nick & Others
Archie Bracegirdle

Kevin J. / Ali & Others
Gabriel Elijah Payne

Bonnie & Others
Mackenzie Crawford

Kevin T. / Garth & Others
Ty Lam

Diane & Others
Avery Ramsey

Beulah & Others
Natasha Rodriguez

Oz & Others
Anderson Zoll

Doug/Fantasies
Burke Brickner

Hannah & Others
Zee Happonen

Ensemble
Gabi Bradley, Alexis Muturi, and Brady Schiro

Offstage Vocals
Jacqueline Boynton, Noah Itzkovitz, Alejandro Medina, Carly Rose Mulay, and Heath Thompson

Kevin J. / Oz / Bob
Brady Schiro

Bonnie / Janice
Alexis Muturi

Hannah / Beulah
Gabi Bradley

Diane / Hannah
Jacqueline Boynton

Nick / Claude / Kevin T
Noah Itzkovitz

Beverley / Janice
Carly Rose Mulay

Conductor / Keyboard / Accordion
Cynthia Kortman Westphal

Whistles / Irish Flute / Uileann Pipes
Sean Gavin‡ and Ben Power‡

Fiddle
Kiana June Howley‡ and Aidan Krieger†

Electric / Acoustic Guitars
Cameron Taylor‡

Acoustic Guitar / Mandolins / Bouzouki
Martin Howley‡ and Adam Stoler‡

Electric / Acoustic Bass
Andres Soto‡

Bodhrán / Percussion
Joe Mowatt‡

Drums / Percussion
Bradley Rich†

Associate Music Director: Shirley Han†

Musical Numbers

Welcome to the Rock……………..Claude, Company

38 Planes……………..Company

Blankets and Bedding……………..Company

28 Hours/Wherever We Are……………..Company

Darkness and Trees……………..Company

Let Us Out of the Darkness……………..Company

Phoning Home ……………..Company

Costume Party……………..Diane, Hannah, Kevin T., Kevin J., Company

I Am Here……………..Hannah

Prayer……………..Kevin T., Hannah, Company

On the Edge……………..Company

Screech In……………..Claude, Company

Me and the Sky……………..Beverley, Female Company

Stop the World……………..Nick, Diane, Company

Somewhere in the Middle of Nowhere……………..Company

Something’s Missing……………..Company

Finale……………..Claude, Company

IRENE SANKOFF & DAVID HEIN (Book, Music & Lyrics) are the Olivier-award winning and Tony- and Grammy-nominated Canadian writing team behind the worldwide award-winning hit musical Come from Away, currently playing to over 100 countries on Apple TV+ and around the world.

Their first show, My Mother’s Lesbian Jewish Wiccan Wedding, based on David’s mother’s true story, has won best musical awards across North America, with Sankoff and Hein performing in many productions.

Together, they have written for Disney, Netflix, Warner Bros., HBO, and the CW as well as Marvel Comics and the Canadian government. They are the recipients of the FourFreedoms Good Neighbor Award and the Meritorious Service Cross of Canada, which recognizes Canadians’ exceptional accomplishments.

“Look for the helpers. You will always find people who are helping.”
                                     —Fred Rogers, recalling the advice of his mother

People over a certain age tend to tell me their September 11 story when I mention I am directing Come from Away.  Twenty-five years later, the details remain remarkably specific and the emotion close to the surface. We tell stories to remember, to understand, sometimes to heal. Theatre asks us to enter someone else’s story and, for a time, see the world through their eyes. That is the essence of Come from Away.

Our production arrives on a quarter-century anniversary. Our student company was not yet born on September 11, 2001. They are not telling their own stories. What happened belongs to an earlier generation, but these students now become part of how it is remembered.

There is a long theatrical tradition of one generation handing down its work to the next. Some of it is written in the score or staging, but much of it survives because someone remembers what happened in the room when the piece was first developed. This Michigan production has an unusually direct connection to that lineage. Guest artist Jane Bunting, who performed in the Broadway company of Come from Away and has recreated its staging and choreography around the world, joins us to stitch that history into our production through restaging. Our music director, Cynthia Kortman Westphal worked closely with original music director and SMTD graduate Ian Eisendrath and later served as music director and conductor for the first Broadway national tour. She brings deep knowledge of the score and its musical detail to this production. We are also thrilled to have five musicians from the Broadway and national tour productions join our band. Our students receive that legacy and, in turn, make it their own. That is especially appropriate for a musical built from testimony. Memory and legacy are woven into this production’s theatrical fabric.

September 11 is part of the university’s history too. Eighteen University of Michigan alumni were killed that day. We remember them in this production, along with the people in Newfoundland who answered tragedy with generosity.

Come from Away resonates because nobody in it sets out to be heroic. People keep helping while they are tired and frightened, even when suspicion and prejudice surface. That is where I find the hope and complexity in the piece. It leaves us with a harder question than, Weren’t the people of Gander wonderful? The question is: What would we do in their place? Or, more urgently, what will we do?

For the next hundred minutes, all of us are come-from-aways. We arrive in this theatre from different places and different lives. We sit beside strangers. And through an ancient act of gathering together to tell a story, we become, briefly, a community. We remember. We celebrate the helpers. And then we decide what kind of people we want to be.

Vincent J. Cardinal

Scenic Design Advisor: Kevin Judge

Lighting Design Advisor: Heather Gilbert

Stage Management Advisor: Jenn Rae Moore

“We all don’t live in the same post 9/11 world; it is a tapestry of meaning and grief 
as varied as the nation in which 9/11 took place.”
—Deepti Hajela, “One attack: many Americas”

On September 10, 2001, Barry Bonds of the San Francisco Giants hit his 63rd home run of the season. The Musketeers was the top movie in box offices, and “I’m Real” (ft. Ja Rule) by Jennifer Lopez was #1 on the music charts. Chandra Levy, a former intern to Congressman Gary Condit whose murder is still unsolved, had been missing since May, and Hurricane Erin, the first of the season, was approaching the Eastern Seaboard. These were the events on the minds of the American public, quotidian and standard, which preceded the cataclysmic day that would follow.

At the same time, the almost 10,000 residents of Gander, Newfoundland, went about their daily lives. The school bus drivers were on strike. Tim Hortons was serving coffee to locals. The hockey rink was busy with business as usual. Then, in a moment, like hundreds of millions of years ago when two continents collided into the Dover Fault to form Newfoundland, lives from around the globe careened unexpectedly into each others’ orbit.

Come from Away is a story about that moment, holding the fear, uncertainty, and devastation of 9/11 within its characters. Yet, surprisingly, it is not in and of itself a story of tragedy. It is a story of the hope that prevails in humanity’s darkest times. It is a story, writers Irene Sankoff and David Hein have repeatedly said, about 9/12.

Condensed into a fast-paced 100 minutes, the musical is cast from thousands of people and their experiences: those of the hosts in Gander and their guests from across the world, the “come from aways.”

The “come from aways” are a skeptic New Jerseyan who comes to trust a community that unflappably opened its arms to him. It is the story of two men in love whose paths diverge years later with an experience that still unites them and another couple who never would have found each other across oceans and continents  but for the circumstances of an emergency landing. It is the story of the first female American Airlines captain who brought her plane safely down only to face the terror that now shrouds what she loves more than anything and an Egyptian man who receives moments of kindness in the midst of extreme suspicion against his very being, a prejudice that would go from rampant to normal in a matter of months. And it is the story of a mother whose heart is beating and breaking with every phone call she makes and waits for, as her NYC firefighter son is missing thousands of miles away.

The welcoming Ganderites include the head of the local SPCA, insistent that every animal receives the same care and kindness that the humans do; two women spearheading their efforts to prepare the town for the unknowable, yet knowing that the visitors would be taken care of because of the nature of that host community; a newspaper intern and a seasoned broadcaster who spent five days straight trying to keep thousands of people informed; a constable, one of only two police officers in town, whose acts of kindness went far beyond the duties of his job; and the mayor who, 25 years on, still expresses immense pride in what his town came together to do.

Come from Away is a story of many people, made up of moments and imperfections and most of all, humanity. And with each staging, the stories of the performers, creative team, and audiences add to it their own tapestry of meaning and grief.

We are 25 years removed from the events of 9/11, but we still see its impacts. Repercussions make up our modern world as if they’d always been there. When travelers go to the airport, there are long security lines with inspections of every bag. Once boarded, no one is allowed past the reinforced cockpit doors and pilots now train to carry guns. These necessary safety measures are juxtaposed with surveillance everywhere, in and out of airports, breeding further division and a culture of fear. The Department of Homeland Security was formed in 2002 with the US Immigration and Customs Enforcement following quickly thereafter. And although you can’t prove a counterfactual, Richard Beck in Homeland: The War on Terror in American Life, argues that “the immediate post-9/11 period…laid the groundwork for what ICE is doing today.” Rampant Islamophobia in the aftermath of September 11 masks atrocities and health hardships for Muslims in the United States and around the world. It seems that we rarely hear of stories today where people come together in the profound way they did for five days in 2001 in Gander, Newfoundland. The legacy of September 11 lies in not only what we carry but what we lost.

Performing Come from Away with a cast of artists who were born into a post-9/11 world calls to question what connects them to the stories they are telling, to the lives they are temporarily living. Unfortunately, we feel reverberations and know parallels. Fear seeps into classrooms as lockdowns increase in frequency. Profiling and attacks persist through raids in our communities with more people in detention than ever before in our history. The compulsion of wanting to share where you were when the world changed in a moment is echoed by recountings of March 2020. We have a far greater ability to communicate than those who were stranded in Gander, but we are perhaps less connected.

Yet, we still hope and believe that in times of crisis, the greatest acts of humanity will help those facing immense hardship. Come from Away is an example of not only how people show up during the most impossible of times, but also how art serves as a way to create, rebuild, unite, and heal communities.

On September 11, the writers of Come from Away were there “at the start of a moment.” A decade on, Sankoff and Hein, who lived in NYC in 2001, were compelled by their experiences to craft this memory into characters for a broader audience. Now, twenty-five years after the US airspace came to a halt, Come from Away reminds us how the power of laughter, tears, acceptance, and friendship serves as a glimmer of something remarkable when humanity is put to its greatest test.

Written by Kendal Bazerman (Associate Dramaturg) and Tate Zeleznik (Assistant Dramaturg), with Karin Waidley (Resident Dramaturg)
With very special thanks to Nick and Diane Marson, Marcia Perry, Aisha Siddiqui, Omar Elghawy, and Dr. Nazita Lajevardi.

For a deeper look into the stories behind the scenes of Come from Away, including testimony from our production on their 9/11 experiences, visit our dramaturgical page.

Follow this link for more resources on the production and its history, curated by Music Librarian Jason Imbesi.

Eliza Anker (Lighting Designer) is a senior studying theatre design and production with a concentration in lighting design and a minor in Judaic Studies. This is Anker’s second design for University Productions, after designing The Convent in fall 2025. Previously, she has served as lighting designer for MUSKET’s Into the Woods, as lighting design fellow for Girl, Interrupted at the Public Theatre, and as lead electrician for the Cape Playhouse’s 2026 summer season. This is Anker’s first production with the Department of Musical Theatre, and she is so excited to have been able to work on a show with such immense meaning to her as a native New Yorker. Big thanks to her mom and to Heather Gilbert.

Matt Berman (Sound Designer) travels as the sound designer for Kristin Chenoweth.  His most recent Broadway sound design was for Kristin Chenoweth’s For the Girls at the Nederlander Theater. His international touring with stars such as Chenoweth, Liza Minnelli, Alan Cumming, and Elaine Paige has allowed him to design for such iconic venues as Royal Albert Hall, the Paris Opera, the Acropolis, the Sydney Opera House and, closer to home, the Hollywood Bowl, Alice Tully Hall, the Metropolitan Opera, and Carnegie Hall. Other notable Broadway credits include Kristin Chenoweth’s My Love Letter to Broadway, the Tony Award winning Liza’s at the Palace, Bea Arthur on Broadway at the Booth Theater, and Kathy Griffin Wants a Tony at the Belasco Theater.

Jane Bunting (Choreographer) began her journey with Come from Away in 2016 as a standby for the Ford’s Theatre pre-Broadway run. She has since performed the show on Broadway and on the first national tour, remounted the first national tour and the Toronto company production after their Covid shutdowns, set the first non-English language replica production in Tokyo, and was part of the team that reimagined the show without a turntable for the second national tour. Her work as an actor spans the Kennedy Center; off-Broadway with Prospect Theatre Company; and regionally with Arena Stage, Arizona Theatre Company, and more. She is a certified intimacy director through IDC and holds a BM in musical theatre from Oklahoma City University.

Vincent J. Cardinal (Director) has directed more than 100 productions nationwide, including King Lear, starring Anthony Heald, at the Tony Award-winning Utah Shakespeare Festival. University of Michigan productions include Sweeney Todd, The Pirates of Penzance, A Man of No Importance, and The 25th Annual Putnam County Spelling Bee. Other credits include My Fair Lady and Man of La Mancha with Terrence Mann, Gypsy with Leslie Uggams, and Every Brilliant Thing, named “Production of the Decade” by BroadwayWorld. Formerly artistic director of Connecticut Repertory Theatre and an associate artist at Circle Repertory Company, Cardinal holds an MFA in playwriting from Yale. He is a professor at Michigan, where he previously chaired the Department of Musical Theatre and held the Arthur and Martha Hearron endowed professorship.

Justin Comini (Production Stage Manager) is a senior design and production major concentrating in stage management. Favorite professional credits include Paranormal Activity (Boston & Broadway); the developmental workshops of Wanted, Real Women Have Curves, Trading Places, and Student Songs at Lincoln Center (production assistant); and the Bard Music Festival (assistant stage manager). Endless love to his blood and chosen family, and, of course, Professor Jenn Rae Moore. @justincomini • [justincomini.com](http://justincomini.com)

Camille Deering (Costume Designer) is a costume designer whose work spans opera, musical theatre, and dance. She holds an MFA in costume design from Indiana University Bloomington (2024) and a BFA from Emerson College, and she is a member of USA Local 829. Recent and upcoming design credits include Dance Kaleidoscope (2027), La Rondine at the University of Michigan, Yuletide with the Indianapolis Symphony Orchestra, English at Indiana Repertory Theatre, Ainadamar and La Bayadere at the Jacobs School of Music, and Department of Dance productions at U-M. Her assistant design work includes Lile Elbe and The Marriage of Figaro with Santa Fe Opera and Kavalier and Clay with the Met/Jacobs School of Music. Deering’s background spans dance-apparel design for Motionwear and Danskin, film costuming on projects such as Someone Saved My Life and The Stepford Wives, and teaching at Indiana University. She is represented by the Michael Moore Agency.

Ceri Roberts (Scenic Designer) is a senior design and production major, with concentrations in both scenic and costume design. This is their last production at U-M, and they are proud to have been a part of such an impactful show. Their other recent projects include set and costume design for Rude Mechanicals’ Twelve Angry Jurors and Much Ado About Nothing, and assistant design for University Productions’ Cabaret (scenic design assistant) and Natasha, Pierre, and the Great Comet of 1812 (costume design assistant). This past summer, they worked as a production intern at the Adirondack Theatre Festival; their credits include season scenic painter and scenic and costume designer for The Rainbow Fish and wardrobe supervisor for Come from Away.

Cynthia Kortman Westphal (Music Director,Conductor / Keyboard / Accordion) is chair of the Department of Musical Theatre at the University of Michigan, where she has been a faculty member for over 20 years. BROADWAY: The Lion King, A Christmas Story: The Musical, The Gershwins’ Fascinating Rhythm, Miss Saigon. NATIONAL TOURS: Come from Away (music director); A Christmas Story: The Musical (music director); over a dozen national tours as keyboard player including Wicked, Legally Blonde, Spamalot, In the Heights, Les Misérables; pianist for two North American tours with opera star Andrea Bocelli.  REGIONAL: 5th Avenue Theatre, Goodman Theatre, Sacramento Music Circus, Arizona Repertory, Hartford Stage, North Shore. Faculty member for Kristin Chenoweth’s Broadway Boot Camp and Chenoweth’s upcoming series 1300 Miles to Broadway.  Faculty director for MPulse.

Jacqueline Boynton (Offstage Vocals,Diane / Hannah) is a sophomore musical theatre major at the University of Michigan. This is her University Productions debut and she couldn’t be more grateful to learn from this group of people. She most recently made her professional debut in Dear Evan Hansen, playing Alana Beck. For Mom, Dad, and Jilly: thank you for believing in me, this is just the beginning. This show is such a gift to share.

Archie Bracegirdle (Nick & Others) is a senior musical theatre major from Philadelphia, Pennsylvania. Some of his favorite credits from his time here at U-M include Rick/Lorraine in Bat Boy and Arpad in She Loves Me, both at the Encore Theatre in Dexter. Special thanks to Vince, Cynthia, Jane, and the entire team behind Come from Away for making this show such a wonderful experience! I love you Mom and Dad!

Gabi Bradley (Ensemble,Hannah / Beulah) (she/her) is thrilled to share the story of Come from Away with you all today. Now a junior, Bradley has previously been in the University Productions of Natasha, Pierre & The Great Comet of 1812; Sing, Sing, Sing (piano duet – tap); and Titanic. Regional: Music Theatre Wichita – Hello, Dolly! (Minnie Fay), Hairspray! (Little Inez), Newsies (Mush), Crazy for You (Sheila), Fiddler on the Roof (Rifka), Waitress, and Elf! The Musical. She’s incredibly grateful to her family and friends for their continued support and encouragement, as well as to the entire cast, crew, and creative team for making this show so special. (@thegabster\_54)

Burke Brickner (Doug/Fantasies) is currently a senior pursuing a BFA in musical theatre. Prior to attending U-M, he spent seven years working professionally in New York City across TV, film, and theatre. University Productions credits include: Cabaret (Herman/Gorilla); Bob Fosse’s Sing, Sing, Sing, restaged by Jane Lanier (dancer); Little Red (New Works Festival); Titanic (pit singer); and Twelfth Night (officer/ensemble). He is stoked to perform as Doug (the air traffic controller) and the Fantasies in Come from Away. Go Blue! (@burkebrickner)

Christine Chupailo (Beverley / Annette & Others) is delighted to be back in the Mendelssohn for Come from Away! She is a senior musical theatre major, with a minor in design & production, specifically in wigs, hair, and makeup design. Chupailo dedicates this performance to her mom and dad, who met working as a pilot and flight attendant. Credits include: Cabaret (Lulu), Catch Me If You Can (Brenda Strong), The Government Inspector (Hospital Director), Mary Poppins (Mary Poppins), and The 25th Annual Putnam County Spelling Bee (Olive Ostrovsky). Chupailo would like to thank the CFA team, her friends and family, and especially her father, who looks down on her everyday. Go Blue! Instagram: @christinechupailo

Jason Thomas Clyde (Claude & Others) is a sophomore musical theatre major. Previous University of Michigan credits include serving as a swing in Sing, Sing, Sing and appearing in the ensemble of Natasha, Pierre & the Great Comet of 1812. Most recently, Clyde appeared as Evan Hansen in Dear Evan Hansen at Theatre Raleigh in North Carolina. He would like to thank his teachers, mentors, Supafine29, Chloe, Mom, and Dad. Go Blue!

Mackenzie Crawford (Bonnie & Others) , from Sioux City, Iowa, is a junior musical theatre major at the University of Michigan. Recent credits include Rent (dance captain) and Volleygirls (Ingrid) with the Encore Musical Theatre Company, as well as Little Red (Tilda) and Miss America (Officer Woods) at the University of Michigan. She is endlessly grateful to her family, friends, and educators for their unwavering support, especially her mother, Brenda, who inspires her every day to keep fighting and keep loving. God bless, and GO BLUE! @mackenziemcrawford

Ezra Frazier (Bob & Others) is a senior musical theatre major from Minneapolis, Minnesota, and is proud to be carrying on the legacy of a UMich MT!

Zee Happonen (Hannah & Others) is a senior musical theatre major. Her previous credits include Encore, Rent (Joanne Jefferson), and She Loves Me (Amalia Balash). Her new works credits include Perpetual Sunshine (Marie), Gavin Creel’s Loud Nite (Zora), and Marian the Musical (Young Marian/Marian). Happonen is so excited to be part of this production! She would like to thank her friends, family, and faculty for their unwavering support. She is incredibly grateful to have their love and encouragement throughout her journey. Go Blue!! Instagram: @zeehapponen

Noah Itzkovitz (Offstage Vocals,Nick / Claude / Kevin T) is excited to be in Come from Away, his first University Production! Last year, Itzkovitz was in the U-M New Works Festival’s Marian: The Musical (Kosti Vehanen) and spent the summer in Costa Rica performing in Despertar De Primavera (Moritz Stiefel), a Spanish-language production of Spring Awakening. He would like to thank his friends, family, and the faculty for their support. Enjoy the show!

Ty Lam (Kevin T. / Garth & Others) is a senior musical theatre major. He hails from Dallas, Texas, and his previous roles include Andrey in Natasha, Pierre & the Great Comet of 1812; Hercule Poirot in Murder on the Orient Express; and School Principal in The Government Inspector. Ty is extremely grateful for the opportunity to perform under Vince, Cynthia, and Jane. He dedicates this performance to his parents, who got him to where he is today. @t.y.la.m

Carly Rose Mulay (Offstage Vocals,Beverley / Janice) is a sophomore at the University of Michigan, pursuing a BFA in musical theatre. University credits include: Little Red: A New Musical (Little Red). Regional credits include: Dear Evan Hansen (Zoe Murphy), Into the Woods (Cinderella). She would like to thank Mom, Nonni, and Jason for the endless support – love you more.

Alexis Muturi (Ensemble,Bonnie / Janice) is a junior at the University of Michigan, where she is pursuing a bachelor of fine arts degree in musical theatre. Her most recent U-M productions include Marian and She Loves Me. She is endlessly grateful for her family and their unwavering support. She is also thankful to be surrounded by such a talented and dedicated cast and crew, and she is thrilled to share this electric and beautiful story with you!

Tiffany Nagano (Janice & Others) is excited to make her principal debut with the University of Michigan’s Come from Away. Nagano is currently a senior musical theatre major and is originally from Honolulu, Hawaii. Previous U-M credits include: Bat Boy (ensemble), Natasha, Pierre & the Great Comet of 1812 (swing), and Gavin Creel’s Loud Nite (Amy). She would like to extend her utmost gratitude to Vince, Cynthia, Jane, cast and crew, along with her friends and family who have come from very far away to support her.♡ You are here! @tiffnagano

Gabriel Elijah Payne (Kevin J. / Ali & Others) is a junior musical theatre student from Atlanta, Georgia. He is very thankful for this opportunity and excited to be doing his first University Production! He dedicates this to his mom and dad, who taught in Washington, DC, during the event.

Avery Ramsey (Diane & Others) is a junior at the University of Michigan (class of 2028), where she recently appeared in Natasha, Pierre and the Great Comet of 1812 (ensemble) and Cabaret  (Frenchie, u/s Sally Bowles). Recent summer credits include Beautiful: The Carole King Musical at Pittsburgh CLO (Lucille/Shirelle), Mamma Mia! at Theatre Aspen (Ali, u/s Sophie), and Beautiful: The Carole King Musical at Shenandoah Summer Music Theatre (Little Eva). Other credits include work with Paper Mill Playhouse, Macy’s, Kidz Bop, and Discovery Education. Avery is honored to be telling a story that celebrates the power of kindness, community, and coming together when it matters most. Go Blue! @averyjramsey

Natasha Rodriguez (Beulah & Others) is a senior musical theatre major. Recent credits include Mary Bolkonsky in Natasha, Pierre & The Great Comet of 1812 at U-M and Penny Pingleton in Hairspray at Music Theatre Wichita. Gratitude to the U-M MT faculty, her parents, and her sisters. Follow her @TheNatashaRodriguez

A very special thanks to Nick and Diane Marson, Marcia Perry, Dr. Nazita Lajevardi, Aisha Siddiqui, Omar Elghawy, Clara Bonnell and Sari Bovitz for helping us to better represent these characters, their experiences, cultures and communities, and the lasting impacts of 9/11.

Light Board Operator: David Baumel

Spotlight Operators: William Herbert and Nolan Maddox

Deck Crew Head: Aiden Heeres^

Scenery Crew: William Kastner, Mackenzie Robin, Skylar Robin, and Zibby Zuber

Props Crew: Derek Bedell, Reya Ghiardi, Percy Kent, and Stella Mutoni

Wardrobe Crew: Sammer Ali^, Destiny Brown, Rangel Guzman, Ansh Narsingh, and Ali Jaheed Nelson

Hair & Makeup Crew: Keita Kawahara and Elle Wesley

Backup Crew (Wardrobe/Hair & Makeup): Vismaya Channappa

Assistant Choreographer: David Roden

Assistant Stage Managers: Soph Irfani and Jesse Wiono

Associate Dramaturg: Kendal Bazerman

Assistant Dramaturg: Tate Zeleznik

Assistant Lead Electrician: Clayton Collins

Audio Systems Engineer: Al Hurschman‡

Creative Team Assistants: Alejandro Medina and Heath Thompson

Production Assistants: Gayatri Noor Choudhury and Callie Woodchek

A2: Jamie Hurschman‡

Costumes: Sammer Ali, Iliana Beauchamp, Sarita Gankin, Lucy Gardner, Kate Goldman, Lucy Knas, Carmen Lauchu, Rachel Pfeil, Isabella Pruter & 250/252/262 students

Lighting: Eliza Anker, Miles Borgsdorf, Clayton Collins, Tate Zeleznik & 250/252/262 students

Paint: Gretchen Brookes, Kelly Burkel, Norah Klocke, Ren Kosiorowski, Hannah Kryzhan, Tatum Noud, Ceri Roberts, Greta Steever, Seri Stewart^, Amber Walters^ & 250/252/262 students

Production Management: Justin Comini and Greta Steever

Props: Patricio Alvarado Murillo, Abigail Baden, Kendall Brisco, Brook Galsky, Alex Heskett, EE Holmes, Banks Krause, Samantha McLaughlin, Leah Stchur, Reese Stevens, Rachael Valdez & 250/252/262 students

Scenery: Kelly Burkel, Aiden Heeres, Soph Irfani, Percy Kent, Josi Middaugh, Nathaniel Steever & 250/252/262 students

Wigs, Hair & Makeup: Gretchen Brookes^, Christine Chupailo, Riley Hahn, Olivia Mitchell, Elby Shader & 250/252/262 students

University Productions Administrative Staff

Executive Director
Jeffrey Kuras

Administrative Specialist
Christine Eccleston

Administrative Assistant
Emily Erlich

Arts Facilities and Booking Manager
Shannon Rice

Performance Hall House Manager
Kelley Krahn

Lead Backstage Operations Manager
Dane Racicot

Backstage Operations Manager
Charles Briggs, Tiff Crutchfield, Yvette Kashmer, Brian Koepele, and Robbie Kozub

University Productions Production Staff

Director of Productions
Aaron Keller

Associate Production Manager
Michelle Williams-Elias

Technical Director
Richard Lindsay

Interim Theatrical Scenery Manager
Devin Miller

Costume Stock Manager
Theresa Hartman

Scenic Carpenter
Heather Udowitz

Charge Scenic Artist
Beth Sandmaier

WDC Charge Artist
Madison Stinemetz

Lead Theatrical Properties Manager
Patrick Drone

Associate Properties Manager
Dani Keys

Properties Carpenter/Artisan
Adam Ashlock

Properties Stock & Tech Coordinator
Kat Osos

Theatrical Lighting Manager
Heather Hunter

Associate Lighting Manager
Jorrey Calvo

Theatrical Sound Manager
Katie Hopgood

Costume Shop Manager
Laura Brinker

Assistant Costume Shop Manager
Leslie Ann Smith

Lead Cutter/Draper
TJ Williamson

Cutter/Draper
Sarah Havens and Lani Tortoriello

Stitcher
Mag Grace and Rene Plante

Lead Costume Crafts Artisan
Elizabeth Gunderson

Wardrobe Manager
Meredith Miller

Hair & Makeup Studio Manager
Brittany Crinson

Department of Musical Theatre

David Gier, Dean
David Gier

Department Chair
Cynthia Kortman Westphal

Department Manager/Artistic Administrator
Kathryn Pamula

Walgreen Events Manager
Nickie Smith

Studio and Performance Manager
Arie Shaw

Walgreen Office Coordinator
Mary Toth

Faculty
Raja Benz, Jessica Bogart, Matt Bogart, Tyler Brunsman, Vincent J. Cardinal, Jason DeBord, Maurice Draughn, Tyler Driskill, Andre Garner, Caroline Helton, Jane Lanier, Eiji Miura, Sydney Morton, Chelsea Packard, Sara Randazzo, Carol Schuberg, Lynne Shankel, Catherine A. Walker, and Ann Evans Watson

Department of Advancement

Development

Chief Advancement Officer
Ericka Bigelow

Major Gifts Officer
Megan Anderson Cook

Director of Development, Marching & Athletic Bands
Kimberly Baumgartner

Development and Alumni Engagement Coordinator, Michigan Marching Bands
Tamara Rosinski

Manager of Annual Giving
Gretchen Pleuss

Assistant Director of Development, Stewardship
Jessica Woodman

Development Generalist
Alison Bur

Marketing & Communications

Director of Marketing, Communications & Campaign Strategy
Beth Miller

Marketing & Communications Director for Ticketed Performances
Sarah Erlewine

Brand Manager
Brandon Monzon

Communications Manager
Judy Galens

Video and Multimedia Manager
Chris Boyes

Digital Content Specialist
Tracy Payovich

Multimedia Specialist
Robert Coelius

Graphic Designer
Rachel (Ray) Salazar

Marketing Coordinator
Liam Crnkovich

Digital Communications Manager, Marching & Athletic Bands
Madeline Rosenbaum

Thank you for attending this program. The University of Michigan strives to create a truly open forum, one in which diverse opinions can be expressed and heard. You can see our full Freedom of Expression policy at smtd.umich.edu/FOE

Anishinaabeg gaa bi dinokiiwaad temigad manda Michigan Kichi Kinoomaagegamig. Mdaaswi nshwaaswaak shi mdaaswi shi niizhawaaswi gii-sababoonagak, Ojibweg, Odawaag, minwaa Bodwe’aadamiig wiiba gii-miigwenaa’aa maamoonjiniibina Kichi Kinoomaagegamigoong wi pii-gaa aanjibiigaadeg Kichi-Naakonigewinning, debendang manda aki, mampii Niisaajiwan, gewiinwaa niijaansiwaan ji kinoomaagaazinid. Daapanaming ninda kidwinan, megwaa minwaa gaa bi aankoosejig zhinda akiing minwaa gii-miigwewaad Kichi-Kinoomaagegamigoong aanji-daapinanigaade minwaa mshkowenjigaade.

The University of Michigan is located on the traditional territory of the Anishinaabe people. In 1817, the Ojibwe, Odawa, and Bodewadami Nations made the largest single land transfer to the University of Michigan. This was offered ceremonially as a gift through the Treaty at the Foot of the Rapids so that their children could be educated. Through these words of acknowledgment, their contemporary and ancestral ties to the land and their contributions to the University are renewed and reaffirmed.