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An Interview with Lynden Harris,
Playwright of A Good Boy and Founder of Hidden Voices
In the early 2000s, playwright Lynden Harris had a vision for a company dedicated to uplifting the voices of the voiceless. At the time, she was Artistic Director of ArtsCenter Stage where she had introduced a series called “Hidden Voices” to this local company’s stage offerings. The idea quickly caught on, and for over two decades now—together with creative partner Kathy Williams and others—Lynden has brought empowerment, expression, solace, and some real change to varied and diverse communities in North Carolina and beyond. No community has received as much attention from Hidden Voices as the incarcerated and their families. Dramaturg Mark Perry sat down to interview Lynden Harris about Hidden Voices and the story behind A Good Boy.
MARK PERRY: How long have you been working in prisons? And how long with death row?
LYNDEN HARRIS: Well, our first piece was with women in prison. So that’s 24 years … It was 2013 when Dr. Peter [Kuhns] invited us to come work on Death Row. He had seen our piece on the school-to-prison pipeline … One of the guys inside actually read an article about us and tore it out and took it to Dr. Kuhns, who was a psychologist there at Central Prison [in Raleigh], and oversaw programs on Death Row. So Dr. Kuhns came to see the show, said, “Would you come inside and develop a program for the men?” I was like, “Not right now, but give us six months and we’ll come develop a project with the men.”
MP: So that’s really interesting that the work opened itself.
LH: Always … Every project happens because somebody hears about something else and says, would you come?
MP: Can you tell the origin story of A Good Boy?
LH: So it was after a reading of the Story Cycle from Serving Life, and there were about 500 people in the audience—students, faculty, community members. Many of the families don’t live in North Carolina, but we invited those who did to come to the reading and to a dinner beforehand so they could meet each other. Because we knew listening to these stories wouldn’t be easy … [T]hat was the first time any of them had met someone else with a family member, a child sentenced to be killed. So that was really quite remarkable for them to first meet each other. And some of them are still in touch.
At the close of the reading, the audience were on their feet. People were stomping and whistling and clapping. A lot of people just weeping. And the families were stunned. I mean, they had never imagined anybody would care. And it’s not an easy thing to sit through these stories because a lot of them reflect on childhood experiences and these are their families listening to them.
So afterwards, one of the mothers came up to me … I thought she was going to say how incredible the evening was. But she looked at me and said, “What I want to know is when are you going to tell our story?” And it was just … chill bumps … I said, “I don’t know. I don’t know how, I don’t know when, but I promise we will.” So that was when this started.
MP: What have you learned from the 12 years of immersion in these stories, in these lives and in this situation?
LH: So many things, but one thing that occurs to me is how people are either in this world or they know nothing about this world. How very hidden, how very intentionally hidden so much of the Carceral system is … and how that is very intentional. And I think that’s incredibly unhealthy for everyone. I think we really need to understand what we’re doing when we lock people up with no recourse for … we as a society …
The causes are pretty clear–it’s poverty, it’s underfunded schools, it’s addiction, it’s a lack of mental health support … We just finished a two-year project, HomeComing, exploring reentry in rural communities and returning to those communities with performances and conversations. After the performance, the first thing the facilitator would say is: “Before we start, I just want to know how many people here have been personally touched by incarceration? Either you or somebody really close to you?” Like 75% of the hands go up. Some of the audience members had only recently been released. Some were unhoused. One person had only been out two days. But how much do the rest of us know about that journey?
MP: What do you think the folks whose stories you’ve told—those from death row and death row family members, what have they taken away from the interaction with Hidden Voices?
LH: I would say, as a generality, the men inside took away a certain amount of self-confidence, a belief in their capacity to make a difference. I think creating that small community for a couple of years where they were all supporting each other either in telling stories or writing stories … that, for many of them, hasn’t stopped. They’ve gone on to write all kinds of essays and articles and be published and be writing plays and writing short stories. It’s the feeling of agency in a place that’s so incredibly restricted. But almost everybody, in my experience, if you offer them a pathway to make life easier for someone else, to help prevent someone else having to endure what they’ve endured, they will jump at it. “I’ll share my story if it’ll make a difference for someone else.” It’s just a huge human motivator.
MP: Do you have a sense of an ideal audience member response for A Good Boy? What’s the range of responses that you are aiming for?
LH: [O]ur target audience is people who aren’t very familiar with the impact of incarceration and the death penalty on communities and families but who could learn to care about not only the effects but the causes. It’s about care and compassion and desire … the willingness. The willingness to feel the feelings, the willingness to be aware—oh my goodness, there are people in Hillsborough, there are people in Durham, that big building right beside DPAC, with the little arrow slit windows, that’s the jail. There is some power to just being aware that all those people are living inside. One time after a reading, a woman was weeping and she said, “I’m so embarrassed. I drive by a prison every day on my way to work and not once have I ever wondered who was inside. And it makes me wonder what else I’ve never wondered about.”
I think that awareness in a felt sense is critical, because if you don’t care, nothing will change.
Jump to: Letter from Jeff | Who We Are | Title Page | Musical Numbers | Creative Team Bios | General Information | PlayMakers Staff | Friends of PlayMakers
Program Notes
Incarceration in the U.S.
by Zoë Nagel, Hidden Voices Dramaturg Intern
Welcome to the Crossroads Correctional waiting room, a pressure cooker of overworked employees, arbitrary policy, and anxious visitors hoping to see their loved ones before time runs out. For the next two hours, you will wait alongside the family members of men on Death Row as they commiserate, fight, pray, wrestle with hope, and prepare to go through it all again next week. And the week after that. And the week after that.
Crossroads Correctional may be set in the Midwest, but its duplicates can be found in over half of the United States. As of 2025, the death penalty is legal in 27 states, including North Carolina. Central Prison and North Carolina Correctional Institution house a combined 121 Death Row inmates and are located approximately 32 and 27 miles from PlayMakers, respectively.
The national conversation around capital punishment continues to evolve. Over the past three decades, public support has declined, with growing attention to issues such as racial disparities, wrongful convictions, inhumane treatment of inmates, and disproportionate sentencing of vulnerable populations, combined with increasing evidence that states that have eliminated the death penalty do not experience higher murder rates than those that still perform executions. This decline in support is also evident globally when comparing crime rates in countries that implement the death penalty with those that do not.
In 2025, 27 executions have taken place across the U.S., with 10 more scheduled before the end of the year. On January 20, 2025, President Trump issued an executive order calling for state prosecutors to pursue new death sentences for the 37 Death Row inmates whose sentences had been commuted to life without parole by President Biden. The order also calls for the Attorney General to seek capital punishment in federal cases involving undocumented immigrants.
This play does not aim to provide answers, but rather to invite reflection. It asks us to consider the human cost of policy, the emotional toll of waiting, and the endurance of those who return week after week to bear witness.
A Good Boy
Book & Lyrics by Lynden Harris
Music by Marc Callahan & AJ Layague
Directed by Kathryn Hunter-Williams
Musical Arrangements by
Leslie Wickham
Music Director
Andrew Wiele
Scenic & Costume Designer
Derrick Ivey
Lighting Designer
David Navalinsky
Sound Designer
Michael Anthiny Betts II
Dramaturg
Mark Perry
Dialect Coach
Tia James
Stage Manager
Rasool Jahan*
Assistant Stage Manager
Julianna Frasca
Dramaturg Intern
Zoë Nagel
*Indicates members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Setting: The waiting area at Crossroads Correctional, a close-custody prison in the Midwest.
The video or audio recording of this performance by any means is strictly prohibited.
Presented in association with PlayMakers Repertory Company, the Department of Dramatic Art, The College of Arts and Sciences.The University of North Carolina at Chapel Hill
THE CAST
in Alphabetical Order
Bradley: Jade Arnold*
Bullock: Jeffrey Blair Cornell*
Heather: Serena Ebhardt*
Mary: Hazel Edmond*
Yolanda: Yolanda Rabun*
*Appearing through an Agreement between this theatre and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Musical Numbers
ACT I
Welcome to the Crossroads: Mary, Ensemble
Welcome to the Crossroads (var): Bullock, Ensemble
Only Yesterday: Yolanda
Evidence: Mary, Yolanda
Face to Face: Yolanda, Mary, Heather, Bradley
The Devil Wore Lilly: Bradley
Don’t Tell: Heather, Ensemble
Face to Face (rep): Ensemble
ACT II
Waiting Game: Ensemble
Bite the Bullet: Bullock, Ensemble
Who’s Your Daddy: Bradley, Bullock
I’m Sorry, Thank You: Heather
You Have to Believe: Mary, Yolanda
A Little Mercy: Ensemble
Cast Bios
Jade Arnold
Bradley
PlayMakers: Sweeney Todd, My Fair Lady.
Regional: Fire of Freedom (The ArtsCenter’s Redbird Festival); Julius Caesar (Justice Theater Project); Amadeus (Leviathan Theatre Company); HMLT (Little Green Pig Theatrical Concern); Carousel, A Few Good Men, Dreamgirls (Theatre Raleigh). Flat Rock Playhouse, Clarence Brown Theatre, Theatre Raleigh, Burning Coal Theatre, Pure Life Theatre, Justice Theatre Project, Manbites Dog Theatre, Little Green Pig Theatrical Concern.
Education/Other: Master’s Degree from University of Tennessee at Knoxville, Undergraduate Degree from UNC at Wilmington.Jade Arnold resides in Durham, NC and is a Co-Founder of the Triangle Readers Theatre Ensemble, a company member of Burning Coal Theatre Company, and a member of the Artistic Committee for the Justice Theatre Project
Jeffrey Blair Cornell
Bullock
PlayMakers: Jeff is celebrating his 31st consecutive season acting with PlayMakers. Recently: Mr. Mushnik in Little Shop of Horrors, Willy Loman in Death of a Salesman, Hercule Poirot in Murder on the Orient Express, Dogberry in Much Ado About Nothing, Eddie in The Legend of Georgia McBride, Polonius/Gravedigger in Hamlet, Brutus in Julius Caesar, Father in Ragtime, Uncle Peck in How I Learned to Drive, Sipos in She Loves Me, and Darren (the Woodchuck) in Bewilderness. Some favorites: Henry Higgins in My Fair Lady, Caliban in The Tempest, Elyot in Private Lives, Father Flynn in Doubt, Matamore in The Illusion, Sam Byck in Assassins, Roy Cohn in Angels in America, Vanya in Vanya, Sonya, Masha and Spike, and Herr Schultz in Cabaret.
New York: Two by Two, Down to Earth, Serious Business.
Regional: Guthrie Theater, Cincinnati Playhouse in the Park, Pittsburgh Public Theater, Paper Mill Playhouse, Geva Theatre Center, among others.
Education/Other: Carbonell Award nominations for Best Actor – Someone Who’ll Watch Over Me and Falsettoland (Caldwell Theatre – FL). Studied at HB Studios in New York with Uta Hagen, Austin Pendleton, and Elizabeth Wilson and received his MFA from the PATP/UNC-Chapel Hill. Serves as Teaching Professor/Associate Chair in UNC’s Department of Dramatic Art.
Serena Ebhardt
Heather
PlayMakers: Blood Done Sign My Name. An award-winning actress, Ms. Ebhardt has performed in Europe, Canada, Off Broadway, on national tours, upon regional stages and in television and film. Her production of War Bonds: The Songs and Letters of World War II, which she co-wrote and performs, is featured on public broadcasting stations across the United States. Serena’s directing work is influenced by the theories of Overlie’s Viewpoints and Gardner’s Multiple Intelligences. In 1994, Serena wrote, produced and directed Brown V. Board Of Education, a one-man show featuring Mike Wiley. The two artists found similar philosophies and working styles which lead to partnerships on a multitude of projects including Dar He: The Story of Emmett Till, Tuskegee, Blood Done Sign My Name, and Life Is So Good.
Education/Other: Paul Green Scholar with a B.A. in Dramatic Art from UNC-Chapel Hill. Her training includes Master Classes at Hedgerow Theatre and The John F. Kennedy Center for the Performing Arts: Artists as Educators.
Hazel Edmond
Mary
PlayMakers: Debut. Hazel Edmond is an emcee, vocalist, voice-over actor, and proud member of Actors’ Equity Association. Regional: Caroline, or Change, Urinetown, Little Shop of Horrors, Violet, Hairspray, Hello, Dolly!, Chicago, Nunsense II, Dreamgirls, Barbecue, All My Sons, Radio Golf, The Parchman Hour, The Overwhelming, and I Love My Hair.
Education: BM in Vocal Performance, Georgia Southern University.
Yolanda Rabun
Yolanda
PlayMakers: No Fear and Blues Long Gone: Nina Simone, Violet.
Regional: Newsies, Mary Poppins, Buddy: The Buddy Holly Story, Drowsy Chaperone, Little Shop of Horrors, Beehive, the 60s Musical, Dreamgirls, Ragtime, Big River, Smokey Joe’s Cafe, Avenue Q, Violet the Musical, Ain’t Misbehavin’, I Love You, You’re Perfect, Now Change, Member of the Wedding, Twelfth Night, and I Love My Hair.
Studio Recordings: So Real, Christmastime, Hold on to Your Dreams, the YOLANDA, and the NO FEAR albums are available on iTunes, Amazon, Spotify, and Pandora. BMI (songwriter), BMI and ASCAP (publisher), Voting Member of the National Academy of Recording Arts & Sciences (the Grammys).
Education: BA with Honors, College of the Holy Cross; Juris Doctorate, Boston College Law (New York and Georgia licensed). Yolanda and her husband of 31 years, have two young-adult children.
Lynden Harris
Playwright & Lyricist
Lynden is the founder & Artistic Director of Hidden Voices. For 25 years, Hidden Voices has collaborated with underrepresented communities to create award-winning works that combine narrative, performance, mapping, music, digital media, and interactive exhibits. The former Artistic Director of ArtsCenter Stage, Lynden was a founding Cultural Agent for the US Dept of Arts & Culture, a 2024 MAP Fund recipient, a 2021 Fellow with A Blade of Grass, & the 2020 North Carolina Playwriting Fellow. Her play Count premiered at PlayMakers in 2018 and was staged most recently at the McCarter Theater in Princeton, NJ. In 2021, RIGHT HERE, RIGHT NOW: Life Stories from America’s Death Row was published by Duke University Press.
Marc Callahan
Composer
Writing songs for A Good Boy has been one of the most meaningful and life-altering experiences of my musical career. Speaking with men on death row and listening to the stories of their loved ones—then retelling those stories through music—has opened my heart to the hidden voices in our communities. It’s been an honor to use my experience as a musician and dramaturge to help shape these intimate and heartbreaking narratives.
Marc Callahan is a director, singer, dramaturge, and educator whose work explores the power of interdisciplinary storytelling. He has directed and performed works across the U.S. and Europe and currently serves as Associate Professor of Opera at Chapman University in California. A former tenured faculty member at UNC-Chapel Hill, Marc is grateful for the opportunity to share his work on campus once again.
AJ Layague
Composer
AJ is an award-winning Filipino-American composer/playwright whose plays have received recognition from Synecdoche Works, Digital Development Project, Larking House Theatre, Playwrights Foundation, and a Judith Royer Excellence in Playwriting finalist nod, among others. Her work has been developed by Skeleton Rep (NY), Ensemble Studio Theatre/LA and Circle X Theatre (Los Angeles), and she premiered new work (in rhyming verse) at the 2025 Red Bull Short Play Festival and 2023 PanAsian NuWorks Festival. Her monologues have been published by Smith & Kraus (Best Men’s Stage Monologues 2024) and Dramallama. Her musicals have been honored by the 2024 MAP Fund Grant, 2024 New Musical Project, four-time semi-finalist status for the Eugene O’Neill Music Theater Conference, and a Critical Issues Award from the Humanities for the Public Good, and she has composed for chamber music, film (Kino Lorber), and video games (IGT).
Kathryn Hunter-Williams
Director
PlayMakersCompany member for 26 seasons. Recent highlights include directing The Christmas Case of Hezekiah Jones, They Do Not Know Harlem, Stick Fly, No Fear & Blues Long Gone, Count, plus acting in Confederates, The Game, Fat Ham, Hamlet, A Wrinkle in Time, The Skin of Our Teeth, Edges of Time, Julius Caesar, Everybody, Life of Galileo, Skeleton Crew, Leaving Eden, Tartuffe, Dot, Intimate Apparel, The Crucible, Trouble in Mind, A Midsummer Night’s Dream, A Raisin in the Sun, Imaginary Invalid, The Parchman Hour, Angels in America, Fences, Doubt, among others.
New York/Regional: Living Stage, The Negro Ensemble Company, Manhattan Class Company, New Dramatists, Archipelago Theater.
Education/Other: BFA, UNC School of the Arts; MFA, UNC-Chapel Hill. Kathryn is chair of the Department of Dramatic Art at UNC-Chapel Hill and Associate Director of HiddenVoices, a non-profit organization dedicated to bringing life-changing stories into a public forum.
Leslie Wickham
Musical Arrangements
New York: Anastasia (Lincoln Center).
National Tours: Anastasia, Disney’s Aladdin.
Regional: Hunchback of Notre Dame, Mamma Mia! (PCPA)
University: Into The Woods (UNC), Threepenny Opera, Frozen (Manhattan School of Music), Company, The Pajama Game (UC Irvine). Leslie holds a Bachelor of Music from UNC Chapel Hill and a Master’s in Music Direction from UC Irvine.
Andrew Wiele
Music Director
Inspired by artists like George Winston, Horace Silver, and Herbie Hancock, Andrew Wiele’s performances have been described as engaging and profound, providing context and meaning to the music. Currently based in Mebane, NC, Andrew works constantly to bring music to life in new and interesting ways that engage with audiences on a personal level, no matter the genre. Andrew graduated from the University of Missouri with M. M.s in Music Performance and Theory. He currently teaches at Chapel Hill School of Musical Arts. He is currently professionally available as an accompanist, performer, and music producer, and his music is available on streaming platforms.
Derrick Ivey
Scenic & Costume Designer
PlayMakers: What the Constitution Means to Me (Scenic & Costume Designer), Bewilderness (Costume Designer), Bright Star (Costume Designer, Summer Youth Conservatory),The Cake, An Enemy of the People, Love Alone (Actor).
Regional: Designer: Silent Sky (Center Theater); A Doll’s House, Part 2 (RedBird Theater Company); Dancing at Lughnasa, Vinegar Tom, Uncle Vanya, Ragtime (Duke University); Kiss Me Kate (William Peace University); Life Sucks, Marjorie Prime, Mr. Burns, The New Electric Ballroom, Act a Lady, The Receptionist, Rabbit Hole (Manbites Dog Theater); Pride and Prejudice, Trouble in Mind (Raleigh Little Theater). Actor: Art, Red (RedBird Theater Company); A Christmas Carol (Center Theater); Wakey-Wakey, Mr. Burns…Death of Walt Disney, Nixon’s Nixon (Manbites Dog Theater); God of Carnage, Into the Breeches (Theatre Raleigh); Cabaret, King Lear, Suddenly Last Summer (William Peace University); The Trip to Bountiful (Cape Fear Regional Theater).
Film: Designer: The Voice in Isabel Fleiss’s Office, Keepsake, Cheat Proof. Actor: The Problem of the Hero, Alamance
David Navalinsky
Lighting Designer
David is a Professor and the Director of Undergraduate Production at the University of North Carolina-Chapel Hill overseeing the Kenan Theatre Company. During the summer David is the lighting designer for La Musica Lyrica in Novafeltria Italy where he also performed in his first Opera. David has been the lighting designer for The Best Christmas Pageant Ever at Cape Fear Regional Theatre, lighting and scenery for No Fear and Blues Long Gone; Nina Simone, and lighting for the Pauli Murray Project’s To Buy the Sun. Beyond North Carolina David has spent time at the University of Texas at Arlington, the University of Mississippi, the Oxford Shakespeare Festival, South Coast Repertory, the Utah Shakespeare Festival, Dallas Children’s Theater, the Illinois Shakespeare Festival, and Karamu Performing Arts Theatre.
Michael Anthony Betts II
Sound Designer
PlayMakers: Hamlet, Stick Fly.
Regional: The Miraculous and the Mundane (Howard Craft); The Talk, Haunted (Sonny Kelly); My Mother Is Busy Getting Ready To Die (Dr. LeRhonda S. Manigualt-Bryant).
Film: death.everything.nothing (Dr. LeRhonda S. Manigualt-Bryant).
Education: Media Production, UNC-Chapel Hill; MFA in Experimental and Documentary Arts, Duke University.
Mark Perry
Dramaturg
PlayMakers Company member for 15 seasons. Death of a Salesman, Misery, Emma, Yoga Play, Everybody, How I Learned to Drive, Jump, The Cake, De Profundis, The Crucible, Trouble in Mind, Metamorphoses, Surviving Twin, A Raisin in the Sun, An Iliad, Noises Off, The Parchman Hour, Shipwrecked! An Entertainment, The Little Prince. Mark teaches play analysis and playwriting in the Department of Dramatic Art. His plays The Will of Bernard Boynton and A New Dress for Mona have been produced in our Kenan Theatre, and both have been published by Drama Circle. He has also directed the Kenan Theatre Company’s productions of The Cherry Orchard, Hedda Gabler, and The Seagull.
Education/Other: MFA, Playwright’s Workshop, University of Iowa. Former recipient of NC Arts Council Literature Fellowship for Playwriting.
Tia James
Dialect Coach
PlayMakers Company member since 2018. Vocal coaching includes Death of a Salesman, The Christmas Case of Hezekiah Jones, Misery, They Do Not Know Harlem, The Legend of Georgia McBride, Stick Fly, Ragtime, How I Learned to Drive, Life of Galileo, Bewilderness, She Loves Me, Skeleton Crew, Sherwood, Jump, Your Healing is Killing Me.
Teaching / Coaching / Directing: By the Way, Meet Vera Stark (The College of William and Mary), Pride and Prejudice (Montclair State University).
Education / Awards: MFA NYU Tisch Graduate Acting Program, BFA Virginia Commonwealth University; Miller Voice Method Teacher Certification. Recipient of the 2014 NYU Graduate Acting Diversity Mentorship Scholarship, 2003 Kennedy Center American College Theatre Festival, Irene Ryan Acting Scholarship winner for Best Actor; 2019 Michael Chekhov/Zelda Fichandler Scholarship.
Rasool Jahan
Production Stage Manager
Rasool Jahan received her B.A. in Theatre from North Carolina’s oldest HBCU. She has been a working professional actor on stage, film and TV for over 30 years, both East and West Coasts. She was the Assistant Director on Count, here at the Kenan in 2017 and is honored to serve as the Stage Manager for A Good Boy. Rasool is a social justice activist, currently helping black farmers work their land. She is a Board Member of Hidden Voices, a co-creative collective curated to lift the voices of marginalized communites and she lives in Durham, North Carolina.
Julianna Frasca
Assistant Stage Manager
Regional: Being Chaka, Hymn (Burning Coal Theatre), The Motown Sound of Christmas, Ma Rainey’s Black Bottom (Pure Life Theatre).
Education:B.A. in Theatre Arts from Drew University. Julianna Frasca is excited to work with HiddenVoices on their production of A Good Boy! Before moving to North Carolina, she stage managed for Eastline Theatre on Long Island in their productions of Angels in America (both parts), In the Next Room, and Being Earnest, a queer adaptation of The Importance of Being Earnest.
Zoë Nagel
Dramaturg Intern
Zoë Nagel is a dramaturg and scholar currently working on her MFA in Dramaturgy and Dramatic Criticism at the David Geffen School of Drama at Yale. A North Carolina nature, she earned dual BAs in English literature and psychology from Appalachian State University where her thesis examined the role of disability in Shakespeare’s Richard III. Zoë is grateful to be involved in the world premiere of Hidden Voices’ A Good Boy and their vital work of platforming underrepresented stories.
A Good Boy was made possible by:
Many Thanks To Hidden Voices Donors
A Good Boy exists because this community believes in the power of storytelling to connect and transform. We honor and thank our generous donors, without whom this production would not be possible.
Cooper Harris & Xavier Monks-Corrigan
David Neal & Jennifer Weaver
David Smith
Finders Course Friends
Vivienne Benesch
Ann Joyner and Allan Parnell
Virginia Rockwell
Susan Whisnant
Producing Artistic Director, Vivienne Benesch
Director of Operations, Maura Murphy
Production Manager, Michael Rolleri
Director of Engagement and Education, Jeff Aguiar
Director of External Relations, Tina CoyneSmith
Associate Producer, Chelsea James
Company Manager, Zoe Lord
Acting General Manager/Costume Shop Manager, Amy Evans
Technical Director, Laura Pates
Associate Technical Director, Rachel Van Namen
Shop Supervisor, Brandon “Bruce” Hearrell
Scenic Charge Artist, Diane Zimmerman
Props Supervisor, Lauren Reinhartsen
Props Artisan, Sam Gainer
Costume Director, Triffin Morris
Assistant Costume Manager, Matthew Mallard
Wardrobe Supervisor, Janis Nordeen
Electrics Supervisor, Benjamin Bosch
Sound Supervisor, David Bost
For This Production
Rachel Van Namen, Technical Director
Laura Pates, Assistant Technical Director
Jocelyn Chatman, Costume Alterations
Izzy Council, Light Board Operator
Madi Ugan, Audio Engineer
Destiny Carless, Grant Coffey, Bo Ma, Deck Crew
David Bost, Nick Rodgers, Jayden Alexander Peszko, Sound Crew
