We are on sacred ground. Northwestern University is on the traditional homelands of the people of the Council of Three Fires—the Ojibwe, Potawatomi, and Odawa—as well as the Menominee, Miami, and Ho-Chunk nations. Before it was stolen from them through colonization and forced removal, this land was a site of trade, travel, gathering, and healing for more than a dozen other native tribes. The state of Illinois is still home to more than 100,000 tribal members. In the spirit of healing and making amends for the harm that was done, we acknowledge the native and indigenous peoples who called this land home. We pledge ourselves as members of the Northwestern School of Communication to turn our statements into action and build better relationships with native and indigenous communities in Evanston, in Chicago, and throughout the region.
Danceworks 2026 marks the 250th anniversary (semiquincentennial meaning 250) of the founding of the United States of America. Some of the initial questions I offered the choreographers and designers were: “what do we have to celebrate given the contentious history of this country? What continues to haunt our country? What ghosts of the past do we need to reckon with? What can dancing exorcise?”
I initially imagined a high school prom where different American social dance forms would converge. However, after this past year’s escalating state-sanctioned violence and ongoing threats to the Constitution and our democracy, it seemed ludicrous to offer merely a dance spectacle. It felt urgent to build a world that acknowledges the richness of our differences without erasing the histories of marginalization that serve as constant reminders of the experiment that are these United States. I began envisioning a dilapidated space, a space built on stolen land, whose luster has long faded. Perhaps it never had any luster, but the promise of its glory still lingers. I imagined distinct historical moments converging and conversing across time and space; a response to current challenges through movement, both marvelous and mundane. As the late performance studies scholar José Esteban Muñoz wrote, “our charge as spectators and actors is to continue disidentifying with this world until we achieve new ones.”
Semiquincentennial features contemplation, presence, surveillance, survival, humor, hauntings, collective joy, resilience, revenants, and rehearsals for the future. This future requires work and deep, uncomfortable self-reflection as a society. Semiquincentennial offers some time for that reflection. It is an evening length dance theatre piece that is first and foremost an artistic collaboration among interpreters, choreographers, and designers. It moves through evocation, illustration, and activation in the hopes that we might see and feel glimmers of a just future we all want.
What do we have to celebrate given the contentious history of this country? What continues to haunt our country? What ghosts of the past do we need to reckon with? What can dancing exorcise?
Explore these questions and more through the Audience Resource Packet of Danceworks 2026: Semiquinicentennial.
Special thanks to The Theatre School (DePaul University) Wig and Makeup program of 2027 (TTS-WaM).
Performed by Sopheen Lee, Zachary Singer, Yuxuan (Penny) Zhang, Lem Nguyen, Kathryn Hocker, Sophie Teitler, Lina Morhai, Erin Soko
Lighting design by Rembrandt Pieplenbosch
Sound design by Seth Lauver
Costume design by Jeff Hancock
These small pieces are meant to function as ellipses. The first interstitial sets up the confluence of historical moments and their many hauntings. The subsequent pieces continue the choreographic offering that came before or offer a response to what is to come. Gestural vocabularies in these episodic transitions function as memories. If you pay close attention, you may see phrases (re)emerge. These are moments to reflect and connect. – Melissa Blanco Borelli
Performed by Chloe Jung, Lina Morhai, Tvesha Gupta, Lem Nguyen, Erin Soko, Kathryn Hocker, Timaa Kamar
Lighting design by Rembrandt Pieplenbosch
Sound design by Belu-Olisa Sarkissian
Costume design by Lia Wallfish
Erin Soko and Kathryn Hocker, Dance Captains
Sound and Technology Dramaturgy by Raymond Simmonds
Wish | Body | Trace emerges from my practice of performance as ceremony, where attention is held as a shared ritual. Developed with physicist Ray Simmonds, the work explores how repetition, relation, and time shape the body. It resists literal explanation and narrative illustration, grounding movement in listening, presence, and encounter. Forms organize and loosen as bodies move through orientation, structure, and displacement. The piece asks performers and audience to remain present rather than interpret—to experience what unfolds without needing it explained, resolved, or translated into meaning, and to stay with the experience as it continues to shift over time together. – Sam Aros-Mitchell
Featuring music from:
“Happy Days” – Bill Hailey and the Comets, “It’s My Party” – Leslie Gore, “Long 20 1” & “War Machines” – Micheal Wall, “Partita for 8 Voices” – Caroline Shaw
Performed by Chloe Jung, Charlize Collado, Monica Xu, Clio Siegel, Sam Geiger, Erin Soko, Timaa Kamar
Lighting design by Surya Saathi
Sound design by Lawrence Lewis
Costume design by Lia Wallfish
How do we become bystanders in our own lives—wallflowers at our own dances? In a culture shaped by cameras, algorithms, and mediated versions of ourselves, truth feels redacted and identity rehearsed. Constant surveillance breeds anxiety and hypervigilance, quietly training us not to stand out. We begin to self-censor, to police what is “normal,” to trade authenticity for safety. hold, sway explores this behavioral inhibition and the pressure toward sameness. It asks who we are becoming when we fear enacting our own values. What parts of ourselves—and our histories—have been curtailed so thoroughly that we no longer recognize what is true? – Jeff Hancock
Featuring music from:
“We’ve Been Through So Much” – Jin and Moor Mother, “Nyctalope” – Inkless, “We Take Things For Granted” – Sarathy Korwar
Performed by Sopheen Lee, Yuxuan (Penny) Zhang, Rosebud Summers, Tvesha Gupta, Juniper Viernes, Laila Spencer
Assistant direction by Jorie Goins
Lighting design by Alex Yang
Sound design by Nathan Vescio
Costume design by Lia Wallfish
Dramaturgy by Juniper Viernes
And the Migrants Kept Coming: we wonder in continual action. We make decisions based on past, present and future cycles. We strive for new soil that might nurture old seeds. With shards of shadows we break down and build. A deep knowing forces us to be exceptional even when the sun don’t shine. And we keep it moving. – Shireen Dickson
Featuring music from:
“Sh-Boom” – The Crew-Cuts, “Longing for a Frozen Sky” – Ernst Reijseger, “Care” – Kaada, “Dancing Therapy” – International Music System, “I Feel Love” – Donna Summer, “Cures and Wounds” – Wilma Archer, “Valley of Peace” – Teymori, “My Take on Solidao” – fantompower, “Better Get Hit In Your Soul” – Charles Mingus
Performed by Chloe Jung, Charlize Collado, Monica Xu, Clio Siegel, Rosebud Summers, Sam Geiger, Sofia Sciacca, Sophie Teitler, Erin Soko
Lighting design by Isabella Castro
Sound design by Murray Robertson
Costume design by Lia Wallfish
In this piece, the line dance carries the potential to both control and liberate the dancers. The interpreters and I researched the overwhelming senses of urgency and perfectionism baked into our daily lives. We learned how to fall together with trust and vulnerability. I began this process with some questions fundamental to my movement research: how can we stay with moments of the unknown or the uncomfortable for long enough to interrogate what we are doing? What if the fall is not only a necessary tool to adapt to uncontrollable circumstances, but the only way to make it through? – Chrissy Martin
Jayce Lewis, Production Stage Manager
Alexander J. Olguin, Assistant Stage Manager
Mack Finklea, Assistant Stage Manager/Run Crew Head
Jackson Hollis, Swing Assistant Stage Manager
Asher Navisky, Bridget Brown, Jennifer Walsh, Joey Collins, Kaylie Svenson, Lucas Li, Maya Wishnia, Priscilla Fernandes – Run Crew
Brenna Kaplan, Costume Coordinator
Jackie Acosta, Hair/Makeup Coordinator/Technician/Runner (TTS-WaM)
Sofia Foley, Hair/Makeup Coordinator/Technician/Runner (TTS-WaM
Rembrandt Pieplenbosch, Lighting Supervisor
Forrest Gregor, Sound Supervisor
Emily Hayman, Asst. Sound Supervisor
Sam Aros-Mitchell (Wish |Body| Trace, he/him) is a Yaqui choreographer, scholar, and performer based in Minneapolis. His work blends Indigenous cosmologies, experimental dance, and performance installation, transforming space into sites of ceremony and collective witnessing. He is a Jerome Hill Artist Fellow (2025–28), a McKnight Dance Fellow (2023), and founder of SAROS field/works, a platform for Indigenous and BIPOC-led performance. Aros-Mitchell’s choreography draws from embodied research and ceremonial practice, dissolving boundaries between dance, theatre, and visual art. His recent works include Juya Nokakamea (2024), inspired by Yaqui creation stories, and Entering Aniam (2023), an immersive sound and movement installation. He holds a PhD in Drama and Theatre and an MFA in Dance Theatre from UC San Diego. As an educator and mentor, he teaches Indigenous performance, somatic improvisation, and land-based research. He is also the founder of NE/X Festival and The Native Joy Play Festival, and co-leads Aros & Son LLC, a Native-owned media and publishing company. Across all his work, Aros-Mitchell centers kinship, ritual, and the belief that performance is an embodied act of cultural memory and continuity.
Melissa Blanco Borelli, PhD (Interstitial Pieces, Semiquincentennial Artistic Director, she/her) is Associate Professor in the Department of Theatre, courtesy appointment in Performance Studies and Director of the Dance Program. Her recent scholarly work focuses on memory, performance, and archives. https://communication.northwestern.edu/faculty/melissa-blanco-borelli.html
Shireen Dickson (And the Migrants Kept Coming, she/her) is a dance artist, educator, and facilitator whose work spans African American vernacular, global rhythmic, and folk traditions. She is the director of Okra Dance Company and a longtime collaborator with choreographer Dianne McIntyre. Shireen has performed and taught at major festivals and institutions nationwide, and consults with organizations on arts-based education and community engagement. A founding member of the Collegium for African Diaspora Dance at Duke University, she also serves as a producer and facilitator with Slippage: Performance|Culture|Technology at Northwestern University, creating movement experiences that challenge traditional ideas of art-making and learning.
Jeff Hancock (hold, sway, he/him) is an Associate Professor at Northwestern University, collaborative interpreter with Molly Shanahan/Mad Shak, and founder of -ish design, where he explores emergent values, positionality, and ways of being through making costumes, movement, and his practice as a teaching artist. A founding member of River North Chicago, and formerly with Hubbard Street and others, he practices relentless curiosity-as-inspiration about/from nature, humans/animals, materials, joy, queerness, anxiety, his cat, and his husband Joe.
Chrissy Martin (Happy Birthday, she/they) is an interdisciplinary performance artist and educator with roots in contemporary dance forms, contact improvisation, Afro-Caribbean dance, postmodern experimental music, vocal jazz, and physical theater. Chrissy blends these forms to rigorously examine their intersecting queer and neurodivergent identities. Martin is an avid member of the global contact improvisation community and has facilitated and taught workshops across the Midwest. She is an assistant professor of movement and dance at Northwestern’s Theatre School. chrissymartinmakes.com
Isabella Castro (Lighting Designer – Happy Birthday, she/her) is a first-year MFA Stage Design candidate at Northwestern University. Originally from Rio de Janeiro, Brazil, she brings over a decade of experience in lighting design for theater, dance, and opera, and is thrilled to be making her debut with Danceworks ’26.
Charlize Collado (Interpreter – hold,sway & Happy Birthday, she/her) has grown up dancing from ages 2-13 and took a hiatus during high school due to Covid. She is ecstatic to perform in a dance show for the first time since her break. She danced at “American Dance And Drama studio” in New York City. She is currently a second year undergraduate theater major. She enjoys staying active and trying new things, like rock climbing and archery. Nothing makes Charlize happier than performing.
Sam Geiger (Interpreter – hold, sway & Happy Birthday, he/him) is a freshman theatre major originally from Boston, Massachusetts. He grew up dancing at All That Jazz dance studio and is so excited to be dancing at NU! At Northwestern, he is a member of Fusion Dance Company and Thunk acapella.
Jorie Goins (Assistant Director – And the Migrants Kept Coming, she/her) is a dancer based out of Chicago. Jorie earned a bachelor’s degree in journalism with a minor in dance from Northwestern University in 2016. While at Northwestern, Jorie was a member of Tonik Tap, Northwestern’s premiere tap dance company, where she choreographed five original pieces. Over her near-decade as a professional dancer in the Windy City, Jorie has been blessed to dance on some of Chicago’s biggest stages, including the Reva & David Logan Center for the Arts, Millennium Park’s Pritzker Pavilion and The Auditorium Theatre. She has performed works choreographed by Brenda Bufalino, Rich Ashworth, Mark Yonally, Nicole Clarke Springer and Martin “Tre” Dumas III. Her choreography recently appeared in the video for Tarde, a music video created by the web-based Spanish-language learning company, Señor Wooly, and Glow, a tiny dance film produced for Project Bound Dance’s “The One Hour Project” and screened at the 2025 Short Stack Film Festival. Jorie graduated with her Master of Science in Leadership for Creative Enterprises from Northwestern University in 2023. In 2025, she presented her master’s thesis, Machine to Body: Digitally Archiving Black Diasporic Dance, as a breakout session at DANCE/USA 2025 in Chicago. As a writer, dance performer, teacher, choreographer and founder of her multimedia company, Jorieography, Jorie continues to use her dual passions for writing and dance to shape and craft the narratives she wishes to see in the world.
Tvesha Gupta (Interpreter – Wish|Body|Trace & And the Migrants Kept Coming, she/her) is a sophomore studying as a Theater Major and in the Management for the Creative Industries Certificate. She studied Theater at The Chicago Academy for the Arts before attending Northwestern. Her dance training includes Bollywood, Jazz, and Aerial Arts for about 8 years. She would like to thank her choreographers, Shireen and Sam, as well as her wonderful fellow dancers who have reminded her why she loves dancing.
Kathryn Hocker (Interpreter – Interstitials & Wish|Body|Trace, Dance Captain – Wish|Body|Trace, she/her) is a dancer originally from Dyer, Indiana. She graduated from the Chicago Academy for the Arts in 2020, where she danced during high school, and in 2025 earned her B.S. in Dance and B.S. in Electrical Engineering from Northwestern University. During her time at Northwestern, Kathryn choreographed for the student groups New Movement Project and Reflections Repertory Company. She currently teaches dance at M2 Dance Center to middle and high school students.
Chloe Jung (Interpreter – Wish|Body|Trace, hold, sway & Happy Birthday, she/her) is a sophomore at Northwestern University studying dance and cognitive science. She has trained in contemporary, modern, jazz, tap, and ballet and is currently exploring artistry and movement vocabulary through faculty led courses and student organizations. “Semiquincentennial” is Chloe’s first production with The Wirtz Center and she is excited to bring the weeks of rehearsals and effort onstage.
Timaa Kamar (Interpreter – Wish|Body|Trace & hold, sway, she/her) is a Northwestern University student and a dedicated dancer and choreographer. With experience in performing on international stages and leading creative work in different styles, she brings her passion and discipline to her practice. DanceWorks 2026: Semiquincentennial marks Timaa’s first production and first quarter training with the Northwestern University Dance Program. She values DanceWorks for the challenge it presents beyond her regular training because of its emphasis on creativity, storytelling, and artistic exploration.
Seth Lauver (Sound Designer – Interstitials, they/them) is a Master’s student in Northwestern’s Sound Arts and Industries program. They are a classically trained multi-instrumentalist, performing in the Chicagoland area on marimba, cello, drums, and any other instruments they can get their hands on. Seth is a producer, radio DJ, and composer of various musical genres, including classical, rock, and folk. They have recently worked with Third Coast Percussion, the Grand Teton Music Festival, and Chicago alt-rock band Safety Scissors.
Sopheen Lee (Interpreter – Interstitial Pieces & And the Migrants Kept Coming, she/her) a freshman Theatre major, is excited to make her Virginia Wadsworth Wirtz Center debut. Sopheen is from Tokyo, Japan and has held a passion for the performing arts since her preschool years. She fell in love with theatrical dance through attending the Musical Theatre Dance Intensive at Boston Conservatory in 2023. Sopheen is so grateful for this opportunity to learn and grow as an artist—discovering how to tell compelling stories through movement.
Jayce Lewis (Production Stage Manager, he/they) is happy to be returning to Northwestern University for their third Danceworks! Previous NU Credits: “Among the Dead”, “Tipi Tales From The Stoop”, “The Tempest”, and “Everybody” (Wirtz). Selected Chicago Credits: “Abby Paj Tries to Stay Alive” (Neofuturists), “House of the Exquisite Corpse III + IV” (Rough House Theatre), “Shakin’ The Mess Outta Misery” (Pegasus Theatre Company), and “Henry Johnson” (Relentless Theatre Group). Shout out to my amazing partner – I love you Paul! www.JayceLewisSM.com
Lawrence Lewis (Sound Designer – hold, sway, he/him) is excited to be involved in his first experience designing for a dance show. A recent transplant to Chicago, Lawrence is a graduate student in the Sound Arts and Industries program. The majority of his experience is as a scenic technician and actor, with previous credits including “Cabaret”, “Flyin’ West”, “The Bluest Eye”, “Dream Hou$e” (Theatreworks), “Antigone”, “A Flea in Her Ear”, “Everybody” (UCCS), and “The Play That Goes Wrong” (First Company).
Lina Morhai (Interpreter – Interstitials & Wish|Body|Trace, she/her) is a junior studying neuroscience, dance, and physics. Born and raised in Ukraine. In love with traveling, makeup, people, her cat, and contemplating about meaning of life.
Lem Nguyen (Interpreter – Interstitials & Wish|Body|Trace, they/them) is a senior studying Communication Sciences and Disorders and minoring in Dance. They grew up dancing at Aurora Dance Arts in Aurora, Colorado before attending Northwestern. Their dance training includes ballet, modern, tap, hip hop, and musical theater for 18 years. They have choreographed for various dance projects on campus, including New Movement Project, Eight Counts Ballet Company, and Vietnamese Culture Shows. They thank their parents for supporting the enriching dance education that brought them to new creative ventures.
Alexander J. Olguin (Assistant Stage Manager, he/him) is a senior studying Theatre, Political Science, and stage management in the Theatre Management Module. Alex’s previous Wirtz stage management credits include “The Addams Family”, “The Prom”, “Working: Localized”, “Mancub”, “Airness”, and “Joan of Arkansas”. He is also involved in Northwestern student theatre, where select stage management credits include “Natasha, Pierre & the Great Comet of 1812”, “Bonnie & Clyde”, “Rodgers & Hammerstein’s Cinderella”, and “Once”. He is on the executive board of StuCo, and a founding exec member of Northwestern’s USITT chapter.
Murray Robertson (Sound Designer – Happy Birthday, he/him) is a composer, and audio engineer from Columbus, Ohio. He maintains an active role across the spectrum of creative sound, from recording studios to stages. After graduating from Capital University in Bexley, Ohio, he is now pursuing a Masters of Arts in Sound Arts and Industries at Northwestern University’s School of Communication. Alongside his studies, he also volunteers as a recording engineer for Northwestern’s student radio station, WNUR.
Surya Saathi (Lighting Designer – hold, sway, he/she/they) is a theatremaker and filmmaker from Bengaluru, India. Currently pursuing MFA in Stage Design at Northwestern University, they have been working as a lighting designer for the past 3 years. What started as a hobby turned into a career choice while they interned as an Electrician at Schauburg Theatre for Young Audiences, Munich. Apart from observing how lighting interacts in the worlds we inhabit, they enjoy photography, South Indian Pop Culture and poetry.
Sofia Sciacca (Interpreter – Happy Birthday, she/her) is a multicultural dancer from the suburbs of Chicago. She found her passion for dance by having danced in numerous dance styles since she was little. As she continues her dance career in college, she strives to explore her expressive intent by exploring and cultivating an environment for trauma healing and celebrating personal identities.
Clio Siegel (Interpreter – hold, sway & Happy Birthday, she/her) began training at Rivertown Dance Academy in 2015 and since fell in love with ballet, tap, jazz, modern, contemporary, and theatre jazz. She’s studied voice with Kristin Halliday and acting at the Neighborhood Playhouse and NYU Tisch Meisner pre-college. Past credits include “Our Town” (Emily) at French Woods Festival of the Performing Arts, “Frozen” (Elsa) at The Music Hall Academy, and Audrey II in “Little Shop of Horrors” at Sleepy Hollow High School.
Zachary Singer (Interpreter – Interstitials, he/him) is thrilled to be making his Danceworks debut. A freshman Theatre Major and Dance Minor at Northwestern, he has appeared in the Jewish Theatre Ensemble’s “Song Cycle” (Violinist), The 83rd Dolphin Show: “Footloose” (Wes/Cowboy Barbie), and AMTP’s “Yadda Yadda Yadda” (Ensemble #5). Zachary started dancing last year and has quickly fallen in love with the art form. He is incredibly grateful for the Northwestern dance faculty’s artistic guidance and support.
Erin Soko (Interpreter & Dance Captain – Wish|Body|Trace, she/her) is a passionate dancer, maker, and dog-lover. She began dancing at Jansen Dance Project before studying Dance and Business at Northwestern University in Evanston, IL and graduating Spring 2025. At Northwestern, she choreographed works and held leadership positions for the New Movement Project and TONIK Tap student groups. Erin will be finishing her Comprehensive Pilates Certification this month through Club Pilates, so you can soon take her Pilates class!
Laila Spencer (Interpreter – And the Migrants Kept Coming, she/her), a Northwestern Dance alumna, has choreographed and performed works for Refresh Dance Crew, various dance and musical theatre productions on campus, and liturgical dance performances at her church. This summer she trained and performed in Medellín, Colombia with Sankofa Danzafro (whom she met during Danceworks last year!). She is currently living and working in Chicago as a part-time minister while also pursuing a career in dance.
Rosebud Summers (Interpreter – And the Migrants Kept Coming & Happy Birthday, she/her) is a first-year theatre major. She has been taking dance lessons for 16 years in the styles of jazz, tap, ballet, and musical theatre. Rosebud has run improv classes for young adults with disabilities and has started her own series of performing arts workshops for elementary school students. She hopes to pursue a career as a Broadway actor, singer-songwriter, professional poet, and Saturday Night Live cast member.
Sophie Teitler (Interpreter – Interstitial Pieces & Happy Birthday, she/her) is a Chicago based movement artist. Originally from a small town in Colorado, she graduated from Northwestern University in the spring of 2025 with a degree in dance and psychology. Her multicultural background influences her art making and she feels grateful to learn, explore, and perform in places near and far from home.
Nathan Vescio (Sound Designer – And the Migrants Kept Coming, he/him) is very excited to be sound designing for Danceworks this year. He previously worked at NU as the A1 for “Dr. Desoto” and is happy to be back. Nathan would like to thank all the wonderful people from the SAI program and Wirtz Center for their support.
Juniper Viernes (Interpreter – And the Migrants Kept Coming, they/she) is a student scholar pursuing an Interdisciplinary PhD in Theatre and Drama. She is a trans Filipina American artist interested in dance, musical theatre, and American identity. Favorite credits include works by Lucinda Childs, Molissa Fenley, and Chase Brock. They were a nonfiction fellow with the 2021 Kundiman Mentorship Lab. Juniper hails from the Bay Area, and after a decade in New York, she now calls Rogers Park home.
Monica (Yixin) Xu (Interpreter – hold, sway & Happy Birthday, she/her), originally from Beijing, China, was trained in Chinese classical dance and basic ballet. She performed in multiple Chinese dance productions before coming to Northwestern and is excited to continue exploring movement and storytelling through this production. Outside of dance, she is a third-year undergraduate in the McCormick School of Engineering at Northwestern University, studying Applied Mathematics and Biological Sciences.
Alex Yang (Lighting Designer – And the Migrants Kept Coming, he/him) is a senior at Northwestern University, majoring in Theatre, with a minor in Chemistry, and is completing the Theatrical Design Module. Alex is a theatre and performance artist who works primarily as a Lighting Designer; he is delighted to be making his design debut at the Wirtz Center, having previously assisted on “Indecent”. Recent Northwestern credits include “Footloose” (The 83rd Annual Dolphin Show), ReFusionShaka 2025 (RFS), and “Urinetown: The Musical” (JTE).
Penny Zhang (Interpreter – Interstitial Pieces & And the Migrants Kept Coming, she/her) is a Junior Dance major.
We thank our donors who make it possible to develop and sustain the quality of productions at Northwestern University. The following individuals and institutions have made gifts to one or more of the following areas: the Virginia Wadsworth Wirtz Center for the Performing Arts, American Music Theatre Project and the Music Theatre Funds. All gifts were made between September 1, 2025 and January 13, 2026.
Donate online at giving.northwestern.edu.
Thank you for supporting Northwestern University Theatre and Dance!</stron
E. Patrick Johnson, Dean of the School of Communication and Annenberg University Professor
Lori Barcliff Baptista, Associate Dean for Undergraduate Programs and Advising
Roderick Hawkins, Associate Dean of External Affairs and Chief of Staff
Molly Losh, Associate Dean for Research
Bonnie Martin-Harris, Associate Dean for Faculty Affairs
Jeff Brown, Associate Dean for Finance and Administration
Rayvon Fouche’, Associate Dean for Graduate Education
Tanya Palmer, Assistant Dean & Executive Artistic Director
Bharath Chandrasekaran, Roxelyn and Richard Pepper Department of Communication Sciences and Disorders
Jeremy Birnholtz, Communication Studies
Joshua Chambers-Letson, Performance Studies
Jacob Smith, Interim Chair of Radio/Television/Film
Henry Godinez, Theatre
Melissa Blanco Borelli, Director of Dance
Megan Roberts, Associate Chair of Roxelyn and Richard Pepper Department of Communication Sciences and Disorders
Courtney Lynam Scherr, Associate Chair of Communication Studies
Erin Courtney, Associate Chair of Radio/Television/Film
Tommy Rappley, Associate Chair of Theatre
Jorge Silva — Director of Business Operations & Managing Director
Michael Constantino — Associate Managing Director
Pete Brace — Marketing & Development Manager
Heather Basarab — Production Manager
Valerie Tu — Production Manager, Chicago
Gianna Carter — Production Coordinator
Aziza Macklin — Audience Experience Manager
Jamie L. Mayhew — Box Office Manager
Lynn Kelso — Imagine U Artistic Mentor
Ryan T. Nelson — Music Supervisor
Dylan Reyno — Technical Coordinator
Shannon Perry — Technical Supervisor
Emily Baker — Assistant Technical Supervisor
Dylan Jost — Scenic Carpenter
Micah Hofferth — Scenic Carpenter
James Weber — Scenic Artist
Eileen Rozycki — Assistant Scenic Artist
Chris Wych — Properties Supervisor
Kathy Beach Parsons — Properties Assistant
Eileen Clancy — Costume Shop Supervisor
Jessica Donaldson — Assistant Costume Shop Supervisor
Kristy White — Cutter/Draper
Renee Werth — Stitcher/Crafts Supervisor
Eli Hunstad — First Hand
Peter Anderson — Lighting & Sound Supervisor
Michael Trudeau — Associate Lighting & Sound Supervisor
Nate Walczyk — Lighting and Sound Technician
Sara Kurensky — Marketing Assistant
Stephen J. Lewis — OGMC Arts and Media Producer
Stephanie Kulke — OGMC Fine Arts Editor
Masi Asare — AMTP Artistic Director
Alaina Parr, Alec Westland-Hurwitz, Alex Myres, Alex Yang, Allyson Vasquez, Amanda Swickle, Amy Xu, Anah Shaikh, Arawen Alberg, Arran Kennedy Orive, Ashley Flores, Avery England, Aydn Calhoun, Ayla Richardson, Benny Wu, Cannon Elliott, Ciara Farris, Clio Siegel, Crom Amaya, Daniel Cho, Elijah Curtin-Adelman, Elle Pierre, Ellsworth Sullivan, Gavin Yi, Gemma Cohen, Ghino Lee, Haley Randall, Henry Rohrback, Isabella Mason, Jessica Guo, Jordin Amoah, Josaphina Brinkerhoff, Josefina Espino, Katherine Li, Kira Carpenter, Kris Lambert, Lucian Cruz, Mariah Waters, Maya Avery, Michael Peterson, Millie Rose Taub, Miracle Idowu, Morgan Marin, Natalie Mendoza, Noor Maghaydah, Nora Fox, Olivia Kieffer, Olivia Wise, Owen Meehan-Egan, Pranav Singh, Poseybelle Stoeffer, Roie Dahan, Rose Peters, Ryan Cooke, Sarah Charles Lewis, Sebastian Vidra, Seidy Pichardo, Sophia Mitton-Fry, Sydney Chan, Sydney Frazure, Tamyrha Dunac, Tvesha Gupta, Valentina Brander, Vicky Laguerre, Walter Todd, Will Claudius, Yehuda Zilberstein, Yooha Park, Yumi Tallud
