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Northwestern University’s
Virginia Wadsworth Wirtz Center for the Performing Arts
proudly presents

IN THE TIME OF THE BUTTERFLIES

By Caridad Svich
Based on the novel by Julia Alvarez
Directed by Mariana Parejo Molinares

May 23 – 30, 2026

“IN THE TIME OF THE BUTTERFLIES” is produced by special arrangement with the Playwright and Elaine Devlin Literary, Inc., 1115 Broadway, 12th Floor, New York, NY 10010, and with permission from Stuart Bernstein Representation for Artists, 217 Twin Lakes Rd., Shohola, PA 18458

AUDIO DESCRIPTIONS

LAND ACKNOWLEDGMENT

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.

DIRECTOR’S NOTE

Remembering is an act of resistance, an intimate revolution against the systems that attempt to erase the pain lived under tyranny and oppression.

On November 25, 1960, Rafael Trujillo, dictator of the Dominican Republic, ordered the murder of the Mirabal sisters. Minerva, Patria, and María Teresa were brutally silenced in an attempt to extinguish their strength, their courage, and their deep desire for freedom. But he did not succeed. The blood spilled in the sugarcane fields became seed. And from it grew something impossible to contain: collective courage, popular mobilization, the beginning of the end.

What you will witness today is an act of memory and collective resistance, but also a ritual that restores the humanity of these women. These sisters who argue, fall in love and dance remind us that even under despotism, joy, love, and complicity keep on existing.

And right there is where resilience is born: in the act of living fully even when they try to snatch everything from you. This Latin American resilience, which in the absence of words finds expression through images, songs, poems, and dance, becomes a colorful, vibrant, and luminous language of living memory, where the unnameable becomes tangible and pain, at last, processable.

Today I invite you to inhabit this space with awareness and openness, to move through the contradictions of these characters, to see through the eyes of Dedé Mirabal, the sister who survived, and to honor the lives of those who existed. But above all, to recognize together that this story is not as distant from us as we might wish to believe.

Mariana Parejo Molinares, Director

THE HAMMER AND THE BUTTERFLY

In her seminal book, Essential Dramaturgy (2017), theater scholar Theresa Lang posits that the dramaturg must answer three questions: why the play matters, why it should matter to the audience, and why it matters now. As we grapple with these questions in bringing Caridad Svich’s adaptation of Julia Álvarez’s In the Time of the Butterflies to the Wirtz Center stage, the answers converge on a sobering reality: history frequently repeats itself. More intimately, however, this play matters because it interrogates the mechanics of our own memory—urging us to examine what our methods of remembering reveal about who we are.

At its core, this is a memory play—a work that stages the subjective, deeply biased, and fragmented architecture of human recall. The narrative is filtered through the consciousness of Dedé Mirabal, the sole surviving sister, who serves simultaneously as narrator, participant, and reluctant archivist of her family’s tragedy. Through Dedé, the play does more than mimic remembrance—it confronts us with it. Under the 31-year surveillance state of Rafael Trujillo—an era defined by the secret police and “mandatory normalcy”—the official state archive was weaponized to be rigid and absolute. Against this, Dedé is left to stitch together the torn pieces of her family’s history. Her haunting recollections suggest that when state violence attempts to erase a people, the inherent fragmentation of personal memory is not a deficit—the gaps, the decay, and the inconsistencies of the archive become a generative site of meaning. They are the visible seams of survival.

Within this landscape of violence and disappearance, the play points us toward the sites where struggle is waged, inviting us to witness how oppression tears the social fabric—and precisely how resistance emerges to mend it. For the Mirabal sisters—known in the underground as Las Mariposas—and the 14th of June Movement, this resistance began in the home. They utilized the domestic sphere as an invisible shield, weaponizing traditionally gendered acts—folding laundry, hosting gatherings, and mending garments—to operate a clandestine war room in plain sight. It is in these intimate spaces that we see revolutions birthed out of scarcity, dehumanization, and radical imagination.

But survival in this environment required more than physical, logistical resistance—it demanded a radical shift in how reality itself was processed. Just as the sisters repurposed the mundane artifacts of the living room to hide weapons, they repurposed the supernatural to survive the absurdity of the state. Through its embrace of Magical Realism, the play reveals a different way of enacting new futures. In this framework, magical realism is neither fantasy nor escapism—it is a vital political tool and the psychological equivalent of the physical resistance happening in the home. When the state-sanctioned violence of a dictatorship becomes too horrific and illogical to process, the supernatural becomes a necessary means of making a way out of no way. It illustrates how, when our very existence is under threat, we must dare to imagine other ways of living. Magical Realism acts as a radical orientation toward hope, an invitation to endure by any means available.

The play beautifully illustrates that when an oppressive system reaches a critical, desperate point, humans possess a profound capacity for improvisation and resilience. We learn to manage, survive, and repair our world with whatever inadequate threads are left to us—yet this is only possible if we dare to imagine a different outcome and strive toward an ever-unfolding future full of potential. In the Time of the Butterflies asks us to engage Magical Realism not just as an aesthetic choice, but as a viable form of self- and world-building.

This story is an urgent reminder that someone, somewhere, has navigated impossible darkness before—and fought back. We must reject the notion of history as an unavoidable fate toward which we irredeemably march. History is not a foregone conclusion—it is entirely in our hands, but only if we choose to be brave. The legacy of the Mirabal sisters shows us how far we have come, and terrifyingly, how easily we could regress if we do not remain vigilant together. Art, as Bertolt Brecht famously suggested, is not merely “a mirror held up to reality, but a hammer with which to shape it.” In this play, we are handed both the hammer and the butterfly: the blunt force required to dismantle oppressive systems, and the delicate, relentless labor of mending our history.

Juan Castaño-Márquez, Dramaturg

SPECIAL THANKS

To Gabriel García Márquez, whose magical realism and the world of Macondo inspired our storytelling, and to Bad Bunny, whose creativity and fierce Latino pride fueled our design choices. To Henry Godinez for his unwavering support from the very beginning. And most importantly, to all Latinos who continuously navigate the harsh realities of oppression—your resilience is the heartbeat of this work.

Additional thanks to The Theatre School (DePaul University) Wig and Makeup program of 2027 (TTS-WaM). Programming for In the Time of the Butterflies is co-sponsored by the Alice Kaplan Institute for the Humanities and the Roberta Buffet Institute for Global Affairs at Northwestern University. Thank you to all the people who participated in the different workshops so we could get to this beautiful engaging final product: Anne-Sophie Lacombe García, Jorje Lara, Esteban Ortiz, Juan Barrera, Julia Yanosik-Perez, Lori Navarrete, Israel Balza, Vincent Perez, Katarina Viana de Souza Andrade, Bela Castilho, Verónica Gonzalez, and Maddie Anderson. 

CAST LIST

Lux Vargas — Dedé (Young & Old)
Clarisa Gómez Rodríguez — Minerva
Sarah Villamil Hurtado — Patria
Alexa Núñez Magaña — Maria Teresa
Juno Azuz Zacher — American Woman, U/S Minerva
Thomas Bastardo — DJ, U/S Trujillo
Christian Gomez — Trujillo
Sebastián Gómez — Lio Morales, U/S DJ
Pedro Rodríguez — Enrique Mirabal/Rufino de la Cruz
Mariah Waters — Ensemble, U/S Dedé
Laura Fajardo-Riascos — Ensemble, U/S Maria Teresa
Ash Aranha — Ensemble, U/S Lio Morales
Arran Kennedy Orive — Ensemble, U/S Enrique/Rufino
Lianny Camilo — U/S Patria
Aisha Antonio Henandez — Swing, U/S American Woman

BAND

Thomas Bastardo — Vocals
Laura Fajardo-Riascos — Maracas
Arran Kennedy Orive — Percussion
Sebastián Gómez — Alternate Vocals

PRODUCTION TEAM

Seidy Pichardo — Asst. Director
Sofía Aguayo — Asst. Director/Cultural Consultant
Marsae Lynette — Choreographer
Ludmila Stoffel — Asst. Choreographer
Felipe Hoyos-González — Music Director/Composer/Sound Designer
Laura Fajardo-Riascos — Asst. Music Director
Louis Van Camp, Belu-Olisa Pierre Sarkissian — Asst. Sound Designers
Alexander J. Olguin — Production Stage Manager
Sophie Zhu — Asst. Stage Manager
Ella Poon — Sub Asst. Stage Manager
AJ Dickerson — Rehearsal Asst. Stage Manager
Sara Azampanah — Scenic Designer
Jinjin Ge — Asst. Scenic Designer
Bethany Naylor — Lighting Designer
Alex Yang — Asst. Lighting Designer
Mackenzie Mitchell — Costume Designer
Helen Davis, Maša Ćešić — Asst. Costume Designers
Jackie Acosta — Hair/Makeup Coordinator (TTS-WaM)
Elise Briseno — Asst. Hair/Makeup Coordinator (TTS-WaM)
Juan José Castaño-Márquez — Dramaturg/Embroidery Lead
Iris Hernandéz — Asst. Dramaturg
Courtney Abbott — Fight/Intimacy Director
Ben Jouras — Run Crew Head/Audio Descriptions
Julien Gray, Dashel Grossman, Aedan McConnell, Bryce Lorenzo, Taitin Riley, Jaden Mantis, Artemis Papastavrou, Hillary Rivas Hernandez, Laura Mendoza Sanchez, Zachary Singer, Sierra Smith — Run Crew

SONG: “IN THE SANCTUARY OF DREAMS”

The songs “The Flowers of Santo Domingo/In the Sanctuary of Dreams” and “Muévete” are original works featured in this production, crafted with lyrics by the playwright Caridad Svich and music by Felipe Hoyos-González.

“In the Sanctuary of Our Dreams (English Version)”

In the sanctuary of our dreams
We rise and rise and rise
The flowers of Santo Domingo
Young women who weep and shout
For their island

A shining light
Upon our flight
Across time and distance
Marks a storm –
The brilliant fires of our bloody resistance.

For if the wave
Of passion is not invokes
And does not stir amongst us
A burning score
Of thousands more
Will steal against the horizon:
A sea of loss and dormant hopes
Forgotten in the stream

So, in the sanctuary of our dreams
We rise
In the sanctuary of our dreams
We rise
The flowers of Santo Domingo
The flowers of Santo Domingo

ARTIST BIOS

Courtney Abbott (Intimacy/Violence Director, they/she) NU: David’s Redhaired Death, Love & Information, Among the Dead, Lobster, Wink, February House, Museum, Antigone, Dracula, a feminist revenge fantasy, really, Violet, The Prom. Education: MFA, Ohio University; BS, Northwestern. Courtney is a Stakeholder in the Back Room Shakespeare Project. @backroomshakes

Sofía Aguayo (Assistant Director/Cultural Consultant, she/her) is an Actor and Stage Manager from Santo Domingo, Dominican Republic. She is pursuing a BA in Theatre with a concentration in Acting, alongside minors in Business Institutions and Art History. She is beyond excited to be stepping into the world of directing for the first time, as well as bringing her identity and Dominican heritage to the cultural consulting work of this production.

Thomas Alberto Bastardo (DJ, U/S Trujillo, he/him) is a Dominican actor, and first year dual degree student here at Northwestern, excited to have the opportunity to bring his culture to the stage in telling this rich story. Some of his favorite credits include: Ride the Cyclone, King Henry IV Part One (First Stage’s Young Company), Esperanza Rising, and Last Stop on Market Street (First Stage). Alberto quiere agradecer a su familia en Milwaukee y Miches, que siempre le apoyan.

Aisha Antonio Henandez (Swing, U/S American Woman) is a New York City storyteller, born and raised in Queens to Mexican parents. They believe in theater that feels intimate and true, like a deep conversation on a living room couch, even when it’s meant for a thousand seats. At their core, they are an artist who believes in the power of the whole story. They love to learn, live to listen, and will always, always sing a little too loudly when the moment is right.

Juno Azuz Zacher (American Woman, U/S Minerva, she/her) is excited to play American Woman in In the Time of the Butterflies. As a sophomore Theatre major and Political Science minor at Northwestern, her recent credits include Hand to God, POTUS, Sunday on the Rocks, and Do You Feel Anger. She would like to give thanks for the opportunity to be a part of telling this story and to the amazing cast and crew.

Juan José Castaño-Márquez (Dramaturg, Embroidery Lead, él/he/they) is a Chicago-based mender, fine artist, and PhD student in Performance Studies at Northwestern University. His research investigates the intersections of New Materialisms, historiography, and performance, focusing on archival decay and textile traditions as generative sites of historical memory. Alongside his academic teaching, Juan José is deeply dedicated to stitching together his creative and theoretical practices—on and off stage.

Christian Gomez (Trujillo, He/Him) is a second year undergrad theatre major and is very excited to be a part of In The Time of The Butterflies. This will be his first Wirtz performance. Thanks to the cast and crew for making it an amazing experience.

Clarisa Gómez Rodríguez (Minerva, she/her) is a theatre major at NU pursuing the Music Theatre Certificate and a minor in sound design. Originally from Venezuela and raised between Madrid and London, she is an actor, singer, composer, and director. During her 2 years at Northwestern she has performed in 7 campus productions and is a proud member of Vertigo Productions, neo-futurist inspired performance group TBD, and the Latin Music Ensemble.

Sebastián Gómez (Lio Morales, U/S DJ, he/him) is excited to be playing Lio Morales in In the Time of the Butterflies. As a Theatre and Psychology double major with a sound design minor, his recent credits include Amicus, Play On!, and Into the Woods. Seb would like to thank Mariana and the rest of the production team for an incredible experience and such a welcoming community within this show.

Felipe Hoyos-González (Music Director/Composer/Sound Designer, he/him) is a Colombian composer and sound artist whose work explores opera, electroacoustic music, film, and theater. His piece Toccata (2022–23) was selected as a semi-finalist for the Beth Morrison Projects Next Gen Cycle 3 for new opera creators. He is the recipient of the Graduate Presser Award (2025) for Reminiscencia, the debut album of Huitaca Ensemble, for voice and electronics. He is currently a doctoral candidate in composition at the University of Illinois Urbana-Champaign.

Arran Kennedy Orive (Ensemble, U/S Enrique/Rufino, he/they) is a junior studying Theatre and Creative Writing, and a Cuban-American actor from Lawrence, Kansas. He is excited to be returning for his second Wirtz show, after “The Wong Kids” last season. Recent credits include “The Human Chair (& The Nose)”, and “The C Word” and “Hometown” at the Edinburgh Fringe Festival. They would like to dedicate this show to their abuela and late abuelo. El pueblo unido jamás será vencido.

Ash Kiran Aranha (Ensemble, U/S Lio Morales, he/him) is a junior studying Theatre and Computer Science at Northwestern. He’s proudly from St. Louis, Missouri, where he developed a love for acting and sound design. Recent credits include Footloose and Cinderella with The Dolphin Show and a new play by Eliza Bent, The Regulars (Mike). Much love to his family, and especially his little brother Oliver. Instagram: @ashkaranha

Alexander J. Olguin (Production Stage Manager, he/him) is a senior studying Theatre and 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,  Danceworks, Airness, and Joan of Arkansas. His select StuCo stage management credits include Natasha, Pierre & the Great Comet of 1812, Bonnie & Clyde, Rodgers & Hammerstein’s Cinderella, and Once. Upcoming stage management: Topdog/Underdog, Ellen B, The Comeuppance, and The Night Fawn at Steppenwolf Theatre Company. To all those who dare to dream for a better tomorrow, it’s our time to fly.

Mariana Parejo Molinares (Director, she/her/ella) is a Colombian theater artist, who creates work through a multicultural, political, and socially engaged lens. A director, actress, and producer based in Chicago, she is completing her MFA in Directing at Northwestern University. In 2020, she founded Anfibia Teatro in Bogotá, a company that unites multidisciplinary artists to produce stage and audiovisual projects for diverse audiences. She is also interested in opera, bringing a feminist perspective to this traditionally male-dominated field. Her recent work includes Bastien und Bastienne, Miss Julie, Sunday on the Rocks, and In the Time of the Butterflies.

Seidy Pichardo (Assistant Director, she/her)is an international student from Santo Domingo, Dominican Republic and Georgia, United States. She is pursuing a BA in Theatre with a concentration in Scenic Design and a minor in Gender Studies. Seidy is excited to share the beauty, heart and spirit of las Mariposas with new audiences and is filled with so much pride to bring it to a new corner of the world.

Ella Poon (Sub Assistant Stage Manager, she/her) is a junior at Northwestern studying Theatre and History from Los Angeles, California. She has previously stage-managed other productions on and off Northwestern’s campus. Her most recent stage management work includes this year’s Dolphin Show, Footloose, the Wirtz Center’s Doctor De Soto, and A Midsummer Night’s Dream at Santa Cruz Shakespeare.

Pedro Rodriguez (Enrique Mirabal/Rufino de la Cruz, he/him) is a senior physics major from Dallas, Texas. With a passion for the performing arts that transcends his major, he is excited to bring stories to life on stage. By performing in shows, such as starring as Shrek in Shrek the Musical and Super Luchador in Frida Libre, his love for music and acting has been able to flourish into an integral part of his time at Northwestern.

Ludmila Stoffel (Assistant Choreographer, she/her) is an international student from Córdoba, Argentina. She is a junior studying Theatre with minors in Dance and General Music. Some of Ludmila’s dance credits include: Jazz Nutcracker 2023, The Nutcracker, Jazz Nutcracker 2024 (which she also produced), Danceworks 2025: Signal::Transfer, and Senior Dance Concert 2026. She has also helped with the choreography for shows like Alice by Heart, False From True, and Winter Guard, and is really excited to be working on this process!

Lux Valentina Vargas (Dedé, she/her) is a Cuban-Chilean playwright, director, and performer originally from Miami, Florida. She is a Junior at Northwestern University studying Theatre and Creative Writing, training in the Musical Theatre Certificate Program. She is a proud member of Griffin’s Tale and the president of Northwestern’s new work theatre board, Vertigo Productions. Lux recently directed her original play La Ventanita, produced by Northwestern’s Vibrant Colors Collective. Gracias mami, papi, y Marce por creer en mí. Los amo.

Sarah Villamil Hurtado (Patria, she/her) is an actor/writer from South Florida majoring in Theatre and Data Science at Northwestern. Recent credits include: Dog Sees God (Tricia), How to Defend Yourself (Diana), How to Rob the Art Institute of Chicago (Vicky). She is grateful to her family, friends and collaborators for all their support! Muchísimas gracias por estar aquí!

Mariah Waters (Ensemble, U/S Dedé, she/her) is a multi-hyphenate student and artist from the DMV area currently pursuing a double major in theatre and biological sciences on the pre-medical track. When not in rehearsals or on the stage, she loves to run, read, and ride her Peloton.

Alex Yang (Assistant Lighting Designer, 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 working on another show at the Wirtz Center. Recent Northwestern credits include Danceworks 2026: Semiquincentennial, Footloose (The 83rd Annual Dolphin Show), ReFusionShaka 2025 (RFS), and Urinetown: The Musical (JTE).

Sophie Zhu (Assistant Stage Manager, she/her) is a first-year Theatre and Political Science major born in Shenzhen, China, but currently resides in Massachusetts. This is Sophie’s first time stage managing a Wirtz process. Her previous student theatre stage managing credits include Assistant Stage Manager on Eurydice, False from True, and Co-Stage Manager on Walk Along: A New Student Musical.

THANK YOU TO OUR SUPPORTERS

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 May 12, 2026.

$1,000-$19,999

  • Sarah Siddons Society Inc
  • Graber Family Foundation
  • Elizabeth Schlecht Murrill and Stephen R. Murrill
  • John D. Ruffley
  • David H. Zarefsky
  • Professor Stephen S. Duke and Deborah L. Duke
  • ImpactAssets

$250-$999

  • Ellen W. Stukenberg and John William Stukenberg
  • Mary Jane Alt Wilson and Jeremy Robert Wilson
  • Thomas A. Monroe and Judith L Monroe
  • Timothy Donovan and Walter Krause
  • Brandon Wiles
  • Brandon Jackson Baird
  • Barbara Goodman and Seth Weinberger
  • Charlene Whitfill and James Whitfill

Donate online at giving.northwestern.edu.

Thank you for supporting Northwestern University Theatre and Dance!

SCHOOL OF COMMUNICATION DEANS

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 Fouché, Associate Dean for Graduate Education
Tanya Palmer, Assistant Dean & Executive Artistic Director

SCHOOL OF COMMUNICATION CHAIRS

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

WIRTZ CENTER STAFF

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

AMERICAN MUSIC THEATRE PROJECT

Masi Asare — AMTP Artistic Director

WORK STUDY STUDENTS AND VOLUNTEERS

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