Emma at The Repertory Theatre of St. Louis

DIRECTED BY TRACY BRIGDEN

2025 – 2026 SEASON

DECEMBER 3 – 21

THE REPERTORY THEATRE OF ST. LOUIS

130 Edgar Road, St. Louis, MO 63119

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The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres (LORT), the Non-Profit Theatre Collation, Greater St. Louis Inc., and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. It operates independently of, but under a mutually beneficial agreement with, Webster University. The Rep operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The Rep hires directors and choreographers who are members of the Society of Stage Directors and Choreographers and stagehands who are members of the International Alliance of Theatrical Stage Employees. Scenic artists employed by The Repertory Theatre of St. Louis are members of United Scenic Artists, Local 829, AFL-CIO. The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists Local USA-829, IATSE. Financial assistance for this theatre has been provided in part by the St. Louis Regional Arts Commission; and the Missouri Arts Council, a state agency. This project is supported in part by an award from the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art.

When I was in seventh grade, my grandmother graciously sewed me a proper Regency dress for my author report on Jane Austen. I had devoured the abridged versions of her novels as a child and had just completed Sense and Sensibility. Somewhere between the empire waists and witty banter, I was hooked—on the humor, affection, and romance.

And then there was Emma. And for the first time, a heroine truly infuriated me! Emma’s self-assurance, her righteous meddling in others’ lives, her bold confidence—it was everything I didn’t yet possess, and everything I wanted to understand. It took me time to realize that, of all Austen’s heroines, Emma provokes us the most because she mirrors our own impulses: our yearning to fix others instead of facing ourselves, our desire to control what we can’t, and our longing—especially as women—to define our own agency in a world that often writes our story for us.

Now, as an adult, I find myself equally delighted and moved by Emma—by its love, its loss, and its sheer Regency absurdity (did you know, for instance, women were advised not to play the pianoforte “with too much passion” in polite company?). This holiday season, I’m thrilled to share this sparkling story with our Rep family.

Just as my mother and grandmother passed down their love of Austen to me, I hope you’re sharing this romp with your own circle—across generations, across dinner tables, across laughter. Under the world-class direction of Tracy Brigden, and with the incredible talents of our St. Louis artistic community, Emma comes to life as a celebration of connection, reflection, and joy.

It’s the season of generosity—the time to open our hearts, to give and receive love. There’s no better way to rekindle that spirit than in the theatre, together, letting Austen remind us that transformation often begins where self-awareness meets a good sense of humor.

Welcome to Emma. And after the final bow, I hope you’ll come back—because there’s always another story waiting to be shared.

Kate Bergstrom Augustin Family

Artistic Director

ARTISTIC DIRECTOR OF THE REP FROM 1972–1980

A NOTE FROM JONEAL JOPLIN

David Frank was a theatre “savior”. When he first came to what was then The Loretto Hilton Repertory Theatre, the season ticket holders numbered about 1500. The theatre was in the red to the tune of a quarter of a million dollars and had been dark for a year. The resident company consisted of five actors who were also teachers at Webster University. In his eight-year tenure here, the season ticket holders had risen to 18,000, the debt had been totally erased, and the company had grown to 13.

During that time The Rep produced more than 50 shows including six original productions, two touring shows, and one Broadway production. The other special gift that David brought to The Rep was a sense of family. A family man himself, he and his loving wife, Barbara (a very good actress by the way), shared that sense with those around them. The actors, staff, and crews were good friends. The audiences knew them personally and they blended comfortably into the community. David was loved, admired, and appreciated by a grateful St. Louis audience and by actors, directors, playwrights, designers, staff, and crews. When he left here, he went on to “save” the Buffalo Arena Theatre using many of the same directors, designers, and actors he had developed here. He left Buffalo to take over and “save: the failing Players Theatre in Spring Green, WI. His legacy in all three theatres is almost identical. He came, he saw, and he saved.

David Frank passed away in July 2025

This December marks the 250th anniversary of Jane Austen’s birth, and events are scheduled worldwide to celebrate the occasion. Though she only achieved moderate success during her lifetime—partly due to being published anonymously—Austen’s popularity has grown significantly since her death. Her six published novels and other works have given scholars, historians, and even casual fans deeper insights into England’s Regency era and the experiences of women during a time of great change for Great Britain.

The Regency era (1811–1820) officially spans the nine years in which the Prince of Wales, King George III’s eldest son, ruled England as Prince Regent before his father’s death and his own rule (which lasted until his own death in 1830). England was engaged in both the Napoleonic Wars until late 1815 —the year Emma was published— and deep into the Industrial Revolution. Both events, along with significant population growth, led to widespread poverty.

But as is so often the case in times like this, while there was widespread poverty, there was also great wealth. The privileged classes enjoyed advancements in the arts, architecture, and culture—all supported by the Prince Regent, who was known for heavy spending and excess—while the lower classes faced notable hardship and upheaval.

And though there was a rigid divide between the upper-class, land-owning gentleman and the lower, impoverished classes of servants and laborers,

the Regency also saw narrow opportunities for class advancement, particularly of the middle class, due in part to the war and new industrial ventures. No longer were wealth and status only available to those who inherited it, but merchants could claim (or even reclaim) wealth through successful trade and investment practices. While these opportunities didn’t greatly alter the upper classes—in the sense that they continued to remain exclusive to titled landowners and nobles—these newer avenues to prosperity marked the continued evolution towards the Victorian era and modern-day Britain.

The characters of Jane Austen's Emma grapple with the limitations of opportunity, further explored and recontextualized in Kate Hamill's adaptation of the novel. Emma, clinging to her certainty of society’s structure, finds herself forced to consider the perspectives and attitudes of those around her, and at the same time her place among them. With opportunities for men to find their own avenues for success, the potential of women is placed under the spotlight—certainly if men can find new ways to take up space in the world, why not women as well? In Emma, the fourth of Jane Austen’s six published novels and the final published before her death, Austen gives readers a complex protagonist, one with seemingly shallow interests and a complicated misunderstanding of herself, that leads to a personal journey of deep self-reflection.

Often noted as feeling very ahead of its time, Austen’s commentary on society and gender, delivered with remarkably plain realism and witty irony, continues to speak to the romantic and feminist attitudes of modern audiences. With over 100 adaptations inspired by her work—many presented here at The Rep, including Pride and Prejudice (2019), Sense and Sensibility (2013), and Miss Bennet: Christmas at Pemberly (2017)—and more produced each year, Miss Jane Austen’s lasting legacy certainly isn’t diminishing any time soon.

For more information on Jane Austen and this production of Emma, visit our behind-the-scenes Substack, The Aside. asidenotes.substack.com

THE REPERTORY THEATRE OF ST. LOUIS

Kate Bergstrom

Augustin Family Artistic Director

Danny Williams Managing Director

presents

Originally commissioned and produced by Guthrie Theater, Joesph Haj, Director

DIRECTED BY TRACY BRIGDEN

scenic Designers

lighting designer

costume designer

sound designer & composer

wig Designer

dialect coach

Margery Spack, Peter Spack

Jason Lynch❖

Dottie Marshall Englis❖

John Gromada❖

Dennis Milam Bensie

Joanna Battles

Choreographer Sam Gaitsch

Casting Director & Intimacy Consultant

Dramaturg

stage manager

Delaney Piggins

Brian Coats

Shannon B. Sturgis*

The cast and company of Emma is proudly supported by the Gwen & Paul Middeke Artist Fund.

EMMA is presented through special arrangement withTRW PLAYS 1180 Avenue of the Americas, Suite 640, New York, NY 10036. www.trwplays.com

CAST

Mrs. Elton/Mrs. Bates Olivia Balicki

Miss Bates Nancy Bell*

Mrs. Weston Kathryn A. Bentley*

Mr. Elton Jack Dryden*

Harriet Smith

Lize Lewy*

George Knightley Louis Reyes McWilliams*

Jane Fairfax Maggie Newstead-Adams

Emma Woodhouse Adelin Phelps*

Mr. Weston/Mr. Woodhouse Michael James Reed*

Frank Churchill/Robert Martin Ryan Omar Stack*

UNDERSTUDIES

jane fairfax Olivia Balicki

Emma woodhouse/Mrs. Weston/Mrs. Elton Molly Burris

miss bates Kathryn A. Bentley*

mr. weston & mr. woodhouse Jack Dryden*

harriet smith Maggie Newstead-Adams

george Knightley Ryan Omar Stack*

PRODUCTION

webster assistant director Aiden Clayburn

Assistant Lighting Designer Essie Claire Winston

Assistant Costume Designer Macheala Brock

Assistant Intimacy Consultant Frankie Ferrari

assistant stage manager Kentrell Jamison*

Production Assistant Ginny Pisoni

Assistant Head Electrician Shannon Mayo

Dance Captain Olivia Balicki

A2 Otto Klemp

Deck Crew Vera Brown

Crayton Haney

Sofia Rodriguez

Wardrobe Crew Sarah Reesor

Jeremy Reyes

Tailors Bob Trump

Carole Tucker

Milliner John Inchiostro

First Hand Harriet Barrieau

❖ USA-829 Member

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

DIRECTOR’S

The first book I ever tried to read and failed to get through was Emily Bronte’s Jane Eyre. My mother worked in publishing and was determined to have a true Reader (capital “R”) as a daughter, so she gave it to me for my 10th birthday. Perhaps I was a bit young—Nancy Drew and Laura Ingalls were more appropriate heroine material at that age. I tried Emily’s sister Charlotte’s epic Wuthering Heights at age12. By then, I had become a much more avid reader, but simpering Catherine and grumpy Heathcliff didn’t grab me either.

Finally, for my 13th birthday, my mother gave me a copy of Jane Austen’s Emma and said, “Try this one.” I’m pretty sure I gobbled it up in a week. Maybe it was a perfect storm of age, interests, and timing, but part of the magic was that it is so funny! And maybe by 13 I had started to become more aware of the vast contrast between how the sexes were treated, expected to behave, and journey forth in the world. Whatever the reason, it clicked, and I have been an Austen devotee ever since.

But what makes Jane Austen’s work so eternal, timeless, and borderless? (Emma has been translated into over 40 languages). Why have there been so many adaptations of this novel? (four films if you count Clueless, several mini-series, plays and more). The world of Highbury is of its time, but it rings very true an ocean away over 200 years later.

Austen’s characters—especially the quirky secondary ones—are each so well drawn and recognizable. Who doesn’t know a blabbermouth like sweet Miss Bates, or a hypochondriac like dear Mr. Woodhouse? But even though every one of her characters is flawed, (just like real humans!) Austen makes sure to only poke the warmest and most loving fun at them, allowing comedy and joy to lead the way. She includes her protagonist in the mix of the unreliable, imperfect characters. In fact, Emma may be the most faulty of all of them. Her imperfections provide our window into her heart and mind and give us the ability to put ourselves in her shoes.

When playwright Kate Hamill undertook the adaptation of the story, she turned up the volume on the humor AND the politics. Hamill has crafted a screwball comedy while at the same time giving clear voice to Jane’s central predicament —"Without agency or rights to pursue her life as she chooses—what is a smart woman to do with her time, intelligence, and energy?” Womens’ rights with a spoonful of tea and biscuits to be sure, but none-the-less effective and still indisputably relevant.

Tracy Brigden Director of Emma

LOVE IS A BURNING THING!

Help us ignite our Ring of Fire this spring. Each season, The Rep’s Leading Ladies come together to sponsor a production that celebrates the artistry and vision of women in theatre. This year, we invite you to join us in underwriting Ring of Fire, directed by Augustin Family Artistic Director Kate Bergstrom. Join a community where our love for theatre is a burning thing.

RG Ross brings your home to center stage! We applaud the many talents of The Rep that bring you outstanding entertainment. We know you will applaud us for building you the best seat in the house.

Bayless

| St. Louis, MO 63125 | 314-638-3021 www.rgross.com

CAST

Olivia Balicki (Mrs. Elton/Mrs. Bates) is making her Rep debut with this production of Emma Local: Olivia has been lucky to have the opportunity to perform during her time in the Sargent Conservatory of Theatre Arts. Our Dear Dead Drug Lord as Pipe, directed by Amalia Lam Perez; The Last Days of Judas Iscariot as Gloria the Angel, directed by Adam Flores; The Resistible Rise of Arturo Ui as Sheet/ Preacher et. al, directed by Kari Ely; The Spitfire Grill as Shelby (Cover), directed by Jennifer Wintzer; Lisa Campbell Albert as Music Director (Sargent Conservatory of Theatre Arts). Film: Olivia has also begun to pursue film while at Webster and is about to be featured in an upcoming student film, Tell Them Written as Stevie, directed by Gray Campbell (Webster University Student Film). Education: A current senior at Webster University’s Sargent Conservatory of Theatre Arts pursuing a BFA in Musical Theatre.

Nancy Bell (Miss Bates) is thrilled to be back at The Rep this season. At The Rep: The Roommate (2024), The Wolves (2019), Molly’s Hammer (2016), Soups Stews and Casseroles: 1976 (2014), Clybourne Park (2012), Macbeth (2011), The Three Musketeers (1996), Athena as Director (2025). Regional Theatre: South Coast Repertory, McCarter Theatre, Berkeley Rep, Geffen Playhouse, The Old Globe. Local Theatre: New Jewish Theatre, Upstream Theatre, STL Shakespeare Festival. Film/TV: Star Trek Voyager, Guiding Light, The Bold and the Beautiful, Newsradio, Chicago Hope Education: BFA-Acting, MFA-Acting and Directing. Additional Credits: Playwright-In-Residence at St. Louis Shakespeare Festival, serving as founding artist on Shakespeare in the Sheets program and Confluence New Play Festival. Other playwriting credits: California Repertory, St. Louis Symphony. Other: Professor of Theatre at St. Louis University. Website: www.nancyellenbell.com

Kathryn A. Bentley (Mrs. Weston) is making her Rep debut with this production of Emma Regional Theatre: Ma Rainey’s Black Bottom as Dussie Mae, directed by Claude Purdy (Cleveland Playhouse and Buffalo Studio Arena); From the Mississippi Delta as Woman 2, directed by Jacqueline Moscou (Portland Center Stage). International Credits: The Probe, written and directed by Chuck Harper (Divadla na Pradla, Prague Fringe Festival, Czech Republic); Wrote and directed Forbidden Love: Na Mini Du (Suriname). Local: As You Like It as Madame LeBeau and Corin (St. Louis Shakespeare Festival, 2024); On Golden Pond as Chelsea Thayer (St. Louis Black Repertory Company). Additional Credits: Directing credits: Power–East St. Louis, St. Louis Shakespeare Festival (2025); Steel Magnolias (Tesseract Theatre Company,

2025); A Raisin in the Sun (St. Louis University, 2024); Co-Founder/Artistic Director of Action Art Collaborative. Membership: AEA (Actor’s Equity Association). Kathryn is grateful to her family for their encouragement!

Jack Dryden (Mr. Elton) At The Rep: The Cottage as Clarke, directed by Risa Brainin (2025). Off Broadway or Tour Credits: Isaac’s Eye as Actor/Dying Man by Lucas Hnath (The Garret Theatre Company). Regional Theatre: A Christmas Carol as Topper, directed by Kate Bergstrom (Trinity Rep); Importance of Being Earnest as Algernon (Dead Writer’s Theatre), The Life and Sort of Death of Eric Argyle as Craig (Steep Theater Company). Local: Our Town as George (Insight theatre), Connected as Scott (Hotcity Theatre). Additional Credits: Jack is a founding member of the Garret Theatre Company in New York City where he acts, directs, produces, and teaches acting. Membership: AEA (Actor’s Equity Association). Education: Masters Fine Arts Brown/ Trinity Rep. Social: @Garrettheatre

Lize Lewy (Harriet Smith) is making their Rep debut with this production of Emma Local: ACTION as Jane Sauer, directed by Kathryn Bentley (The Action Art Collaborative 2022 & 2023); Canfield Drive as Actor 8, directed by Ron Himes (Sargent Conservatory of Theatre Arts, 2020); Mac Beth as Witch 1, directed by Victoria Chauvain (Sargent Conservatory of Theatre Arts, 2021); Longing as playwright & producer, directed by Kay Ailee Bush (2024); Scream, Echo. Scream. as director, written by Summer Baer (2025); Looking for You Online as playwright, directed by Kathryn Bentley (Webster University, 2022); Mothertrucker as playwright & producer, directed by Courtney Ann Dierker (St. Louis Fringe Festival, 2023); Listening to the Rain as playwright (Interlochen School for the Arts, 2023); The Super Fun Time Party Palace as playwright, directed by Rae Davis (SATE, Aphra Behn Festival, 2022). Education: Webster University, Sargent Conservatory. Acting BFA (Class of 2022).

Louis Reyes McWilliams (Knightley) is thrilled to be back at The Rep this season. At The Rep: Ken Ludwig’s Sherwood: The Adventures of Robin Hood as Robin Hood, directed by Kate Bergstrom (2025). Off Broadway or Tour Credits: Titus Andronicus as Bassianus (The Public Theater, 2025); Coriolanus as Citizen (The Public Theater, 2019); Café Utopia as Carlos (Notch Theatre Co., 2024); Anna Karenina as Karenin (The Flea, 2019). Regional Theatre: A Tale of Two Cities as Charles Darnay (Alliance Theatre, 2024); Clyde’s as Jason (Berkeley Rep, The Huntington, 2023); Heroes of the Fourth Turning as Kevin (Studio Theatre, 2022); Teenage Dick as Eddie (Pasadena Playhouse,

The Huntington, Woolly Mammoth, 2021); Little Women as Laurie (Old Globe, Dallas Theater Center, 2019). Film: Little Footsteps (Foxtrot, 2024). TV: Elsbeth (CBS, 2025). Membership: AEA (Actor’s Equity Association). Education: BA: Stanford. MFA: Brown University/ Trinity Rep. Cloris Leachman Award: Best Supporting Actor (Prowess, Pyramid Theatre Company). Social: IG @louisreyesmcfly

Maggie Newstead-Adams (Jane Fairfax) is making her debut at The Rep with this production of Emma. Local: Our Town as Emily Webb (Sargent Conservatory of Theatre Arts). Education: Maggie is currently enrolled in the Sargent Conservatory of Theatre Arts, receiving a BFA in acting. Social: @maggienewsteadadams

Adelin Phelps (Emma Woodhouse) is making her debut at The Rep with this production of Emma. Regional Theatre: Lady Molly of Scotland Yard as Peg (Asolo Repertory Theatre, 2025); Intimate Apparel as Mrs. VanBuren (Asolo Repertory Theatre, 2024); The Importance of Being Earnest as Cecily (Guthrie Theater, 2023); Georgiana and Kitty: Christmas at Pemberley as Lydia (Jungle Theater, 2022); Steel Magnolias as Annelle (Guthrie Theater, 2019). Additional Credits: Adelin is a core and founding member of the physical theater ensemble Transatlantic Love Affair, and has created with over twenty theater companies in the Twin Cities. Membership: AEA (Actor’s Equity Association). Education: Coe College- B.A. in Theatre Arts/Acting; Guthrie Theater/Actor’s Workout 2010–2018.

Michael James Reed (Mr. Weston/Mr. Woodhouse) At The Rep: Favorites include Ken Ludwig’s Sherwood: The Adventures of Robin Hood (2025), August: Osage County (2024), It’s a Wonderful Life: A Live Radio Play (2023), Pride and Prejudice (2019), Oslo (2019), A Steady Rain (2012), Clybourne Park (2012). Local Theatre: MUNY, St Louis Shakespeare Festival, Moonstone, New Jewish Theatre, St. Louis Actors Studio, Upstream. Regional Theatre: Highlights include Pericles (Old Globe Theatre, San Diego), Angels in America (Alley Theatre, Houston), Cat on A Hot Tin Roof (ACT, San Francisco). Broadway: La Bete (Broadway) original cast. Off Broadway: Highlights include Amphitryon (Classic Stage Company), A Forest In Arden (New York Theatre Workshop), King Lear (Roundabout Theatre). London: Richard III (Royal Shakespeare Co, London) starring Antony Sher. Film/TV: Favorites include Chicago Fire, Chicago P.D., Six Feet Under, 24, King of Queens, That 70’s Show. Education: Guildhall School of Music & Drama, London. Additional Credits: Adjunct Professor Sargent Conservatory of Theatre Arts (Webster) and Washington University. Website: www.michaeljamesreed.com

Ryan Omar Stack (Frank Churchill/Robert Martin) is making his debut at The Rep with this production of Emma. Regional Theatre: Romeo & Zooliet as Paris & Prince (St. Louis Shakespeare Festival, 2025); Hamlet as Voltemand (St. Louis Shakespeare Festival, 2025); Sherlock Holmes and the Adventure of the Elusive Ear as Oscar Wilde (Miner’s Alley Performing Arts Center, 2024); Much Ado About Nothing as Claudio (Colorado Shakespeare Festival, 2023); King Lear as Oswald (Colorado Shakespeare Festival, 2023). Additional Credits: The Queen’s Ball: A Bridgerton Immersive Experience as Sir Harris (Netflix & Shondaland, 2022); Life Is Strange: Remastered as Facial Motion Capture Actor (Deck Nine Games). Membership: AEA (Actor’s Equity Association). Awards: OnStage Colorado Award: Actor In A Comedy. Social: @omarstack

Molly Burris (Emma/Mrs. Weston/Mrs. Elton Understudy) is thrilled to be back at The Rep this season with this production of Emma. At The Rep: Miss Bennet: Christmas at Pemberley as Ensemble, directed by Jenn Thompson (2017). Local: As You Like It as Phoebe (St. Louis Shakespeare Festival); Into the Woods as The Baker’s Wife; First Date as Casey; Dear Jack, Dear Louise as Louise (New Jewish Theatre); Spells of the Sea as Princess (Metro Theater Company). Additional Credits: Twelfth Night as Olivia (Piknik Theatre); Bright Star as Margo; Blithe Spirit as Ruth (Charleston Stage Company). St. Louis Theatre Circle Award: Outstanding Performer in a Comedy (Dear Jack, Dear Louise, New Jewish Theatre. Education: BFA: Sargent Conservatory of Theatre Arts at Webster University. Social: @mollyburris_

CREATIVES

Jane Austen (Author) was a novelist whose novels novels reflect the world of the English country gentry of the period, as she herself had experienced it. Due to the timeless appeal of her amusing plots, and the wit and irony of her style, her works have never been out of print since they were first published and are frequently adapted for stage, screen and television. Jane Austen was born at the Rectory in Steventon, a village in north-east Hampshire, on 16th December 1775. She was the seventh child and second daughter of the rector, the Revd George Austen, and his wife Cassandra (née Leigh). Of her brothers, two were clergymen, one inherited rich estates in Kent and Hampshire from a distant cousin and the two youngest became Admirals in the Royal Navy; her only sister, like Jane herself, never married. Steventon Rectory was Jane Austen’s home for the first 25 years of her life. From here, she travelled to Kent to stay with her brother Edward in his mansion at Godmersham Park near Canterbury. During the 1790s, she wrote the first

drafts of Sense and Sensibility, Pride and Prejudice, and Northanger Abbey.

In 1801, the Revd George Austen retired, and he and his wife, with their two daughters Jane and Cassandra, left Steventon and settled in Bath. They went on holidays to seaside resorts in the West Country, including Lyme Regis in Dorset – this travel gave Jane the background for Persuasion.

In 1809 the Austens moved to Chawton. Here Jane was at leisure to devote herself to writing, and between 1810–1817 she revised her three early novels and also composed another three–Mansfield Park, Emma, and Persuasion.

Jane fell ill in 1816 and died peacefully on 18th July 1817 at their lodgings in No. 8 College Street.

Jane Austen is now one of the best-known and best-loved authors in the English-speaking world.

Courtesy of The Jane Austen Society

Kate Hamill (Playwright) is an actor & playwright. Regularly appearing on TCG’s most produced playwrights list, she was the Wall Street Journal Playwright of the Year in 2017 and received the Einhorn Award in 2023. Plays include Pride & Prejudice - Primary Stages / HVSF (originated role of Lizzy; nominee, Off-Broadway Alliance Award), Sense & Sensibility at Bedlam (originated role of Marianne; winner, Off-Broadway Alliance Award; nominee, Drama League Award); Vanity Fair at the Pearl (originated Becky; nominee, Off-Broadway Alliance Award), Little Women at Primary Stages, Dracula at Classic Stage Company, Ms. Holmes & Ms. Watson, Apt. #2B at KCRep, Emma at the Guthrie, The Scarlet Letter at Two River, The Light & The Dark at Chautauqua Theater Company and Primary Stages and The Odyssey at ART in Boston. www.kate-hamill.com

Tracy Brigden (Director) is delighted to be directing their first show at The Rep with this production of Emma. Off Broadway or Tour Credits: Productions at Atlantic Theatre Company, Naked Angels, Rattlestick Theater, Blue Light Theater Company and others. Regional Theatre: Dial ‘M’ For Murder, The Mousetrap, A Doll’s House (Guthrie Theater); Almost 50 productions including world premieres by Christopher Durang, Adam Rapp and Jeffrey Hatcher (City Theatre Company). Productions around the country including Pittsburgh Public Theater, Cincinnati Playhouse in the Park, Hartford Stage, Westport Playhouse, Bucks County Playhouse and Olney Theatre. Additional Credits: Currently Senior Artistic Producer, Guthrie Theater; Formerly Artistic Director, City Theatre Company; Artistic staffs: Hartford Stage and Manhattan Theatre Club. Membership: SDC (Stage Directors and Choreographers Society). Education: BS in Theatre: Northwestern University; MFA in Dramatic Writing: Point Park University. Social: www.tracybrigden.com

Margery Spack & Peter Spack (Scenic Designers) At The Rep: Dial ‘M’ For Murder, directed by Melissa Rain Anderson (2024); The Play That Goes Wrong, directed by Melissa Rain Anderson (2019); Heisenberg, directed by Steven Woolf (2017); Safe House, directed by Melissa Maxwell (2017); Freud’s Last Session, directed by Michael Evan Haney(2013). Regional Theatre: Zelda in the Backyard (Alabama Shakespeare Festival), Two Trains Running (The Black Rep), Red (New Jewish Theatre), Circus Flora. IG: @aloysspack, @midge_pie

Jason Lynch (Lighting Designer) At The Rep: Agatha Christie’s Murder on the Orient Express, directed by Hana S. Sharif (2023); Feeding Beatrice (2019). Off Broadway or Tour Credits: You Are Here: An Evening with Solea Pfeiffer (Audible Theatre/Minetta Lane Theatre, 2021). Regional Theatre: Much Ado About Nothing (Chicago Shakespeare Theater, 2025); Primary Trust (Guthrie Theater, 2025); Marie and Rosetta (Indiana Repertory Theatre, 2025); The Play That Goes Wrong (Geva Theatre Center and Indiana Repertory Theatre, 2025); Play On! (Signature Theatre, 2025). Additional Credits: Awards: Equity Jeff Award: Lighting Design (Large) (Choir Boy, Steppenwolf Theatre Company); Black Theater Alliance Award: Best Lighting Design (Twisted Melodies, Northlight Theatre). Membership: USA (United Scenic Artists). Education: B.F.A. in Theatre Design/Technology from Texas Tech University. Social: @ jasonlynch.design

Dottie Marshall Englis (Costume Designer) has designed numerous shows over the last 45 years. At The Rep: Ken Ludwig’s Sherwood: The Adventures of Robinhood (2025), Pride and Prejudice (2019), Alabama Story (2019), The Marvelous Wonderettes (2018), Hamlet (2017), A Christmas Carol (2016). Regional Theatre: As You Like It and Much Ado About Nothing (Shakespeare Festival St. Louis), My Fair Lady (STAGES St. Louis), Two Gentlemen of Verona (Indiana Repertory Theatre), Amadeus (Geva Theatre). Membership: USA (United Scenic Artists). Additional Credits: St. Louis Arts & Education Council Centene Catalyst Award: Arts Legend 2023, Kevin Kline Award, Outstanding Costume Design, Amadeus; St. Louis Critics Circle Award, Outstanding Costume Design for a Musical, My Fair Lady, (STAGES St. Louis); Kevin Kline Award, Outstanding Costume Design,The Secret Garden (STAGES St. Louis). Education: MFA in Costume Design from Carnegie-Mellon University.

John Gromada (Sound Designer & Composer) At The Rep: Fly, directed by Ricardo Khan (2013). Broadway: 43 productions; Notably: Proof, Rabbit Hole, The Elephant Man, A Few Good Men, The Trip To Bountiful, The Best Man. Off Broadway or Tour Credits: Brooklyn Laundry, Machinal, Old Hats, Frankie and Johnny in the Clair de Lune, Shipwrecked, Low Country Regional Theatre: Guthrie Theatre, Alley, Hartford Stage, Taper, Long Wharf, ART, ACT., International

Credits: Elephant Man with Bradley Cooper, Long Day’s Journey, Screwtape Letters, Sherlock Carol (London). Film: Original scores for The Trip to Bountiful, and A Bronx Tale: The One Man Show Membership: USA (United Scenic Artists). Education: Duke University. Three Drama Desk Awards, Lortel Award, Obie Award, Tony nomination, Henry Hewes Award, Connecticut Critics Circle Award. Many more nominations. Social: www.johngromada.net

Dennis Milam Bensie (Wig Designer) At The Rep: The Cottage, directed by Risa Brainin (2025); Ken Ludwig’s Sherwood: The Adventures of Robin Hood, directed by Kate Bergstrom (2025); Dial ‘M’ for Murder directed by Melissa Rain Anderson (2024); A Christmas Carol, directed by Hana S. Sharif; Agatha Christie’s Murder on the Orient Express, directed by Hana S. Sharif (2023). Regional Theatre: Light in the Piazza (World Premiere Intiman Theatre, Seattle); Beautiful: The Carole King Musical (Broadway Sacramento at the Music Circus); Don Giovanni (The Atlanta Opera). International Credits: Mozart L’ Opera Rock (Seven Ages, Beijing China). Local: Karate Kid: The Musical (World Premiere STAGES St. Louis), HMS Pinafore, Anna Bolena, The Magic Flute (Winter Opera STL). Into the Woods, Cabaret, All My Sons (New Jewish Theatre). Film: Potato Dreams of America (Wes Hurley). TV: Three Busy Debra’s (HBO), Jinkx and Dela Christmas Special (Hulu). Education: Los Angeles Opera Wig Department - Apprenticeship.

Joanna Battles (Dialect Coach) At The Rep: representative titles include, Ken Ludwig’s Sherwood: The Adventures of Robin Hood, directed by Kate Bergstrom (2025); Dial ‘M’ for Murder, directed by Melissa Rain Anderson (2024); The Cake, directed by Sara Bruner (2020); Pride & Prejudice, directed by Hana S. Sharif (2019); Angels in America, directed by Tony Speciale (2019); The Play That Goes Wrong, directed by Melissa Rain Anderson (2019); Nonsense & Beauty, directed by Seth Gordon (2019). Regional Theatre: Come From Away, Chess, and Mary Poppins (all at the MUNY); Educational Tours including Hamlet, Romeo & Juliet, and Macbeth (Director, STL Shakespeare Festival); Romeo & Juliet (Voice & Text Coach, STL Shakespeare Festival); Songs for Nobodies (Max & Louie Productions). Film/TV: Bonnie & Clyde: Dead & Alive (A&E Productions), Una Vida (Richie Adams Film), The Haunting in Connecticut 2: Ghosts of Georgia (Gold Circle Films). IG: @joannacolebattles.

Sam Gaitsch (Choreographer) Local: Romeo and Zooliet, directed by Tom Ridgely (St. Louis Shakespeare Festival, 2025); Hamlet, directed by Michael Sexton (St. Louis Shakespeare Festival, 2025); Legally Blonde, directed by Kayla Dressman (Ignite Theatre Co, 2025); As You Like It, directed by Nancy Bell (St. Louis Shakespeare Festival, 2024); The Tempest, directed by Tom Ridgely (St. Louis Shakespeare Festival, 2024); Into the Woods, directed by Annamaria Pileggi (Washington University, 2022); The Bee Play, directed by

Elizabeth Sauvage (New Jewish Theatre, 2022); Godspell, directed by Stephanie Tennill (St. Louis University, 2019); Home Grown, directed by Brian Enos (The Big Muddy Dance Company, 2019); Evil Dead the Musical, directed by Justin Been (Stray Dog Theatre, 2019); Spring Awakening, directed by Justin Been (Stray Dog Theatre, 2018); Theatre Circle Nomination. Additional Credits: Teaching Artist at COCA, SLAD, St. Louis Dance Theatre, St. Louis Rhythm Collaborative. Choreographer for annual student concerts. Education: MFA in Dance, BAs in Dance and Psychology (WUSTL). Social: @samgaitsch

Delaney Piggins (Casting Director & Intimacy Consultant) serves as The Rep’s Associate Artistic Director: Producing & Community Impact. At The Rep: The Brothers Size as Casting Director (2025); The Cottage as Casting Director (2025), Stellaluna as Casting Director (2025); Clyde’s as Intimacy Director, directed by Josiah Davis; The Roommate as Intimacy Director, directed by Rebekah Scallet (2024); Hamlet (Actor) and Imaginary Theatre Company 2018–2019 (Actor). Regional Theatre: The Karate Kid:The Musical as Intimacy Director (STAGES St. Louis) and Harvey Milk as the Intimacy Director (Opera Theatre of St. Louis). As an Intimacy Director, Delaney has also worked with St. Louis University, The Sargent Conservatory of Theatre Arts at Webster University and Center of Creative Arts. Prior to coming to The Rep, they served on the producing team at Chicago Shakespeare Theater and as the Executive Director at Ring of Keys, an artist service organization for queer artists in musical theatre. Education: MFA in Arts Leadership from Depaul University and a BFA in Acting from The Sargent Conservatory of Theatre Arts at Webster University.

Brian Coats (Dramaturg) serves as The Rep’s Director of Lifelong Learning. At The Rep: Camp Rep Program and Showcase Director (2020–2025); Co-director of the Story 2 Stage Festival of New Works (2024); Line Producer of The Rep’s Snowy Day Drive Experience (2020–2022); Youth Stage Manager for A Christmas Carol (directed by Hana S. Sharif, 2022). Additional Credits: As the Director of Lifelong Learning, Brian leads programs that create artistic experiences and dialogue pathways between The Rep’s work and the work of other partner institutions in the St. Louis region, including pre- and post-show discussions, community presentations, tours and workshops, dramaturgical resources, and more. He is the lead writer of The Rep’s behind-the-scenes Substack, The Aside (asidenotes.substack.com). Education: BA in Theatre Studies and Dramaturgy from The Sargent Conservatory of Theatre Arts at Webster University.

PRODUCTION

Shannon B. Sturgis (Stage Manager) At The Rep: Gradient (2021), Altar Boyz (2007), The Royale (2017), Over The Tavern (2000), and This Wonderful Life (2008). Regional Theatre: Westport Country Playhouse, Adirondack Theatre Festival, Arkansas Repertory Theatre, Phoenix Theatre (New York), and Atlantic Theater Company. Off-Broadway: Shear Madness and Altar Boyz. Shannon would like to acknowledge Diane Ladd: Thank you, Diane, may we all shine as bright as you.

Kentrell Jamison (Assistant Stage Manager) At The Rep: The world premiere of The Gradient, directed by Amelia Acosta Powell (2021); Stick Fly, directed by Chanel Bragg (2022); Twisted Melodies, directed by Reggie D. White (2023); It’s A Wonderful Life: A Live Radio Play, directed by Kate Bergstrom (2023); August: Osage County, directed by Amelia Acosta Powell (2024); Dial ‘M’ For Murder, directed by Hana S. Sharif (2024); Million Dollar Quartet Christmas, directed by Keith Andrews (2024) and Ken Ludwig’s Sherwood: The Adventures of Robin Hood, directed by Kate Bergstrom (2025). Regional Theatre: Joseph and the Amazing Technicolor Dreamcoat (The MUNY, Production Assistant ), Little Shop of Horrors, Sister Act, Dreamgirls, In the Heights, and La Cage Aux Folles (The MUNY, 2nd Assistant Stage Manager), Beautiful: The Carole King Musical (Stages, 2nd Assistant Stage Manager).

Aiden Clayburn (Webster Assistant Director) Regional Theatre: Treasure Island as Directing Intern (Children’s Theatre Company), Cabaret as Assistant Director and Dramaturg (New Jewish Theatre). Local: The Guy Who Didn’t Like Musicals as Director and Producer (Student-Led Arts Initiative); Bat Boy: The Musical as Directing Intern (New Line Theatre); Assassins as Assistant Director and Dramaturg (Paradise Community Theater); Our Town as Assistant Director (Sargent Conservatory of Theatre Arts); Tom Sawyer as Assistant Director (Locally Grown Theatre). Membership: SDC (Stage Directors and Choreographers Society). Education: Current student in the Sargent Conservatory of Theatre Arts of ‘27 pursuing BA in Directing.

Essie Claire Winston (Assistant Lighting Designer) Regional Theatre: Women (Pack Dance); Desensitized (Pack Dance); Seize the King (Sargent Conservatory of Theatre Arts); Roger and Hammerstein’s Cinderella (Sargent Conservatory of Theatre Arts); Our Dear Dead Drug Lord (Sargent Conservatory of Theatre Arts). Additional Credits: Essie Claire also held the position of Santa Fe Opera Lighting Apprentice (2025).

Macheala Brock (Assistant Costume Designer) At The Rep: Ken Ludwig's Sherwood: The Adventures of Robin Hood Assistant as Costume Designer,(2025). Off Broadway or Tour Credits: Summer Stock as Costume Design Intern (The Goodspeed Opera House, 2023). Regional Theatre: Grand Horizons as Assistant Scenic Designer (Moonstone Theatre Company, 2023); What the Constitution Means to Me as Assistant Scenic Designer (Max & Louie Productions, 2023). Additional Credits: Macheala is a playwright who has received recognition as a Semi-Finalist for the 2025 National Playwrights Conference at the Eugene O’Neill Theater Center and a Finalist for the 2025 Princess Grace Playwriting Fellowship at New Dramatists.

Frankie Ferrari (Assistant Intimacy Director) Local: DOLLHOUSE by Three Manufacturers (Equally Represented Arts); Scream, Echo. Scream. by Summer Baer; Wolf Kings (YoungLiars); The American Revolution (Theater Unspeakable). Frankie is thrilled to assist in creating a rehearsal room where actors feel confident and at ease in the intimate moments of The Cottage. Supporting Stage Intimacy Director Jamie McKittrick, she helps uphold a safe, specific process that frees the cast to focus on the joy of telling a great story.

Ginny Pisoni (Production Assistant) Local: Seize the King as Production Stage Manager, directed by Rayme Cornell (Sargent Conservatory of Theatre Arts); Suessical Jr. as Assistant Stage Manager, directed by Drew Humphrey (COCA & Variety STL); Rodgers and Hammerstein Cinderella as First Assistant Stage Manager, directed by Dax Valdes (Sargent Conservatory of Theatre Arts); Our Town as First Assistant Stage Manager, directed by Gad Guterman (Sargent Conservatory of Theatre Arts); The Color Purple as Assistant Stage Manager, directed by Duane Foster (COCA). Education: Ginny is currently in her third year, pursuing her BFA in Stage Management at Webster University’s Sargent Conservatory of Theatre Arts. IG: @ginnypisoni_sm

Kate Bergstrom (Augustin Family Artistic Director) is a seasoned director, culture shaper, and creator, bringing to this position her extensive experience in theatre, opera, and film. Dedicated to enhancing community connectivity, she infuses her dynamic energy and fosters engagement through exceptional storytelling that is both entertaining and impactful.

Kate’s most recent productions at The Rep wowed audiences with the critically acclaimed Ken Ludwig’s Sherwood: The Adventures of Robin Hood in Spring 2025, It’s A Wonderful Life: A Live Radio Play in December 2023 and The 39 Steps in 2022.

In addition to her time at The Rep, Kate has over ten years of experience directing everything from reimagined classics to new works across the country at Alabama Shakespeare Festival, Trinity Repertory Company, Marin Theatre Company, Ars Nova, Rattlestick Theater, Playwrights Center, Cleveland Play House, Curious Theatre Company, Los Angeles Theatre Center, Opera San Diego, Music Academy of the West, Redcat, LACMA, and more. Her recent world premieres include You Can’t Hide From Yourself (Playwrights Horizons Soundstage), Oh To Be Pure Again (Actor’s Express), and Letters That You Will Not Get (American Opera Projects).

As Festival Director, Kate led, produced, and programmed the Big Eddy Film Festival, a cinematic celebration of counter-current narratives that crosses the intersection of art, film, and rural imagination in upstate New York. This experience from her tenure as Founder and Producing Artistic Director of On The Verge, a company staging and producing world premieres and workshops that sparked conversation, community, and celebration at the crossroads of Santa Barbara and beyond.

Most recently Kate has worked with dozens of large corporate clients such as Google, Genetech, and Cisco, co-leading multi-day programs and longterm adviserships in executive communication and leadership as a performance coach at Stand & Deliver. Kate holds an MFA in directing from Brown University and a BA in Directing and Acting from UCLA. She lives in Lafayette Square with her husband, Mike, her newly St. Louis-born son, Otto, and the family pup, Crispy.

Danny Williams (Managing Director) An experienced arts administrator, Danny Williams was named The Rep’s Managing Director in January 2022. Danny brings to this position expertise in nonprofit accounting, senior management, and organizational development.

Prior to joining The Rep, Danny worked at The Public Theater in New York, where he served in various roles from 2006 to 2021. In his final role at The Public as Senior Director, Finance and Administration, he managed the daily and strategic financial operations of the $50 million nonprofit organization, successfully launched an organization-wide intranet, partnered with the development team to achieve fundraising goals, and collaborated on long-term financial planning and analysis, including cash investment strategies, budget analysis, and project management. Noteworthy and favorite productions Danny worked on at The Public include Broadway: Fun Home, Eclipsed, Hamilton, and Hair; Off-Broadway: Here Lies Love, Into the Woods, Twelfth Night, As You Like It, White Noise, and Rock Bottom.

Danny serves on the National Planning Committee for The Professional Non-Profit Theatre Coalition, working to promote lasting governmental partnership to support arts education, and workforce development and infrastructure needs in theatres across the country. He has also participated in panels at national conferences for Theatre Communications Group (TCG), the Association of Fundraising Professionals (AFP), and Tessitura Network. He also is on the board of INTAR Theatre, committed to the development and continuation of the Latine voice in American theatre and beyond.

Before working in arts administration, Danny had a career as a performer and was notably featured in the 2002 Westport Country Playhouse preBroadway production of Our Town starring Academy Award winner, Paul Newman. He also performed extensively as an improvisor at various venues in New York. Williams directed several NY Fringe Festival productions including Gated and Yellow Brick Wall, both written by Marisa Marquez. From 2017–2019, Danny was an Executive Producer with the Warren Miller Performing Arts Center (WMPAC) in Big Sky, Montana. At WMPAC he produced productions of Shakespeare’s The Winter’s Tale, directed by Laura Savia; the world premiere production of Levity by Stephanie DiMaggio, directed by Stella Powell-Jones; The Last Five Years directed by Jason McDowell-Green; and [title of show] directed by Danny Sharron.

Williams also held roles with Musical Theatre International and Manhattan Theatre Club and served as an adjunct professor in the performing arts management Master of Fine Arts program at Brooklyn College. He holds degrees in marketing and theater from Fairfield University and spent a semester studying at Regents University in the United Kingdom.

The Repertory Theatre of St. Louis is the region’s premier theatre forcompelling,award-winningtheatricalexperiencesthat entertain,engage,and illuminate audiences’ shared humanity.As adedicatedpartnerwithartsorganizationsinSt.Louisandacross the country, The Rep aims to expand audiences’ appreciation and understanding of the world through theatre.

MAINSTAGE

The work presented in the Mainstage series is eclectic, ranging from modern to classics to musicals, and benefits from the large space afforded by the Browning Theatre. Performances are given at the Virginia Jackson Browning Theatre at the Loretto-Hilton Center.

STEVE WOOLF STUDIO SERIES

The Steve Woolf Studio Series offers a selection of contemporary plays and new works that challenge audiences and provoke meaningful dialogue. These productions are staged in an intimate, flexible space, allowing for a closer connection between the performers and the audience. The series features diverse voices and stories that explore a wide range of themes and perspectives, providing a platform for emerging playwrights and innovative theatre makers.

IMAGINARY THEATRE COMPANY

Founded in 1975, it has produced over 130 touring productions, including a number of world premieres. The Imaginary Theatre Company (ITC) focuses on theatre for young people and their families. Through the use of literature, folk tales, fairy tales, and new adaptations of classic works, ITC is committed to bringing the very finest in theatre to youth where they live and learn.

SEASON STUDIO SERIES SPONSOR JAN.14 – FEB. 8

FOR YOUR INFORMATION

25/26 SUBSCRIBER DISCOUNTS

Subscribers can save two ways on additional ticket purchases. Advance purchases receive a 30% discount for Mainstage productions and 10% discount for Studio productions (subject to availability). Last-minute phone or walk-up purchases (beginning 48 hours prior to a show) are discounted at 50%!

ADDITIONAL BENEFITS

• 100% Flexibility

• Exclusive Communications

• Early access to upcoming promotions and events

• Waived fees on single ticket purchases (not available online)

THE REP’S CODE OF CONDUCT

Everyone

Assistive Listening: Free assistive listening devices using an FM system are available at Audience Services prior to all performances.

Open Captioning: We offer open captioning, an electronic text display that shows what the actors are saying or singing, at the third Sunday show for all Mainstage performances.

Mobility Accommodations: The Rep offers services for patrons who utilize mobility aids in all of our theatre spaces. Please discuss seating requirements with the Box Office when purchasing tickets or visit Audience Services when you arrive at the theatre.

SHOW CALENDAR

The Rep strives to make the arts an integral part of our daily lives by providing learning and engagement programs designed to give patrons of all ages a ticket to the wonder, the fun, and the vital human spirit that composes the world of the arts. Patrons and educators are encouraged to contact the Learning and Community Engagement Department at 314-968-7344 or visit our website at repstl.org/lace for more information about these and other programs.

CAMP REP

Camp Rep began as a manifestation of The Rep’s unwavering commitment to lifelong learning and the goal to foster a theatre-loving space for youth year-round. Starting in 2020 as a half-day venture, it swiftly evolved into a full-day camp by its second year. Camp Rep has grown not only in increased attendance, but it has also offered a wider array of workshops encompassing acting, dance, music, stage combat, filmmaking, costume and prop design, stage management, and directing. Campers create their own performances and learn about the magic of theatre and technology behind the scenes, culminating in a final showcase for friends and family.

LIFELONG LEARNER MATINEES

More than 3,000 intergenerational learners attend Lifelong Learner Matinees at The Rep each season. These matinees are typically designed for sixthj grade students and older, but we welcome learners of all ages, encouraging a diverse audience that includes all those who value continuing education through the arts.

PAGE 2 STAGE

Page 2 Stage sends Rep volunteers and staff members into community spaces to facilitate discussions about the creation and curation of a season, from play selection to the moment it comes to life on stage. Community members learn about all the different aspects of theatre and interact with props, set models, lighting fixtures, and more. All participants are encouraged to see a production in The Rep’s current season.

WORKSHOPS

Activate The Rep as a resource! We offer storytelling, devised theatre, team building, view points, and movement workshops for corporate, non-profit, and educational groups of all sizes. We tailor our workshops to the needs of our community groups and offer them as one-day experiences or a multi-day workshop series.

REPRESENT STL

This free conversation series takes a creative approach to building community through dialogue and helps us discover the subtle truths that unite our human experience. Throughout the year, The Rep hosts thought-provoking public forums intended to provide a safe space for the free exchange of ideas. This series explores the intersectionality of art and civic life with experts and thought leaders and skillfully discusses the issues that matter most to our community.

community impact

We partner with nonprofits and civic leaders to increase the authenticity of our productions, expand access to world-class storytelling, and provide action steps for inspired audiences to positively affect their communities.

SHUTTLE TO THE REP

In partnership with the St. Louis County Library, we offer discounted tickets to select performances at The Rep and provide shuttle transportation to and from the theatre, with Rep staff on board to talk about the organization and the production.

SLAM TOURS

For select shows of our season, guides at the Saint Louis Art Museum develop a curated tour of the museum of pieces with some connection to themes and ideas presented in our mainstage season. The tours are free to attend and do not require an RSVP, but space is limited.

AUGUSTIN FAMILY ARTISTIC DIRECTOR

Kate Bergstrom

ARTISTIC

Associate Artistic Director

Delaney Piggins

Artistic and Community

Impact Associate

Matthew Cox

Executive Artistic Assistant

Gregory Almanza

PRODUCTION

Director of Production

Jayson M. Lawshee

Production Associate

Taijha Silas

SCENIC

Technical Director

Emilie Weilbacher-McMullan

Assistant Technical Director

Victoria Esquivel

Charge Scenic Artist

Scott Loebl

Scenic Artists

Stephen Pollihan

James Van Well

Scenic Shop Foreman

Dave McCarthy

Scenic Carpenters

Daniel Roach, Jr.

Danny McCarthy

Scott DeBroux

PROPS

Properties Manager

Eric William Barnes

Assistan Properties Manager

Abigail Stuckey

Props Assistant

Rachel Seabaugh

COSTUMES

Costume Director

Michele Siler

Assistant Costume

Shop Manager

Elena Jaquez

Head Draper

Elizabeth Eisloeffel

Draper

Paula Buchert

First Hands

Carrisa Sexton

Wardrobe Supervisor

Kelsi Washington

MANAGING DIRECTOR

Danny Williams

LIGHTING & SOUND

Lighting & Sound Supervisor

Jonathan Scully

Mainstage Head Electrician

Connor Meers

Studio Electrician

Casey Morris III

Lighting Programmer

Lou Ritter

Mainstage Sound Engineer

Joshua Riggs

Studio Sound Engineer

Sean Wilhite

STAGE MANAGEMENT

Stage Manager

Shannon B. Sturgis

ADMINISTRATION & GENERAL

MANAGEMENT

General Manager

Dan Schultz

Senior Manager, Administration

Laura Wandersee

Company and Facilities Manager

Michael Ward

Director of Board Relations and Institutional Events

Bailey Pashia

Attorney

Sara Robertson, Polsinelli PC

AUDIENCE SERVICES

Box Office Manager

Kristy Kannapell

Assistant Box Office Managers

Michael Dorn

Christian Hoffman

Box Office Representatives

Carl Wickman

Julie George

Michelle Dougherty

Associate House Managers

Kati Frazier

Carl Wickman

Front of House Staff

MacKenzie Bernard

Piper Billingsley

Caroline Buckley

Caroline Bush

Shannon England

Beth Greco

Ben Hammock

Avery Kelley

Concessions Staff

Alex Godefroid

Lisa Lackey

Mariah Rogers

Allison Sexton

DEVELOPMENT

Development Manager

Rob Kapeller

Institutional Giving Manager

Laurel Considine

Development Assistant

Molly Rowland

FINANCE

Finance Lead

Mike Parentin

Business Manager

Suzanne Bodenstein

Accounting Assistant

Marsha Whitler

Auditor

Rubin Brown

MARKETING AND COMMUNICATIONS

Director of Marketing

Angel Azzarra

Public Relations

Frances White

Digital Marketing Associate

Ash Moon Thompson

Marketing Associate

Camryn Moore

Graphic Designer

Delores Eddington

LEARNING AND COMMUNITY

ENGAGEMENT

Director of Lifelong Learning

Brian Coats

BOARD OF DIRECTORS

BRIAN L. CLEVINGER, PH.D. PRESIDENT

SUSAN

STITH VICE PRESIDENT

PAT SCHUTTE VICE PRESIDENT

JUDI SCISSORS

SECRETARY

MEMBERS

Charmian Aaron greater st louis, inc

Trish Alexandre community volunteer

Wendi Alper-Pressman* armstrong teasdale llp

David Alpers community volunteer

Margaret Augustin* community volunteer

Patrick Aydt merrill wealth

Amy Bantle washington university school of medicine

Michelle Brady ernst & young

Jana Broadie community volunteer

Brian Clevinger* prolog ventures

Abby Devereux thrivent

Erica J. Driver the little bit foundation

Scott Fehr evernorth health services

David Frey* caleres

Frank Hamsher* skyline public strategies llc

Laurie Hiler* cbg enterprise, inc

Ven Houts community volunteer

WENDI ALPER-PRESSMAN TREASURER

TRISH ALEXANDRE VICE PRESIDENT, VOLUNTEERS

GWEN M. MIDDEKE IMMEDIATE PAST PRESIDENT

Toni Jackson community volunteer

Dan Jay* community volunteer

C. Brendan Johnson polsinelli

John S. Kingston thompson coburn llp

Jill Magruder the cigna group

Gwen Middeke* community volunteer

Michael James Reed actor and educator

Jane Robert* community volunteer

Pat Schutte* community volunteer

Judi Scissors* community volunteer

Ann Cady Scott* civic leader

Mike Serverian edward jones

Steven Sherman charter communications, inc

Susan Stith* concordance

Jeanine Suchecki past chief of ophthalmology, uconn health

Susan D. Tuteur* community volunteer *executive committee

Among our most vital resources, The Rep’s Volunteer Board provides amazing support each season with donations of time, talent, and skill throughout all facets of the organization. We are so grateful to the Volunteer Board for their continued dedication as integral members of The Rep family. If you are interested in serving on The Rep Volunteer Board, please call the Development Department at (314) 687-4030.

TRISH ALEXANDRE PRESIDENT

LYNN YEARWOOD VICE PRESIDENT

VICKI HELLING TREASURER

MEMBERS

Trish Alexandre

Susan Barley

Ann Bronsing

Elizabeth Cobin

Dorothy Diehl

Denise Eschenbrenner

Karen Fairbank

Glenda Hares

ELIZABETH COBIN SECRETARY

ANN STRAW IMMEDIATE PAST PRESIDENT

Vicki Helling

Laurie Hiler

Lisa Jones

Marcia King

Margie Knapp

Linda Lowry

Barbara Mennell

Karen Miller

Shirley Raitzsch

Marilyn Raphael

Rocky Rosen

Helen Sandifer

Cindy Schnabel

Carol Schreiner

Ann Straw

Linda Vandivort

Brian Welch

Lynn Yearwood

Volunteering at The Rep is your chance to be part of the magic both onstage and behind the scenes. Whether ushering performances, supporting special events, or lending a hand in the office, the gift of your time helps us create exceptional theatre experiences for our community and beyond.

To learn more and sign up, please visit https:// www.repstl.org/support/ways-to-support/ volunteer/ or scan the QR code below.

INDIVIDUAL DONORS

The Repertory Theatre of St. Louis is grateful to the following donors who have made contributions of $2,000 or more in the last year.

Our Producers of Imagination are donors who have offered an additional gift to help bring our 59th Season to life. These households are marked with an ( ).

Artistic Director’s Circle

$20,000+

Anonymous (3)

James Berges & Elizabeth Mannen Berges 

Patty & Kent Chapin

John & Anna

Beth Goodman ✠

Ven & Cynthia Houts

Sally Lemkemeier

Gwen & Paul Middeke

Jane & Bruce Robert

Pat & Ken Schutte

Ann Cady Scott

Mary Strauss ✠

Steve & Christine Tillery ✠

Susan & Peter Tuteur

Spotlight Angel

$10,000 - $19,999

Wendi Alper-Pressman & Norman Pressman ✠

David & Melanie

Alpers ✠

Ted & Robbie Beaty

Kathy Berg

Mark & Teri Brenner

Vicki & Brian Clevinger ✠

Elizabeth & Don Cobin

C & L 

Marti & Bob Fowler 

Dr. Connie Gibstine

Bill & Linda Hentchel

Laurie Hiler ✠

Juanita H. Hinshaw

Mark & Peggy Holly

Antonnette M. Jackson

Dr. Stuart Kornfeld*

Kent A. Lewis ✠

Mei Chen Welland ✠

Spotlight Benefactor

$5,000 - $9,999

Joseph & Trish Alexandre

Joseph & Lauren Allen

Patrick Aydt

Darla & Brad Baker

Susan Barley

Christy Beckmann

P.E. Belloli & Dave Shimek

Pamela Wing Dern ✠

Mary Alice

Dwyer-Dobbin

Scott & Andrea Fehr

Dr. Anne Carol Goldberg & Ronald Levin ✠

Jan & Ronald Greenberg 

Laura & Ted Greenberg

Lee & Gina Hoagland ✠

Brendan & Kim Johnson

Sally Johnston

Nancy & Kenneth Kranzberg ✠

Dr. Katherine Kreusser & Dr. Robert Young 

Laura & David Margolis

Chris & Jill Magruder

John & Christy Nickel

Jerry & Judy Potthoff

Terry & Sally Schnuck✠ 

Bevis & Patience Schock

Judi Scissors

Christine Secorsky & Greg Sacho

Janet Shatz

Steve Sherman & Patsy King

Jeanine Suchecki

Stephen Trampe & Jenny Gupta

Lynn & Darrell Yearwood 

Spotlight Patron

$2,000 - $4,999

Anonymous (3)

Trish & Michael Abbene ✠

Penni Alper, Miracle Makers Foundation

Margaret Augustin

Costas & Assimo Azariadis

Carolyn Becker

Sandy Belfi & Linda Keeney

Ms. Sandra Bellon

Nancy Berg

Kate Bergstrom & Mike Riley

Joan Berkman

Holly & Marc Bernstein

Mark D. Bernstein ✠

Sam C. Bertolet & Helen D. Ziercher

Marion Black ✠

Catherine S. Bollinger

Joan & Chris Bowe

Sean & Michelle Brady

Michael & Arlue Briggs✠ 

Jana Broadie

Ann Bronsing

Suzan Kelsey Brooks

Barbara M. Bryant

Linda & Jack Bryant

Sara Burke

Elaine Coe ✠

Dr. Kevin & Lisa Coleman 

Robert & Rebecca

Courtney

Myra & Gene Crandall ✠

The Preeti Dalawari & John Vandover

Charitable Fund

Mike & Sue Darcy

Dr. Debbie A. Depew

Michael Dern ✠

Jim Donnelly & Tracey Temanson 

Joan & John Dougherty

Mr. and Mrs. Henry Dubinsky

Peter Dunn

Richard Engelsmann & Diane Buhr

Engelsmann

David Frey

Kirk & Alice Fritsch

Mr. & Mrs. Ronald Fromm

Ed & Julie Glotzbach  

E.L. Green ✠ 

Mike & Jen Greer

Diane & Rick Guevara

Tim & Elizabeth

Hampton ✠

Frank Hamsher & Peggy Guest

Glenda Hares

Derek Hartley

Kathleen Locklar

Heimann

Margaret & Michael Heinz

Marian & Maurice Hirsch

Joanne & Joel Iskiwitch

Mike Isaacson & Joe Ortmeyer

Daniel G. Jay & Mary

Ann Lazarus

Dr. Theresa & Zulfikar Jeevanjee

Jeanne & Aron Katzman

Mr. & Mrs.

Ronald Kessler

John & Becky Kingston

Scott & Mary-Kay Kirchner

Nancy Koplar

Gerry Kowarsky

Paul & Martha LaFata

Norma Loesche

Linda Lowry

Mike Maskus & Cathy Augustin

David & Ginny

McDonald

C. Arden Mennell

Charlotte & Jim Mielziner

Karen L. Miller

Liz & Brian Mischel

James & Susan Morrell 

Kim & Rick Nast

Mike Ness & Jenny Voelker

Andrew & Lori O’Brien 

Mike & Barb Quinn

John & Lauren Rice

Freda & Harry Rich✠

Mary & Peter Rohr

John H. Russell

Tom & Kathy Ryan 

Cathy & Tom Sakiyama

Mrs. Peter E. Sargent

Paul & Cindy Schnabel

Carol Schreiner

Susie & Bob Schulte 

Steve & Marlene Schumm 

Julian & Helen Seeherman, The Seeherman Charitable Fund✠

Janice & Steve Seele✠

Carol & Jake Shepley

Diane Sher

Lisa & Allan Silverberg ✠

Ray Simon & Mel Pashea

Thad Simons, Kenneth Simons, & Ellen Nahlik, Simons Family Charitable Trust

Donna & Howard Smith

Ann & Jack Straw✠

Mary Susman & Thomas Herm 

Terry Thornton

Joan Tiemann 

Selden Y. Trimble, in memory of Joyce Price Trimble

Lynne & Jim Turley

Paul & Linda Vandivort

James and Mary Walters

Richard & Mary Weinstock

Drs. Craig & Terri Weldon

Mike & Barbara Willock

Richard & Shirley Wilt

David & Debbie Windus

Susan & Stuart Zimmerman 

We do our best to recognize every donor accurately. If you notice an error in your listing, please don’t hesitate to reach out to the Development Office at (314) 687-4030. Gifts received 11/10/2024 –11/10/2025

GIVING LEVELS

Producers of

CORPORATE & FOUNDATION PARTNERS

As a nonprofit organization, The Repertory Theatre of St. Louis relies upon the support of corporate and foundation partners. The Rep gratefully acknowledges the following corporations and foundations whose generous support helps us to create the highest caliber of professional theatre for St. Louis, engage the next generation of theatregoers, and provide opportunities for diverse artists. For information about how your business or organization can support The Rep, contact the Development Department at (314) 687-4030.

$100,000 +

The Berges Family Foundation

The Shubert Foundation Inc.

Whitaker Foundation

$25,000 - $99,999

Pershing Charitable Trust

William T. Kemper Foundation

$10,000 - $24,999

Louis D. Beaumont Fund No. 1 of the St. Louis Community Foundation

Employees Community Fund of Boeing

Gardner Capital

Mary Ranken Jordan and Ettie A. Jordan Charitable Foundation

New Growth Horizon Foundation

John and Carolyn Peterson Charitable Foundation

Tito’s Handmade Vodka

The Trio Foundation

US Bank

$5,000 - $9,999

Enterprise Mobility Foundation

Collaborative Strategies, Inc.

Polsinelli

$2,500 - $4,999

Colton’s Cause

Excel Business Concepts

Edward Chase Garvey Memorial Foundation

Graybar Foundation

Washington University in St. Louis Center for the Humanities

Webster University

$1,000 - $2,499

Commerce Bancshares Foundation

Joy Waltke Fisher Fund of the St. Louis Community Foundation

Moneta Charitable Foundation

Gadellnet

Silver Fox Stables

Gifts received 11/20/2024–11/20/2025

Anonymous (4)

Robert Bilzing

David A. Blanton III*

Leona Lee Bohm*

Mr. & Mrs. Thomas Brossard

Mrs. L. L. Browning Jr

Mrs. Iva Jean Conerly*

Joseph Corrigan*

Margaret Crumpacker, M.D.

Ralph & Selma Dennis*

Larry Essmann*

David* & Carol Gast

Brad L. Graham*

Ms. Susan Gregg*

Dr. Paul O. Hagemann*

Sally Parriott Hailand*

Tim & Elizabeth Hampton

Glenda Hares

Marian & Maurice Hirsch

Dea Hoover & Declan Rutan

William Eager Howard III

Henry J & Jean E. Lechner

Jack & Ellen Lippard*

Stanley & Lucy Lopata*

Angela Davis Malles*

Gwen & Paul Middeke

Doris A. Murdoch*

Garie & Ken* Perry

Marilyn & Bob Raphael

Arthur & Loretta Seltzer*

Glenn Sheffield*

Donald J.* & Shirley B. Sher

Lisa & Allan Silverberg

Gerald & Marjorie Smith*

Mary Strauss

Yolanda Taylor*

Judi Tomlinson*

Margaret Tumiati

Robert & Bernice Williams*

Mike & Barbara Willock

Steve Woolf*

Judy & Lon Zimmerman

* In memoriam

To learn more about planned giving, call the Development department at (314) 687-4030.

TRIBUTES

Honor a loved one, mark a milestone, or remember someone who made a difference—with a tribute gift to The Rep. Your gift supports transformative theatre and keeps their spirit shining on our stage. Make your tribute gift at repstl.org/donate or call (314) 687-4031.

In honor of all friends in the theatre

Anonymous

In honor of Debbie Phillips’ birthday

Anonymous

In honor of Lily & Cece Robinson

Rob Kapeller

In honor of Pat & Ken Schutte

Carol Robert Armstrong

In honor of Judi Scissors’ birthday

Bob & Marilyn Raphael

In honor of Ann Cady Scott

Marion Black

Ann Brightman

In honor of Danny Williams’ birthday

Linda Keeney

Mike & Kristen Sorth

Ann Bronsing

Patty & Kent Chapin

Mary G. Murano

Lori Weinstock

In memory of Barbara Bradshaw

Norma Loesche

Gifts received 9/1/2025 – 11/17/2025

JAN.14 – FEB. 08

STUDIO PRODUCTION

SPONSORS SUSAN & PETER TUTEUR PRODUCTION SPONSORS

MAR 11 – APR 05 FEB. 04 – MAR. 01 GWEN & PAUL MIDDEKE VEN & CYNTHIA HOUTS

SEASON STUDIO SERIES SPONSOR

STUDIO PRODUCTION MAINSTAGE PRODUCTION

SEASON STUDIO SERIES SPONSOR

SUPPORT THE ARTS

Thank you so much for seeing the show! Whether you are a loyal subscriber or joining us for the first time, we are grateful that you’ve dedicated time to support live theatre in St. Louis.

Each season, The Rep depends on the generosity of our community to produce

Here are some ways you can give to The Rep!

Make a one-time gift or join our monthly giving program.

Online: Visit us at repstl.org/support or scan the QR codes below.

By Phone: Call the Development Department at (314) 687-4030.

By Mail: Send a check to:

The Repertory Theatre of St. Louis, Attention: Development Department, 130 Edgar Road, Saint Louis, MO 63119

Donor Advised Funds and Retirement Funds

The Rep accepts tax-free distributions from Donor Advised Funds and Qualified Charitable Distributions from retirement savings accounts. Our EIN is 43-0970273. For any questions, please contact the Development team at development@repstl.org or 314-687-4030.

world-class theatre on our stages. Ticket and subscription sales cover less than half of our operating expenses.

Please consider supporting The Rep. Your gift, no matter the size, plays a crucial role in sustaining our work this season.

Gifts of Stock

For more information on making a donation of stock to The Rep, please contact the Development team at development@repstl.org or 314-687-4030.

Matching Gifts

Enhance your gift to The Rep through your employer’s matching gift program. Learn more at repstl.org/matching-gifts.

Encore Circle

Become an active player in carrying on the tradition of fine theatre with a planned gift to The Rep. Learn more at repstl.org/support/encore-circle

To learn more about ways to begin or expand your giving story with The Rep, call the Development Department at (314) 687-4030.