Directed by: Griffin Frank, Artemis Metherall and Alex McGuigan Senior BFA Playwrighting and Directing Thesis Project
The Further We Go: Three One Acts by C.A. Holmes
February 27 and 28, 2026
March 1, 6, 7 and 8, 2026
Sophia Gordon Center for Creative and Performing Arts The Further We Go:
Salem State Land Acknowledgement
The land occupied by Salem State University is part of Naumkeag, a traditional and ancestral homeland of the Pawtucket band of the Massachusett. We acknowledge the genocide and forced removal of the people of Naumkeag and their kin and we recognize the ongoing colonization and dispossession of Indigenous homelands. We respect and honor the Massachusett tribe and the many Indigenous Peoples who continue to care for the land upon which we gather. We recognize our own responsibility to this land we occupy. We commit to continuously learning and sharing its history and that of the Massachusett and other Indigenous People who have been and remain here. We commit to develop and implement initiatives that work toward repairing the injustices continuously being committed on the Indigenous People of this land. We commit to making our own environmental impact on this land as sustainable as possible. We commit to a renewed and ongoing engagement with the Massachusett and all Indigenous People in and around Salem State.
To learn more about Salem State’s Land Acknowledgement please visit salemstate.edu/LandAcknowledgement.
THEATRE
The Salem State University Theatre and Speech Communication department presents
THE FURTHER WE GO: THREE ONE ACTS
BY C.A. HOLMES
Directors
Griffin Frank, Alex McGuigan, and Artemis Jae “AJ” Metherall
Voice and Text Director
Ginger Eckert
Fight Choreographer
Alex Jacobs
Costume Designers
Ryan Goodwin and Robin Provost
Lighting Designer
Michael M. Harvey
Projections Designers
Topher Morris and Starr Cousins
Scenic Designer
Topher Morris
Sound Designers
Griffin Frank, Alex McGuigan, and Artemis Jae “AJ” Metherall
Props Manager
Stacey Horne-Harper
Stage Manager
Carl Durham
Presented in conjunction with Salem State Center for Creative and Performing Arts.
CHAIRPERSON LETTER
Dear Friends of the Theatre,
As we open the curtain on a new season, we are proud to present a lineup of plays that challenge, provoke, and stir the soul: Everybody, Mad Forest , The Further We Go, and Sweeney Todd . These works span continents, styles, and centuries—but each one speaks powerfully to what it means to be human in uncertain times.
We begin with Everybody by Branden Jacobs-Jenkins—a bold, modern riff on the 15th-century morality play Everyman . In this playful, unpredictable meditation on mortality and meaning, actors draw roles by lottery each night, reminding us that death is the great equalizer, and that our time here is never guaranteed. It’s a deeply moving, often funny exploration of life’s biggest question: What really matters in the end?
Next, we enter the haunted terrain of Mad Forest , Caryl Churchill’s fragmented and poetic vision of Romania before, during, and after the 1989 revolution. This is a play about political upheaval, personal betrayal, and the ways in which truth can become as fractured as a society in turmoil. Churchill’s kaleidoscopic style captures the fear and confusion of a world changing too fast to comprehend—a story that feels chillingly relevant today.
We continue with The Further We Go: Three One Act Plays by C.A. Holmes, the Senior BFA Playwrighting and Directing Thesis Projects. The author states, “These plays ask the collective question: How far are we willing to go… for love, for lust, for creation, for destruction, for our sanity, or for each other?”
We close the season with the darkly thrilling Sweeney Todd: The Demon Barber of Fleet Street . With a score by Stephen Sondheim and book by Hugh Wheeler, this tale of revenge, madness, and meat pies is as operatic as it is intimate. Beneath its gothic surface lies a razorsharp critique of injustice and a searing portrait of what happens when pain festers without remedy. It's a macabre masterpiece that leaves audiences breathless and humming. Together, these four works ask us to confront death, revolution, and vengeance—not to frighten us, but to awaken us. They call us to see our neighbors more clearly, to hold on to empathy amidst chaos, and to find grace in even the darkest of stories.
Thank you for joining us for this unforgettable season. We look forward to seeing you at the theater.
Topher Morris Chairperson, Theatre and Speech Communication
PLAYWRIGHT’S NOTE
The Further We Go was a very special and unique opportunity.
I would like to thank the Theatre Department and the Center for Creative and Performing Arts—specifically Topher, Karen, Ashley, Peter, and Kaela—for allowing me the time, space, and encouragement to pursue this endeavor.
This was a huge undertaking that began with the collective question: How far are we willing to go for the things we want? The things we need? Connection, Love, Confidence, and Free will. Each show is special and explores very different sets of principles and morals.
The most important piece of advice I was given as a playwright was to “Write what you know, and be true to yourself.” I spent countless long nights staring at a blinking cursor trying to truly find my truth and my voice within these pieces, and I’m very pleased with the end results.
I’d like to give another huge thank you and congratulations to the three directors and the casts for bringing them to life.
—C. A. Holmes ’26
A PETAL’S REFLECTION
DIRECTOR’S NOTE
People have these two worlds: The world of Reality and the Mirror World. The Mirror World is about yourself or others in this imaginative world of their own illusions, what they want or are scared of, and how it reflects reality. Especially when Love gets involved.
— Artemis Jae “AJ” Metherall ’26
TIME AND PLACE
A bar in Athens, in the not-too-distant past.
CONTENT WARNING
This production includes simulated violence and vomiting, and themes of manipulation and abuse.
SPECIAL THANKS
I would like to thank my fiancée Hailie Bejarano for always supporting me and keeping me going with what I love, even when I didn't have faith in myself. I love you now and forever; Peter, for teaching me everything I know and for being my mentor and my friend- thank you! The Salem State Theatre Department for giving me this opportunity to direct on a big stage, and for making a home for me for the last five years!
CAST
‘TIL DEATH DO US PART
DIRECTOR’S NOTE
Over the last few years, I have spent my time building skills in directing and tonight you will see the culmination of all that work. ‘Til Death Do Us Part raises the questions of “How far are we willing to go to get what we want?” and “What is driving those needs or wants?” It also explores people’s religious convictions with the seven deadly sins and how they move through the world following those “rules”. There are also the people who don’t follow those “rules”, but what happens when those people collide? We explored how people weaponize religion for lust, greed, and gluttony to get what they want, but also how they use sins to help run from their insecurities. Everyone experiences their insecurities in different ways, but some go to Christianity to find solace and accept themselves but also to cast away their sins and “forgive”. In this show we see that tug-of-war between insecurities, Christianity, and what they want. This play zooms in on the life of three individuals who all want three different things from each other, but their own deadly sins get in the way of their relationships and blind them to what is in front of them—until they realize what’s happened. Each character is after wealth, marriage, and a happy life and family, but those exact things get in the way of what they want. They are so blinded that they don’t realize what’s in front of them, which is something that is all too relevant to our daily struggles; taking things for granted. If we take a step back and look at our lives, we may not run into some of the struggles and we can move forward happier together, or at least more understanding.
— Alex McGuigan ’26
TIME AND PLACE
Present day New York, New York, 4 am
CONTENT WARNING
This production includes adult themes, simulated violence, drinking, religion, and death.
SPECIAL THANKS
Carl Durham, Peter Sampieri, and my friends and family.
CAST
Jack ...................................................................................................... Dylan Fort
Getting to direct And That’s the Work has been an incredibly meaningful and special experience for me. C. A. Holmes has written a piece of text that feels truly human, and it’s been a real joy to dig into this new work and to build something entirely from scratch alongside such a committed group of actors and creatives. There’s something uniquely exciting about not having a roadmap or previous iterations of the show to follow, and about discovering what a piece wants to be only by asking questions, trying new things, and (in the spirit of the show itself) sometimes getting it wrong before getting it right.
On the surface, the show looks and feels like a comedy. There’s humor, repetition, and a kind of absurdity that invites laughter. However, right out the gate the actors and I knew there was so much more to it than that. It was clear to us that the comedy is doing something more complicated below the surface. The play uses humor as a way to invite the audience to feel comfortable and at ease, then quietly pulls the rug out from under us. What starts as playful begins to feel a lot more real, forcing us into a feeling of discomfort. So while I invite you to laugh and enjoy those humorous moments, I also invite you to sit in and truly feel that discomfort.
At its core, And That’s the Work examines how we practice theater: the rituals we’ve accepted, the language we’ve normalized, and the damage we’ve done to ourselves that we often overlook in the name of “the work.”
It asks how far we are willing to push ourselves and others for our art and where the line exists between commitment and harm. These questions don’t have easy answers, and this production doesn’t try to answer them. We only hope to hold them up and start a conversation.
Thank you to the department for this opportunity, to C.A. Holmes for trusting me with this piece, to the cast and creative team for their bravery and generosity, and to you for being here and engaging with the work. Your presence completes the conversation.
— Griffin Frank ’26
TIME AND PLACE
A performance classroom, last Friday
CONTENT WARNING
This production includes yelling, portrayals of physical violence, and parental disputes.
SPECIAL THANKS
Thank you to Alex Jacobs for our fight choreography and my advisor Peter Sampieri for his continued support.
CAST
Adrian Garret ............................................................................... Avah Acevado
Swing ................................................................................................ Louis Fowle
This performance runs approximately one hour and forty minutes, with one fifteen-minute intermission.
Out of courtesy to your fellow audience members and the actors onstage, please turn off all electronic devices and do not text or take photos during the performance. Please note that archival photos of this production will be available through the theatre and speech communication office.
No food or beverages are allowed in the theatre. Salem State is a tobacco free campus. Thank you.
The videotaping or making of electronic or other audio and/or visual recordings of this production is strictly prohibited.
Salem State is grateful for the support provided by the Dembowski Family Theatre Endowment in making this production possible.
PRODUCTION PERSONNEL
Directing Mentor Peter Sampieri
Assistant Stage Managers Nick Houle, Angel Katzen and Deklan Nelson
Cast Mentors ............... Dylan Fort, Millicent Koromah, and Mez Mezzapelle
Intimacy Coordinator Peter Sampieri
Costume Shop Supervisor Anna Splitz
Costume Build Crew The THE201 Workshop class
Wardrobe Run Crew Tristan Ducote, Nia Franklin, Kenzie Lamonda and Autumn Ochs
Technical Director .............................................................................. Stu Grieve
Assistant Technical Director Tim O’Toole
Assistant Scenic Designer Starr Cousins
Scenic Build Crew Stefani Galeano, Shea Lowney, Gee Rodi, Hannah Rose, Jayna Singer, Hayley Skutt, Steve Wakadilo and the THE201 Workshop class
Scenic Paint Charges .............Lauren Donahue and Victoria Garcia-De Pena
Scenic Paint Crew ...................................... Hannah Castillo and Ethan Dwyer
Scenic Run Crew ...................................................Gee Rodi and Lucia Smarra
Props Run Crew .......... Brendan Leane, Jayna Singer and Summer St. Onge
Master Electrician ........................................................................... Tim O’Toole
Assistant Lighting Designers ......................... Stefani Galeano, Emrys Jordan and Charlie Marrero
Electrics Crew ..............Hannah Castillo, Joshua Marcena and Hannah Rose
Theatre Office Assistants ......................... James Bridges and Elias Woodard
Social Media Assistant ...................................................................... Gia Meola
Theatre House Manager ........................................................ Adelaide Majeski
Assistant House Manager ............................................................ Max Ocampo
Box Office Managers ................................ Sierra Poppit and Amanda Seidler
Ushers ...................................................... Lauren Donahue, Armani Barrantes, Ethan Dwyer, Percy Jones, Lily Marino, Joshua Marcena, Xan Salamon, Hayley Skutt and Nicholas Soares
CAST
Av Acevado (Adrien Garret, And That’s the Work) is a first year pursuing her Bachelor of Fine Arts degree in performance. This is her first mainstage role at Salem State University, but she was previously seen in the Student Theatre Ensemble’s production of Arsenic And Old Lace as Jonathan Brewster. Previous credits include Madame (Cinderella), Lady Catherine De Bourogh (Pride and Prejudice), and Abigail Williams (The Crucible).
Pandora Benedito (Lizzy, ‘Til Death Do Us Part) is a sophomore pursuing her Bachelor of Arts degree in musical theater. Previous credits include Rodica and Angel (Mad Forest), Mrs. White (Clue), and Grace Fryer (Radium Girls).
Oliver Dunn (Narcissus, A Petal’s Reflection) is a freshman currently pursuing a Bachelor of Arts degree in performance. This is his first role at Salem State University. Previous credits include Michael Wormwood (Matilda), Davey (Newsies), Officer Barrel (Urinetown), and Bad Idea Bear (Avenue Q). He has received awards through the Massachusetts Educational Theatre Guild for acting and puppeteering, and was a firstplace winner of the METG’s Doug Ingalls Monologue Contest (2024).
Dylan Fort (Jack, ‘Til Death Do Us Part) is a sophomore at Salem State pursuing a Bachelor of Fine Arts degree with a performance concentration. Previous credits include Oliver (As You Like It) and Jason (2024 Veteran’s 10-Minute Play Festival).
Louis Fowler (Swing, And That’s the Work) is a sophomore double major pursuing his Bachelor of Fine Arts degree in directing. This is his second role at Salem State. Previous credits include Teddy Brewster (Arsenic and Old Lace) and Avishey Lenser (Trap).
Millicent Koromah (Blake, And That’s the Work) is a junior pursuing her Bachelor of Fine Arts degree in performance. Previous credits include Lisa (Hearts Like Fists), Angel Ensemble (Angels in America, Part One: Millennium Approaches), and Nurse Williams (The Canteen Heart).
Rayniel Lara (Aaron, And That’s the Work) is a sophomore pursuing his Bachelor of Arts degree in performance. This is his third role at Salem State University. Previous credits include First Year Lab 2024, William and Hymen (As You Like It), and Toma/Waiter/Soldier (Mad Forest).
Mez Mezzapelle (Ameinias, A Petal’s Reflection) is a junior pursuing their Bachelor of Fine Arts degree in acting. This is their fifth role at Salem State University. Previous credits include Priest/Vampire/Bulldozer Driver/ Person with a Sore Throat (Mad Forest), Betty 5 (Collective Rage: A Play in Five Betties), Annie Cannon (Silent Sky), Katurian (The Pillowman), and Puck (A Midsummer Night’s Dream. Awards: Region 1 American College Theatre Festival Irene Ryan Acting Scholarship nominee (2025); Maine Drama Festival All-State Cast Award (2019).
Meghan Nealon (Echo, A Petal’s Reflection) is a junior pursuing her Bachelor of Fine Arts degree in performance and education. Some of her past roles include Death (Everybody), Heather (American Idiot), Mrs. Bradman (Blithe Spirit), Yvette (Clue! On stage) and Urleen (Footloose).
Seth Rivera (Swing. ‘Til Death Do Us Part)) is a senior pursuing their Bachelor of Arts degree in theater performance and a Bachelor of Science in Sociology. Previous credits include Jennifer/Francois/Roland (Speed Date), Corporal Williams (Come Dawn), Orlando (Hollow Bones: A Parrot Play), Lopez (Zebra Set), and Ace/Alyssa (First Year Lab)
Finn Sforza (Swing, A Petal’s Reflection) is a first year student who is undeclared with their degree. This is their second swing role for a Salem State production; they were previously in the 2025 Veteran’s 10-Minute Play Festival. They were also in a student play written by Carl Durham, A Villain's Plan, where they played the villain.
Raya Young (Eileen,‘Til Death Do Us Part) is a junior pursuing her Bachelor of Fine Arts degree in theater performance. This will be her fifth production at Salem State. Some of her previous credits include Somebody (Everybody), Celia (As You Like It), Henrietta Leavitt (Silent Sky), Emily/Melissa (Roe), Bridget Bishop (Cry Innocent), and Viola (Twelfth Night). Awards include Best Scene Partner at the Region 1 Kennedy Center American College Theatre Festival (Spring 2025).
CREATIVE TEAM AND PRODUCTION STAFF
Starr Cousins (Assistant Scenic Designer) is a junior pursuing their Bachelor of Fine Arts degree in theatre design. Previous Salem State University design credits include Mad Forest, As You Like It, and Angels in America, Part One: The Millennium Approaches.
Carl Durham (Stage Manager) is a senior pursuing his Bachelor of Arts degree in performance. His previous acting credits include B/Death u/s (Everybody); Ensemble (American Idiot); Justin (Disgruntled); Beggar 3/Swing (The Ghost Sonata). Other credits include Sound Designer/ Prop Designer/Sound Computer Operator (Arsenic And Old Lace); Stage Manager (2025 Veteran’s 10-Minute Play Festival); Playwright/Director/ Designer (Goog Burger); Stage Manager (2024 Veteran’s 10-Minute Play Festival), Assistant Director (2024 First Year Lab); Assistant Stage Manager (Antigone, Something Rotten!); Co-Dramaturg (The Ghost Sonata); and scenic build crew (Small Mouth Sounds).
Ginger Eckert (Voice and Text Director) is the Voice and Speech specialist in the performance faculty, bringing her experience as a professional actor and vocal coach for stage and film to Salem State University. 15+ years as core faculty in professional actor-training programs: Oregon Center for the Arts at Southern Oregon University, SUNY/Purchase BFA program, Brown University/Trinity Rep MFA, NYU/Tisch at Atlantic Acting School &Playwrights Horizons Theatre School, and Uta Hagen’s HB Studio. She has performed with The Public Theater, Kennedy Center, Alabama Shakespeare Festival, Marin Theater Company, LaMama, Clubbed Thumb, in indie films, audiobooks, and more. Professional voice and dialect coaching includes two seasons at Oregon Shakespeare Festival, Showtime’s Brotherhood series, New York Theater Workshop, Ripe Time, Making Books Sing, River Rep New York. Certified Associate Teacher of Fitzmaurice Voicework® and proud member of VASTA/The Voice and Speech Trainers Association. MFA in Acting, Brown University/Trinity Rep. BA in Literature, American University. Ginger enters teaching as an actor and interrogator, who is also learning and creating. Her teaching features all the sounds and vocal dynamics of global languages, with the goal to arrive at communication that is honest, expansive, inclusive, and culturally sustaining for each person. Gratitude always to her supportive family and to her mentors, Thom Jones, Francine Zerfas, and Ronni Stewart.
Griffin Frank (Director and Sound Designer) (they/them/theirs) is a senior pursuing their Bachelor of Fine Arts degree in directing. Recent Salem State University directing credits include: American Idiot (Director), Collective Rage (Assistant Director), and Angels in America, Part one: Millenium Approaches (Assistant Director). Additional credits include: Hearts Like Fists (Stage Manager, Student Theatre Ensemble) and Othello (Assistant Stage Manager, Salem State University).
Stefani Galeano (Assistant Lighting Designer) is a sophomore pursuing her Bachelor of Fine Arts degree in technical theater. Recent credits include Mad Forest, As You Like It, and Silent Sky at Salem State University, and The Unravelling at Leominster High School Theater Company. Awards: Salem State University Book Award (2025), Set Construction Excellence (METG, 2022).
Ryan Goodwin (Costume Designer) is a New England-based costume designer with over a decade of experience in theatre, film, and opera. He has held various costuming positions with companies such as Boston Lyric Opera, The Glimmerglass Festival, The Lyric Stage Company, Netflix, and Paramount. Currently serving as an Assistant Professor of Costume Design at Salem State University, Ryan brings both technical expertise and artistic vision to his work. He earned his Bachelor of Fine Arts in theatre design with a concentration in costuming from Salem State University and later received his Master of Fine Arts in costume design from Boston University.
Michael M. Harvey (Lighting Designer) is a Professor of design at Salem State University where he teaches and designs scenery and lighting. Previously he spent four years at Southern Utah University where he served as Assistant Professor and Director of design and production. He taught scenic and lighting and sound design, as well as designed scenery, lights, and sound for the Department of Theatre Arts and Dance. He spent eight years teaching and designing at Central Lakes College in Minnesota. He also spent two years teaching at the University of Southern Indiana, where he served as scenic designer and technical director. Among his professional credits are scenic coordinator for the Opera Company of Philadelphia; scenic and lighting designer for several Primedia Inc. television productions; and production manager for both the New Harmony Theatre in New Harmony, IN, and Capital Repertory Company in Albany, NY. Michael holds a Master of Fine Arts in Scenic Design and Theatre Technology from Wayne State University in Detroit, MI.
C.A. Holmes (Playwright) is a senior pursuing a Bachelor of Fine Arts degree in playwriting. The Family Man, his earliest written work, was first staged in November 2024. Holmes recently partnered with Tiny Scripted LLC to add his play Feeding Ducks to their license catalog. Holmes' notable plays include: The Family Man, Feeding Ducks, Painted On Smile, Till Death Do Us Part, A Petal's Reflection, And That’s The Work, and Waiting… Along with playwriting, Holmes is a proficient actor and musician, with notable credits that include Father (The Trail to Oregon), Charles/Amiens (As You Like It), Nigel Bottom (Something Rotten!), and Daniel (The Complete Works Of William Shakespeare: abridged). Awards: Region 1 Kennedy Center American College Theatre Festival Maltby Musical Theatre Finalist (2025), Region 1 KCACTF Music Composition Merit Award (2026), ACTF Region 1 Irene Ryan Acting Scholarship Alternate (2026), and Region 1 ACTF National Playwriting Program Up Next Plays Award Recipient for Painted on Smile (2026).
Stacey Horne-Harper (Props Manager) is a graduate of the University of Delaware Professional Theatre Training Program. She spent seven years as the properties carpenter at the American Repertory Theater. She would like to thank her family for all of their incredible support.
Nick Houle (Assistant Stage Manager) is a first-year transfer student pursuing his Bachelor of Fine Arts degree in theatre design. This is his first show as an Assistant Stage Manager for a production with the Salem State University theatre department. Previous credits include stage managing Almost, Maine and stage managing and designing Animal Farm at Quinsigamond Community College.
Alex Jacobs (Fight Choreographer) is honored to have been teaching at Salem State for ten years. He is known for teaching Auditioning, Movement for the Stage, Applied Stage Movement, Introduction to Performance, and Oral Communication. With a passion for stage combat, Alex holds certifications with the Society of American Fight Directors in Hand-to-Hand, Knife, Single Sword and Quarterstaff. Some of Alex’s other Salem State movement and fight choreography credits include, As You Like It, Senior Recital and Antigone. A dedicated Boston-area teaching artist, he has also taught at Brandeis, Boston Conservatory at Berklee, Bridgewater, and Northeastern. Alex holds a BA in Theatre from the University of Leeds (UK) and an MFA from Brandeis. As an actor, he has performed with many Boston area companies including: Gloucester Stage, Moonbox and Company One, and Greater Boston Stage Company.
Emrys Jordan (Assistant Lighting Designer) is a sophomore pursuing their Bachelor of Fine Arts degree in lighting design. Recent Salem State University production credits include Mad Forest, Everybody, As You Like It, and Silent Sky.
Angel Katzen (Assistant Stage Manager) is a first-year pursuing their Bachelor of Fine Arts degree in stage management. Recent stage management credits include The 25th Annual Putnam County Spelling Bee and Sweeney Todd (TTS Players) and The Little Mermaid (Whittier Tech).
Charlie Marrero (Assistant Lighting Designer) is a sophomore pursuing their BFA in theater with a concentration in stage management. Previous credits include Assistant Stage Manager and light board operator (A Midsummer Night’s Dream), Assistant Stage Manager (As You Like It), and Assistant Director (The Addam’s Family).
Artemis Jae “AJ” Metherall (Director and Sound Designer) is a senior pursuing a Bachelor of Fine Arts in directing. Previous credits include Director for the Student Theatre Ensemble production of Speed Date and Assistant Director for the Salem State productions of The Pillowman, Angels in America, Part One: Millennium Approaches, As You Like It, and Mad Forest.
Alex McGuigan (Director and Sound Designer) is a senior pursuing his Bachelors of Fine Arts degree in directing. His favorite Salem State University credits include Everybody (Assistant Director), As You Like It (Assistant Director), and Silent Sky (Assistant Stage Manager).
Topher Morris (Scenic Designer) is the Chairperson of the Salem State University Theatre and Speech Communication Department. During his time at Salem State, he has served as a Technical Director, Sound Designer, and Scenic Designer and is a Professor of Design and Technology. He has worked for American Players Theatre, Santa Fe Opera and Tibbits Opera House. He earned his MFA in Technical Production for Theatre from the Professional Theatre Training Program (PTTP) at The University of Delaware. He is an ETCP certified Theatrical Rigger and a proud Veteran of the Armed Services.
Deklan Nelson (Assistant Stage Manager) is a first-year student pursuing their Bachelor of Fine Arts degree in theatre design. Recent design credits include lighting for Salem State University’s First Year Lab, as well as lighting, costume, and set for Shrek the Musical and lighting for The Little Mermaid and High School Musical at Auburndale High School.
Robin Provost (Costume Designer) is a junior Bachelor of Arts major pursuing their passion for costume design. Previous Salem State University credits include Assistant Costume Designer (Everybody), Assistant to the Costume Designer (Silent Sky), and Hair and Makeup Artist (The Ghost Sonata).
THEATRE AND SPEECH COMMUNICATION DEPARTMENT
Full-Time Faculty
Esme Allen
Ginger Eckert
Ali Filipovich
Kaela Mei-Shing Garvin
Ryan Goodwin
Michael M. Harvey
Julie Kiernan
Christopher Morris, Chairperson
Peter Sampieri
Staff
Stuart Grieve
Adelaide Majeski
Ashley Preston O’Toole
Tim O’Toole
Anna Splitz
Visiting Lecturers
Brianne Beatrice
Sara Conlon
Seán Dixon-Gumm
Brad Goren-Wilson
Stacey Horne-Harper
Alex Jacobs
Margaret McFadden
Peyton Pugmire
Rachel Rose Roberts
Allen Vietzke
Samantha Weisberg
Faculty Emeriti
Celena Sky April
William Cunningham
James J. Fallon
Myrna Finn
David Allen George
Thomas J. Hallahan
Elizabeth Hart
Jane Hillier-Walkowiak
Vera Sheppard
Whitney L. White
Patricia Zaido
Support Tomorrow’s Artists
The Center for Creative and Performing Arts
Invest in the arts and support the development of a new generation of artists with a gift to the Center for Creative and Performing Arts. Donors at $250 or more receive invitations to donor-exclusive events including back stage tours, cast and director meet and greets, the Lifetime Achievement in the Arts Awards Evening, and other special events.
Gifts of $1,000 (Angel) or more automatically include you in the Sullivan Society, Salem State University's most prestigious giving club.
___Check enclosed payable to: SSU Foundation/Arts Please restrict my gift to (circle one): General Art Creative Writing Dance Music Theatre
Mail gifts to:
Karen Gahagan, director Center for the Arts 352 Lafayette Street Salem, MA 01970
Give online at: participate.salemstate.edu/giveCCPA
SPRING 2026 UPCOMING EVENTS
salemstate.edu/arts
Salem Arts Association
History/Memories –
Juried Member Show
Exhibition: March 2 – 13
Reception: March 10 | 1:30 – 3 pm
The Winfisky Gallery, Ellison Campus Center
Classical Jazz Dance with Shae Forest
March 12 | 10:50 am – 12:05 pm
O’Keefe Complex, Room 303
Choir of New College Oxford
March 31 | 7:30 pm
Recital Hall
Free
Advance reservations at: salemstatetickets.com
Sweeney Todd
April 17 – 19
April 24 – 26
Tickets at: salemstatetickets.com
Visit salemstate.edu/arts for informationabout these and other arts events.
This campus event is open and accessible to all members of the campus community. For accommodations and access information, visit salemstate.edu/access or email access@salemstate.edu.
