WELCOME to Tomorrow, the Island Dies, our final production of the 2025-26 season. Tonight, you are witnessing something truly singular: the world premiere of a brand-new musical, and the culmination of two remarkable years of work.
Tomorrow, the Island Dies is a product of the SDSU Musical Theatre Initiative, our program dedicated to developing original works for the musical theatre canon. Out of a record 308 submissions, this piece rose to the top. Written by the extraordinarily gifted Ryan Scott Oliver, whose genre-bending works like 35MM: A Musical Exhibition and Jasper in Deadland have left their mark on contemporary musical theatre, this show is a bold, emotionally charged work of folk horror that speaks directly to our moment.
What you’ll see tonight is far from what was first brought to us. Over two years, Ryan, our faculty, our MFA musical theatre students, and our undergraduate artists have worked in genuine collaboration, asking hard questions, refining the story, and letting the material breathe and evolve. The ending alone is now far different than what we started with. That’s the magic of a true development process.
At its heart, this is a cautionary tale. A group of young people on an island that is on the brink of environmental collapse, forced to become judge and jury when something unimaginable occurs. It’s about generational responsibility, moral conviction, and, as Ryan has so beautifully put it, learning how to hold strong convictions while still leaving room for grace. This is our biggest show of the year. Technically ambitious, emotionally demanding, and deeply meaningful. I have an immense amount of gratitude for everyone involved with this show. The long hours, dedication and craft that went into tonight’s show is no small feat.
I am so proud of every person who has poured themselves into this work. Thank you for being a part of our journey this season. We can’t wait to see you in the fall for our 100th Season of Plays and Musicals!
Stephen Brotebeck, Director School of Theatre, Television, and Film
+MA in Theatre Arts
*MFA in Musical Theatre
°MFA in Design and Technology for Theatre, Television, and Film
^Qualifying or Thesis/Capstone Production
++Appears by permission of Actors’ Equity Association, the union of professional Actors and Stage Managers in the United States
This production contains theatrical fog/haze and/or flashing/strobe lighting.
Time: Tomorrow. The effects of climate change have worsened, with rising sea levels and devastating weather systems threatening remote islands around the world.
Place: Haverness, the last of a group of small, doomed islands far off the coast of Maine, soon to be abandoned forever.
“I Know You (Part 2)” Kathr yn, Ephraim, Young Villagers
“Girl of Legend (Reprise)” Widow and Benji
ACT 2
Scene 8: Various locations
“ The Beginning of the End (Part 1)” Young Villagers
Scene 9: The Stone Circle
“ The Beginning of the End (Part 2)” Young Villagers
“The Price of Living” Jacob
“We’re the Good Ones (Reprise)” Kathr yn
“The Storm” Voices
Scene 10: The Lighthouse
“Only Human (Reprise)” Widow
“Beneath the Water” Benji
“Haverness Anthem (Reprise)” Voices
Scene 11: The Mainland
Scene 12: The Lighthouse
“Alone, the Lighthouse” Widow, Benji, and Company
Creating Tomorrow, the Island Dies
An Interview with Creator Ryan Scott Oliver
Conducted by David Limón, Dramaturg
David Limón (DL), Dramaturg: What was your initial inspiration for writing Tomorrow, the Island Dies? What was the process like for writing it?
Ryan Scott Oliver (RSO): I had originally wanted to adapt a Shirley Jackson novel (We Have Always Lived in the Castle) but ultimately decided instead to write something in conversation with her work—a kind of descendant of her world and sensibility. Samford University in Alabama commissioned the piece based on that idea.
The musical was also shaped by the pandemic. In many ways, it became my “pandemic piece”: a response to living through a time of enormous social tension, moral urgency, and collective fear. I found myself deeply interested in the ways people respond to crisis—how they seek order, how they define virtue, and how quickly certainty can become destabilizing. Those questions became central to the writing of the piece.
DL: You reference a feeling of foreboding in the musical. What was your process of achieving this feeling and what are your biggest inspirations for it?
RSO: I’m a great lover of horror, and one of the pleasures of that genre is the slow creation of dread—the sense that something is wrong long before the full shape of it is visible. For me, foreboding comes from giving the audience just enough information to feel uneasy, while still leaving room for surprise.
With Tomorrow, the Island Dies, I wanted the audience to feel a growing sense of inevitability without ever feeling fully secure in their predictions. Ideally, the show invites them to anticipate certain turns while still unsettling them in the way it arrives there.
DL: Rob Meffe (Musical Director) mentioned that you enjoy horror movie musical scores. What are some of your favorites, and did any influence the music for Tomorrow, the Island Dies?
RSO: Sweeney Todd is always a touchstone for me, but this piece was especially influenced by Benjamin Britten’s Peter Grimes. Britten is extraordinary in the way he combines emotional immediacy with ambition and psychological depth, and Peter Grimes in particular captures a sense of community pressure, danger, and unease that felt very relevant to this world.
I was also inspired by the opening of [the film] Midsommar—that feeling of hearing something hauntingly beautiful at a distance, something that draws you in even as it makes you nervous. I was interested in creating a musical language that could both beckon and disturb.
DL: What would you want the audience to know before experiencing Tomorrow, the Island Dies? What might be important to know about the world in which the characters are currently living?
RSO: The world of the musical is one in which many contemporary anxieties have intensified. Climate change has displaced coastal and island communities, extreme weather has become a constant reality, and broader political fracture has reshaped everyday life. This particular island community is somewhat insulated, but not untouched. It is small enough that many of its values are shared, yet generational tensions remain very much alive. Younger people are imagining a different future, while older members of the community are shaped by habit, fear, and tradition. That friction—between inheritance and transformation—is at the heart of the piece.
DL: What do you want the audience to feel as they walk away from this show?
RSO: I hope the show invites audiences to think more deeply about the ways we sort people into moral categories, often with more confidence than human beings really permit. The piece is interested in what happens when our desire for clarity overtakes our capacity for compassion, complexity, or restraint. Beyond that, I should probably be careful not to say too much. I’d rather audiences discover the final movement of the story for themselves!
DL: The SDSU New Musical Initiative is a program designed to develop new works. This musical has been in development over the course of the last two years. What were some of the biggest changes over the development process?
RSO: Stephen and Rob [Director and Musical Director] were tremendously helpful in clarifying and consolidating the storytelling. They asked exactly the right questions and had excellent instincts about where the material wanted greater focus, greater pressure, or greater simplicity. As with any new musical, the process involved refining structure, sharpening character relationships, and making sure the thematic and emotional arcs were landing as clearly as possible. The draft has evolved significantly over the course of development, and I think we all feel very proud of where it has arrived.
Tomorrow, the Island Dies was commissioned by Chelsea Nicholson and Samford University, and received its premiere developmental production there in 2024. It was also developed by Marymount Manhattan College and A.T. New Works
The SDSU New Musical Initiative is made possible by funding from the Julia R. Brown Foundation.
DL: What have been some of the highlights you’ve experienced throughout this process? What have been some of the biggest challenges?
RSO: The greatest highlight has been the people—especially at SDSU—I’ve had the opportunity to work with. Writing something new is always deeply personal, and it means a great deal when collaborators meet the work with care, rigor, and imagination.
The biggest challenge is always the point in a process when you realize something is not yet working, but the solution has not revealed itself. That can be creatively exhausting. There was a stretch in this development where I hit that wall, and Stephen and Rob were invaluable in helping me see the piece more clearly and move it forward.
DL: What was your process for creating the characters? Which one is your favorite and why?
RSO: I tend to spend many months researching, outlining, and brainstorming before I begin writing. Characters usually arrive first as fragments—energies, contradictions, relationships, instincts—and only gradually become fully realized people. Over time, as the world of the piece sharpens, those fragments begin to gather into human beings with histories, desires, and blind spots of their own.
What interests me most is the gap between how someone first appears and who they reveal themselves to be over time. Many of the characters in this piece became far more complex and surprising to me as I wrote them. As for favorites, I’m always hesitant to choose. But Kathryn is certainly a character whose complexity I feel especially close to. Other characters gave me opportunities to explore fear, conviction, vulnerability, and self-deception from a range of perspectives, which is one of the great pleasures of writing a piece like this.
DL: Horror is not as common as other genres in musical theatre. Why did you choose horror, and what does this piece add to the horror landscape of musicals like Sweeney Todd and Phantom of the Opera?
RSO: Horror is difficult in musical theatre because genuine fear depends on a sense of reality, and musicals are inherently stylized. But that tension is also what makes the form exciting. Music can heighten danger, obsession, collective emotion, and psychological intensity in ways that spoken text often cannot.
Musical theatre and horror actually have a great deal in common: both thrive on atmosphere, both deal in heightened feeling, and both can make the ordinary feel mythic, overwhelming, or terrifying. This story also felt especially suited to musical expression because of its interest in collective thought, collective feeling, and the seductions of group identity. There is something both thrilling and unsettling about a chorus of voices moving together with total conviction.
MUSIC, LYRICS & BOOK
RYAN SCOTT OLIVER is a Lortel Award-nominated, Kleban Prize-, Rodgers Award-, and Larson Awardwinning composer and lyricist whose work has been praised by Entertainment Weekly as “the future of Broadway… a major new voice in musical theatre.” He wrote the music and lyrics for Jasper in Deadland, 35mm: A Musical Exhibition, Darling, Mrs. Sharp, and We Foxes among others, and has developed or written commissions for Disney Theatricals, Universal Theatricals, and Broadway Across America. Oliver is also the coauthor, with Lindsay Mendez, of How to Succeed in Musical Theatre without Really Dying, which premiered at #1 in Performing Arts on Amazon. In 2026, Oliver and Mendez received a Muse Award for their work as co-founders of Actor Therapy. His upcoming projects include the English-language adaptation of the Taiwanese musical Don’t Cry Dancing Girls; and the commissions Party of the Century; Ring of Kerry; and Shirley Jackson’s Demons.
DIRECTOR/CHOREOGRAPHER
STEPHEN BROTEBECK is the Director of the School of Theatre, Television, and Film and a Professor of Musical Theatre at San Diego State University. He was most recently the Interim Artistic Director of Diversionary Theatre (San Diego, CA) and the Artistic Director of the Okoboji Summer Theatre. (Okoboji, IA) On Broadway, Stephen served as the Movement Associate on Peter and the Starcatcher and as an Assistant Director on the Broadway premiere of Ghost. An SDC member, Stephen has directed extensively in New York and around the United States including Off and Off-Off Broadway and regionally at The Kennedy Center, Diversionary Theatre, The Rev Theatre Company and Farmers Alley Theatre. MFA: Directing for the Musical Theatre Stage, Penn State University. BFA: Music Theatre Performance, Western Michigan University. www.stephenbrotebeck.com
MISSION The School of Theatre, Television, and Film provides a high quality education for undergraduate and graduate students that emphasizes excellence in the arts and technology, grounded in conceptual and historical foundations. support at ttf.sdsu.edu/giving
MUSIC DIRECTOR
ROBERT MEFFE Broadway: Associate Conductor of Little Women and the last six years of Les Misérables, keyboards for Evita (2012 revival), Newsies, The Phantom of the Opera, Avenue Q, Spelling Bee, Grey Gardens and Bombay Dreams. National Tours: Music Director of Evita, The Phantom of the Opera, Associate Conductor of Les Misérables, Sunday in the Park with George. OffBroadway: Myths & Hymns, Violet, The Prince and the Pauper, and Gutenberg! The Musical!. TV: Encore! (Disney+), Earth to America (TBS), Renee Fleming-Live at Lincoln Center (PBS). San Diego: Craig Noel Award nomination for best music direction for Cabaret (The Old Globe) and Fun Home (San Diego Rep). Mr. Meffe is the Head of the MFA Musical Theatre Program at San Diego State University. At SDSU, he has music directed Little By Little, Pal Joey, Les Misérables, The Great American Trailer Park Musical, Into the Woods, The Drowsy Chaperone, Jesus Christ Superstar, The Full Monty, Enchanted April, Company, James and the Giant Peach, She Loves Me, Chess, Pippin, Postcard American Town, Pippin, Spelling Bee, Cabaret, A New Brain, and Merrily We Roll Along.
ASSOCIATE DIRECTOR
BRETT PUPPILO is a Director originally from Las Vegas, NV, with directing experience in Northern AZ and Southern NV and is excited to continue growing in Southern California. He holds a B.S. in Theatre Directing from Northern Arizona University. He is currently working on his MA in Theatre Arts here at San Diego State University. Recent credits include When She Became the Moon (Asst. Director SDSU), Twelfth Night (Dramaturg, SDSU), To My Girls (PA, Diversionary), and Little Shop of Horrors (Director/Choreographer, CCSD NV). He would like to thank everyone who made this show possible! Enjoy! brettjpuppilo.wixsite.com/brett-j-puppilo/portfolio-collections/my-portfolio
SCENIC DESIGNER
LAUREN RICHARDS is a second year MFA candidate with an emphasis in Scenic Design. She earned her BA at Baylor University with a double major in Film & Digital Media and Theatre Design & Technology. Her previous credits as a scenic designer include Hamlet at SDSU, as well as assistant scenic designer for A New Brain (SDSU) and Twelfth Night (SDSU). Her film credits include production designer for Stillwater (SDSU) and Untouched (SDSU), as well as art director for Selene & Mitch (SDSU). She also spent the past summer working as an assistant properties designer at the Old Globe Theatre. Tomorrow, the Island Dies is the second show she has designed and she could not be more proud of the incredible work of the design team, cast, and crew. She would like to thank her family and all those who have supported her along the way, and like the lighthouse at the heart of this story, she is endlessly grateful for the people who have guided her safely through every storm.
COSTUME DESIGNER
KELAN YANG is a graduating MFA costume designer at SDSU, working between San Diego and China. She is a visually driven designer who communicates strongly through visual languages. She is also passionate about puppet design and character development. She is currently working on SpongeBob the Musical at Cygnet Theatre. Previous costume design work includes Her Rage at the 2025 Fringe Festival, Six Characters in Search of an Author and Waiting for Godot at SDSU, and Perpetual (E) Motion at Malashock Dance Company in San Diego. She also worked a lot as a costume assistant, including Oklahoma! (Cygnet Theatre), Merrily We Roll Along (SDSU), In a Sunshine State (SDSU), Mr. Burns, a post-electric play (SDSU), Cabaret (SDSU), The Weight of Dreams (SDSU), etc. Tomorrow, the Island Dies brought her new and unique challenges and completed her graduate journey. She is deeply grateful to the entire costume team—this production would not have been possible without their support. Special thanks to Denitsa Bliznakova, Teri Tavares, and Peter Herman for teaching her invaluable skills in design, technology, and life. She also thanks Ralph Funicello and Dr. Katie Turner for their constant support. Finally, special thanks to Jocelyn Tamayo for all her support.
LIGHTING DESIGNER
MARY ASHLEY FULTON is graduating with an MFA in Lighting Design from SDSU. She comes from Florida, where she graduated from Rollins College (Theatre Arts—BA, Critical Media and Cultural Studies—BA). Prior designs include Waiting for Godot, The House of Bernarda Alba (SDSU), Much Ado About Nothing (Kingsmen), and Into the Woods (Annie Russell). Assistant and internship credits include All the Men Who’ve Frightened Me, Working Girl (La Jolla Playhouse), Oklahoma! (Cygnet Theatre), and Show Lighting Intern at Walt Disney Imagineering. She would like to thank the entire lighting department for helping her artistry come true. Thank you to Anne McMills and Kat Makarushka for teaching her and giving her so much support over the past three years. She would also like to thank her parents and her sisters, who were her first makebelieve collaborators. She hopes this design can help shine light through the dark.
SOUND DESIGNER
PAUL PETERSON has served as Sound Designer on over 20 productions at San Diego State University. His credits include Elektra, Merrily We Roll Along, Twelfth Night, RENT, The Thanksgiving Play, In a Sunshine State, Postcard American Town, and many others. Elsewhere, Paul’s work has been heard at: The Old Globe, Milwaukee Repertory Theater, San Jose Repertory Theatre, CenterStage, La Jolla Playhouse, Sledgehammer Theatre (Associate Artist), San Diego Repertory Theatre, San Diego Musical Theatre and many more. He earned his B.A. in Drama with an emphasis in Technical Design from SDSU. Paul is currently a Lecturer in Sound Design and Technology at SDSU’s School of Theatre, a proud member of United Scenic Artists Local 829, an Artist in Residence at Canyon Crest Academy, and a member of the Theatrical Sound Designers and Composers Association (TSDCA).
DRAMATURGS
DAVID LIMÓN is an actor, vocalist, songwriter, educator, and current MA student in Theatre Arts program. Musical direction credits include: Addams Family, West Side Story, The Lightning Thief, Seussical the Musical, and Little Shop of Horrors. Dramaturgy credits include: Merrily We Roll Along. Currently, David is an educator at High Tech Middle Mesa. B.A. Choral Music Education, B.A. Vocal Performance, California State University Long Beach.
NITALIA H. WILSON She/Her SDSU, General Theatre Arts major with a minor in Classical Greek Language. Credits include: Detox (Director, Hollywood Fringe Festival); Elektra (Assistant Dramaturg, SDSU); Macbeth (Assistant Director, Falcon’s Eye Theatre); Alice in Wonderland (Script Adaptation and Dramaturg, Falcon’s Eye Theatre). She is grateful to the cast, creative team, and faculty for trusting her to help bring Tomorrow, the Island Dies to its world premiere. She would also like to thank her partner for his unending support and patience.
Main Stage visitors are invited to view artwork in the upstairs Loge Boxes
Artist: Marvin Saltzman Professor Marvin Saltzman was born in Chicago, Illinois, in 1931. He attended the University of Chicago and the School of the Art Institute of Chicago from 1954 to 1956 and received a B.F.A. and M.F.A. from the University of Southern California in 1959. He taught at multiple universities, including Eastern Oregon State College, the University of Wisconsin at Madison, the University of Southern California, and was a member of the faculty of the University of North Carolina at Chapel Hill from 1967 to 1996, where he mentored hundreds of students, many of whom have gone on to have successful artistic careers.
< Scan here to learn more about Marvin and his art and to purchase paintings.
PRODUCTION STAGE MANAGER
ADEN CARLSON is a senior at SDSU, graduating this May with a BA in Theatre Design and Technology. He is honored and privileged to conclude his educational theatre career with this world premiere production. At SDSU, he served as the opening Stage Manager for the Prebys Stage, the Performing Arts District’s newly opened facility, leading the world premiere production of Ziggy, Stardust & Me. The following year, he stage managed A New Brain, guest directed by Broadway-credited Josh Walden. In addition to his collegiate work, Aden has been extensively involved in youth theatre with Project Performer, serving as the Production Stage Manager for Alice in Wonderland Jr., 13 Jr., Shrek Jr., and Legally Blonde Jr. His work also extends to concerts, live events, and sports production, having contributed to the last three Super Bowl Halftime Shows: LVIII, LIX, and LX. linktr.ee/adencarlson
ASSISTANT STAGE MANAGER
RYLEE PITNER (she/her) is a senior in her final semester at SDSU! Double majoring in Math Education and Theatre Arts, she is incredibly grateful for the opportunity to be a part of Tomorrow, the Island Dies as her last college show! Rylee is a multifaceted theatre artist with recent works including Carrie (Lighting Designer), Head Over Heels (Sound Designer), Chicago (Co-Director), and I Could Use a Drink (Production Stage Manager) all with SDSU MTC. In addition to her creative pursuits she is also the President of Musical Theatre Club. After graduation she is planning on continuing her career in theatre in Education! In the Fall she will be working with Berkeley Playhouse as a full-time teaching artist for their classes and camps while she works on getting her math and theatre teaching credential. She could not be more thankful to this cast, crew, and the stage management team for all the knowledge and wisdom they have passed forward to her! Lastly, she would love to thank her roommates and mom for their constant support throughout this show process, I love y’all! She hopes you enjoy this show!
ASSISTANT STAGE MANAGER
EMMA GARCIA is thrilled to be serving as an Assistant Stage Manager for the new musical Tomorrow, The Island Dies! Her past credits include Head Over Heels, Carrie, and most recently Little Women with SDSU Opera Theater. She is currently interning with New Village Arts and preparing to assistant stage manage their upcoming production of Hairspray. Emma is incredibly grateful to be working alongside such a talented production team, cast, and crew. She sends thanks and love to her family and friends. Go Aztecs! @emma.mgarcia
Rebecca Murillo (Widow
Clack)
REBECCA MURILLO (she/her) is a MFA Musical Theater candidate & a multi-hyphenate artist originally from Orange County, California. Previously, she was seen on stage at SDSU in Twelfth Night (Olivia), RENT (Mimi), & A New Brain (Nancy/Waitress). Select Credits: The Comedy of Errors (The Old Globe; Asst. Director), Legally Blonde (Engeman), A Chorus Line (Argyle), West Side Story (Tokyo), Evita (New York City Center), Lolita, My Love (Off-Broadway). Music Projects: Breathe (written with Rob Rokicki; Amazon Audible), A Seat at the Table (TNNY Soundbites Festival). Thank you to Stephen for trusting me with this role for the last two years, to Nancy for holding my hands through all the ups and downs, to Ron and Rob for pushing me as an artist, and to RSO—it’s been an absolute joy and I hope I made you proud! BFA Musical Theater from Pace University. MFA Musical Theatre from San Diego State—Class of ’26 @rebecca.murillo
Ian Bartlett (Benji Clack)
Ian is extremely grateful to be a part of Tomorrow, the Island Dies! Recent credits include Young Buddy in Follies (Cygnet), Musidorus in Head Over Heels (SDSU), Jesse in Tuck Everlasting, Ted in Peter and the Starcatcher (ManeStage Theatre), and Mark in A Chorus Line (TLT). Thanks to his friends and family for their continuous support! @ian.bartlettt
Savannah Comer (Kathryn Wolcott)
Savannah, a senior BA Musical Theatre major, is thrilled to have the opportunity to bring Kathryn to life! Her most recent roles include Ariel in Footloose, Philoclea in Head Over Heels, Alyssa Greene in The Prom, and Pearl in SpongeBob the Musical. She is also extremely proud to have recently made her directorial debut with SDSU’s Musical Theatre Club—directing Carrie— where she serves as Director of Public Relations. Savannah is honored to have cared for and grown with Kathryn over the past two years, and it has been the highlight of her time at SDSU to watch the show evolve into its current form. She would like to thank her parents, best friends, and boyfriend for being her biggest supporters, always. I love you, Mom, Dad, and Jacob.
CAST: WHO’S WHO
Nole Jones
(Jacob Crabb)
San Diego: The Prince of Egypt (Hotep) at Moonlight Amphitheatre; Merrily We Roll Along (Frank Shepard), RENT (Roger), and A New Brain (Roger) at SDSU; Sondheim Tonight! at the Rady Shell with the San Diego Symphony. Other favorite credits: Bright Star (Jimmy Ray), Jesus Christ Superstar (Judas), The Secret Garden (Archibald), She Loves Me (Georg), and three original short musicals with Dollywood Entertainment. In Fall of 2026 Nole will join the faculty of the University of Memphis as an Assistant Professor of Musical Theatre Voice. M.F.A. Musical Theatre ‘26, SDSU; M.Mus. Voice Performance, University of Illinois at Urbana-Champaign; B.A. Theatre and B.A. Music, University of Alabama at Birmingham. Thanks to his wife, Hannah, and daughter, Tzeitel!
Jansen Espares
(Ephraim Beskin/Ezra Beskin)
Jansen is a third-year student at SDSU majoring in Musical Theatre. Favorite credits include Merrily We Roll Along (Ensemble) at San Diego State University; Sweeney Todd (Anthony Hope) at Coronado Playhouse; Chasing Fear (Dead Man) with Blindspot Collective; and The Addams Family (Gomez Addams) and Into the Woods (Rapunzel’s Prince) at West Hills High School. He is honored to be part of the world premiere of Tomorrow, the Island Dies! @janseninnit
Quetzal Alcaraz (Wyatt Conrath)
Quetzal (he/him) is a third-year Musical Theatre major and is so excited to be working with such a wonderful group of people on this production. Quetzal has been with the show since the first reading at SDSU and he can’t believe the time has finally come to bring this fantastic show to life. Some of Quetzal’s favorite roles include Troy in High School Musical, The Baker in Into the Woods, and Wadsworth in CLUE. Recently, Quetzal was in SDSU’s production of RENT as well Musical Theatre Club’s (MTC) production of Carrie. Along with being a performer, Quetzal is Co-Production Manager of MTC as well as one of SDSU’s Production Supervisors. Quetzal is very excited to share this incredible collaboration of creativity with all of you and hopes you enjoy the show.
CAST: WHO’S WHO
Katie Emily (McKenzy Rombout)
Katie is a second-year Musical Theatre major at San Diego State University. Previous Mainstage credits include Merrily We Roll Along: In Concert (Terry/ENS). Favorite credits include Six (Jane Seymour), Mean Girls (Cady), Twelfth Night: The Musical (Viola), Head Over Heels (Pamela/Gynecia u/s), and Guys and Dolls (Sarah Brown). 2024 Best Actor award. 2024 Starpower National Overall Vocal Champion. @katiee.emilyy www.katieemily.com
Alyssa (Ajay) Junious (Shauna Howland)
Ajay is an interdisciplinary artist, choreographer, Pilates practitioner, and creative entrepreneur from Oceanside, California. A graduate of UC Irvine with a BFA in Performance and Choreography and a Certificate in Arts Management, she has spent the past 15 years performing, teaching, choreographing and building community throughout San Diego. Her original work has been featured at Oceanside Museum of Art, Institute of Contemporary Art Dance Diego and Art Produce. Her theater credits include La Jolla Playhouse, Cygnet Theatre, New Village Arts, Oceanside Theatre Company, Teatro San Diego, and San Diego Musical Theatre. She is the founder of Continuum Arts & Pilates (@continuum.sd) and co-founder of Soultry Sisters Collective (@soultrysisters), which hosts an annual Arts & Wellness Festival in North County San Diego.
Janeth Shayo (Shelly Howland)
Janeth Shayo is a Tanzanian American who has performed in musicals and plays for over fifteen years and been an educator for youth theatre for the last six years. Her goals are centered around theatre education and innovation with both higher education and youth theatre in mind. Currently she is a graduate student in the San Diego State University Masters of Fine Arts in Musical Theatre Program and will be graduating this spring of 2026. She holds a Bachelor’s degree in Theatre Arts/Musical Theatre and also Career and Technical Education from Cal State San Bernardino. Having studied dance at SALT studio in Riverside, California, she continues to be an active member in the Inland Valley Repertory Theatre. In 2024 she was chosen to present at the 2024 Musical Theatre Educators Alliance conference in New York where her research involving Tanzanian Musical Theatre won the presidential award at SDSU’s 2025 Student Research Symposium. Some of her favorite roles include Sandy in The SpongeBob Musical, Shelby Wilson in Baltimore, Luisa in the Fantasticks and Ronny in Hair. Her belief in theatre innovation, diversity, and inclusion is what gives her the bravery to pursue her passions in musical theatre with reckless abandon.
CAST: WHO’S WHO
Anthony Methvin (Porter
Sinch)
Anthony Methvin (he/him) is currently pursuing his MFA in Musical Theatre from San Diego State University, where he played Mark in Rent and Gordon in A New Brain. Selected San Diego performances: Little Charles in August: Osage County, Doug in Gutenberg! The Musical! and Lord John in The Elephant Man (Backyard Renaissance), Sir Bedevere & others in Spamalot (Cygnet), Roger in A New Brain and Reed in Boys and Girls (Diversionary). Directing credits include: Evening Primrose (SDSU); Vanya and Sonia and Masha and Spike (Cygnet Theatre); How I Learned to Drive, Proof, Steel Magnolias, Bachelorette, and co-director with Fran Gercke for Abundance and the World Premiere of Tarrytown (Backyard Renaissance Theatre Company); Significant Other, The Santaland Diaries and Director/Conceiver for Linda Libby’s HoliGay Storytime (Diversionary Theatre); and the workshop of Affected Place (La Jolla Playhouse). Assistant Director: Buyer & Cellar and Sense & Sensibility (Old Globe), and Dogfight (Cygnet). Education: BFA in Acting from Florida State University.
Ashley Roche (Nadine
Fowler)
Ashley Roche (she/her) is a third-year Musical Theatre major and is thrilled to be performing in her third mainstage production at SDSU. Previous credits include Sophie in Mamma Mia!, Roxie Hart in Chicago, and most recently, Carrie White in the Musical Theatre Club’s production of Carrie. Originally from Los Angeles, Ashley has been honing her skill as a performer for as long as she can remember. She feels honored and grateful to have been a part of the workshopping of this new musical for the past two years. She would like to thank her family, friends, and her cats at home for being the greatest support team. Instagram: @ashleyyyroche
Isabel Wirz (Bree
Amity)
Isabel is a fourth-year student pursuing a BA in Musical Theatre and English & Comparative Literature here at SDSU! She is from the Bay Area where she has loved performing and collaborating with various local theatre companies. Previous productions include Head Over Heels (Pamela), Chicago (Velma), Mr. Burns, a post-electric play (Quincy/Bart), Into the Woods (Cinderella). It has been a great pleasure to be a part of this process! Outside of performance she also has a passion for teaching younger students. A big thank you to her friends, family, and teachers for their support and encouragement. Enjoy the show! Ig: @isabelwirz
CAST: WHO’S WHO
Courtney Corey (Ms. Kelly)
An MFA Musical Theatre Candidate graduating this Spring, Courtney was nominated for the 2020 Excellence in Theatre Education TONY Award and named one of San Diego Magazine’s “50 People to Watch.” She has performed in Wicked (Original Chicago and LA Companies) and Rent (1st and 2nd National Broadway Tours), as well as in regional productions including Limelight, The Wiz, Bonnie and Clyde, The Great American Trailer Park Musical, Lend Me a Tenor, This, Over the Tavern, and Dr. Seuss’ How The Grinch Stole Christmas. She is an award-winning director, educator, and published writer. Proud Aztec and Actor’s Equity Association member.
Kassidy King (Adult Ensemble)
Kassidy King is a senior Musical Theatre major and is thrilled to be part of the premiere of Tomorrow, the Island Dies as her final show at SDSU! Kassidy’s recent credits include Hope Cladwell in Urinetown at Stagehouse Theatre and Margaret White in Carrie: The Musical with MTC. She would like to thank Stephen, Rob, and Ryan for making the process from staged readings to premiere so enjoyable and rewarding. Enjoy the show!
Mackayla Olivas (Adult Ensemble)
Mackayla Olivas is a first-year Musical Theatre student and is excited to be a part of the world premiere of Tomorrow, the Island Dies. Mackayla has been doing musical theater almost her whole life and studied classical for three years at SDSU but realized musical theater is where her love is. Outside she enjoys roller skating, and running her nail business! She thanks her parents for supporting her through this crazy journey! To follow her on all platforms @mackaylaolivas
Avery Henkenius (Adult Ensemble)
Avery is a first-year Musical Theatre student and is thrilled to be part of Tomorrow the Island Dies. This past fall, she appeared in SDSU Musical Theatre Club’s production of Carrie as Sue Snell. Some of her favorite previous roles include Molly in Peter and the Starcatcher, Annabeth in The Lightning Thief, and Olive in The 25th Annual Putnam County Spelling Bee. She would like to extend her heartfelt thanks to her fellow cast members, crew, and creative team. This production would not have been possible without them. Avery also sends love to her family and best friend for their constant support. She hopes you enjoy the show!
Jordan Davenport (Adult Ensemble)
Jordan Davenport is a fourth-year Musical Theatre student. She’s been involved in many productions at San Diego State over the years. Her most recent performances were her starring in the MFA Capstones as Jim in Big River and Viveca in The Bubbly Black Girl Sheds Her Chameleon Skin. Graduating in May, this is her last time performing in a musical at SDSU. She can’t wait to show you what she’s got and go out with a bang! She’d like to sincerely thank her fellow musical theatre majors for supporting her in class, her best friends both in college and back home who love her for everything she is, and her family members who encouraged her to always follow her dreams. Enjoy the show! <3 @jojo.e.d.j
Bobby Bednar (Adult Ensemble)
Robert is thrilled to be Ensemble in this amazing new musical Tomorrow, the Island Dies. He is currently a fourth-year Musical Theatre major. You may have seen him previously in Merrily We Roll Along (Charley Kringas), A New Brain (Mr. Bungee), and Children of Eden (Young Abel). Creatively he has worked as a Music Assistant on The Heart at La Jolla Playhouse. He wants to thank the whole cast, crew, and creative team.
Shane Mullinix (Adult Ensemble)
Shane (he/him) is a first-year Musical Theatre major at SDSU and he is thrilled to be working on Tomorrow the Island Dies! Favorite performance credits include Merrily We Roll Along (Photographer/Bunker), Hadestown (Fate 3), Chicago (Billy Flynn), Newsies (Albert), Anything Goes (Lord Evelyn Oakleigh), and The Addams Family (Lucas Beineke). He would like to thank his family and friends for their constant love and support.
David Lamb (Adult Ensemble)
David Lamb is a third-year Musical Theatre major and is so thrilled to be taking part in the world premier production of Tomorrow, the Island Dies David has been doing theater since he was twelve years old and since then he knew it was his dream to have a career in performing. Some of his recent work includes swing in RENT, Tommy US in Carrie, and Roscoe Potts in Evening Primrose. Outside of performing he loves to surf, play piano, and workout.
Callen Kraus (Male Swing)
Callen Kraus is a freshman Theatre Arts, Performance major and is so thrilled to participate in this amazing new show and his second mainstage production at San Diego State University. He has previously studied musical theatre at the Trentino Music Festival and at Fairfax Academy for Communications and the Arts. His favorite previous roles include Percy Jackson in The Lightning Thief, Wayne in Puffs, and Theo in Pippin.
Valentina D’Auria (Female Swing)
Favorite credits include: Addams Family (Morticia Addams) SDSCPA; Mean Girls (Gretchen Wieners) SDSCPA (Florence Johnson Grand Theatre); A Chorus Line (Lois) SDSCPA Dir, Roxane Carrasco; Guys and Dolls (Hot Box Dancer/Adelaide U.S) SDSCPA (Florence Johnson Grand Theatre); Romeo and Juliet (Tybalt U.S) SDSCPA; Mamma Mia (Dance Ensemble/ Sophie U.S) SDSCPA (Florence Johnson Grand Theatre); An Evening With Mark Shaiman (Choir Member) The Rady Shell at Jacobs Park (conductor, Steve Reineke), California.
PRODUCTION STAFF
MANAGEMENT & CREATIVE
Associate Director ....................................................................... Brett Puppilo+
Drapers ....... Arianna Quintero°, Anastasiia Sennikova°, Peter Herman
Masks ..........................................Asher Feinstein°, Linda Litchy-Cervantes, .....................................Nala Johnson°, Sarah Lingenfelter°, Sabrina Soto°
Dyers/Painters ...................... Nala Johnson°, Sabrina Soto°, Teri Tavares
Costume Construction .................................... David Gutierrez, Kirin Sato, ........................................................................................................THEA 442B class
Costume Run Crew ............................... Charlotte Bridant, Emily Campos, ...................................................
Lucien Escarguel, Kylie Stucki, Jacob Hurst, ......................................................... Aldo Ley, Ryan Yerger, Jazmine Watson
The School of Theatre, Television, and Film would like to acknowledge the participation of the SDSU Chamber Choir led by Professor Arian Khaefi in the recording of the vocal track to “The Storm.”
Special thanks to the Old Globe, PCE-Pacific Coast Entertainment, Nancy Snow Carr, Karen Van Riper, Michael Gerdes, Arian Khaefi, Dr. Katie Turner, Lei Lani Davis, Paul Peterson for the projections help.
SDSU SCHOOL OF THEATRE, TELEVISION, AND FILM DONORS
We are pleased to thank our generous supporters, as all that we accomplish would not be possible without the generous support of alumni and community members, who make significant contributions to support our students and programs at SDSU. Thank you!
Endowed Funds
Established with a commitment of $50,000 or more Ages of Drama - Live! Endowment • Allison Rossett Endowed Scholarship in Musical Theatre • Bellinghiere Endowed Scholarship • Bolles Family Musical Theater Endowed Scholarship • Brita C. Davis and Richard R. Davis Musical Theatre Endowed Scholarship • Carol Vassiliadis Endowed Scholarship in Musical Theatre • Chad Shelton Memorial Endowed Scholarship for Theatre Design and Technology • Chuck and Robin Luby Endowment for Musical Theatre • Clarence and Catherine Stephenson Musical Theatre Endowed Scholarship • Clayton Brace Awards Endowment • Darlene and Donald Shiley Endowment for Student Excellence in Musical Theatre • Deborah M. Dexter Endowed Scholarship in Musical Theatre • Denis Sanders Memorial Endowment • Denise Madruga Endowed Scholarship in Theatre • Don Powell Interface Program Endowment • Drama Circle Endowment • Gordon J. Lusk Endowment • Hayes Anderson Student Excellence Endowment • Henry Edward and Gail Johnson McAdams Memorial Endowed Scholarship • Henry Stanton Endowment • Hunton D. Sellman Endowment • James Chris Nichols Memorial Endowment • Judith and Jack White Musical Theatre Endowed Scholarship • Julia R. Brown Musical Theatre Endowed Scholarship • Maggi McKerrow Endowed Scholarship for Theatre • Maggi McKerrow Endowed Scholarship for Study Abroad • Mangan/Christensen Endowed Scholarship for Musical Theatre • Marion Ross Endowed Scholarship • MFA Musical Theatre Endowed Professorship • Musical Theatre Endowed Scholarship • Nella Feldman Gross Endowment • Paulette Wilson Endowment for Musical Theatre • Powell/SCE Design Endowed Chair • Robert Shields Memorial Endowment • Ron and Sue Heller Musical Theatre Endowed Scholarship • Roscoe-Tiffany MFA Musical Theatre Endowed Scholarship • Ruth Anna, Louis F., Dorothy Cable Endowed Scholarship • Sybil E. Jones Endowment • The McCabe Family Endowed Scholarship • Theatre Endowment
Annual Funds & Scholarships
Up to $50,000
Aztecs to Hollywood • Bellinghiere Scholarship • Clayton Brace Awards Scholarship Fund • Drama Circle • Nella Feldman Gross Scholarship Endowment • Michael and Anne-Charlotte “A.C.” Harvey Scholarship • Ron and Sue Heller Fund for Musical Theatre • Gale Anne Hurd TFM Program Love Letters Production Fund • Los Lobos Documentaries Film Fund • Denise Madruga Scholarship • John J. Martin and Katherine Fitzhugh • MFA Musical Theatre Scholarship • Gail Johnson McAdams Memorial Scholarship • Musical Theatre Musical Theatre Archive Operations • Musical Theatre Production Fund • Dan Prentice Memorial Musical Theatre Fund • Dennis Sanders Scholarship • San Diego Theatre Arts Research Lab • Michele Schlecht MFA Musical Theatre Scholarship • Hunton Sellman Scholarship • Chad Shelton Memorial Scholarship • R P Shields Scholarship Student Success Fund Theatre, Television and Film • Judy White Scholarship
SDSU SCHOOL OF THEATRE, TELEVISION, AND FILM DONORS
Generous Supporters
2020-Present
$200,000 & Above
Alice & Douglas Diamond
David Edward Belenzon
Deborah M Dexter
Dorothy Ann Cable
John Andrew Mateja
Margaret Mckerrow
Ronald Timothy Thornton
$100,000 - $199,999
Carey Gail Wall
Julia Richardson Brown Foundation
$50,000 - $99,999
A L Clinton Charitable Foundation
Bruce A Hopkins
George A Sunga
Jane W Hopkins
Jewish Community Foundation
John Joseph Martin
Julia R Brown
Katherine L Fitzhugh
Thomas & Randi Mckenzie
Richard Sellers Porter
Ruth & Irvin Belenzon Fund
Terry Lee O’Donnell
$25,000 - $49,999
Allison Rossett
Audra Mcculloch
Denise Marie Madruga
Jeffrey Mcculloch
Michele Schlecht
Mcculloch Family Charitable Fund
Patti L Roscoe
Ronald J Heller
Schwab Fund For Charitable Giving
Susan R Heller
$10,000 - $24,999
Catherine Ann Stephenson
Deborah Klein
Dianne Shelton
Michael Lesniak
Mort Marcus
Richard Alan Covey
$5000 - $999
Adrienne Maloof
Anne-Charlotte Harvey
& Michael L Harvey
Edward Law Underwood
Fidelity Charitable Gift Fund
Hayes L Anderson
Karen H Delaurier
Marilyn J Anderson
Michael L Harvey
Oliver R Mcelroy
Paul Nassif
Robin B Luby
Ron Kent Bolles
Susan F Kasuyama
$1000 - $4999
Adam Parrocha
Albert Della Gatta
Anne Louise L Clinton
2005 Trust
Brett Karl Kelly
Carol Vassiliadis
Carole Wilson
Chad Stewart Birmingham
Debra Wanger
Diane Schertz
Ellen Porter
Emily Norine Smith
Esther Fischer
Fischer Family Fund
Gerard Mooney
Gordon & Janis Shackelford
Jeffrey & Malka Silverstein
Jennifer Wilbeck
Jennifer Della Gatta
John D Fitzgerald
Jon Carl Ringbom
Joyce Ulrich
Judith L Fisher Fund
Kenneth & Karen Hoyt
Kenneth G Ulrich
Laura Anderson
Linda J Rankin
Lucina Mays
Margaret A Howard
Martin Mckerrow
Martin Frank Lesak
Michael Smith
Michael J Darweesh
Microsoft Corporation
Mike Shelton
Reina Bolles
Robin L Ching
Rodney T Whitlow
Salijo Hendershaw
Shannon Mooney
Sierra Teller Ornelas
Stephen Ching
Sandra Fisher Fund
The Acorn Foundation
The Benevity Community Impact Fund
Timothy Mccalister
Timothy M Mays
Toni B Mckerrow
United Scenic Artists Local USA 829 IATSE
$500 - $999
Aaron Swanton
Annie Gerhart
C. Anne Turhollow
Carrie Mckellogg
Ching Family Foundation
David House
David Eisenman
Fischer Family Trust
Hal Lawrence Harrison
Hali House
Gilead Sciences Inc.
Jeffrey Fare
Judith M Darweesh
Judy Thomas
Kevin & Katherine O’connor
Margie Carroll
Margo E Kasch
Marilyn Eisenman
Paula Perry
Rhoberta Haley
Sheila Harrison
Sonia Silverstein
Stephen Cheng
Stewart Mcdonald
Timothy Andrew Hoyt
Tina I Silverstein
Tracy Giarrusso
FACULTY & STAFF
ADMINISTRATION
Stephen Brotebeck, Director of TTF & Professor
Dr. Katie Turner, Associate Director of TTF. Lecturer
Lei Lani Davis, School Coordinator
Stephanie Garibo Alday, TTF Academic Advisor
TaiReikca L.A., PAD Lead Production & Operations Analyst
Bob Coddington, Box Office Coordinator
TELEVISION, FILM, AND NEW MEDIA FACULTY/STAFF
Marwa Abdalla, Lecturer
Abraham Amkpa, Lecturer
Christine Cover, Lecturer
Jubilate Cox, Assistant Professor
Jose De Matos, Tech Engineer
Krystal Dawkins, Lecturer
Jeff Deverett, Lecturer
Alex Farnsley, Lecturer
Michael Feinstein, Lecturer
Lizzette Flores, Equipment Supervisor
Ángel Granados, Lecturer
Glenn Heath, Lecturer
Brian Hu, Associate Professor, Area Head
Brie Iatarola, Lecturer
Brendan Julian, Lecturer
Martha M. Lauzen, Professor, Executive DirectorCenter for the Study of Women in Television/Film
Stephanie Lee, TFM Shop Foreman
Jessica McGaugh, Associate Professor
Vernon Mortensen, Lecturer
Greg Penetrante, TV/Film Studio Engineer
Dane Picard, Lecturer
Mary Posatko, Associate Professo, Graduate Advisor
Timothy A. Powell, Professor
Genadi Radiul, Lecturer
David Steinberg, Lecturer
Rich Underwood, Lecturer
Christopher Warren, Associate Professor
Stuart Voytilla, Lecturer
THEATRE FACULTY/STAFF
Adrian Alita, Associate Professor, Head of Acting
Dani Bedau, Professor
Denitsa Bliznakova, Professor, Head of Costume Design & Technology
Geno Carr, Lecturer
Peter Cirino, Associate Professor, Head of Performance
Ronald Councell, Staff Accompanist/Vocal Coach
Kristen Flores, Scenic Charge Artist/Prop Master
Joshua Hemming, Lecturer
Peter Herman, Wig Making, Make-up Costume Construction
D.J. Hopkins, Professor
Brooke Kesler, Lecturer
Noah Lange, Performing Arts District
Technical Specialist
Heather Larsen, Lecturer
Kat Makarushka, Theatrical Lighting, Projection & Sound Lead
Randi McKenzie, Emerita Assistant Dean
Anne McMills, Professor, Design/Technology MFA Graduate Advisor
Brian McVicker, Technical Director
Robert Meffe, Professor, Graduate Advisor, Head of Musical Theatre
Shelley Orr, Associate Professor, Graduate Advisor for MA Theatre Arts
Wilfred Paloma, Lecturer
Paul Peterson, Lecturer
Nicholas Ponting, Lecturer
Jesca Prudencio, Associate Professor
Randy Reinholz, Professor
Jill Rovatsos, Lecturer
Jay Sheehan, Faculty Production Manager, Stage Management Advisor
Nancy Snow Carr, Lecturer
Teri McConnell Tavares, Costume Shop Manager
Katie (Laura) Turner, Lecturer
James Vasquez, Lecturert
Andrew Young, Scene Shop Foreman
Laura Zingle, Lecturer, Stage Mgmt Advisor
EMERITUS FACULTY
Hayes Anderson, Professor Emeritus
Carroll Blue, Professor Emerita
Anne-Charlotte Harvey, Professor Emerita
Greg Durbin, Professor Emeritus
Mark Freeman, Professor Emeritus
Ralph Funicello, Lecturer Emeritus
Michael Harvey, Professor Emeritus
Elizabeth Heighten, Professor Emerita
Kaye Jameson, Professor Emeritus
Paula Kalustian, Professor Emerita
Margaret Larlham, Professor Emerita
Peter Larlham, Professor Emeritus
Robert E. Lee, Professor Emeritus
Roy Madsen, Professor Emeritus
Donald R. Martin, Ph.D., Professor Emeritus
Margaret McKerrow, Professor Emerita
Tom Meador, Professor Emeritus
David Morong, Professor Emeritus
Jack Ofield, Professor Emeritus
Michael Real, Professor Emeritus
Beeb Salzer, Professor Emeritus
Loren Schreiber, Emeritus Professor
Rick Simas, Lecturer Emeritus
Carolyn “C.J.” Keith, Lecturer Emerita
John Witherspoon, Professor Emeritus
Craig Wolf, Professor Emeritus
GENERAL INFORMATION
CELL PHONES
As a courtesy to those around you, please turn off or silence cell phones while in the theatre.
CAMERAS & RECORDING DEVICES
The use of any cameras and/or recording devices is strictly prohibited without advance written permission from The School of Theatre, Television, and Film.
LATE ARRIVALS & NO-SHOWS
Please arrive on-time and do not be a no-show. Latecomers may be asked until an intermission to be seated; and, seats not claimed will be re-sold.
BOX OFFICE
Hours of Operation: One-hour before Curtain
The Box Office is closed for all school holidays as well as during the summer vacation period.
Purchase Tickets Online: ttf.sdsu.edu
General Admission Tickets: Theatre $20 / Film $10 (Prices may vary for special events/productions)
Email: pad.boxoffice@sdsu.edu
Phone: 619-594-6884
Administrative Office Phone: 619-594-5091
Theatre productions, film events, and TV programming are made possible by the generous support of our donors.
To make a contribution to our outstanding programs, please call 619.594.4548 or visit ttf.sdsu.edu/giving
Take a Seat!
SDSU performing arts invites you to take part in an exciting opportunity to support its new Performing Arts District in a meaningful way by participating in the Take A Seat campaign.
You have the opportunity to Take A Seat in the spotlight and enjoy having your name, a sentiment, anniversary date, or the name of another person you wish to honor laser-engraved on an elegant nameplate placed on one of the theater seats. Your sponsorship will support performances, students, faculty, and the greatest needs of the SDSU performing arts program.
The engraving you select promises that you or your loved one will be a visible part of this dynamic Performing Arts District for years to come.
Interested in reserving a seat?
Scan the QR Code above for more information, or visit psfa.sdsu.edu/takeaseat
