CofC Stages proudly presents
The Resistible Rise of Arturo Ui
Written by Bertolt Brecht and translated by Jennifer Wise.
Directed by Todd McNerney
| Scenic Designer Madison Berry (’24) |
Costume Designer Janine McCabe |
Lighting Designer Bootsie Baldwin |
Sound Designer
Amelia Hawke Tebalt |
| Technical Director JD Stallings |
Costume Shop Manager Tyler Akeo |
Stage Manager Cheyenne Comitz | |
February 20-25, 2025
Simons Center, Emmett Robinson Theatre
Jump to:| Production Team | Acknowledgments| Director’s Note | Dramaturgical Note | Cast and Production Team Biographies |
Cast
Arturo Ui: Kate Yarbray
Ernesto Roma: Calvin Biesecker
Emanuele Girl: LG Wylie
Giuseppe Givola: Patrick Treybal
Dogsborough: Chris Guerrero
Flake: Chris Warzynski
Caruther: Aidan Wunderley
Butcher: Blakesley Rhett
Mulberry: Isabella Gardner
Clark: Alex Leary
Sheet & et al: Jay Davis
Young Dogsborough & Inna: Ava Mueller
Dockdaisy: Sophia Shaker
Ragg & et al: Emma Bennett
Bowl & et al: Jonathan Hoofnagel
Goodwill & et al: Madelein Hanson
Gaffles & et al: Amber Walker
O’Casey & et al: Paeton Patterson
Actor & Greenwool: Jacob Rye
Hook & et al: Gray Crews
Caruther: Aidan Wunderley
Defense Attorney & et al: Jamiyah Witherspoon
Fish & et al: Jack Hipp
Judge & et al: Hayden Cohen
Prosecutor & et al: Lexi Prioleau
Betty Dullfeet & et al: Journey Townsend
Ignatius Dullfeet & et al: Adam Barham
The Band
Piano and Guitar: Abby Scruggs
Clarinet: Anna Cogbill
Sousaphone: Kalia Williams
Trumpet: Connor Perr
Presenting a 1930’s Gangster story.
CofC Stages Artistic Director: Janine McCabe
Chair, Dept. of Theatre & Dance: Gretchen McLaine
Production Manager: Miles Boinest
Dramaturg: Jacob Rye
Stage Management Advisor: Caleb Garner
Assistant Directors: Jake Cisson and Caroline Drinnon
Assistant Stage Managers: Emma Piazza and Kaede Chikuma
Scenic Charge: Madison Berry
Scenic Artists: Alexandria Foster, Tovah Levenson, Sarah Poteat, Jonathan Wentz
Properties Charge: Stephen Hand
Properties Artisans: Madison Berry, Jonathan Wentz
Properties Room Manager: Riley Taylor
Carpenters: Students of THTR 209: Stagecraft, Maddie Hall, Justin Martin, Georgia Rudd.
Scene Shop Staff (select students hired by the Department of Theatre and Dance with support from donor funding): Cheyenne Comitz, Lauren Evans, Isabella Gardner, Stephen Hand, Olivia Maness, Lucas Peine, Jacob Rye, Aidan Wunderley
Hair and Makeup Design: Jenna Williamson
Costume Design Assistant: Zoe Jocassee Barber
Costume Assistant: Joyce Burton
Sewing & Alterations: Students of THTR 240: Costumes 1, Bailey Beasenburg, Addison Pico.
Wardrobe Crew: Ashlyn Denham (Lead), Jenna Williamson (Hair & Makeup Artist), Mia D’Angelo
Costume Shop Staff (select students hired by the Department of Theatre and Dance with support from donor funding): Zoe Jocassee Barber, Ashlyn Denham, Evy Massey, Jenna Williamson
Lighting Design Advisor: Lauren Duffie
Head Electrician(s): Hannah Moore
Electricians: Bootsie Baldwin, Ki Carney, Abby Israel, Alex Jones, Hannah Moore, Lucas Peine, Reed Reed, Sam Rhodes, Chris Warzynski, Aidan Wunderley
Light Board Programmer: Ky Daisey
Light Board Operator: Emory Ibrahim
Electric Shop Staff (select students hired by the Department of Theatre and Dance with support from donor funding): Bootsie Baldwin, Abby Israel, Alex Jones, Hannah Moore, Chris Warzynski
Sound Design Advisor: Caleb S. Garner
Sound Technicians: Amelia Hawke Tebalt & Jacob Reiss
Sound Board Operator: Georgia Rudd
CofC Stages Operations Coordinator: Miles Boinest
Marketing & Communications: Nandini B. McCauley
Graphic Designer: Rob Alexander
Photography: David Mandel
Publicity: Jake Cisson, Madelyn LaBarge, Kaylee Phillips
Office Assistant: Emma Bennett
Box Office: George Street Box Office
The Greenery Florist (on Calhoun St.) for their generosity to the props team.
Thank you to all of our donors!
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As we transitions back to live in-person audiences and mask-free performances last season, we worked hard to keep our students and audiences engaged. We preserved the student experience during these last two years, but we lost essential revenue that plays a huge role in funding our season’s productions. Your donations contribute to funding the essentials needed for scenery, lighting, sound, and costumes, but more importantly, they help support student employees, student research and travel, and other student-focused experiences. We can’t do this without your generosity!
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Dean Adams, Jennifer Asouzu, Arsalan Baig, Chris Burgess, Henderson Cole, Carmella Della-Peruta, Irina Gigova, Maegan Gudridge, Cianne Maloney, Katie Martin, Thomas McCabe, Todd McNerney, Elizabeth Meyer-Bernstein, Kerri Needle, Shelby North, Erin Percy, Eli Salas, Anna Stephenson, Joseph Willingham
LAND ACKNOWLEDGEMENT: We would like to acknowledge that we are located on the traditional lands of the first people of Charleston: The Etiwan, Kiawah, Edisto Natchez Kusso, Santee, and Wassamassaw people (also known as Varner Town Indians). We acknowledge and honor all the indigenous people who lived, labored and were faithful stewards of the land. We express our deep gratitude for the land and continued faithful stewardship to the next seven generations.
We also acknowledge the lives and labor of the Africans who were enslaved to build Charleston, South Carolina.
On this campus and in this space, African and African-descended people used skilled labor in ornamental ironwork, historic architecture, and low country agriculture and food production. On behalf of the College of Charleston, we acknowledge the Black lives and labor that built our city and our campus.
Bertolt Brecht’s contributions to the theatre were many, have been well researched, and are important even today. I have held a fondness for Brecht’s plays and his theatrical theories since my undergraduate years; when I not only studied him in my theatre courses and worked on one of his plays, but also by reading some of his works in his native language as part of my minor in German. Brecht’s themes and ideas are intricately bound to the early and mid-20th century; to the chaos, upheaval, and horrors of two World Wars, to a world-wide economic Depression, and to the varied and rapid political changes of the time period.
To escape the rise of Nazism, Brecht fled Germany and lived in exile in the United States where in addition to many other things, he fed and fueled his passion for Hollywood gangster films. Such films included those starring James Cagney, Edgar G. Robinson, and Humphrey Bogart. That genre is as popular today as it was in the 1930’s. Contemporary versions include TV series such as Ozark, Breaking Bad, and The Sopranos; films such The Irishman and American Gangster and of course The Godfather and its sequels.
The Resistible Rise of Arturo Ui is a parable play utilizing the gangster genre Brecht loved so much. Specifically, he intended it to reflect the approximate 10 year rise to power of Adolf Hitler. His original signs reflected those actual historical events. However (like many of his works which are also similarly specific to a time and a place) it is not a work which should be seen simply as a history lesson or as an example of theatrical theory. Brecht (like all great writers) had the ability to recognize and to highlight many elements and flaws of the human condition more broadly. Such flaws include humanity’s attraction to “bad people” (supported by references in the play to three of Shakespeare’s greatest villains) and the very human frailty of making short-sighted, self-serving choices.
The history of the world is rife with totalitarian “gangsters”; it is not limited to the 20th century’s Hitlers, Mussolinis, Stalins, or Maos. Rather a common and well-trodden path has been used throughout time to ascend to and to achieve power. The Resistible Rise of Arturo Ui is not a history lesson, but rather as its prologue states it is a cautionary examination of the forever and always present “status quo” and a call to remind us that vigilance and resistance is better than acceptance and acquiescence.
– Todd McNerney, Director.
Dramaturgical Note and Explanation
Step 1: FAT CATS FIND GOLDEN PARACHUTES
Brecht translation: “1929-1932. Worldwide slump hits Germany hard. Prussian landowners angle for government subsidy. Attempts so far unsuccessful.
The Great Depression notably affected Germany harshly. The German economy was still recovering from the Great War (WW1) as well. The Prussian Junkers were wealthy, conservative agricultural land owners residing in Prussia.
Step 2 EVERY QUID HAS A PRO QUO
Brecht translation: “Junkers present President Hindenburg with country estate, famous beauty spot at Neudeck, to arouse his sympathy for their plight.”
Paul von Hindenburg, a former Junker himself, was indeed gifted a large, grandiose country home from the Prussian Junkers. In return, the Junkers received government aid.
Step 3 NEED A CLEAN START, GET THE DIRT…
Brecht translation: Fall, 1932. Nazi Party faces financial ruin and disintegration. Hitler desperate to seize power. Hindenburg refuses to see him.
After the Nazi party’s failed Beer Hall Putsch in November, 1923, Hitler was arrested and convicted of treason. He wrote his infamous book Mein Kampf during his time in prison. In the book, Hitler emphasized populist politics and the need to gain power through “legal” means, among several other Nazi ideologies.
Step 4 IF YOU GIVE A RAT A COOKIE…
Brecht translation: “January 1933. Hindenburg nixes Hitler as head of government. Aging President threatened by probe. Misappropriation of funds?”
Hindenburg was implicated in the Eastern Aid scandal or the Osthilfeskandal, which consisted of Prussian Junkers inappropriately using government funds for luxury items. The country home was involved as a bargaining chip. Once the Nazi’s came to power, the scandal was scrubbed from the public record.
Step 5 MUDDY THE WATERS WITH MISDIRECTION
Brecht translation: “January 31, 1933. Hindenburg yields to Herr Hitler. F hrer to head new government. Graft inquiry called off.”
In an effort to gain conservative political power, Hindenburg and former Chancellor of Germany, Franz von Papen, created a plan to appoint the politically popular Hitler to the chancellorship. Hitler was to be Chancellor with Von Papen as vice Chancellor to “reign him in.”
Step 6 WALK LIKE A DUCK, TALK LIKE A DUCK… YOU’RE A DUCK?
Brecht translation: “Herr Hitler coached by provincial actor. Lessons from Herr Basil in elocution and deportment.”
Hitler throughout his life was given lessons in rhetoric, appearance, and public speaking. First through one of his early Nazi mentors, Dietrich Eckart, and then later Erik Jan Hanussen. The name “Basil” may be a reference to Shakespearean actor Basil Rathbone, who did not have any direct connections with Hitler.
Step 7 NEVER LET A GOOD CRISIS GO TO WASTE
Brecht translation: “February, 1933. Reichstag building in flames. Frame to crush opposition. Hitler starts reign of terror. The Night of the Long Knives.”
The Reichstag was the lower branch of the Parliamentary arm of the Weimar German government (think of it as the House of Representatives in a way). In February of 1933, the building was set on fire, which created mass political panic utilized by the Nazi party and establishment conservatives. Hindenburg passed the Reichstag Fire Decree, which allowed the immediate persecution and suppression of political enemies, or otherwise members of the German Communist Party. “The Night of the Long Knives” would come later in 1934.
Step 8 TRIVIALIZE, DELEGITIMIZE, AND CAPITALIZE
Brecht translation: “Reichstag fire trial ends in uproar. Göring loses temper in court. Doped laborer sentenced to death. Mockery of justice.”
Five Communists were tried for the crime of the Reichstag fire, however only the Dutch communist, Marinus van der Lubbe, was sentenced. The trial took place in the Reichsgericht, Germany’s highest court, and would last from September to December of 1933. Conspiracies regarding the result of the trial remain today, as scholars are unsure if van der Lubbe could have acted alone. Many Germans at the time suggested Nazi involvement. Van der Lubbe was sentenced to death.
Step 9 SLEEP WITH SNAKES AND YOU’LL GET BIT
Brecht translation: “Hindenburg’s death imminent. Bitter struggles within Nazi camp. Herr Hitler under pressure, influential circles demand removal of S.A. chief Ernst Röhm.”
In 1934, the year of his death, Hindenburg was aged 86 and concerns about his age were common among his opposers. Hermann Göring and Heinrich Himmler were among the Nazi advocates to execute Ernst Röhm for his insistence on violent revolution and expansion.
Step 10 ET TU, BRUTUS!
Brecht translation: “June 30, 1934: S.A. chief Ernst Röhm and friends ambushed while waiting for Hitler to stage coup against Hindenburg and Göring. Massacre at tavern.”
From June 30th to July 2nd, 1934, Hitler ordered the execution of several Nazi figures, establishment conservatives, and political opponents. The killings were done by the Gestapo and the Schutzstaffel (SS). Ernst Röhm, leader of the Sturmabteilung (SA), was among the executed. The event is referred to as Operation Hummingbird or the Night of the Long Knives.
Step 11 SEDUCE THE STORYTELLER SPIN THE STORY
Brecht translation: “Austria yields to Nazi cajoling, Chancellor Engelbert Dollfuss calls off press attacks.”
Chancellor of Austria, Engelbert Dollfuss, was an Austro-fascist opponent of Nazi Germany. Dollfuss believed in a one-party Austrian state and vehemently opposed the Hitlerian idea of a “unified Germany,” which would require the annexation of Austria. Dollfuss utilized emergency powers to prevent elections, which may have allowed for members of the Austrian National Socialist Party to attain power.
Step 12 GET’M SWIMMIN’ WITH YA OR IT’S SLEEPIN’ WITH THE FISHES
Brecht translation: “Dollfuss murder opens door to rape of Austria. Nazis woo Austrian public opinion.”
July, 1934, in an event known as the “July Putsch” was a coup d’etat attempt on Dollfuss’ Fatherland Front government. Members of an “unofficial” Austrian SS coalition, the SS Standarte 89, raided the Federal Chancellery of Austria and assassinated Dollfuss. However, the coup d’etat was unsuccessful and Nazi Germany failed to seize Austria in 1934.
Step 13 THEY’LL LOVE YA FOR IT… OR ELSE
Brecht translation: “March 11, 1938: Nazis invade Austria. 98% of terrorized electorate votes yes for Hitler.”
In an event known as the Anschluss, the Nazi’s invaded and seized Austria. Although the vote was held in April, the Nazi’s had invaded a month prior in March. The plebiscite, which claimed 99% of voters in favor, is generally regarded as illegitimate and fraudulent. Historical analysis predicted approximately 70% of Austrians were opposed to the annexation of Austria.
Note
“The broad masses of the people are not made up of diplomats or professors of public jurisprudence nor simply of persons who are able to form reasoned judgment in given cases, but a vacillating crowd of human children who are constantly wavering between one idea and another.” This is a translated quote from Nazi dictator Adolf Hitler’s Mein Kampf. When thinking of your family, your friends, your neighbors, your coworkers, your mechanics, your Uber drivers, or even those you do not know, is this how you describe them? Is this how you would want others to think of them? The Nazis had a gnack, an ability to dehumanize those opposed to them. It would be wrong however, to consider them the masters of this cruel practice.
Bertolt Brecht’s The Resistible Rise of Arturo Ui acts as a reflection of the errors of the past. Errors that many of us would like to imagine have been eradicated. However, these errors are not errors. Instead they are consequences that only strengthen as they continue to go unrecognized. What Brecht intends to teach us lies within every society. Resistance is not something that goes away. It is not a job to be finished, but an action to be maintained. As long as humans exist, treachery will be alongside it.
In a world where consent is manufactured and many ideas are not broadcast without going through hoops and tunnels, it is important to maintain contact with our humanity. Evil exists in all shapes, forms, and spaces; however, humanity exists within everybody. Humanity can only be removed when we, the common folk, allow it to be attacked.”
– Jacob Rye, Dramaturg.
Cast and Production Team Biographies
Cast
Adam Barham (Ignatius Dullfeet) is a sophomore majoring in Communication. This is his first mainstage production at the College of Charleston. Adam has had a blast putting this show together with such a friendly and welcoming cast and crew. He sends his thanks to friends and family for coming to see the show!
Emma Bennett (Ragg/Gunman) is a sophomore majoring in Theatre (Performance). This is Emma’s second mainstage production at the College. She was recently seen as Mina Harker in Dracula (2024). Emma has loved getting to work with such a massive cast of wildly talented artists on this production. Emma will be the assistant director for The 25th Annual Putnam County Spelling Bee in April, and hopes to see you all then!
Calvin Biesecker (Ernesto Roma) is a senior majoring in Marine Biology at the College of Charleston. The Resistible Rise of Arturo Ui marks both his mainstage debut and final production before graduation. He is incredibly grateful to his family and friends for their unwavering support, as well as to the Theatre Department and the entire Ui team for this unforgettable experience. He also thanks you for supporting live theatre—enjoy the show!
Anna Cogbill (Band: Clarinet) is a senior majoring in Communications and French & Francophone Studies. This is her first mainstage show at the College of Charleston, and she has had a wonderful time working with such talented and driven people!
Hayden Cohen (Judge,Bodyguard,Gunman) is a junior majoring in Theatre (Youth Theatre). This production marks her mainstage debut at the College of Charleston. She was recently in CenterStage’s production of The Guy Who Didn’t Like Musicals (Zoey, Greenpeace Girl,Cop). She would like to thank the team of incredibly talented artists who are a part of this important production.
Gray Irene Crews (Hook & Woman) is a freshman double majoring in Theatre and Marine Biology. This is her second main stage production at the College of Charleston. This past fall she was an understudy and costume assistant for the mainstage production of Home and she was in the stage reading of The Drama of King Shotaway (Miss Labatt).
Jay Davis. (Sheet, Swing) is a sophomore double majoring in Psychology and Theatre (Performance). This is their second Mainstage production with the College. Previous performances include The Guy Who Didn’t Like Musicals, The Drama of King Shotaway, Hurricane Diane, Rocky Horror Shadowcast 2023, and Too Much Light Makes the Baby Go Blind.
Isabella Gardner (Mulberry) is a senior Theatre and Arts Management double major. She was featured by the College of Charleston Mainstage in Men on Boats and Two Gentlemen of Verona, and by Center Stage in Firebringer, The Bacchae, and Dead Man’s Cellphone. She is also proud to be the Founding Co-Artistic director of the Center Stage Fringe Festival! It is an honor for her to take her final bow on the Mainstage alongside this dedicated group.
Chris Guerrero (Dogsborough) is a sophomore majoring in Psychology. This is his first performance at CofC, and was last seen in Shakespeare’s Macbeth as Macbeth at Rutgers University. He would like to thank the professors in the Theatre Dept. for their leadership and guidance through the process.
Madelein Hanson (Goodwill, Gangster) is a senior double majoring in Theatre Studies and French & Francophone studies. This will be her last Mainstage production at CofC, having previously been seen as Evie in In Love and Warcraft. She has also worked extensively with Center Stage during her time at CofC, and was last seen on stage with them as Brad in the 2023 Rocky Horror Shadowcast. Hanson is the recipient of the David Lee Nelson Hope award for her original work Ataxia, Aphasia, and Other Signs of Impending Ruin during the College’s Pages Festival. She would like to thank her friends and family for supporting her through her time here and a special thank you to her professors in the theatre department for believing in her acting, writing, and research.
Jack Hipp (Fish, Vegetable Dealer, Bodyguard) is a Freshman majoring in Theatre (theatere for youth). This is one of his first productions with CofC and along with a role in center stages “The guy who didnt like musicals”. Jack has enjoyed working with the joyful cast and crew and is very pleased to be able to put on an engaging performance for the audience. He is gateful for Todd (his wonderful director) as well as his parents Shannon and Bill Hipp. This performance his dedicated to his Grandpa, Bud Hipp, who he loves dearly.
Jonathan Hoofnagle (Bowl, Vegetable Dealer, Bodyguard, Cicieronian) is a Freshman double-majoring in Political Science (Philosophy, Law, and Politics) and Theatre (Performance). This is one of his first productions with CofC and he is so excited. Jonathan has enjoyed working with the joyful cast and crew and is very pleased to be able to put on an engaging performance for the audience. Lastly, he is grateful to everybody and especially the director, Todd, for giving him such a wonderful opportunity!
Alexandar Leary (Clark) is a senior majoring in Theatre (Performance) with a minor in African American Studies. This is his fourth and final mainstage production at the College. Recently seen as Juicy in PURE Theatre’s production of Fat Ham (2024), Terrell in Marcus; Or the Secret of the Sweet (2023), and Xavier in Pipeline (2021). In addition, he was the Soundboard Operator for CofC’s production of HOME (2024), which went to KCACTF earlier this February. He’d like to thank his family and friends for their continuous support and the Department of Theatre & Dance for instilling in him the tools to further his passion, craft, and career.
Ava Mueller (Young Dogsborough/Inna) is a junior majoring in Theatre. This is her first Mainstage production. Her last performance was the CenterStage production, Too Much Light Makes the Baby Go Blind. Ava would like to thank her family for their unrelenting love and support, as well as a thanks to everyone who supports theater itself by being here tonight.
Paeton Patterson (O’Casey) is a freshman majoring in Theatre (Performance) and Arts Management. This is Paeton’s first MainStage production, however he was also seen in CenterStage’s production of The Guy Who Didn’t Like Musicals (2024) in the fall semester! Some of his other credits include Peter in Peter and the Starcatcher (2024), Oberon in A Midsummer Night’s Dream (2023), and Phil in Almost, Maine (2021). He would like to thank his friends and family for the continuous support in his theatrical endeavors. He hopes you enjoy the show!!
Connor Perr (Band: Trumpet) is a freshman majoring in Hospitality and Communications. This is his College of Charleston stage debut, and his first time playing in the band in any show he’s been a part of! He thanks his family for their support, and the cast and crew of Arturo Ui, especially Todd, for giving him this opportunity, and wishes everyone to break a leg!
Alexandria Prioleau (Prosecutor, Bodyguard) is a senior majoring in Theatre with a concentration in Performance. This is her fourth and last mainstage production at the college. She stage-managed Home (2024) which traveled to KCACTF earlier this February. She also stage-managed the mainstage dance concert After the Rain (2023) and performed in the staged reading The Pages Festival (2024). She is honored to have this opportunity to perform. She would like to thank her mother, the rest of her family, and friends for always supporting her.
Blakesley Rhett (Butcher) is a senior majoring in Communication with a minor in Creative Writing. This is her first mainstage show at the College of Charleston. She would like to thank her mother and her grandparents for always supporting her love of theatre, the entire cast and crew for being so welcoming and Todd for giving her the opportunity to return to performing! “The only thing necessary for the triumph of evil is for good men to do nothing.” – Edmund Burke
Jacob Rye (Actor/Greenwool/Dramaturg) is a senior majoring in Theatre (Performance) with a minor in Biology. He has previously been apart of a few CofC MainStage productions: Dracula (Dr. Seward) and The Pages Festival (Writer). He was also seen in CenterStage’s Dead Man’s Cellphone, The Bacchae, and Firebringer. It is a privilege for him to be able to be apart of this process and is excited to see the consequences of everyone’s hard work.
Abby Scruggs (Band: Piano and Guitar) is a Senior majoring in Theatre (Performance) and Political Science with a minor in Music. She was last seen in the Main Stage productions of Violet and Pippin, as well as Center Stage’s Firebringer. She would like to thank her family for their continued support, and Buren Martin for giving her a love of Theatre!
Sophia Shaker (Dockdaisy) is a Sophomore majoring in Communication and minoring in Theatre. This is her first show with the College of Charleston. Sophia is so excited to be performing with these talented people and is so grateful for this opportunity. She thanks everyone for their support and hopes everyone loves the show.
Journey Townsend
Patrick Treybal (Giuseppe Givola) is a freshman majoring in Theatre(Performance Concentration). This is his first ever MainStage show at the College Of Charleston.
Amber Walker
Chris Warzynski (Flake) is a senior majoring in Theatre (Performance and Scenic/Lighting). This production marks Chris’s final appearance on the CofC mainstage as an undergraduate, Ui will be their sixth mainstage show. During their time at CofC Chris toured Lowcountry schools with PURE Theatre’s Lovers and Fools, and worked with Japan’s Yokohama Theatre Group on the newly devised Jekyll & Hyde. Chris is also an accomplished Lighting Designer, having designed both Pippin and HOME for CofC’s mainstage, the latter of which earned Chris the SETC/David Weiss Regional 1st place in Lighting Design award at the 57th KCACTF Region 4 Festival. Chris is very excited to start their professional career. chriswarzynski.com
Kalia Williams (Band: Sousaphone) is a CofC Class of 2020 alumna with a Computer Science B.S. During her time as a student, she participated in the CofC Orchestra and Pep Band (Chucktown Sound) as principal tubist. This is her first performance with the Dept of Theatre and Dance. Currently, Kalia is a Staff Technologist at Booz Allen Hamilton Corporation. A transgender woman and a vociferous advocate for queer and labor rights, she encourages the audience to defend the rights of others in the face of modern injustices. Kalia would also like to thank the cast, crew, and College faculty that participated in this production for the opportunity to work with such incredible and talented people to make art together.
Jamiyah Witherspoon (Defense Council, Vegetable dealer, Servent, Bodyguard) is a junior majoring in Theatre (Performance). This is Jamiyah’s first mainstage role at the College of Charleston! She is very grateful for this opportunity, and would like to thank the cast, crew, and everyone involved for such a wonderful experience. She would also like to thank her family and friends for all the support!
Aidan Wunderley (Caruther) is a senior majoring in Theatre (Performance). The Resistible Rise of Arturo Ui is Aidan’s fifth acting role in a Mainstage show. Last seen on the Mainstage in Men On Boats (2023) as Hawkins, and Two Gentlemen of Verona (2023) as an outlaw, Aidan has also acted with PURE Theatre, in the children’s show, Lovers and Fools (2024) as Hamlet. Aidan’s Mainstage production credits include stage managing the Pathways Dance Concert (2024) and assistant directing Dracula (2024). Aidan encourages the audience to reflect on their apathy and to protest the injustices of contemporary America.
LG Wylie (Emanuele Giri) is a senior majoring in Theatre (Performance) at The College. This is her fourth and final Mainstage show at The College. She has recently been seen in Dracula (2024) as Van Helsing, The Importance of Being Earnest (2024) as Algernon Moncrieff, and Men On Boats (2023) as John Colton Sumner. LG is also an active member of CofC’s student-lead theatre company, Center Stage. Her Center Stage credits include The Bacchae (2023) as a Maenad, Hurricane Diane (2024) as Carol, and Dead Man’s Cell Phone (2024) as Mrs. Gottlieb. She would like to thank this company of artists for creating such striking and necessary art together. “It is certain, in any case, that ignorance, allied with power, is the most ferocious enemy justice can have.” – James Baldwin
Kate Yarbray (Arturo Ui) is a senior majoring in Theatre (Performance) with minors in both Creative Writing and Women and Gender Studies. She was most recently seen on CofC Stages as Catherine in Pippin (2023) and Lydia Wickham in Miss Bennet: Christmas at Pemberley (2022). She has also performed with Center Stage as Chorn in Firebringer (2022). When offstage, she finds her passion in directing. Her directorial debut with Center Stage, Five Women Wearing the Same Dress, was restaged as part of Piccolo Spoleto (2022). Following this production, she will be understudying with PURE Theatre for an upcoming new musical: Pleasure Never Lies. Kate would like to give all her love to Todd McNerney for this opportunity.
Production Team:
Bootsie Baldwin is a senior double majoring in Computer Science and Computing in the Arts (Theatre concentration) and minoring in Mathematics. This is their second and final CofC Stages design in their undergrad. Some of their previous technical work with CofC Stages includes The Importance of Being Earnest (Lighting Designer), Die Fledermaus (Head Electrician), Men on Boats (Head Electrician), and Becoming We (Lighting Designer). They were recently awarded the KCACTF Region IV Heart of the Art in Design Award for their work on The Importance of Being Earnest and Die Fledermaus. Additionally, they are involved with CofC’s Center Stage, and more of their lighting design work has been seen in The Guy Who Didn’t Like Musicals, The Bacchae, and Firebringer. Their work outside of the College includes for Annex Dance Company’s It’s Itself (Lighting Designer), and PURE Theatre’s The Lehman Trilogy (Associate Lighting Designer). Bootsie would like to thank their mentor Lauren Duffie for all that she does.
Zoe Barber
Madison Berry (Scenic Designer) is a local theatrical artist just at the beginning of her professional career within the Charleston community. She is a recent alum of the College of Charleston where she earned her B.A. in Performance and Scenic Design. She is proud to call herself a member of PURE theatre where she serves as technical director. Recent credits include THE SHARK IS BROKEN, THE LAST FIVE YEARS (PURE Theatre), THE IMPORTANCE OF BEING EARNEST, PIPPIN, MEN ON BOATS, THE BACCHAE, MARCUS; OR THE SECRET OF SWEET, VIOLET, THE CAKE (The College of Charleston), DANIEL AND THE KINGS (Oh Pray Productions), and THERE’S ALWAYS TOMORROW (Piccolo Spoleto Stelle Di Domani). She has been awarded the 2023 Randy Lutz Allied Design & Tech National Finalist for her properties design (Violet) by The Kennedy Center American College Theatre Festival. She is extremely thankful to Todd, Gretchen, Janine and the entire artistic team here at CofC for allowing her the opportunity to work with such a great community of artists once again.
Joyce Burton
Kaede Chikuma (Assistant Stage Manager) is a sophomore majoring in Computing in the Arts with a Theatre concentration. This is her first Mainstage show and her first time as Assistant Stage Manager. She has previously worked as the light board operator for the Center Stage production of The Guy Who Didn’t Like Musicals. She would like to thank her family and friends for their support and encouragement, and give thanks to the cast and crew for their hard-work and passion. She hopes you enjoy the show!
Jake Cisson
Cheyenne Comitz (Stage Manager) is a senior majoring in Theatre (theatre studies) and English (creative writing) at the College of Charleston. This is her fourth and final Mainstage show as a part of the stage management team. Her last stage management endeavor was with Center Stage’s production of Deathtrap last year. When she’s not in the theatre she is writing. Her writing can be found in CofC’s Department of Theatre and Dance Podcast, ISTORIA, and CofC’s Literary and Arts Journal, Miscellany XLVII. She wants to thank her roommate, Kelsey, for running her rehearsal bag to her many times during this process.
Caroline Drinnon (Assistant Director) is a junior majoring in Theatre with minors in Film Studies and Studio Art: Photography. This is her second mainstage show, previously working as co-props charge for The Importance of Being Earnest. She is also a writer for the first season of the CofC’s Department of Theatre and Dance Podcast, ISTORIA. She would like to thank both Michael Smallwood and Todd McNerney for continuing to foster her desire to write and direct.
Stephen Hand (props charge) is a senior majoring in History, with a minor in theatre and Russian studies. This is his third mainstage show, and his second one as props charge, after The Importance of Being Earnest last spring. Stephen would like to thank everyone who helped him this semester with props, he would not have been able to do it without them.
Amelia Hawke Tebalt is a junior majoring in Arts Management (Music Industry) and minoring in Theatre. This is her third main stage show at the College of Charleston. Most recently, she designed Dracula, for which she is the KCACTF Region IV National Finalist in Sound Design. She also designed and composed for The Importance of Being Earnest and will be the sound designer for The Mousetrap this fall.
Tovah Levenson is a sophomore majoring in Classics A.B. and Theatre (scenic design concentration). This is their third main stage show at the College of Charleston. Recently, they were a scenic artist on Home and an assistant scenic designer (painting), scenic charge, and properties artisan for Dracula. They are currently working on Spelling Bee as a paint charge and will be the scenic designer for The Mousetrap this fall.
Hannah Moore
Emma Piazza is a sophomore majoring in Theatre Performance and Arts Management. Although this is her first time working as an Assistant Stage Manager, she has been involved in other productions at the College. She has performed in Dracula, A Feminist Revenge Fantasy (2024) as Miler, The Pages Festival (2024) as multiple characters, and Director’s Showcase (2023 & 2024) as multiple characters. She has also worked as an Assistant Director for the opera, Die Fledermaus (2024).
Jenna Williamson is a sophomore majoring in Theatre (costume design) and Dance. She is the hair and makeup designer for Brecht, and she was last seen working as the makeup artist for Dracula. She would like to thank Lilly Lombardi and Janine McCsbr for the opportunities and guidance throughout the school year.