Monday, May 13, 2013

Production Video

To watch an online version of our final piece, please visit:

Thanks for following our process!

Tuesday, April 30, 2013

From the Actor's Perspective: Final Thoughts

"This experience was phenomenal and the amount that I learned from Kali and the rest of the ensemble is invaluable. I will be taking all of this with me as I go to Italy next year and pursue this kind of work at the graduate level! Thank you all and lets do this again some time :)"

- Matt Dranzik '13
  Ensemble Member

"I talked to my friend today about her thoughts on the show. One of the things that stood out to me from her reaction was that we had created a world that was so simple but at the same time incredibly thought-provoking. She also thought that it was rare to see a show with such a wholesome message. I would have to agree with her. I think that this project that we have all been a part of has blossomed into a rare piece of theatre that has challenged its audiences with perhaps unfamiliar styles but has also quite simply made us aware of our own society. My friend was also amazed at our ability to tell a clear story through a majority of movement and not a lot of dialogue. As a dancer, she was engaged with the craft of creating a story through physicality and recognized what a special kind of theatre she had witnessed.

I was also tickled that she hadn't recognized which character I was for awhile during the show, until she recognized something about my voice. This experience as a transformation process has been even more rewarding after hearing what individual audience members have to say about their response to the change in the people that they know once they have taken on these characters. Possibilities for art seem endless after this piece, and I have a lot of hope for the future in terms of creating theatre that plays with the idea of the familiar and the unfamiliar in order to challenge people's perceptions about life."

-Emily Hooper '14
 Ensemble Member

From the Actor's Perspective: Final Thoughts

"Where do I begin?  Where did we even begin with this whole process?  It's hard to think back that far.  Although it was only about a month ago, it seems like we've been working on this creation for years.  All the way from watermelons and souls and stardust and apples whittled down to an hour long show, which we all know could have easily ended up being 24 hours long.  Looking back on the process, it was truly one of the most fun and eye-opening experiences I've ever had.  To learn to not rely on the face for expression was a challenge, I believe, for most of us who are not used to physical theatre work.  Looking at how far we all have come since the first day amazes me.  We all left a bit more flexible and a lot more knowledgeable.  

         After a show, there is always that feeling of "post-show depression" but I felt it even more with MMM.  I felt more connected with this piece and this character since it was our baby that we built from the ground up, but now we have to let it go.  An idea that CJ brought up has stuck with me: even though our show has run its course, it will live on inside each of us and the people who saw it.  We can live with the feeling that it has affected us and the audience in some way, and that is why we do what we do.  

I've never worked with such a cohesive and creative group of people.  Let's do it again in 10 years!"

 -Estie Pyper '16
  Ensemble Member

Friday, April 12, 2013


Since October, when Director Kali Quinn first visited Bucknell as a Resident Guest Artist, April 12th has always been the focal point. Getting us to April 12th was the goal. All of our work, time, effort, passion, and energy has been put forth to not only learn and explore masked theatre, but to produce something to present to an audience starting on opening night. For all of the ensemble, waking up today was arriving at a destination that never had a clear answer to what would happen- but something did happen. Masks, Movement, and Mayhem opened to an enthusiastic and engaged crowd tonight that also joined us for a post-performance talkback and a reception held in the greenroom thanks to Cap and Dagger, Bucknell's student theatre organization. The ensemble was focused, ready, and yes a little nervous before that red curtain was raised but they gave an outstanding performance. We are all excited to still have three shows: tomorrow at 2pm and Sunday and Monday at 8pm with talkbacks after each. 

Thank you to everyone who had something to do with the production and thank you to everyone who came out to see our world premier!

Monday, April 8, 2013

POWER & POSSIBILITY: A Program Note for Audiences

This piece evolved out of a five week rehearsal process by starting with themes of power, subversion, and laughter along with this set of half-masks, relating our own experiences, and seeing what kind of skills and interests each individual brought to the table. The characters, world, and story you are about to witness was developed through improvisation, physical play, and storytelling exercises… When interviewing people about their relationship to power, one of our ensemble members, Emily Mack, brought back two quotes from medical professionals she worked with on a spring break mission trip in Nicaragua:

“Power is the ability to be loved. The more you're loved the more powerful you are. People that can engender love and are loved by others are powerful. If a person is loved and respected, they have more power and influence over others. Humans are connected by love.”

“Power is the state of having and giving what you have to others.”

I believe these ruminations speak to the essence of our exploration together and to the product we will present today. The students, faculty, and staff at Bucknell are some of the most gracious, inspiring, and enthusiastic people I have ever met. Their ability to remain curious, open, flexible, and listening so intently to one another has taught me so much every step of the way and made it feel like anything is possible. Everything you see and hear today was created by this group of people in order to share it with you. Thanks for being part of this world premiere performance. Enjoy. 

~ Kali Quinn


When we devise a piece of theatre we are changing the world.

How? By operating under a different way of working that is un-systemetizable. We are not saying here is your part or role and now how will you fill it. We are saying: who are you, what can you bring, what do you want to say? This is huge. It’s flipping the coin. Instead of telling someone what to do you are giving them permission to allow themselves to do. To be. When doing a devised piece, there is no casting process. We don’t have a “cast.” Little by little we create an ensemble. Anyone who wants to be in that room can be in that room and day after day they are actively choosing to show up and participate. Their level of involvement and the way that they articulate themselves drives the group to become a community. I do not tell that community who they are or even how to talk with one another. We make a set of agreements on ways to work and follow it. We create a common language through play. We title things so that we can use them again. So that we can communicate what we want to have happen again. To remember something that excited us. We make observations. We witness one another. It is the responsibility as a facilitator in a devised process to cultivate ways of being heard. Ways for everyone to be at their best. To acknowledge one another. And most consistently encourage a space for people to listen to each one other, even when and especially when their may be disagreements. To discover ways to move forward without forcing an outcome. To establish group ritual by noticing the repetition. To allow the work to teach you what wants to happen next. And to always remember to start where you are. To meet each other there.

This, my friends, is the kind of world I strive to live in.

- Kali Quinn

Posters Up & Opening This Week!

Wednesday, April 3, 2013

From the Sound Designer's Perspective

"The devising process has always been exciting to me.  I am interested in expressing myself through many mediums and devising is a great way for me exert myself.  I love to make music, but I also love to act.  I love to write and paint and dance as well.  All these muscles can flex in a devised project.

This is a piece I made during the course of rehearsals that reminds me of the layout of our set.  It has the golden playground where the kids are.  There is Adendon's moon area in the upper right.  There is the checkers area (which has now become an arm-wrestling area) in the lower rights and the bank in the lower left.

Devising involves a process oriented approach, which can be chaotic.  However, if the process is well guided, this chaotic expansion can yield beauty through contraction.  We stretch our minds, hearts, and bodies and try to make new associations.  We engage in a collecting and filing of ideas and inspirations.  We allow the group mind to take on a life of its own.  

Lots of what we create gets left behind somewhere.  Scenes, dreams, characters, and possible spines for the show come and go throughout the rehearsal process.  Our collection changes and evolves over time as we water it for growth and then wash the dirt away.  Even some truly incredible ideas have to be left behind sometimes for the development of the show; to allow the show to flourish it must be pruned.  Bucknell theater students have coined the term "killing babies" for the experience of having to leave behind incredible moments or backstories because, in spite of their beauty, they are not right for THIS show. 
The most wonderful part of devising, for me, has been seeing how these droplets left behind actually do feed the final product.  They are our ways of processing and they allow our ideas to become whole.  There cannot be creation without destruction and, when it comes to the ideas in our show and the ideas left behind, it can be hard to tell which is which.  The paintings I've made will not be in the show, but painting is a part of me.  For me, the act of painting after rehearsal is as much a part of the devising process as warming up before rehearsal.  And thats what's so strange about devising.  Those who go to see this show will hardly see any of what we came up with over the past couple months.  But, at the same time, everything we've done (indeed everything we are as a cast and as individuals) can be found in the folds of our piece."

-CJ Fujimura '13
Sound Designer
Ensemble Member

"P.S. Adendon Edenderg sends a warm and cold hello from space"

Tuesday, April 2, 2013


It's never too early to get your tickets for Mask, Movement and Mayhem!

Once again here are our show times:

April 12, 14, 15 at 8pm
April 13 at 2pm 

Tickets for Bucknell Students, Senior Citizens, and Youth (18 or younger) are $5.
Tickets for General Admission are $10.

Tickets can be bought at the Weis Center Box office or online here.

(While buying these tickets, make sure you pick some up for the Spring Dance Showcase this weekend as well!)

So...what's the story here?

Ultimately, this question has been asked since day one not only by the ensemble but by many members of the Bucknell community (and beyond.) Our devising process means that the script, storyline, and themes are all established by the ensemble- our show is constantly a work in progress. After a "romp" performance of our material so far last Thursday, the production teams started narrowing into exactly what stories we would tell and how we would tell them. Here are some lessons we've learned so far:

  • Less is more! We can't tell the audience everything.
  • Move more, speak less
    • Seems to be the nature of show with movement in the title and only one hour to perform
  • Nothing is ever set in stone (yet)
    • When working towards a deadline it's easy to start wanting to set scenes, character relationships, and story chronology in stone but this can quickly kill our creative environment. While we will eventually have a strong storyline, it's not time for that just yet.
  • The most important question we can ask is, "What if..."
  • Take a break, breathe, and start again
  • And when it's 12:30am and you're still working just stop, go home, and sleep
This process has been a learning process for everyone, including Director Kali Quinn. Every production she produces is different and takes a different course to reach an end product. While we still have a long way to go till opening night, we are all very excited and confident in the work will be presenting!

You've probably noticed a lot less blog posts lately. This is for two reasons:
  1. We've been working a lot on the storyline...we don't want to ruin it for you!
  2. We've been really busy (sorry) but photos are coming to help fill you in!

Wednesday, March 27, 2013

A Balancing Act

Ensemble Director/Facilitator, Kali Quinn writes...

"It is a tricky point in our process where I fear many “ohshit” moments because we are getting closer to the product, the mountain. Howdo we stay true to our process at this point and let that conversation bedirectly reflected in how we rehearse? How do I acknowledge the fact thatactors will go further into the process as characters now and I will zoom outfurther as a director? How do I do this without losing the play? How do I dothis without feeling our very horizonal/consensus-based process turn hierarchical?Age old questions.

Some possible solutions:

1. Continuing to get more specific/articulate by addingcompositional elements: For example, tonight we witnessed four minute grouppresentations that all centered around “the heart of the matter” (whatever thatmeant for the individuals that had gravitated toward those partners). Onceseeing these, we had a much better understanding of what in our story was past,present, and future. Now, we can take those moments and sculpt them further byasking the groups to work again in a specific area of the space, add entrancesand exits, include a song, unison laughter, etc. and then instead of themfeeling like we are all of a sudden “blocking a play,” my hope is that theywill feel ownership of the material and their character’s point of view that wecan shape it together little by little. Similar to blocking, but not the samein my mind.

2. Calling out percentages: It’s important to know how muchof our mind is in character point of view vs. thinking as a playwright. Thisway we distinguish between the two kinds of conversation for ourselves and as agroup.

3. Acknowledging phases of convergence vs. phases ofdivergence: There are times in a devised process when we are out being huntersand gatherers of new ideas to put in our pot. I think of this divergence as anoutward, opened arm kind of energy. We are creating and accumulating newmaterial. Titling new vocabulary and putting it on post-it notes. Thenconversely there are times when we are bringing all of these ideas together. Ithink of this as a funneling, creating a path to bring things onto. Differentthan a pot full of stuff. Converging: Connecting ideas, connecting post-itnotes. Leaving some things behind. Sometimes this second phase feels more challengingas it begs for more decisions and letting go. We wax and wane between these twophases in order to moving forward. I will call this out at the top of a week ora rehearsal. We could even (in order to physicalize this understanding) stepinto a circle together vs. turning our backs and stepping outside of thecircle.

Overall, I don’t want to force my ideas, rather I want topresent a game which by being played can teach us all what wants to happennext. In a physical-based, momentum driven way can lead us into a popcornbrainstorm of “What if’s?” that we then use to take us into the same game witha new layer or onto a new island that we can discover, explore, and go deeperinto the gold of. This group has remained curious, open, listening, and dedicatedto their character’s and the overall play – so it truly feels like anything can happen!"

-Kali Quinn

Monday, March 25, 2013

"I got it!"

Day Fourteen

What do you got?! An important convention that we have been playing with in recent rehearsals is receiving and giving something powerful. That powerful thing, which has yet to been defined, is unique to each character. While our exercises always differ, the general game is to pass a "thing" from character to character in a predetermined order. The "thing" is invisible and mimed with the actors' hands and body conforming to the shape, size, and weight of whatever they're receiving. 

For Adam Wennick and Bronwyn Barnwell, not getting what they wanted was "frustrating and painful" while the thought of losing what Vicky Moyer was making her character Nero "paranoid."The characters were also asked to listen and react to other's receiving and giving this "thing", Kat Schmidt described certain character reactions as "triggers" to her own emotions. Every actor, during the post-exercise discussion, had interesting and unique responses to the exercise. 

Sunday, March 24, 2013

We're on our way there!


"We don't know where we're going but we're on our way there!"
-Designer Elaine Williams

Fresh off a House Party Weekend and BisonFest, the ensemble was glad to return back to rehearsal and   a routine. The evening started off with fairly extensive physical and vocal warm-ups which allowed the actors a chance to get ready and focused for the rest of the rehearsal.  

An important part of mask work is the Lazzi, a joke or bit commonly found in Commedia dell'arte productions. Our characters are beginning to discover personal and group Lazzi's that can develop into more detailed and plot oriented scenes. While our work tonight wasn't focused solely on establishing these Lazzi's, they can be great starting points for scene work in a devised process like ours. Further exploration and development of these scenes will continue throughout the week along with musical exercises led by CJ Fujimura.


Thursday, March 21, 2013

From the Actor's Perspective: CJ Fujimura

"tonight i came from gamelan rehearsal. i focused on the "playing" of music. i find the cables and connections needed to make electronic music cumbersome sometimes, but the effort is worth it. i once said "these loops are finnicky" and brendan bormes (a musician and close friend) responded "but they're worth it." i felt these words tonight. kali and i had a similar conversation last night after rehearsal about working with the "jam man". (her loop pedal). 
the cast has established some meat to these characters and their relationships are happening on their own. i improvised sounds while members of our group played relationships into scenes. this way of working felt good to me. after a heady rehearsal last night (which was also good), tonight was an experiment in reveling in moments. i played the instruments that seem loud enough to hear from the audience without being mic'd. i also played samples and synthesizer sounds. we found a lot tonight. we've arranged ourselves as part of a silly machine that i love. i envision our show as an attempt to make seen the corners of this world. 
i find this group fulfilling. i think we've established a way of communicating well. i've gotten the chance to experience and connect with different creative people that are in difference places in life. i think we're all discovering and growing as artists. maybe this is will be the success of the show. this is a group that will make a little sumthin :)  

i see dichotomies in our work. i also see us working to make connections, which is more like unity or a singularity. the best part about working with other people is finding the presence that none of us can be alone. between two people it is the third presence that is not quite either of the two people. or three people."

-CJ Fujimura '13
Sound Director 

Wednesday, March 20, 2013

From the Actor's Perspective: Connecting Theatre History, Theory, and Rehearsal

"Circles, souls, melons, masks… these are but a few of the ideas and images that have been thrown around in the intense and incredible rehearsal process that is our “soon-to-be titled” production. It has been a phenomenal experience so far and what’s even more incredible, are the connections we discover between our work inside AND outside the theatre. As artist-scholars, we constantly connect what we learn in our academic classes during the day to our production rehearsals at night, and for me, some of my biggest connections are with my theatre history/theory classes.

WARNING! - What you are about to read are not final decisions made by the ensemble and production team for our production. The following are ideas that have been brought up in rehearsal and my own observations based from those ideas.

As rehearsals progress, our ensemble is incorporating hundreds of years’ worth of theatre, from the stage adopting a diagonal version of polyscenic juxtaposition that was used in Medieval Theatre, a physical division of Heaven, Earth and Hell similar to Elizabethan Theatre, concepts from multiple kinds of religious rituals, etc., but what strikes me is our progression towards the creation of a “unified” play. Not only unified in a sense that all of our work is coming together, but that it is beginning to fall into the criteria of Greek philosopher Aristotle’s concept of the unities, from his work The Poetics. For Aristotle, to be unified the action of a play must 1) be set in one place, 2) last no more than one day, and 3) must be within one plot. Having developed an environment for our stage, we have created one setting where our characters’ actions take place, which consists of many sections for different groups of characters. We have been discussing using a circular form for the structure of the play; the play ends where it began, possibly showing a “day in the life” of these characters. Finally, as we rehearse we discover how each character is connected in some way to each other and to the greater being that is the production (reminds me of the show LOST), which can lead to one plot within the circular form. As artist-scholars, this is but one of the many connections my ensemble members and I make every rehearsal, and it goes to show that no matter how much the creative process progresses, bits and pieces will always remain from the Souls of Theatre Past…"

-Matthew Dranzik ’13
Ensemble Member

This is a show about...


A dance party turned warm up turned rehearsal (it's sorta becoming the norm around here.) With character interviews behind us, today's rehearsal took a new turn. First, the ensemble had been assigned to write two sentences each, answering:

  1. What is this play about from your (actor's) point of view?
  2. What is this play about from your character's point of view?

This is clearly a pretty daunting task considering they only have one sentence to condense everyone's ideas into their own words but our actors were up for the challenge. Today, the ensemble was divided into three groups of six who compiled their individual sentences into one. These three views of our show were then analyzed, by the entire ensemble, and the most reoccurring words and specific themes were noted. This is a major dramaturgical step for the production and will push us forward into our rehearsals. 

After a short break and vocal warm up, it was time to get back into mask work. Our set has started to take shape and a tentative ground plan has been established. Director Kali Quinn is having the rehearsal exercises start to take place in terms of this ground plan to see what works and what doesn't. It also a chance for discoveries to be made by the actors.

The evening ended with a long discussion of the themes and concepts that we have been exploring. We are still in the exploratory phase of our piece, but are starting really make strong directional choices in terms of the story we are creating.

Tuesday, March 19, 2013

Fire, Sound, Circles, and the Moon


Ask any of the ensemble members and they'll tell you that they can't believe we are only having our tenth rehearsal today! The amount of creation that has occurred in these ten rehearsals feels like we've been working on this project for several weeks.

Today was another important day in working on further developing our characters and building character relationships. In addition to finishing up our character interviews the ensemble was given time to play together, in mask, to continue to explore the movement and voice. While we have been doing these exercises from day one, each rehearsal our work becomes more detailed and more complex as the characters start to take shape. This type of devising work will also help us identify common threads and themes that could be further developed into our storyline. 

Monday, March 18, 2013

Mask, Movement, Mayhem and Melons


You know your production has started to take some direction when you here your director say to herself, "I'm holding a watermelon but I don't know why...a personal watermelon..." 

The evening started off working with actor and sound director CJ Fujimura who is working on creating the score and sound identity for our production. The actors got to play both in mask and out of mask with the core melody of our piece. It was a great warm up exercise and way for the ensemble to get a feel of the direction our show will be taking in terms of sound.

Sound Director CJ Fujimura, in mask

Today we also continued our individual character interviews (see: Character Interviews) but we decided to move the audience into the house. This change allows the actor on stage to have freedom of movement in any direction and to start performing to the house. Each interview is followed by a short discussion which allows both the interviewers and the interviewee to discuss and digest anything important that they discovered. 

Sunday, March 17, 2013

From the Actor's Perspective: Character Interviews

"Today several cast members had a chance to be interviewed in character by the whole ensemble. Not only was it great fun and revelatory to see how each character answered often quite difficult questions (such as “What does power mean to you?”), but it was also amazing to see how quickly through-lines and motifs began to develop between characters and their backstories.

Three of our high status characters tentatively grouped as “untouchables--” played by Gabe, Bronwyn, and Adam--were interviewed early in the process. Their storylines quickly brought forth a recurring theme of souls, which was deepened through other interviews. We uncovered many different incarnations of this “soul” theme and related actions: selling souls, buying souls, stealing souls, losing a part of your soul, fragmenting souls, and so forth. I found it particularly interesting to consider the “soul” as a commodity in our capitalist system. Different characters also gave interesting perspectives on what a physicalized soul might look like. Other themes that came up were money/greed, lost loves, and what it means to give a gift.

Kat’s and Matt’s characters contrasted interestingly with the demons. They both possessed a certain innocence and child-like spirit, they are connected with confined spaces (a sandbox or a cage), and they had a fascination with things that are “above—“ the sky, birds, clouds, etc. We found out that Gabe’s character might have a tender spot for Kat’s Sandbox Boy.  

Finally, having a chance to do the interview myself was so helpful in discovering what initial character ideas stuck the most and could develop into something beyond a mere idea and have resonance for our show. Answering questions on the spot is a great way to get out of the headspace and more into the intuitive space and also try out sustained character physicality. There were certain things I just knew already about my character Nero—such as his obsession with watermelons or opera—but in the interview I discovered how these seeds might come to fruition (ie: working in a grocery store for most of his life as guy who sells melons? using music as the primary channel for his passion and connecting to his father through playing violin?). I also interestingly discovered a connection with Gabe’s character that has to do with tricking him in a money-game. There is also some mysterious connection with Gabe prior to when he “sold his soul.” Did they work together once in the grocery? I also deepened my understanding of family and the relationship with my daughter (Gwenn’s character). The idea of “soul” came up again when Nero said he lost half his soul when his wife died. Other quirks about Nero that came up were frequently forgetting things and possessing a sense of paranoia for which I have yet to fully understand the cause.  After my interview, it was interesting to see how Gwenn’s interview both built upon and added new layers to ideas I brought up as Nero.  

Overall, I feel I personally made good progress today, and perhaps more importantly the group as a collective made tremendous leaps in discovering common threads that will help us build a dynamic
show.  I can’t wait for tomorrow to learn about the rest of the characters in more depth!"

- Vicky Moyer
Ensemble Member

And we're back!

Happy St. Patrick's Day!

The ensemble returned today after a nice, week-long spring break ready for another intensive day. The actors all had time to gather both written and recorded interviews in regards of power. These interviews will be used not only in the rehearsal process but also in the dramaturgical process (the writing and plot structure of our piece). Our day started with a check in and chance for all of the actors to catch up with each other and get a feel where the ensemble was at in terms of energy and emotion. 

The actors got another chance to study each others' image boards and masks, an important step in really understanding all of these very unique and already complex characters. We hope to have these boards on display before and after each show so the audience can experience the type of work we did to create this production. 


It was then time to get back into mask and awaken their characters that they hadn't been able to play with in a week. Revisiting sound and movement was an important part of restarting our process. As our characters start to get to know each other and establish relationships our piece, which will revolve around themes of power, is starting to take shape. While still very early in the creative process, it is amazing to see how much has already been created. 

An important task that we started today was the individual character interviews. Each character will receive the chance to be interviewed by Kali and the entire ensemble. While long, this process is extremely important. It allows for every character to be well introduced and, as reoccurring themes and story lines appear, we start to have material to design a story around. We will be trying to get as many interviews done each day until every actor has a chance to be interviewed in character.

FOR MORE, CHECK OUT- From an Actor's Perspective: Character Interviews

Thursday, March 7, 2013

Last Rehearsal Before Spring Break!


After making a lot of discoveries about their characters on Day Six, the ensemble was excited to reunite to share and further explore their characters. Actors had the chance to play with costume choices again and explore sound and movement.

A fun part of the rehearsal were brief character interviews. Each character had the chance to present their image board to the other actors who then asked them questions. For most actors, this was their first time meeting the characters. Establishing character relationships will be an important part to creating the final production and today was a good first step. 

Wednesday, March 6, 2013

Image Boards and Interviews


Our ensemble did not meet for rehearsal Wednesday, but the actors were given a specific assignment to work on before Thursday night. An important part of the devising process for Mask, Movement, and Mayhem is each character's image board. These boards are reflections of the characters, physically and mentally. Components include 3 adjectives to describe the character, games they like to play, a song or rhythm they enjoy, and a dance step. Every board is unique and will be a continuing project throughout the rehearsal process. 

Each actor had the chance to present their board, in character, to the ensemble Thursday night.
Another important part of Wednesday's assignment were character interviews. Each actor had a partner whom they interviewed in character. Interviews could include questions about name, family, interests, and relationships. 

Tuesday, March 5, 2013

A Big Step Forward


Our actors all left rehearsal yesterday excited about their mask choices yet nervous about what the future nights might hold. Today's rehearsal started with breathing and meditating exercises to warm up the actors and this calming reflection flowed into our mask work as the cast started to discover the thoughts and physicality of their characters. Characters were given the opportunity to be interviewed by the cast, requiring them to think of answers their characters would give. While our rehearsals have not even hit the one week point yet, the entire ensemble has made big steps devising our piece!


Estie Pyper

Emily Mack

Evan Turissini

Ethan Van Buskirk

Adam Wennick

Kat Schmidt

Another large component of tonight's rehearsal was the selection of suitcases. Each actor has a unique suitcase in which to not only store their mask but to start collecting potential props and costume pieces as well as any other inspiring materials for their characters. The suitcase may or may not be used on stage but will be an important factor in building their characters. 

Victoria Moyer

Estie Pyper

Kerry Dziomba

Matt Dranzik

Emily Hooper