May 14 – June 16, 2024 | Francis J. Gaudette Theatre • June 22 – July 14, 2024 | Everett Performing Arts Center
In This Program
- About the Show
- A Note from Adam Immerwahr, Artistic Director
- A Note From Laura Lee, Managing Director
- Credits
- Musical Numbers
- Who’s Who
- Behind the Scenes: Creating the Physical World of Once on This Island
- Community Partner
- Sponsor Spotlights
- Camelot: Behind the Scenes With Adam
- Print Edition
- More About Village Theatre
About the Show
ADAM IMMERWAHR, Artistic Director
LAURA LEE, Managing Director
Book and Lyrics by
LYNN AHRENS
Music by
STEPHEN FLAHERTY
Based Upon the Novel “My Love, My Love” By Rosa Guy
Francis J. Gaudette Theatre
MAY 14–JUNE 16, 2024
Everett Performing Arts Center
JUNE 22–JULY 14, 2024
Set Designer
BRYCE CUTLER
Costume Designer
DANIELLE NIEVES
Lighting Designer
ROBERT J. AGUILAR
Sound Designer
ROBERTSON WITMER
Associate Choreographer/ Additional Choreography
AMBER MAYBERRY
Stage Manager
JESSICA C. BOMBALL*
Music Director
MICHAEL NUTTING
Director/Choreographer
AMEENAH KAPLAN
Originally Directed and Choreographed on Broadway by Graciela Daniele
Playwrights Horizons, Inc. Produced ONCE ON THIS ISLAND Off-Broadway In 1990
Originally Produced on Broadway by The Shubert Organization, Capital Cities/ABC, Inc.
Suntory International Corporation and James Walsh, In Association With Playwrights Horizons
Once on This Island is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com
Any video and/or audio recording of this production is strictly prohibited.
Show Sponsors
Boeing
KCTS9
Wildfin American Grill
William Grassie Wine Estates
Season Sponsors
ArtsFund
Microsoft
Producing Sponsors
4 Culture
Everett Washington
City of Issaquah Arts Commission
Seattle NorthCountry
In-Kind Sponsors
Apex
Lombardi's
A Note from Adam Immerwahr, Artistic Director
Dear Friends,
Welcome to Once on This Island.
Musicals transport us to new worlds, both real and imaginary, where the language of emotion is song and dance. Through music, characters express the truth of their hearts—bursting with exuberance, filled with longing, or aching with pain.
This is a musical that has been in my life as long as I can remember loving musicals (which is as long as I can remember!). The story is inspired by Hans Christian Anderson’s fairy tale The Little Mermaid, as adapted in the 1985 novel My Love, My Love; or, the Peasant Girl, by Rosa Guy. Created by Lynn Ahrens and Stephen Flaherty (the writers of Ragtime, Seussical, Rocky the Musical, and Anastasia), it has been performed twice on Broadway (winning the Tony Award), and once previously at Village Theatre in a production in the 2005-2006 season that featured Marlette Buchanan—appearing in this production as Mama Euralie—in the role of Asaka.
There is much that keeps drawing audiences back to Once on This Island. Of course, there’s the toe-tapping, Caribbean-style score that is hard to forget; there’s the haunting story of the eternal power of love; and there’s the way it transports you to an imagined time and place, inspired by Haitian culture—an island where the rivers run deep, and the sea, sparkling in the sun, earns it the name “Jewel of the Antilles.” I can’t wait for these extraordinary performers to take you there.
Next season at Village will take us to many new worlds. Our small-scale, intimate production of Camelot is set in the fantastical kingdom of Camelot, telling the story of the legendary love triangle between King Arthur, Guenevere, and Lancelot. Legally Blonde: The Musical transports us from the pink halls of Delta Nu to halls of justice. We’ll go from the United Kingdom for the criminally good thriller, Dial M for Murder, to the streets of New Jersey to watch the evolution of Frankie Valli and the Four Seasons in Jersey Boys. And our season will conclude in Georgia in the early 20th century for the exquisite and triumphant The Color Purple. I hope you’ll join us on the journey.
It’s an honor to be finishing my first season that I’ve programmed at Village. I have so appreciated the words you have shared with me in the lobby, your letters, and your emails. I look forward to sharing many more seasons with you. Thank you for being a part of our Village Theatre community, and for making art a part of your life.
I’ll see you in the lobby!
Adam Immerwahr
Artistic Director
As always, I look forward to hearing from you. Don’t hesitate to reach out at adam@villagetheatre.org to share your thoughts on this show or on Village Theatre.
A Note From Laura Lee, Managing Director
Hello Everyone!
As I sit down to write this letter, I have reflections of the scenic renderings – the lush drawings that provide glimpses into what this Island world will look like on our stage; the words of our Director - describing what this piece means to her, her personal connection to the story, and what she wants us to take away; and the beautiful sounds of the voices rehearsing the songs of this musical – our actors who transport me to other places with their lyrics and artistry. And as my mind dances with thoughts of what is to come, I am remembering that at its core, for me, Once on This Island is a story about love.
What is love, who we are allowed to love, how we show our love, and what we would sacrifice for the power of love, is at the heart of many stories that we have grown up with and they have endured. The story of The Little Mermaid, the Hans Christian Anderson fairytale I read as a child, that I shared through the Disney version with my own children, that story you will see today in this beautiful, haunting production of Once on This Island, was powerful when I was six and is just as powerful today when, I find myself to be much older. I wonder if that is the same for each of you. Do you ask what you would do for, or maybe what you have done for, love?
The question of what we would do for love, the relationships that are created with love as the central beating heart, will travel with us from this last production of our 2023-2024 season into our next 2024-2025 season. We open the season with the timeless passionate love triangle of Guenevere, King Arthur, and Lancelot in our intimate production of Camelot. We find ourselves swept up in the fabulously fun Legally Blonde world of sorority and Harvard Law when a woman starts a journey for love but finds her own power and self-love along the way. Would you kill for love becomes the question in our spine-tingling stylish thriller Dial M for Murder. We explore the private word of Frankie Valli and The Four Seasons in Jersey Boys, a world that takes us so much deeper than the love affair fans created with their beloved artists. And we conclude next season with one of the most stirring love stories that I have come to know first through the Pulitzer Prize-winning novel by Alice Walker, through the film versions, and now on our stage with this triumphant story perfectly matched with a Grammy Award-winning score infused with jazz, gospel, ragtime, and the blues: this story of The Color Purple, celebrating life and finding love through the most difficult of circumstances will fill your heart and awaken your soul.
I know that this next season will be one full of love, bringing laughter and joy to us all.
It is a season that brings us timeless treasures long loved and today’s riches newly found.
I hope you will join us!
I’ll see you in the lobby!
Laura Lee
Managing Director
P.S. Please feel free to send me your thoughts! laura@villagetheatre.org
Credits
Cast
Ti Moune
Sydney Quildon
Andrea, u/s Erzulie
Simone Alene
Mama Euralie
Marlette Buchanan*
Erzulie
Kataka Corn*
Little Ti Moune
Jasmine Hall
Armand, u/s Agwe, u/s Tonton
Jesimiel R. Jenkins
Asaka
Kelsey Scott*
Papa Ge
Yusef D. Seevers*
Little Ti Moune
Mariah Shriner
Tonton Julian
Jesse Jonathan Smith Sr.*
Agwe
Chandler T. Thomas*
Daniel
Jeffery Wallace
Understudies
Mama Euralie, Papa Ge
Brandi Birdsong
Andrea
Sydney Rae Blosch
Ti Moune
Nalica Hennings
Daniel, Armand
Matt Lockett
Asaka
Aliyah Shines
Stage Management
Stage Manager
Jessica C. Bomball*
Assistant Stage Manager
Anna Vraney*
Production Assistant
Charles L. Simmons
*The Actors and Stage Managers are members of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Orchestra
Conductor/Keyboard 1
Michael Nutting
Keyboard 2
Rebecca Smith
Reeds
Derek Smith
Guitar
Greg Fulton
Bass
Chris Jones
Percussion
Brian Kirk
For This Production
Associate Director
Bretteney Beverly
Associate Choreographer
Amber Mayberry
Associate Music Director
Rebecca Smith
New York Casting Director
JZ Casting
Associate Lighting Designer
Casey Price
Dialect Coach
Nathan Crocker
Vocal Coach
Aaron M. Davis Norman
Intimacy Consultant
Moises “Moy” Hinojos
Keyboard Programming
KeyboardTEK
Crew
Head Stage Carpenter (Issaquah)
Whitman Paylor
Head Stage Carpenter (Everett)
Chris Mikolaizik
Child Guardian
Amy Jurkiewicz
Lead Deck, Automation (Issaquah)
Olof Sander
Lead Deck, Automation (Everett)
Justin Babbitt
Lead Deck, Props (Issaquah)
Paige Donald
Lead Deck, Props (Everett)
Kyle Morgan
Head Electrician (Issaquah)
Paul Arnold
Head Electrician (Everett)
Brandon Cullinan
Follow Spot Operator
Johnny Junior Venegas
Follow Spot Operator (Issaquah)
Jerena Layacan
Follow Spot Operator (Everett)
Olof Sander
Programmer (Issaquah)
Zac Andersen
Programmer (Everett)
Meghan McNeal
Head Sound Engineer (Issaquah)
Steven Younkins
Head Sound Engineer (Everett)
Erik Siegling
Lead Audio/A2 (Issaquah)
Jake Dyson
Lead Audio/A2 (Everett)
Corbin D. Hopkins
Wardrobe Head (Issaquah)
Kate Simpson
Wardrobe Head (Everett)
Sean Holser
Lead Wardrobe
Malena Langlie
Stitchers
Kali Pohle, Michelle Grimm, Emily Alexander
Musical Numbers
“Prologue/We Dance”
Full Company
“One Small Girl”
Tonton, Mama, Little Ti Moune, Ensemble
“Waiting for Life”
Ti Moune, Ensemble
“And the Gods Heard Her Prayer”
Asaka, Agwe, Erzulie, Papa Ge
“Rain”
Agwe, Ensemble
“Discovering Daniel”
Ti Moune, Ensemble
“Pray”
Ti Moune, Tonton, Mama, Ensemble
“Forever Yours”
Ti Moune, Daniel, Papa Ge, Ensemble
“The Sad Tale of the Beauxhommes”
Armand, Madame Armand, Beauxhomme, Ensemble
“Ti Moune”
Mama, Tonton, Ti Moune
“Mama Will Provide”
Asaka, Ensemble
“Waiting for Life – Reprise”
Ti Moune
“Some Say”
Little Girl, Ensemble
“The Human Heart”
Erzulie, Ensemble
“Pray – Reprise”
Armand, Ensemble
“Some Girls”
Daniel
“The Ball”
Andrea, Daniel, Ensemble
“Ti Moune’s Dance”
Mama, Tonton, Little Ti Moune
“Andrea Sequence”
Andrea, Ti Moune
“Promises/Forever Yours – Reprise”
Papa Ge, Ti Moune, Erzulie, Ensemble
“Wedding Sequence”
Ensemble
“A Part of Us”
Mama, Little Ti Moune, Tonton, Ensemble
“Why We Tell the Story”
Full Company
Who's Who
Cast
SIMONE ALENE, (Andrea, u/s Erzulie) is so excited to be back at Village after her run as the head Shirelle in Beautiful: The Carole King Musical. Simone has worked all over Seattle, including The 5th Avenue Theatre, Renton Civic Theatre, InD Theatre Company, and SecondStory Repertory. Favorite roles include Sally Bowles in Cabaret, Ilse in Spring Awakening, Helena in A Midsummer Night’s Dream, and Rosencrantz in Rosencrantz & Guildenstern Are Dead. Find her on Instagram at @simone_alene, or shop her Disney-themed small business at @grumpysunflowerstudios.
MARLETTE BUCHANAN, (Mama Euralie) is excited to return to Village Theatre! Village Mainstage: Medda in Disney’s Newsies, Queenie in Showboat, Asaka in Once on This Island. Recent/favorite credits include Aunt Em in The Wiz (The 5th Avenue Theatre); Effy in The Spitfire Grill, Mabel in Crowns, and Clairee in Steel Magnolias (Taproot Theatre); Myrna in Milk Like Sugar and Lula in Violet (ArtsWest Theatre); Carmina Burana (Spectrum Dance Theatre), Lily in Porgy and Bess (Seattle Opera), Nell in Ain’t Misbehavin’ and Sarah in Ragtime. Much love to family and friends!
KATAKA CORN, they/them (Erzulie) is ecstatic to be back at Village Theatre! Select credits: u/s Sophie and Ensemble in Mamma Mia! and Welcome Home - A Holiday Concert (Village Theatre), Yitzhak in Hedwig and The Angry Inch (ArtsWest), Dorothy in The Wiz and u/s Jo in Afterwords (The 5th Avenue Theatre). Kataka is grateful for the support of their community and family.
JASMINE HALL, she/her (Little Ti Moune) is delighted to make her Village Theatre debut! Recently, she was part of the Petit Cor in Carmen (Tacoma Opera), and supernumerary in Elixir of Love and the world premiere of A Thousand Splendid Suns (Seattle Opera). When she’s not on stage, Jasmine enjoys creating art, playing piano and violin, skiing, and gliding on roller skates. Special thanks to her family and friends and her first theatre teacher, Ms. Anne, for their endless support. Enjoy the show!
JESIMIEL R. JENKINS, (Armand, u/s Agwe, u/s Tonton). Village Theatre debut. A Thick Description of Harry Smith (Vol. 1), The Oresteia, and Father Comes Home from the Wars (University of Washington School of Drama). Local credits: Choir Boy (ACT Theatre), The Tempest (Seattle Shakespeare Company), and A Midsummer Night’s Dream (Tacoma Arts Live). Regional credits: Ragtime (Hangar Theatre) and Rent (Media Theatre). Commercials: Mitsubishi, Old Navy, and Pedego. Recent graduate, MFA in acting, University of Washington. “We tell the story!” IG: @jesimielross
SYDNEY QUILDON,(Ti Moune) is super excited to be making her Village Theatre debut! She is currently pursuing a BFA in musical theatre at The Hartt School. Sydney was most recently in The Goodspeed Opera House Festival of New Musicals. She sends her love and thanks to her friends, mentors, and family (and her puppy Rico)!! Instagram @_syd.q
KELSEY SCOTT, (Asaka). Kelsey’s theatre credits include the world premiere of Pearl Cleage’s What I Learned in Paris, the title role in Shakespeare’s Antony and Cleopatra, and principal roles in Dreamgirls, Once on This Island, and Little Shop of Horrors. She is a two-time Emmy-nominee, best known for her work in 12 Years A Slave and “How to Get Away with Murder.” Additional screen credits include “Better Call Saul,” “Insecure,” “NCIS,” “True Detective,” and the recently released KEMBA.
YUSEF D. SEEVERS, he/they (Papa Ge) is excited to make his mainstage debut at Village Theatre. Yusef is new to Seattle and a queer Detroit native holding an MFA in acting and BFA in musical theatre. Select credits: Dr. Grayburn in Something’s Afoot and Sweeney Todd in Sweeney Todd: The Demon Barber of Fleet Street (The 5th Avenue Theatre); Narrator in Black Nativity (Intiman Theatre); and Prophet in Last Drive to Dodge (Taproot Theatre). Thank you, Mom and Dad, for always making sure I found joy. @Blackbassclef, Yusefseevers.com.
MARIAH SHRINER, (Little Ti Moune) is so excited to make her debut at Village Theatre. Mariah has appeared in several school productions and has done musical theater classes, dance, piano, and voice. In addition to singing and dancing, Mariah enjoys time with friends and reading books. Mariah is thankful for Jesus, family, and friends.
JESSE JONATHAN SMITH SR., (Tonton Julian) is thrilled to be joining this amazing cast and crew. He has been seen at various theaters around the Pacific Northwest, including Sound Theatre Company, ArtsWest, and The 5th Avenue Theatre. Much love to friends, family, Peggy, and Finn. This one is dedicated to you, Junior. Daddy loves you.
CHANDLER T. THOMAS, he/him (Agwe) is overjoyed to be returning to the Village Theatre stage; he was previously seen as a Drifter and Ensemble in Beautiful: The Carole King Musical, u/s C.C. White and Ensemble in Dreamgirls, and u/s Seaweed and Ensemble in Hairspray. Other credits: Annie and Mamma Mia! (The 5th Avenue Theatre), Lola in Kinky Boots and Brad in The Rocky Horror Picture Show (Tacoma Musical Playhouse), as well as educational tours with Book-It Repertory Theatre, Tacoma Arts Live, and The 5th Avenue Theatre. Peace and love!
JEFFERY WALLACE, (Daniel) is thrilled to be returning to Village Theatre. Previous credits: Beautiful: The Carole King Musical and Hello, Dolly! (Village Theatre); Once on This Island and Joseph and the Amazing Technicolor Dreamcoat (Tacoma Musical Playhouse); All Shook Up, Holiday Inn, and Big Fish (ManeStage Theatre Company). Off stage, Jeff runs his own interior design and coffee business, Saints Society. He is blessed to share his God given gifts and thanks his family, friends, and partner for their support. @Jbrianjr_
Understudies
BRANDI BIRDSONG, (u/s Mama Euralie, u/s Papa Ge) is a So-Cal native performing artist with a BM in vocal performance. Some of her favorite credits include Ronette in Little Shop of Horrors (Village Theatre), Adriana in The Comedy of Errors (Seattle Shakespeare Company), and Duncan in Macbeth: A Rock Musical (Seattle Public Theater). Brandi has also had the privilege to work with Seattle Opera, Tacoma Opera, and was a featured artist on NPR Music Live Sessions.
SYDNEY RAE BLOSCH, she/her (u/s Andrea) is thrilled to be making her Village Theatre debut! Proud Oklahoma City University BM in music theatre alum. Previous credits: Party Worth Crashing (Our Time Players), The Bluest Eye, Sister Act, Hairspray, Rent (Oklahoma City University). To her family and friends—thank you for your unwavering support. To the cast and crew—what an immense honor it is to be telling this story with you. Enjoy the show!
NALICA HENNINGS,(u/s Ti Moune) graduated from Western Washington University with a BA in music and a minor in theatre. She has performed as Lucille/Ensemble in Beautiful: The Carole King Musical (Village Theatre), Chorus in Porgy and Bess (Seattle Opera), and Aquata/Ensemble in Disney’s The Little Mermaid (The 5th Avenue Theatre). Feel free to follow her on Instagram @nalica.performs
MATT LOCKETT, (u/s Daniel, u/s Armand) is a Seattle area actor and singer excited to be making his Village Theatre debut! He has been a soloist with the Seattle Men’s Chorus, and has worked on projects with Dacha Theatre, Renton Civic Theatre, The Shattered Glass Project, and Theatre Battery. He is beyond grateful for the opportunity to join the stellar cast of Once on This Island! MatthewLockett.com
ALIYAH SHINES, (u/s Asaka) is so very excited to be working with Village Theatre to help tell the beautiful story that is Once on This Island! Ever since going on a field trip with her high school drama club in 2018 to see Hairspray at Village Theatre, it has been Aliyah’s dream to be able to perform on this stage! Her credits include Aretha Franklin in Beehive, the Princess who kissed the frog in Disenchanted, Joy the Evil Stepsister in Cinderella, Sour Kangaroo in Seussical: the Musical, and she was a 2019 nominee for The 5th Avenue Theatre Awards for her role as Ms. Darbus in High School Musical! Aliyah would like to thank Clark, Laurel, and Petey for never giving up on her and a special thanks to her husband, sister, and mom for being her biggest fans. Enjoy the show!
Creative Team
AMEENAH KAPLAN, (Director, Choreographer) says thank you to this entire team for going on the journey with her. She is honored to return to Village to be a part of this production. She knows that it holds a special place in the hearts of many people, and hopes this production becomes a part of that legacy for you. Thirty years later, we all get to celebrate the magic that is Once on This Island. She thanks you for supporting live theater.
MICHAEL NUTTING, he/him (Music Director) is very excited to be back music directing at Village Theatre! Michael loves to stay busy on as many projects as possible. Favorite past shows include: The Noteworthy Life of Howard Barnes and String (Village Theatre); Disney’s The Little Mermaid and Into the Woods (The 5th Avenue Theatre); Urinetown and Little Shop of Horrors (ACT Theatre); and The Hello Girls (Taproot Theatre). When he is not music directing, he is an avid composer, arranger, and educator. Special thanks to all those whose hard work is fueling this production. Love to Jerra.
BRYCE CUTLER, (Set Designer). Previous designs include Grand Horizons (Broadway); 2020 Pulitzer Prize finalist Soft Power (The Public Theater); along with world premieres by John Patrick Shanley, Dael Orlandersmith, Matt Aucoin, and Grammy Award winner Steve Mackey. Other projects include Samsung’s virtual reality television series “Interpretation of Dreams;” Feel the Pride, an AI powered audio-visual installation with St. Vincent; and a virtual reality arcade for Muse’s 2019 World Tour. brycecutler.com
DANIELLE NIEVES, (Costume Designer) is thrilled to be back at Village Theatre. Her work has been seen in Sense and Sensibility (Village), The 5th Avenue Theatre, Seattle Rep, ACT Theatre, Intiman Theatre, The Old Globe Theatre, Dallas Theater Center, South Coast Rep, The Goodman Theatre, St. Louis Shakespeare Festival, Alabama Shakespeare Festival, and Cleveland Playhouse. Off-Broadway: Pity in History, No End of Blame, Gertrude – The Cry, and Lovesong of the Electric Bear for Potomac Theatre Project/NYC at Atlantic Stage 2. daniellenieves.com
ROBERT J. AGUILAR, he/him (Lighting Designer). Credits at Village Theatre include Beautiful: The Carole King Musical, How to Break, Little Shop of Horrors, The 25th Annual Putnam County Spelling Bee, and String. Regional credits include: Seattle Repertory Theatre, Arizona Theater Company, Portland Center Stage, ACT Theatre, Pioneer Theater Company, Utah Shakespeare Festival, Pittsburgh Public Theater, The 5th Avenue Theatre, Denver Center for the Performing Arts, The Old Globe, Intiman Theatre, Cincinnati Playhouse in the Park, and Milwaukee Rep among others. Film: The Jinkx and Dela Holiday Special, Potato Dreams of America. robertjaguilar.com IG: @fake_robert.
ROBERTSON WITMER, (Sound Designer) is a Seattle based sound designer and musician. Previously at Village Theatre: Hello, Dolly! and Matilda. Other recent productions include: X: The Life and Times of Malcolm X (Seattle Opera); The Moors, Once More, Just for You (Seattle Public Theater); Murder on the Links (Laguna Playhouse); A Christmas Carol (Merrimack Repertory Theater); and The Tempest (Seattle Shakespeare Company). When he is not designing sound for theater, Robertson plays with several bands, including the Love Markets and “Awesome.”
AMBER MAYBERRY, (Associate Choreographer, Additional Choreography) is a performer, choreographer, and dance educator from Washington, D.C. BFA: State University of New York- Purchase College (Cum Laude). Concert dance companies: The Trey McIntyre Project, Spectrum Dance Theater, Wideman/Davis Dance and Elisa Monte Dance. Regional Favorites: Measure for Measure (Shakespeare Theatre Company) and Langston Hughes’ Black Nativity (Seattle Theatre Group). For the past 10 years, Amber has performed extensively with Disney’s The Lion King on Broadway and two national tours. IG: Ambernmayberry
JESSICA C. BOMBALL, she/her (Stage Manager) is thrilled to be back at Village. Regional theater highlights include: Becoming Dr. Ruth (Village Theatre); Little Women, Lydia and the Troll, Bruce, Indecent, Tiny Beautiful Things (Seattle Rep); The Secret Garden, Disney’s Aladdin, and A Christmas Story: The Musical (The 5th Avenue Theatre). Other regional theatres include ACT Theatre, Intiman Theatre, Seattle Children’s Theatre, Santa Cruz Shakespeare, and Seattle Shakespeare Company.
ANNA VRANEY, she/her (Assistant Stage Manager) is so excited to be back at Village Theatre for this production. Some previous credits with the company include Hello, Dolly!, along with a multitude of shows with Village’s youth education program, KIDSTAGE. Other select credits include Stew, Choir Boy (ACT Theatre), Goodnight Moon (Seattle Children’s Theatre), Into the Woods (The 5th Avenue Theatre), Shout, Sister, Shout!, The Children (Seattle Repertory Theatre), and Always… Patsy Cline (Taproot Theatre).
JZ CASTING (Casting). Theatre work includes Broadway, off-Broadway and regional productions at Alley Theatre, Arena Stage, Baltimore Center Stage, Cape Playhouse, City Theatre, The Civilians, The Irish Repertory Theatre, Kansas City Repertory Theatre, Kennedy Center, Oregon Shakespeare Festival, Paper Mill Playhouse, Pasadena Playhouse, Pittsburgh CLO, Pittsburgh Public Theatre, Repertory Theatre of St. Louis, Seattle Repertory Theatre, Signature Theatre, South Coast Repertory, Studio Theatre, Theaterworks Hartford, and Woolly Mammoth Theatre. jz-casting.com.
ADAM IMMERWAHR, (Artistic Director) is responsible for season selection at Village Theatre, where he also oversees the artistic, education, and production departments. He recently directed Village’s productions of Ken Ludwig’s Sherwood: The Adventures of Robin Hood and The Fantasticks. He previously served as Artistic Director of Theater J, the Associate Artistic Director at McCarter Theatre, and the Resident Director of Passage Theatre. Adam’s producing credits include new works by Edward Albee, Christopher Durang, Danai Gurira, Fiasco Theater, Will Power, Stephen Wadsworth, Tarell Alvin McCraney, and Ken Ludwig, several of which have transferred to Broadway or off-Broadway. As a director, Adam’s work has been seen from Aspen to Zimbabwe, including at some of the top theaters in the country: The Public and Theater Row (both for Summer Play Festival), Ensemble Studio Theatre, Walnut Street Theatre, Woolly Mammoth, McCarter Theater, Cleveland Play House, Lyric Theater of Oklahoma, Theater J, Passage Theater, Hangar Theater, Bristol Riverside, and many others. He serves on the Board of the Issaquah Chamber of Commerce and is an inaugural member of the Drama League Director’s Council.
LAURA LEE, (Managing Director) began her tenure with Village Theatre in July 2022 and is responsible for the marketing, fundraising, patron services, operations – facilities & IT, human resources, and the finances of Village Theatre. She strives to keep the care and comfort of her board, staff, artists, volunteers, patrons, and donors at the top of her mind each day. She previously served as the Managing Director of Seattle’s ArtsWest for 10 years.
In addition to her theatre work, Laura is the founder of Production Sports, and was the first to bring elite, international, network-televised events to Everett, WA, working with U.S. Figure Skating, USA Gymnastics, USA Diving, and the Seattle and Snohomish Sports Commissions. Laura serves on the Lodging Tax Advisory Board of the City of Issaquah and is a supporter of the Mayors and Business Leaders for Public Safety.
The Director is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.
All stage work performed by members of IATSE Local 15.
All costume construction and hair/make-up work is performed by employees represented by IATSE TWU Local #887.
All scenic painting work is performed by employees represented by IATSE Local 488.
United Scenic Artists represents the designers and scenic painters for the American Theatre.
The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.
The theatre operates under an agreement with Local 76-493, American Federation of Musicians, AFL-CIO, representing the musicians.
Behind the Scenes:
Creating the Physical World of Once on This Island
By Ellen Morgan Peltz
Every element of a production’s design plays an important role in bringing a story to life. Whether it’s the distant noise of traffic outside Carole King’s Brill Building studio or the late afternoon sun streaking through the trees of Sherwood Forest, design transports actors and audiences alike to a specific time and place. In Village Theatre’s production of Once on This Island, the set and costumes work hand in hand to communicate the setting of the story.
“I’m inspired by the real-life story of Haiti and the Dominican Republic, just as it seems the original writers were,” said the production’s director and choreographer, Ameenah Kaplan. “And I’m fascinated by how little things have changed. As a result, I thought it was appropriate to be in a timeless storybook because we are still learning the lessons of this play.”
To physicalize the island’s divide, Set Designer Bryce Cutler fashioned a 54- by 12-foot wall that runs across the entire width of the stage, concealing a series of surprises that help move the story to different locations. Costume Designer Danielle Nieves achieved the timeless storybook feel that Kaplan envisioned by basing her design in mid-century fashion which, she said, “sort of encompasses the 21st century as a whole. And then a lot of those elements are still seen today.”
Kaplan, Cutler, and Nieves turned to Village Theatre’s talented production team to bring their designs to life. Technical Director Brad Bixler and Costume Director Esther Garcia have a combined tenure of 32 years at Village Theatre. Their jobs begin before the first design meeting is held and continue throughout the run of the show.
“From concepts to prelims to final designs, I’m working along with the designer, keeping an eye on the budget to make sure that the designer’s vision stays intact and within the resources that we have,” said Garcia.
In the costume shop, Garcia manages a crew of eight people including a tailor for menswear, a draper for womenswear, a craftsperson who handles all hats, shoes and anything not made of fabric, a head wig artisan, and a group of stitchers who help build and alter the costumes.
“Everyone has a vital role to play in the creation of the costumes for each production,” said Garcia.
Many of the actors in Once on This Island play multiple characters with very little time to transition between characters. To solve this problem, Nieves designed 30 total looks – many of which don’t involve full costume changes – to indicate different characters.
Bixler and his team of 11 full-time staff (plus overhires during crunch time) build and paint the set and outfit it with props. This work requires a wide range of skill sets including carpentry, welding, rigging, automation, painting, sculpting, craft work, sewing, upholstery, dyeing, mold making, carpentry, and even electrical work.
The painting skills of Bixler’s crew are front and center for Once on This Island. Cutler’s set is covered in a modern jungle mural painted by hand by Scenic Charge Artist Julia Franz and her team. Bixler and his staff had to get creative to both build and paint the wall in just five weeks. “While the carpenters were building the walls, the painters had big pieces of muslin down on the floor, and they painted the mural on the muslin,” said Bixler. “And when the walls were done, we wallpapered the muslin over the walls.”
Although you’ll never see them taking a bow at the end of the show, the dozens of talented individuals responsible for designing and creating the technical elements of Once on This Island play just as important a role in telling the story as the actors do.
“Design is a character in every show I’ve worked on,” said Kaplan. “I hope that audiences will see that and understand how, without these designs, the story would not have been the same.”
Community Partner
Helping Hand for Relief and Development:
Haiti is a Caribbean country facing a longstanding humanitarian crisis, due to its extreme poverty, poor infrastructure, and lack of resources. The situation is further exacerbated by natural disasters and political instability, as seen in the 2010 earthquake. The COVID-19 pandemic also increased the vulnerability of the population, adding an economic and health crisis on top of pre-existing humanitarian crisis. HHRD has been in the region since 2010, offering immediate humanitarian relief and long-term development projects. Patrons can learn more and make a contribution at www1.hhrd.org/Campaigns/Haiti-Relief
Sponsor Spotlights
ArtsFund is proud to support Village Theatre’s mission as they continue to produce dynamic programming that highlights innovative artists in the Pacific Northwest. ArtsFund’s support of local arts organizations is only possible through the contributions of donors in this community, and we are immensely grateful to the generous individuals and businesses who have supported ArtsFund as well as Village Theatre. We will continue to support arts organizations, like Village Theatre, that elevate the voices of Washington state through our leadership, advocacy, and grantmaking programs. We are excited to see what will be performed throughout this season!
The Boeing Company is committed to improving the quality of life within the communities where our employees live and work. Our Global Engagement programs implement Boeing’s philanthropy through local charitable investments, volunteerism, employee drives, personal giving, disaster response, and other integrated programs. Boeing is proud to be a supporter of Village Theatre’s productions and musical theatre education programs, and we are pleased to welcome you back to live theatre. Enjoy the show!
Microsoft is pleased to sponsor Village Theatre’s 2023-2024 Season, and to welcome you to the production of Once on This Island. Village Theatre is a favorite among our employees and their families, and we are delighted to support a vibrant community arts organization that brings high quality entertainment to the Eastside. We encourage employee engagement and volunteerism in the community throughout the year and through support of great organizations like Village Theatre, we aim to foster a strong community culture where the arts will thrive for generations to come. Enjoy the show!
Wildfin American Grill has been serving hand crafted, locally sourced, high-quality cuisine and cocktails for nearly 13 years. We invite you to join us to try our brand new, seasonally relevant menu, providing the freshest product the Northwest has to offer. WildFin is proud to partner with local charities and non-profits that support our Pacific Northwest communities and environment. We are thrilled to sponsor Village Theatre’s production of Once on This Island, and to welcome you to the show.
Camelot: Behind the Scenes With Adam
Next up at Village Theatre is Lerner and Loewe’s Camelot, in a new adaptation by David Lee. We sat down with Artistic Director Adam Immerwahr, who is directing the upcoming production, to get a sneak peek at the show.
Village Theatre: You’ve chosen to produce David Lee’s intimate new adaptation of Camelot, one of the greatest musicals of all time. What drew you to Lee’s adaptation?
Adam Immerwahr: Camelot was the first piece of theater I ever attended; and although I was only five or six years old when I saw it, parts of that production are indelibly seared into my mind. The songs are the quintessence of musical theater—gorgeous, perfect tunes that capture the human experience like nothing else in the canon. But unfortunately, the original script of the musical is… challenging. Clocking in at nearly three hours, it rambles and philosophizes and strays. Lee’s adaptation centers and focuses the story back on King Arthur, Guenevere, and Lancelot’s legendary love triangle in a zippy new adaptation that highlights all of the incredible songs (including some wonderful tunes that are frequently cut), while cutting out anything extraneous.
VT: We’re four months away from Camelot’s first performance. What are you and the Creative Team working on / talking about right now?
Immerwahr: We’re hard at work! Our local casting has just finished and I’m thrilled by the extraordinary group of Village Theatre artists we’ve assembled. Meanwhile, our set designer and costume designer are finalizing their designs so that our carpenters, painters, props artisans, cutters, stitchers, wigmakers, and craftspeople can begin their efforts putting this production together. The show is about fictional characters in a fantastical time period, and we’re embracing that by inventing our own universe that nods to the medieval. And soon, I’ll begin work with our choreographer and music director to chart out every moment of the show so that we go into rehearsals with a strong first draft to explore and build upon.
VT: What do you hope audiences will feel or think about after they’ve seen our production of Camelot?
Immerwahr: Of course, I hope they’ll be transported by the sweeping score, timeless story, and beautiful characters. But as we enter this presidential election season, I can’t help but think of the parallels between this show and the country we live in; at its heart, Camelot is about what it means to try to govern justly when we are merely humans, full of imperfections, desires, and self-interest. Wherever you sit politically, I can’t think of a story more relevant for our community in this moment.