Yetunde Felix-Ukwu makes her Woolly Mammoth debut. Selected acting credits include Jaja’s African Hair Braiding (Arena Stage, Berkeley Rep); Nollywood Dreams (Round House Theatre); A Christmas Carol (TheatreSquared); Babel (Unicorn Theatre); and School Girls; Or, The African Mean Girls Play (Kansas City Repertory Theatre). As a Dialect Coach selected credits include Sinners by Ryan Coogler (Warner Bros.), Time Bandits (Apple TV+), and Metamorphoses (Folger Shakespeare Library). More information can be found on all social media platforms @yetundelive and at yetundelive.com.

Victoria Omoregie is excited to join the cast of The Great Privation! Her selected credits include: “Paige” in Bust (The Goodman Theatre & The Alliance Theatre), “Opal” in Fat Ham (The Alliance Theatre), “Nell Shaw” in John Proctor is the Villain, “Opal” in Fat Ham (The Huntington Theatre), “Faith” in acts of faith (American Stage), “Keisha” (Elliot Norton Award Nominated) in Fairview (SpeakEasy Stage Company), “Antipholus of Ephesus/Adriana” in The Bomb-Itty of Errors, “Perdita” in The Winter’s Tale (Actors’ Shakespeare Project), “MEDEA” in Lorena: A Tabloid Epic (Boston Playwrights Theatre). She holds a BFA in Acting from Boston University School of Theatre. Victoria forever thanks God and honors her mother (her real life Wonder Woman), father (her fuel that keeps her going), and loved ones for their unending encouragement. Find her on social media @victoriaosaku

Marc is thrilled to return to Company One Theatre after performing in We Are Proud to Present… and Leftovers. Recent Theatre Credits: Topdog/Underdog, An Octoroon, A Midsummer Night’s Dream and Gloria (Gamm Theatre), The Play That Goes Wrong and Peter and the Starcatcher (Lyric Stage), Brawler (Kitchen Theatre Company), Airness (Actors Theatre of Louisville), When January Feels Like Summer (Central Square Theatre), Milk Like Sugar (Huntington Theatre Company), The Flick (Gloucester Stage). TV/Film: Castle Rock, Twelve (Dir. Joel Schumacher). Marc has a B.F.A. from Emerson College. He is a recipient of the Isabel Sanford Scholarship and Emerson College’s Acting Area Award. marcalexanderpierre.com

Zack Powell Is thrilled to make his Company One Theatre debut! He is a Resident Company Member at Everyman Theatre in Baltimore and a DC Theatre Artist. Select credits include: Who’s Afraid of Virginia Woolf?, The Mystery of Irma Vep, A Midsummer Night’s Dream, The Lion in Winter, Sense and Sensibility (Everyman Theatre); Red Velvet, Dunsinane (The Shakespeare Theatre Co.); Silvain, Shear Madness (The Kennedy Center; 600+ performances); A Christmas Carol, Macbeth, A Midsummer Night’s Dream (Alabama Shakespeare Festival); Sherwood: The Adventures of Robin Hood (The Cleveland Playhouse); Arms and the Man (Washington Stage Guild), E2 (RepStage); The Legend of Georgia McBride (Round House Theatre); The Last Night of Ballyhoo (Theatre J); A Midsummer Night’s Dream (Folger Theatre); as well as three seasons at Utah Shakespeare Festival, two seasons at Illinois Shakespeare Festival, and one at the American Shakespeare Center. Film: Tapawingo; The Call. Education: MFA in Acting from Illinois State University, BFA in Acting from Wichita State University. Follow my adventures on Instagram: @zackpowellthezactor

Nia Akilah Robinson is a playwright and actor who reps Harlem with all her might. Productions: Co-Pro: Woolly Mammoth Theatre Company (Washington, DC) & Company One Theatre (Boston, Massachusetts), NextStop Theatre (Herdon, VA), Urbanite Theatre (Sarasota, FL), Soho Rep U.S. Off Broadway Premiere (2025 New York Times Critics Pick- Extended Twice!), Theatre503 (London, UK), and The Hearth (New York, NY). The Great Privation has been recently published and made for purchase by Concord Theatricals UK & Push Party (The Hearth, NYC), which had a Sponsored Performance by the Will and Jada Smith Family Foundation and brought together The Birthing Place, Maroon Theatre Project, Exodus Transitional Community, and Hour Children community members to a night of conversation post show about “artivisim” and Calls to Action. Her work has been seen and developed with Steppenwolf Theatre, The Hearth, The New Group, Theatre503 (UK), The Ground Floor: Berkeley Repertory Theatre, Great Plains Theatre Conference, SPACE on Ryder Farm, Ensemble Studio Theatre, Waterwell, Classical Theatre of Harlem, Urbanite, and New Georges. She has been a MacDowell Fellow, Travis Bogard Eugene O’Neill Foundation Fellow, and a writer for PEN America and EST/Alfred P. Sloan Foundation (short play). Nia has had residencies at NYSAF and The Pocantico Center through YoungArts. Nia’s work will be featured in the 2024 46th Bay Area Playwrights Festival, 2024 The Fire This Time Festival, was featured in the 2023 SPACE JAM @ Roundabout Theatre, and the 48th Samuel French Off-Off-Broadway Short Play Festival. She participated in the National Black Theatre Soul Series and received the 2023 Film & TV Mentorship by Mitzi Miller. She has been awarded 1st Place for the 2023 A is For Playwriting Contest, the Next Wave Initiative Lorraine Hansberry Writing Scholarship, a Miranda Family Fund Commission, and the NYSCA Grant (CCCADI). She is shortlisted for the 2023 Theatre503’s International Playwriting Award. She was a finalist for the Audible Commission, the O’Neill National Playwrights Conference, Blue Ink Playwriting Award, OJAI Playwrights Conference, Jane Chambers, and The Leah Ryan Fund. She is a 2024 Relentless Award Semi Finalist. She is a member or alumna of Ensemble Studio Theatre’s Youngblood, I-73 at Page 73, The Orchard Project NYCGreenhouse, The Wish Collective, and TheBlackHERthePen. She is proudly represented by Alex Gold at Creative Artists Agency. Education: Yale (DGSD- MFA Playwriting Candidate) & Juilliard ‘24 (Lila Acheson Wallace American Playwrights Program). niaakilahrobinson.com

Mina Morita is a celebrated new plays director, and Woolly Mammoth’s BOLD Resident Director & Creative Producer. She recently served as the Artistic Director at Crowded Fire Theater Company for a decade. Selected work includes: Wish You Were Here (South Coast Rep); Yoga Play (Sydney & Brisbane, Australia);  English (Berkeley Rep); Vietgone (The Guthrie); Today is My Birthday (Yale Rep); Pearl’s Beauty Salon (Yale DGSD); Crazy Wisdom (Berkeley Rep); The Chinese Lady (Magic Theater); Sisters Matsumoto (Center Rep); On Grace (Anna Deavere Smith); Both Your Houses (ACT’s MFA Program); Crowded Fire; Shotgun Players; Campo Santo; Ferocious Lotus; Just Theater; Playwrights Foundation; Playwrights Center; and Bay Area Children’s Theatre.  

Sonia Fernandez is a dramaturg, administrator & producer specializing in new work. She is happiest in a new play process. Currently serving as Director of New Work at Woolly, Sonia was previously interim Artistic Director & prior to that Associate Artistic Director of Magic Theatre in San Francisco. Favorite production dramaturgy credits include unseen by Mona Mansour at OSF, the world premiere of Don’t Eat the Mangos by Ricardo Pérez González, The Chinese Lady by Lloyd Suh at Magic, Quixote Nuevo by Octavio Solis at Cal Shakes, and the world premiere of Incendiary by Dave Harris at Woolly. She is the proud mama of two awesome humans, two terriers & 47 plants.

Jaida Gillespie is a director and actor passionate about voicing tools of liberation and embracing community. Their previous credits include The Comeuppance (Woolly Mammoth Theatre Company), Death on the Nile (Arena Stage) and Shutter Sisters (1st Stage Theatre). Directing credits include The Pit (District Fringe Festival). A Full Table staged reading (Shakespeare Theatre Co.) EMERGENCY (Howard University) and an excerpt from Ain’t No Mo (Apollo Theatre). They hold a BFA in Acting from Howard University and studied at the British American Drama Academy.

Aysha Zackria is a queer Pakistani-American dramatist, writer, and musician who recently graduated with a BFA in Dramaturgy from Carnegie Mellon University. She amplifies opportunities for societal growth through creation. Asyha was one of two Literary Fellows at the Eugene O’Neill Theater Center during their 2024 Summer programming. She was the dramaturg for several Carnegie Mellon productions, including You on the Moors Now. She received the KennedyCenter American College Theater Festival Region 2 Student Dramaturgy Award and was named aNational Dramaturgy Fellow for her work on the production. She has written plays that examine social issues, includingPillow Fortress,Proximity, andNatural Law, which she produced at CMU. Her playwriting accolades include a commission by Horizon Theatre Company, an excerpt reading at CityTheatre, and a national One Earth Award from Scholastic Arts and Writing. She has served as Script Editor at Lovewell Institute for the Creative Arts. In the last five years at this non-profit, she encouraged high school students to make their voices heard by devising works of musical theatre. In 2019, she won the Miami Herald’s Silver Knight Award in English and Literature for her work as a tutor and advocate for improving access to literature in carceral facilities. Aysha is also an accomplished bassist with a background in music theory. She has played bass in fourteen musicals and on an album, Cosmic Caravan by Fox. On campus, she was the Co-Chair of the Library Student Advisory Council, Secretary of the ThriftyMellon, and Representative for the upperclassmen dramaturgs. She received the Michael Gifford Award and was named one of forty senior Andrew Carnegie Society Scholars for her outstanding engagement and academics.

Carmen Catherine Alfaro is a facilitator specializing in stage management, lighting production, and anti-ableism practices. She is trilled to be returning to Company One after stage managing Miss You Like Hell and Leftovers. Carmen Catherine has a passion for new and contemporary work that is socially conscious, collaborative, accessible and diverse, both onstage and at the tech table. Recent stage management projects include Circé (Stage Manager, Boston Early Music Festival), Omar (Assistant Stage Manager, Boston Lyric Opera), Bluebeard’s Castle (SM, Boston Lyric Opera), Ocean Filibuster (ASM, American Repertory Theatre. Carmen Catherine holds a BFA in Stage Management and Lighting Design (dual) from Boston University. Proud member American Guild of Musical Artists.

Charlie is excited to be returning to Company One for another show after previously working on Morning, Noon, and Night! Other credits include The Light in the Piazza, The Band’s Visit, and Prayer for the French Republic (Huntington Theatre); Party Bots/Made You Look (Lyric Backstage); The Great Reveal, The Game’s Afoot, Sister Act, and The Light (Lyric Stage); She Kills Monsters (Suffolk University); Diary of a Tap Dancer (American Repertory Theatre); Pru Payne (SpeakEasy Stage); The Winter’s Tale and Macbeth (Commonwealth Shakespeare Company); Orfeo ed Euridice, Le Nozze di Figaro (North End Music & Performing Arts Center); and Caravana de Mujeres (MassOpera). Charlie is a freelance stage manager and technician, and holds a BFA in Stage & Production Management from Emerson College. Special thanks to their friends’ cats that decorate their black clothing with fur for every show!

Meghan Raham is primarily a set designer with a strong interest in the development of new work. She was a Resident Artist at Round House Theatre 2023-2025 (Bad Books, Topdog/ Underdog, A Jumping Off Point, Radio Golf, Master Harold…and the Boys, Cat on a Hot Tin Roof, The Night Alive, Fool for Love), and has designed sets and/ or costumes for Woolly Mammoth (Dead Inside, She the People, She the People: The Resistance Continues, Pike St.), Ford’s (My Lord, What a Night; Who’s Afraid of Virginia Woolf?), Arena Stage (JQA), Signature (Daphne’s Dive, Easy Women Smoking Loose Cigarettes), Folger (District Merchants, Romeo and Juliet, The Conference of the Birds), Studio (The Aliens, Red Speedo), Theatre J (Life Sucks), and the Smithsonian American Art Museum in DC, and beyond at Everyman (The Chinese Lady), Lincoln Center’s LCT3 (CLAY), Steppenwolf (You Got Older), Lookingglass (CLAY, Faedra: Queen of Haiti), The Building Stage (The Ring Cycle, The Master Builder, NOIR, Moby-Dick), Victory Gardens (A Big Blue Nail), The Hypocrites at the Museum of Contemporary Art Chicago (Frankenstein), Center Theatre Group in LA (Venice), Barrington Stage (The Chosen), and Kansas City Repertory Theatres (CLAY, The Circle Mirror Transformation, Broke-Ology, Little Shop of Horrors, Venice, Death of a Salesman), and internationally in Prague, Czech Republic (S/he is Nancy Joe). She is the recipient of a Princess Grace Theatre Honoraria and a Maryland State Arts Council Independent Artists Award. She also enjoys experimenting with sound and video and was the photographer and videographer for the Kim Gordon x model home single RAZZAMATAZZ (Matador Records, 2024). Meghan is a professor at American University.

Gisela Estrada is a Salvadoran passionate artist, designer and storyteller who loves to collaborate and bring a new and fresh perspective to the table. Gisela’s recent credits include Covenant (Theater Alliance, Helen Hayes Winner for Outstanding Scenic Design), Botiquín de Boleros (Gala Hispanic Theater), Faithless (Washington Stage Guild), Twelfth Night (Prince George Community College), The Trans-Atlantic Time Traveling Company (Theater Alliance), Passing Strange (Portland Playhouse), Orlando Paladino (A.J. Fletcher Opera Institute), Saturday Night Fever, Chicago (Onstage – El Salvador), Aladdin Ballet (Macholah – El Salvador). She holds an MFA in Scenic Design from the University of North Carolina School of the Arts. @giseestrada7

Yaritza Pacheco is excited to make her Company One debut! Previous sets she has painted include: My Mama & The Full Scale Invasion, Public Obscenities, The Sensational Sea Mink-ettes, Second City’s Dance like Black People Are Watching, and Akira Kurosawa Explains His Movies and Yogurt (Woolly Mammoth Theatre Company). Yaritza is a multidisciplinary artist in sound and set design. Her talent is recognized with Best Set Design (Helen) Award for her work on tick, tick…BOOM! at Monumental Theatre Company. @yesterdayspresent

Brandee Mathies has been Studio’s Costume Shop Manager since 1994. He is a Helen Hays nominated costume designer for Nollywood Dreams at Round House Theatre & Mountain Top. He has also designed Exception to The Rules, Passover, Mother Struck, This Is Our Youth, The Year of Magical Thinking, Stoop Stories, Rimers of Eldritch, A Number, The Syringa Tree, and Comic Briefs for Studio Theatre, as well as Moth, Contractions, A Beautiful View, Crestfall, and Polaroid Stories for Studio 2ndStage. Other DC- area credits include Cullud Wattah, One in Two, Birds of North America, Satchmo at the Waldorf, Hooded for Dummies, Blood Knot, Eureka Day, Shame, Vicuna, Inhered the Windbag at Mosaic Theater, Pankr’ac 45 at Atlas Theatre, Poetry for the people, This Girl Laugh, Black Nativity, This Bitter Earth at Theater Alliance, Letters to Kamala & Dandelion Peace, Who Cares at Voices Festival Productions, The House That Will Not Stand, Sonnets and Soul, Anything Goes and Black Nativity at Howard University, and The Wiz at Duke Ellington School of the Arts. He also designed costumes for the short film The AD-X2 Controversy.

Athena Parkman is a Boston-based costume designer who views theatre through a contemporary lens with a color story. Recent wardrobe supervisor credits include CROWNS, Dirty Rotten Scoundrels, and Once Upon a Carnival with Moonbox Productions. Emerson Stage credits: I Love XXX (Costume Designer), Little Women (Costume Designer), The Loyals (Assistant Costume Designer), The Secret in the Wings (Wardrobe Supervisor), Spitfire Grill (Assistant Costume Designer), As You Like It (Assistant Wardrobe Supervisor), The Late Wedding (Dresser).

DC Area: Signature Theatre: Play On! (Wig Design); Olney Theatre Company: Senior Class (Wig Design), Comedy of Tenors (Wig Design); Studio Theatre: Paradise Blue (Wig Design); Arena Stage: Death on the Nile (Hair and Wig Design), The Other Americans (Hair Design), Tempestuous Elements (Wig Design), Snow Child (Hair and Makeup Design); Folger Theatre: The Winter’s Tale (Wig Design); Gala Theatre: On Your Feet! (Wig Design); Woolly Mammoth Theatre: The Sensational Sea Mink-ettes (Wig Design); The Kennedy Center: The Watsons Go to Birmingham 1963 (Wig Design); Round House Theatre: School Girls; Or, The African Mean Girls Play (Wig Design). REGIONAL: Utah Shakespeare Festival: A Raisin in the Sun, Emma the Musical, The Play that Goes Wrong (Wig Design). Film/TV: Loiness (Hairstylist), White House Plumber (Hairstylist), Rustin (Hairstylist), Fellow Travelers (Hairstylist). Education: BA in Art, The University of the District of Columbia.

Amith Chandrashaker is a Tony-nominated Lighting Designer who works in Theater, Opera, and Dance. His credits include Broadway: Prayer for the French Republic (Tony Nom.), Merrily We Roll Along, and Purpose. Off Broadway: The Public, Playwrights Horizons, NYTW, The Atlantic, and The Signature. Regional Theaters: Second Stage, Manhattan Theater Club, Steppenwolf, Chicago Shakespeare, The Geffen, and The Huntington. Opera: The Glimmerglass Festival, Houston Grand Opera, and Washington National Opera. Dance: Staatstheater Nuremberg, The Lyon Opera Ballet, The Royal Ballet of New Zealand, The Joyce, and The National Dance Company of Wales. He is the recipient of The Drama Desk and Henry Hewes awards; Union Trustee for United Scenic Artists, Local USA 829, IATSE; MFA, NYU Tisch School of the Arts and faculty at The University of Maryland’s School for Theatre Dance and Performance Studies.

Nick “tha 1da” Hernandez has been scoring /designing soundscapes for over 25 years. The Hip-hop Children’s Trilogy (Imagination Stage) with playwright/artist Psalmayene 24, The World Premier of Long Way Down & Look Both Ways (Kennedy Center) both written by Jason Reynolds, Paige In Full & Havana Hop with sibling Paige Hernandez (B-Fly Prod). Addtl Theater credits include Metamorphoses (Folger/Shakespeare); Stomping Grounds (Seattle Opera); Topdog/Underdog & The Mountaintop (Round House Theatre); Fences (Ford’s Theater); Word Becomes Flesh (Theater Alliance). Additional credits include Hot97 FM; Netflix, The Smithsonian, Red Bull Music Academy, DC Boxing, MMA & Wrestling Commission, D.C. Public Libraries & the non-profit Words, Beats, & Life.

Credits include Haunted; Morning, Noon, and Night; Downtown Crossing, Vietgone (Company One); Winter People (Boston Playwrights’ Theatre); Paradise Blue, The Thin Place, Stew (Gloucester Stage Company); Queens, Torch Song, The House of Ramon Iglesia (Moonbox Productions); Toni Stone, Fat Ham, Clyde’s, The Bluest Eye, Joe Turner’s Come and Gone (Huntington): Trayf, Good (New Rep); Vinegar Tom, Monster, Serious Money, Pentecost (PTP/NYC), Fences (Umbrella Theatre); Simona’s Search (Hartford Stage) The Fortune Teller (Chuang Stage); A Case for the Existence of God, Potus (SpeakEasy Stage) Trouble in Mind (Lyric Stage); A Taste of Honey (Boston Center for American Performance). University: Cymbeline, Pilgrims of the Night (Suffolk University); Orlando (Brandeis University); Antipodes, Love and Information, As You Like It, Sensitive Guys (Northeastern University); Education: MFA in Sound Design (Boston University).

Bridgett C. Jackson is a Dialect Coach, Accent Coach, Speech/Diction Coach and a certified Speech-Language Pathologist. She is delighted to be the dialect coach for The Great Privation. She was a professor of voice, speech and dialects at Muhlenberg College, and was a guest lecturer with the Stella Adler Studio of Acting. She holds a Master of Science degree from Howard University, with a specialization in dialects and accents. Some of her film and episodic credits include I Wanna Dance With Somebody (Sony Tristar), Black Cake (Season 1, Hulu), The Equalizer (Season 1, CBS), Never Let Go (Lionsgate), The Last Days of Ptolemy Grey (Apple TV+), Winning Time (HBO), and Random Acts of Flyness (HBO). Some of her theater credits include Ain’t No Mo’ on Broadway, Cullud Wattah with The Public Theater in New York, NY and Cost of Living (2018 Pulitzer Prize Winner) with The Fountain Theatre in Los Angeles, CA. She was the Dialect Coach with The Baker Theater at the Muhlenberg College Department of Theatre and Dance for A Raisin In The Sun. Each experience has shaped her view of the world in new and exciting ways.

Sierra Young is a Helen Hayes-nominated violence & intimacy director working in the DC/Baltimore area. Sierra is the Resident Fight and Intimacy Director for Baltimore Center Stage and Mosaic Theater Company in DC. She is an active member of the SAFD, IDC, and SDC. Recent choreography credits include: The Age of Innocence, Ja Ja’s African Hair Braiding and POTUS! at Arena Stage; Twelfth Night at The Folger; Apropos of Nothing, Hand to God, Merrily We Roll Along, and Sweat at The Keegan Theater; Sister Act and Little Shop of Horrors at Ford’s Theater; Spring Awakening (Helen Hayes Nomination) at Monumental Theater Co; Cullud Wattah, Confederates, One in Two, the Till Trilogy et. al. at Mosaic Theater; Paradise Blue, The Scenarios, Downstate, and The Colored Museum at Studio Theater; Frankenstein, King Lear (Helen Hayes Nomination) and Red Velvet at The Shakespeare Theater Company; Porgy and Bess at The Washington National Opera. sierrayoung.org

Josh Glenn-Kayden is a Boston based director, the Artistic Producer and Casting Director at Company One Theatre, and a co-producer of the Legion Theatre Project. Josh’s work centers around new plays that help us imagine a more equitable and just world together. Favorite directing projects include The Interrobangers by M Sloth Levine (Company One Theatre, nominated for 4 Elliot Norton Awards, including Outstanding Play); Break, Break by Erin Lerch (Legion Theatre Project & Artists’ Theatre of Boston); Muse by Sarah Wendy Burman (Wellesley College); Shrike by Erin Lerch (Fresh Ink Theatre); Wild Flowers by Tatiana Isabel Gil (Company One Better Future series); Visionary Futures: Science Fiction Theatre for Social Justice Movements (consisting of new plays by Phaedra Michelle Scott, M Sloth Levine, and Jaymes Sanchez) at UMass Amherst; Baltimore by Kirsten Greenidge (UMass Amherst); Walden by Amy Berryman (UMass Play Lab); Greater Good by Kirsten Greenidge (A.R.T. & Company One, associate director); the world premiere of This Place/Displaced (Artists’ Theater of Boston, ArtsFuse Best Stage Productions of 2018); The Lyons by Nicky Silver (Titanic Theatre); and Don’t Give Up the Ship by Laura Neill (Fresh Ink Theatre). Josh also directed and co-produced The Legion Tapes, a sci-fi podcast written by Erin Lerch. Josh has directed and developed new work for the A.R.T., Company One Theatre, Gloucester Stage, Fresh Ink Theatre, Flat Earth Theatre, Artists’ Theater of Boston, the Museum of Science, UMass Amherst, Wellesley College, and Hub Theatre, among others. Josh holds a BA in Drama from Tufts University and an MFA in Directing from UMass Amherst.

Liam is a production and stage manager from the New England area who received his BFA in stage management and design from the University of Rhode Island. Liam has previously worked across the Massachusetts and Rhode Island arts scene, and has a deep connection to the growth of underground artists in these areas. He is excited to be part of Company One and to create art in the city he was born!

Andrew March is excited to bring his full range of management and fabrication experience to his second Company One production, following Learning How to Read by Moonlight. Prior to this, Andrew worked for three years as Assistant Technical Director for the Brown-Trinity MFA program, producing full seasons in the downtown Providence PCPC Theater. He has worked for four seasons at Providence’s Trinity Repertory Company; building sets, fabricating props, scenic painting, and serving as Production Carpenter. Credits include: La Tempestad, La Cage Aux Folles, A Christmas Carol, Sueńo, and Fairview. He also worked as Master Carpenter for the Festival Theater’s production of Joseph and the Technicolor Dreamcoat at the Zeiterion Theater in New Bedford.

Jo is making their Company One Theatre debut with this production of The Meeting Tree! Their previous credits with Central Square Theatre include SPACE, Her Portmanteau, and Mrs. Warren’s Profession (Audio Engineer). With Emerson College, they served as production electrician for Bonnets: How Ladies of Good Breeding are Induced to Murder; assistant lighting designer for How We Got On, Are You Someone to Somebody, Three Romances; sound designer for Head Over Heels, Limber: A Love Story, The Impracticality of Modern Day Mastodons, Rareworks’ Five Times in One Night, Musical Theatre Society’s Dogfight; and production sound engineer for Amour, Imogen Says Nothing, Natasha Pierre and the Great Comet of 1812, 16 Winters, Little Women, and The Loyals.