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PERSON OF SZECHUAN DIRECTOR ASSISTANT DIRECTOR DRAMATURGS. SET DESIGNER COSTUME DESIGNER ASSISTANT COSTUME DESIGNER LIGHTING DESIGNER ASSISTANT LIGHTING DESIGNER SOUND DESIGNER PROPS MASTER COMPOSER MOVEMENT CONSULTANT STAGE MANAGER ASSISTANT STAGE MANAGERS, Mina Morita Daniel Cai Danee Conley, Rishika Mehrishi Erik Flatmo Connie Strayer Cameron Tenner Tony Shayne Tyler Miller Sara Huddleston Christine Edwards Shuxin Meng Matt Chapman Caro Asercion Eliseo Valerio, Ellen Woods SHEN CAST HUI A OLD MAN/ENSEMBLE ‘THIRD GOD. SISTER-IN-LAW/ENSEMBLE SECOND GOD. MRS. MI'TZU/ENSEMBLE WANG, THE WATER § MR. SHU FU/ENSEMBLE PO} |CEMAN/ENS! MBI OLD WOMAN/ENSEMBLE PRIEST/ENS! MBI E Daniela Ramir Adi Chang Kevin Duan Chasity Hale Starr Fiang Phoebe Kimm Regan Lavin Muse Lee Maxzvell Menzies E Brian Morris Olivia Popp Madeleine Seitz Sakaria Sharif Grace Wallis Catherine Xie PERSON OF MUSIC MUSIC DIRECTOR Ilias Chrissochoidis MUSIC CONSULTANT Findong Cai MUSICIANS Ilias Chrissochoidis, Ryan Eberhardt, Chunjing Jia, Kejun Xu CREW SOUND BOARD OPERATOR Bella Wilcox LIGHT BOARD OPERATOR Tiler Miller RUN CREW Alexis Dozedell, Nicola Kubzdela, Timothy Sherlock DRESSER Nathan Large PLEASE NOTE This show runs 2 hours and 30 minutes with i ting on, There will be no re: nee is in progress. PRODUCTION STAFF RODUCTION MANAGER Jane Casamajor TECHNICAL DIRECTOR Erik Sunderman Paul Strayer Kenny McMullen Daniel Cadigan MASTER ST: COSTUME SHOP LEAD Carolyn Vega ‘TAPS CUTTER/DRAPER Heather Miller FIRST HANDS, Robert Easthope, Conni Edwards, Fanny Hernandez CUTTER/DRAPERS, Susan Szegda, Emma Vossbrink STUDENT CARPENTERS, Caro Asereion, Claire Breger-Belsky, Connor Chircardo, Minh-Ank Day, Dan Holland, Kaitlyn Khayat, Amber Levine, Tiler Miller, Elias Mooring, Joe Sponster, Kyler Stanion, Yamie Tippett, Grace Wallis, Robin Yoo STUDENT STITCHERS. Lillian Bornstein, Dan Brown, Megan Calfas, Brenna McCulloch, Elle Wilson, Hannah Zimmerman a proximately 80 years ago Brecht put pen to paper and began The Good Person of Szechwan. As an artist in exile, fearing persecuition after Hitler rose to power in Ger- many, Brecht fiercely embodied his own treatise: Anyone who wishes to combat lies and ignorance and to write truth must over come at least five difficulties. He must hhave the courage to write the truth when truth is everywhere opposed; the eenness to recognize it, although it is everywhere concealed; the skill to ma nipulate it as a weapon; the judgment to select those in whose hands it will be effective: and the cunning to spread the truth among such persons. These are formidable problems for writers living under Fascism, but they exist also for those writers who have fled or been ex- iled: they exist even for writers working in countries where civil liberty prevail NOTE FROM THE DIRECTOR by MINASMORITA Writing ‘The Truth: Five Difficulties, an essay by Bertolt Brecht 1935 Brecht wanted to reveal the illusory aspects of society that made it im- possible for the poor to survive. He believed that the powerful used cap- italism, religion, and performance to conceal the dynamics tually on the causes of human suffer- ing, Instead, Brecht saw “epic theatre” as an appeal to the audience’ posit as witness, to their reason and self-re- flection. ‘To accomplish this, he devel- oped an “alienation ef- that kept them on top. The Good Person fect” or“Gestus” wherein He saw this concealment of Szechwan the audience was clear at work in the cultural interrogates that they were watching institutions of his day, es- pecially in theater, which. wwas creating a consumer capitalism ... and asks the question of whether it is an enactment of real ty instead of becoming emotionally lost in the mentality, Audiences lives of the characters. would feast on pleasing possible for a good and safe entertainment" person to exist ‘The essence of Brecht’ or myopic dramas that oie perspective is exactly induced self-congratu- within an what I believe we strug- latory empathy, leading inequitable gle with in today’s the- to no change in the sta- system. ater, on our screens, tus quo, and little action, Brecht rejected Aristotle’ linear “dra- ‘matic theatre” and saw the catharsis it gives the audience as preventing them from reflecting critically and intellec- and within American political and cultural dynamics. De- spite our advances in global inter- connectedness, despite our industrial and technological innovations—our American meritocratic dream has lost its shine, That is why we must employ his revolutionary zeal_as artists. As Brecht would say, “Art is not a mirror held up to reality, but a hammer with which to shape it? Over the last three years, T have had the gift of leading Crowded Fire, an intrepid San Francisco-based. the- ater company, where art has been our hammer—breaking open our audience’ awareness around cultural inequities such as gender, race, and economies of power. This past year included a close examination of cap- italist systems, including how they are structured, perpetuated, and trans- mitted into our most intimate psy- chological spaces. Written by the bril- liant Christopher Chen, our Brechtian production explored how we nor- malized these systems in our psyche leading up to the 2016 election. ‘The play posed the question of wheth- er a benevolent corporation could actually exist. In the midst of that commission with Chen, I was invited by Stanford to identify a script that 3 speaks to social justice issues, and Lin- evitably turned to Brecht’s own work. N WA ‘The Good Person of Szechwan inter- rogates capitalism as well, and as! the question of whether it is possible for a good person to exist within an inequitable system. Embracing hi theory of Gestus, we present to you, Ps," a cardboard, pop-up par- t within this sumptuous club. y ‘The injustices that plagued Brecht 80 years ago have barely changed and we are culprits in the systems of power that keep it in place. We in- vite you to be a witness, to be aware of your own privilege, to locate your own social and cultural position, and to think about what you can d outside of this room and your life on campus to make a difference. . & DRAMATURGY A CLOSER LOOK AT THE GOOD PERSON OF SZECHWAN Coe coal COUSIN SHEN TEH AND SHUI TA MAKING SLIPPAGES FAMILIAR by RISHIKA MEHRISHI DRAMATURG nstead of writing about his plays, his time in Finland, or his usual updates and reflections on the ongo- ing World War, Brecht in his journal entry of June 17th 1940 pastes an ar- ticle from the US weekly Life titled “Hitler dances: Fuhrer does a jig for victory” ‘The article had published several pictures taken from a German newsreel of Hitler celebrating his re- cent victory over France with a brief “Lindy Hop of Victory.’ In response to this landmark victory, Hitler was also quoted saying “We are not revenge- ful, but we have definitely ceased to be goodhearted fellows” In the next entry three days later, Brecht writes that he ‘has more or less finished the The Good Person of Szechwan,’ his play that deals with the stakes of be- ing good in a world bereft of “good- hearted fellows.” Caught in the throes of war and exile, Brecht struggles to finish the play in Finland after sever- al failed efforts in different countries. He deeply contemplates the condition of the working class within capital- ism, and the current political situa- tion. Moving the binary of good and evil beyond the bourgeoisie/working class dichotomy, Brecht writes Good Person to particularly address the causality of ethical corruption within the peasantry. To explore the moral contradictions, he creates the female character Li Gung and her male bi- nary, cousin Lao Go. As he fine-tunes the play, Brecht updates his journal: “Li Gung is not wholly and invariably good, not even when she is being Li Gung, Nor is Lao Go conventional- ly bad..’ Central to The Good Person of Szechwan is this “continual fusion and dissolution of the two charac- ters? that—by the time Brecht works on a new version of the play in San- ta Monica, California in 1942— have been renamed Shen Teh and Shui Ta, Inher direction of The Good Person of Szechwan, Mina Morita invokes Shen Teh and her cousin Shui Ta to con- template our current political situa- tion in 2018, particularly on how the construct of maleness operates within capitalist, social and class dynamics. Keeping in mind Shen Teh’s need to become Shui Ta in order to survive, Morita challenges and restructures notions of male normativity as a de- fault for capitalism. Rather than the typical approach of looking at the feminine as a metaphor for good- ness, Morita shapes her directorial expertise around the non-normative potential of Brecht’s characters. As “cousins” (a term loaded with possi- bilities of gender non-binary, queer kinship) Shen Teh and Shui Ta then do not work as crystallized opposites, but share fluid, familiar and familial affinities with each other. Going with the less critically recognized choice of a male actor in the lead role, Morita uses the conventional expectation of a male body on stage—both in the atrical and capitalist legacies—as a canvas from which other archetyp- al characters arise. She calls this into question by juxtaposing the “neutral” body with those problematic gen- der ascriptions and its limitations for those who fall outside of the norm, The dramaturgical process has sup- ported Moritas directorial vision through extensive research on Brech- tian “estrangement” techniques, theo- retical discourses on gender and sexu- ality, and past performances of racial stereotypes. The research has also fol lowed up on Matt Chapman’ rigorous movement and gestural work with the actors during rehearsals. Mori- ta direction is also in dramaturgical dialogue with Stanford University’s production of the same play in 19: ‘Termed “striking and unusual” by the Stanford Daily, the student production of Good Woman of Setzuan charmed Californian audiences with this early production of Brecht’s ‘Epic’ play even before its German premiere in 1956. While the production remains un- aware of its problematic racial stereo- typing (with the use of Chinese masks, its color scheme of yellow and red for Sheh Teh/Shui Ta, and the taijitu sym- ott amma bol drawn in the center of the stage), the director underlines the relevance of Good Woman to contemporary so- ial inequality and economic depriva- tion, She writes in her Master's the “the play's Marxist premises... make it too controversial to succeed in profes- sional presentation, But it is that very characteristic which peculiarly suits it to the university, if our universities are indeed to be the strongholds of free- dom? More than half a century later, ‘The Good Person of Szechwan returns to Stanford University that— while standing against the current govern- ment’s policies for undocumented and immigrant students—continues to be an elite institution for the eco- nomically and socially privileged. ‘Mina Morita’s direction not only chal- lenges the racial stereotypes of the 1952 production, but also hopes to bring us face to face with our privi- leged position at the university, and in today’s political scenario, The audience sits in close proxim- ity with the actors as they slowly but surely unfold the social and moral contradictions of operating in a corrupted world. Almost every actor in this production of Good Person per- forms multiple characters of varying gender, age, class, and labor ascriptions. Through comic movement, pop-up para- ble technique, semi-operatic music, frantic costume, voice and gestural shifts, the “neutral” actors slip from one char- acter into another. The club-style seating dissonantly placed amidst cardboard houses and clothing racks allows the actors to make their transitions (im)possible on stage: their bod- ies cannot be, but must become what this world deman« Si sed ohne Otdach Sa snd ohne Freon Sia brauchen jemand (ie ered me da neg Said wilomnea. &< Noting these (im)possibilities in The Good Person of Szechwan, Brecht writes in his journal on August 9th, 1940: ‘When you come down to it the elements good and evil are too segregated for the realist drama of masquer- ade, An occasional slip would be unavoidable’ Troubling notions of a coherent identity within a capitalist society that forces identities to splinter for survival, Mina Morita invites us to enter the parable world, where “goodheart- ced fellows” have ceased to exist. Under her direction, The Good Person of Szechwan demands that we acknowledge ‘our own “occasional slip” that has become a necessity for survival, self-assertion, and belonging in today’s world. nthe final scene of Bertolt Brecht’s play The Good Person of Szech- wan, Shen Te confesses to the gods, DRAMATURG NOTE Shui Ta and Shen Te, Zam both of them: your original order to he good while yet surviving split me like lightning into lwo people. hy DANEE CONLEY This is a pivotal mome clash be- tween moralism and the realities of a capitalist structure, one that systemati- cally pushes oppressed people further to the margins. Breet, writing this play in the mid-twentieth century (1938-194 was dealing with the global development of capitalist struc~ tures centered on maleness, whiteness, and warti sion (ie. Nazi Germany's “Twenty-Five Point Progr EDR’s "New Deal”). This time period was marked by the con flation of personal success and economic growth, forcing peo~ ple who were unable to reach these ideals, such as women anid people of the working class, tobe classified as morally in ept. This follows a long reli- ious history as well, throt notions of capitalism as be ing based upon formulations of the Christian work ethic and the role of religious mor alism in one’s own economic suuecess, a concept developed by Brecht’s_contemporar Max Weber in his book he Protestant Ethic and the Spirit of Capitalism. Through the- ater asa methodology for so- cio-cultural exploration, Brecht tasks his audience with push ing back against these conflations and encourages them to question modes of authority that both conflate religious mor alism with economic success and that subject people to fur- thered economic disparity on the grounds of moral goodness. This is the task of a conten dience as well, p ularly as they view the performance within the private: institution of Stanford University and within Palo Alto writ large, a city with the second highest percentage of venture capitalist investment in the Bay Area, To put itinto digestible concrete figures: Palo Alto sees 5% ofits population I low the poverty line in comparison to th ble the size of the latter. The direetor, Mina Morita, much like Brecht, is attempting to shake her audience awake and open their eyes to the structures that have been put in place to divide us, to let some succeed while others are pushed further into de~ spair, and to encourage the self-perpetuation of those structures ina white-male dominated society. Through her “parable pop-up" design, Morita positions the audi- enice as economically juxtaposed to the actors; the audience enters into a lavish club setting only to be waited on by the actors who will then use their cardboard sets to tell a story off the impossibility of goodness in a capitalist society, The play Unrough both its design and plot, force the audience to am: alyze their position in this world, make choices about their ability to change it, and to hear Shen Te’s claim: “Something is wrong with this world of yours.” a eo eR R 4 i ee ie LE } STUDENT REFLECTIONS ADI CHANG ee Pr nae oe eT a strong sense of dissonance pla Shen Teh and Shui Ta. The chara Tee ues eee eee UP Rte ee eae ara as saving for herselfat the drop ofa hat, She Perea a ee eae ty, and the way she embodies some societal Perera EMO ecg DEON ROU Rocher CeCe old, to make money for the tobacco shop. He is defined by calculating and cruel utilitaria ONC nomen nen user Initially I had trouble reconciling the fact that Shen Teh and Shui Ta are the same person. ee Oe eee Cr eee eR See Memes differences, Shen ‘Teh and Shui Ta are two sides of the same coin. Shen Teh's survival is Cert ROS eMart eee LTT ty is the most challenging part of my perfor- mance, and also feeds directly into the central theme of the show ~ the impossibility of be en eee Re ance crc chal, capitalist society. All Shen Teh wants is to do good to others and to herself; she finds that it is impossible. So she adopts, howev- Sea Rm cao) succeed within the capitalist system: ruth- less cunning, and a masculine assertiveness. ‘My job as an actor is to highlight the dec Shen Teh makes and why she makes them, so that the audience can understand that the de- CeO eC an Seto ee mond Pecan ee eee eRe re to only do good stands no chance under the pressures of capitalism. 5 Ty ee aeRO ce ‘while directing: one, don’t take yourself too serious PRM eS ae ccc ERS ETO Ce eR nee ccr me eo RO RUC just a group of people telling a story about people. We cele brate and reflect upon what we care about, and in the pro- cess learn something new from it. In my experience with eee OMS er ee Oe aCe eee eee ee ee amy sO era EOC Cee eco one and creative process as a space for play. When I first began ov a a ir never have imagined the creative joy that everyone in the sh Pee eo MRC OA aS rea ee ast coe eR a STN Conc Oa ME Carceure enn Ce eae Lg eR AON etn eR USCS SDs together crafting this story, the more we discovered what ee RN ao eC SCOT ROUTE oe eee ng clown with Matt Chapman, to crafting original music with CeO eS te coe CARO ASERCION Raa aaa a does exacth?” Thisisa ques eT eC one en ec Tne Sen Se an Ronen ona SONIC nn area ea osc TSO Me gu sign discussions, to overseeing rehea PCE te Mom eee ea ee ems ance omer ey that all components of a show align with the director's overarching intent. It's a re- Seu hhave grown to enjoy: the SM sees all parts Cee ence EU aU ee OS COT Pree eee ero cum en er em Reece cee ao OTT Coenen um ier ne confront their capacity for empathy by @= posing the theatrical apparatus, to incite: thet to live lives more fully by instigating social change. Though this process was no Sere men a ace ea enna Me ac cea ea certainly pulled me from my comfort zone in ways that | could never have dreamed from long hours tracking blocking notes in the rehearsal room, to discussions with Sie ater ee Ce ao enn Ta SRO ee er eM Oren a Case EN Sua eRe ee eer t taken before. However, each new facet of the show was also an opportunity’ for us to pause, take a step back, and reevalate ‘our process—howare we tying this back to STN en uns eae er Rom ao RU reached this point without the mentorship STURN nT eT the unshakeable spivit of our dedicated eee eTOCs ASM team, and the strong guidance of M nals artistic captaincy to steer the process, baganlven res WY SEO “peal f Pie) Henney Coto 2 = DD SET DESIGN err S77 | “L_ BUILD + TECH | EE WHO'S WHO ABOUT THE ARTISTS eas MINA MORITA (director) is the Artistic Director of Crowded Fire Theater, a critically acclaimed, intrepid, fe- male-led company dedicated to developing a fierce con- temporary theater canon that reflects the plurality of our world. Previously, she served as the Artistic Associate at Berkeley Repertory ‘Theatre—and a founding mem- ber of its Ground Floor program; as Board President of Shotgun Players; as a 2014 Lincoln Center Director's Lab participant; as one of the founding members of Bay Area Children’s Theatre; as Community Arts Panelist with the Zellerbach Family Foundation; and Guest Artist at UC Berkeley and Stanford University. She is a recipient of ‘Theatre Bay Area’ 2014 award for Best Director of a Mu- sical: Tier Il and TBAS 2016, 40@40 award for her impact on Bay Area ‘Theater. In 2015, Mina was honored to share her story on TEDx, and in 2016, she was chosen as one of the YBCA100, for “asking questions and making provoca- tions that will shape the future of culture” She has had the privilege of directing the following plays among many AULIS: AN ACT OF NIHILISM IN ONE LONG ACT by Christopher Chen @ Zellerbach Playhouse, SISTERS. MATSUMOTO by Philip Kan Gotanda @ CenterRep (Shellie nominated for best direction and best produc- tion), BY AND BY by Lauren Gunderson & THE GREAT DIVIDE by Adam Chanzit @ Shotgun Players, and co-di- rected THE SHIPMENT by Young Jean Lee (TBA award recipient for best ensemble, and nomination for best direc- tion), BLACKADEMICS by Idris Goodwin, and A TALE OF AUTUMN by Christopher Chen @ Crowded Fir Special assistant directing credits include Tony Kushner's THE INTELLIGENT HOMOSEXUAL GUIDE... and Sarah Ruhl's Tony-nominated IN THE NEXT ROOM. @ Berkeley Rep. In 2012, Mina worked with Anna Dea- vere Smith as the artistic coordinator for ON GRACE. CARO ASERCION (Stage Manager) isa senior majoring in TAPS and minoring in Communication. Production credits include work with the Asian American ‘Theater Project (AATP), Nitery Experimental Theater (NEXT), and KommCollective. Good Person is Caro’ 20th produc- tion at Stanford, 12th Stanford show in a stage manage- ment capacity, and TAPS undergraduate capstone project. DANIEL CAI (Assistant Director) is a junior majoring in Computer Science and minoring in TAPS. Previously at Stanford, he performed in TAPS’ The Duel (himself), technical directed AATP's Durango, and directed AATP’s Caught. Daniel also served as the artistic director of the AATP 2017-2018 season. ADI CHANG (Shen Teh/Shui Ta) is a junior double ma- joring in TAPS and Symbolic Systems. He is currently an artistic director of Stanford ‘Theater Laboratory, and directed Lab's Marat/Sade last quarter. His most recent acting credits include TAPS’ Katzelmacher and Stanford Repertory Theater's The Many Faces of Farce. MATT CHAPMAN (Movement Consultant) plays with physical theatre and Clown. He is co-founder of Under the Table, a physical comedy ensemble in its seventeenth year of making work and touring. He currently teaches at Stanford and American Conservatory ‘Theater, and is, ‘a guest instructor at Dell/Arte International in Blue Lake, cA. ILIAS CHRISSOCHOIDIS, PhD (Music Director) is a scholar, author, composer and pianist. A long-term music director/pianist in the Palo Alto area, he has released four albums of instrumental music (“ringtones? “Evival” “Hel- enotropia”” “Inspiratorio”), edited the memoirs of 20th Century-Fox’s president Spyros P. Skouras, and co-intro- duced cognitive perspectives in the study of Wagner's op- eras. DANEE CONLEY (Dramaturg) is a dramaturg turned academic in TAPS’ PhD program, She has studied with the La Mama Experimental Theatre Club and the Shakespeare Globe in London. Danee has been the lead production, dramaturg for approximately fifteen productions rang- ing from university and student theater to professional companies since beginning her creative practice in 2014. ALEXIS DOWDELL (Run Crew/Dresser) is a junior ‘majoring in TAPS and Psychology. Previously at Stanford, she assistant stage-managed BLACKstage+SLOCo's Rag- time, and performed in Ram’s Head's 2017 Original Win- ter One Acts (Dr. Menlo). Alexis is also a board member for BLACKstage and a member of Chi Alpha Christian Fellowship. KEVIN DUAN (Old Man/Ensemble) is a freshman con- sidering a major in Mechanical Engineering. One of his proudest lifetime achievements is earning the rank of Ea- gle Scout. While he has done a show before, this is his first show at Stanford. RYAN EBERHARDT (Musician) is @ senior majoring in Computer Science, He plays in the Traditional Chinese ‘Music Ensemble and composes music for several groups on campus, CHASITY HALE (Third God) isa freshman prospective- ly majoring in Human Biology and minoring in Creative ‘Writing and/or TAPS. Good Person is the first production she has acted in at Stanford. SARA HUDDLESTON (Sound Designer) Recent Bay Area credits include: Magic Theatre’ The Gangster of Love, Grandeur, Fool for Love, Dogeaters and Fred's Diner; Marin Theatre Company's Shakespeare in Love and Miss Bennet: Christmas at Pemberley; Golden Thread Produc- tions’ Autobiography of a Terrorist; and Crowded Fire ‘Theatre’ I Call My Brothers. CHUNJING JIA (Musician) is an Associate Staff Scien- tist in the Stanford Institute for Materials and Energy Sci- ences, She learned to play keyboard instruments, includ- ing the accordion, at age 5 in Tianjin, China. At Stanford, Chunjing has been featured in the Chinese New Year Gala in the Memorial Auditorium. STARR JIANG (Sister-in-Law/Ensemble) is a sophomore ‘majoring in Computer Science. She has worked on scenic design for AATP's The Last Five Years and costume de- sign for AATPs Charles Francis Chan Jrs Exotic Oriental ‘Murder Mystery. Outside of theater, Starr enjoys photo- graphing abandoned buildings and writing experimental poetry. PHOEBE KIMM (Second God) is sophomore majoring in Computer Science and minoring in TAPS. Recent act- ing roles include Equivocation (Judith) and Lab’s Marat/ Sade (The Herald). Outside of theater, Phoebe enjoys bouldering and roof hopping. NICOLA KUBZDELA (Run Crew) is a sophomore at Stanford from Oakton, Virginia, She enjoys hiking with her mom and two big rescue dogs, being surrounded by nature, and dancing, This isher first theatrical production. NATHAN JAE-SUN LARGE (Dresser) is a senior major- ing in’ TAPS whose recent credits include directing next 0 normal and The Wild Party, lyricist for Gaieties 2016, and producing/directing Out of Our Heads. He is a Hume Hu- ‘manities Fellow at the Stanford Humanities Center, work- ing on a research project entitled “Embodied Historiog- raphy: Dance as an Act of Documentary Choreography,” REGAN LAVIN (Mrs. Mi Tau/Ensemble) is a freshman ‘majoring in TAPS. Previous roles include [wits Hamlet (Claudius), and TAPS’ Life is a Dream (Shadow). This summer, she is excited to be in Stanford Repertory The- ater’s Hecuba/Helen (Chorus). MUSE LEE (Wang) is a junior majoring in English. ‘This isher first production at Stanford. She is a proud member of the Medea Project: Theater for Incarcerated Women/ HIV Circle. RISHIKA MEHRISHI (Dramaturg) holds a BA (honors) in History from Delhi University, and an MA in Perfor- mance Studies from Jawaharlal Nehru University, New Delhi, and Tisch School of the Arts, New York University. With a particular focus on human-nonhuman encounters in South Asia, her current research intersects multispecies ethnography, gender, object ontology, and postcolonial studies. SHUXIN MENG (Composer) is a sophomore and pro- spective Symbolic Systems major. As an active Chinese pipa player, Shuxin has won more than ten prestigious awards, including the highest prize awarded by the Chi- nese government. Currently, she also engages in composi- tion and building bridges between traditional music and music technology. MAXWELL MENZIES (Mr. Shu Fu/Ensemble) isa soph- more majoring in Film and Media Studies and minoring in Art Studio. TYLER MILLER (Assistant Lighting Designer! Light Board Operator) is a junior majoring in TAP: focused on using theatre for healing and activism. Se- lected theater credits include stage managing ‘TAPS’ Life is a Dream and Ramis Head's The Wild Party, act- ing in [wits Hamlet (Hamlet), and set and light de- signing for [wit] Doctor Voynich And Her Children. BRIAN MORRIS (Policeman/Ensemble) is a sophomore ‘majoring in Math and dabbling in Comparative Litera- ture, Previously at Stanford, they acted in Labs’ Equivo- cation (Sharpe/Tom Wintour/King James) and in Ramis Head's 2017 Original Winter One Acts (Nick), OLIVIA POPP (Old Woman/Ensemble) is a sophomore with a love for creating and telling unique, meaningful stories. On campus, she is actively involved as the artistic director of ATP, and the co-founder-+executive produc- er of the Unscripted Playhouse of Stanford. Olivia is also the managing editor of Arts & Life for the Stanford Daily. DANIELA RAMIREZ (Priest/Ensemble) is an actress in training. She has loved acting since childhood, complet- ing her first performance at age 12. She acted in the 2014 short film Madre (Clara), as well as in the short film Doc- umental (Elsy). She participated as an extra in the movie ‘Made in America, MADELEINE SEITZ (First God) is a sophomore major- ing in Archaeology and minoring in Art Practice. Previ- ously at Stanford she performed in the 2017 production of Stanford Women's Coalition’s The Vagina Monologues. ZAKARIA SHARIF (Yang Sun/Ensemble) is a freshman looking to major in Economics or Symbolic Systems. Za- aria is a member of Frosh Council and writes for the Stanford Daily. TIMOTHY SHERLOCK (Run Crew) is a sophomore from New York pursuing a double-major in International Relations and TAPS, He was recently seen in Ram's Head’ Chicago and The Wise Women Opera in the Fall. He stud- ies voice with Wendy Hillhouse and is a member of both the Undergraduate Humanities Council and the Stanford Mendicants a cappella. CAMERON TENNER (Assistant Costume Designer) is a sophomore majoring in Urban Studies and minoring in Art History. ‘This is the first show he has worked on at Stanford, Cameron is also a student producer with the Stanford Storytelling Project. ELISEO VALERIO (Assistant Stage Manager) is a s majoring in TAPS and minoring in Classics. Past 1 credits include Rosencrantz and Guildenstern Are Dead, Harnlet, Evita, Oh What a Lovely War!, The Tempest, and most recently, Life isa Dream, He hopes to pursue a career in theatre making and scholarship after graduation. GRACE WALLIS (Mrs. Shin/Ensemble) is a sophomore ‘majoring in TAPS and Human Biology. Originally hailing from The Stanford Shakespeare Company, she is jazzed for her first TAPS production. This winter, she directed StanShakes’ Romeo & Juliet and is sound designer for their spring show Pericles. BELLA WILCOX (Sound Board Operator) is a junior double-majoring in TAPS and Communication. She is excited to be making her debut as a sound board op. Bella is writing a play and loves to DJ at her house on campus, Enchanted Broccoli Forest. ELLEN WOODS (Assistant Stage Manager) is a senior pursuing a dual degree in ‘TAPS (Acting) and Symbolic Systems (Natural Language). This is her first time working a an assistant stage manager, and she has really enjoyed getting a different perspective on the theatrical process. CATHERINE XIE (Carpenter/Ensemble) is a fledgling artist-activist who dreams of fighting for criminal justice reform, owning a children’s bookstore, and raising a baby goat one day. Her foray into theatre was acting in AATPs Purple Cloud last year, and she is honored to be a part of this special production, KEJUN XU (Musician) is a graduate student in Applied Physics. He is a member of the Stanford Chinese Music Ensemble and plays the two-stringed instrument erhu. @STANFORDTAPS 000 STANFORD TAPS 2017-18 SEASON “CHIMERA” | TAPS.STANFORD.EDU @@*