KEEP SPEAKING LOUDLY: An Interview with “Lizzie Stranton” Playwright Lydia Diamond

In 2008, you set the play to be in the “future” of 2016. How do you think Lizzie’s world compares with the world today?

I can’t get over how far away 2016 seemed when I was writing the play. And of course, much like with your production, we talked for a long time and worked really hard to figure out how and when we wanted to set it. I think it resonates almost more now, because very frightening things are happening in our world. In 2008 when I wrote it, things were merely as awful as they had been for four years. But we weren’t in this crazy era of rebound conservatism, but it’s just frightening. And we hadn’t watched Obama have to go through a presidency in which people were so actively committed to making it difficult for him. We have a candidate [now, in 2016] who is the wife of a former president, which I think in some ways looks like the direction that Lizzie is going in our play. It’s interesting how much it’s resonating now! If anything, if I had it to do again, it would be more stark. I think that between the moments of hilarity, there would be more social criticism that could be and would be even that much more pointed. But I love that my play set in the future is now a historical one now! [laughs] It’s sort of meta, isn’t it? The future that was written has passed, and now it’s a historical play, because it’s the play that was written in the past about the future. I think that’s absolutely fascinating.

What inspired this new version of the play?

I want to proceed by saying that I had hoped for more time to work with your dramaturgy students and possibly writers and do sort of a major overhaul of the script – not that there was anything wrong with it, but because I saw so much potential for growth, and so much happening in the political landscape that resonates. It didn’t get to happen because of my schedule. [But] I was getting the real-time incredibly insightful and incisive questions and suggestions from you dramaturgs…I have liked having these young minds really picking apart the play. And with the other character [Azima Halibi], and this is I think an interesting thing to look at – when I wrote the play for Boston University, there was a sense of wanting to write a play that African American actors, or actors of color period, who hadn’t necessarily had the advantage of having had culturally specific things to do, to have an opportunity to be onstage. What I think I find startling all over the country – and this isn’t just a critique of Boston University, but in general – I find it dismaying that these programs have so few faculty members of color and students of color. It’s a problem. So it’s exciting to me to be able to write a play that gives opportunities to these voices. And it was notable that a Middle Eastern contingent was absent from the last play, and there were reasons. So, it was exciting to be able to add that voice.

Given the Black Lives Matter protests and active engagement in intersectional issues at Emerson College lately, this couldn’t have been more timely.

I didn’t know…that was happening on your campus. But I’m aware that it’s happening all over, because it is just time, that it has to be happening. But I find it dismaying because…I graduated college in ’91 and so…[that’s] two decades and some many years, [and] we were having the same marches, having the same issues, critiquing vehemently the same things. I find that troubling…[I] have people come up to me and say, “I wouldn’t have been in a play at my college were it not for The Bluest Eye.” Or “I was able to audition for NYU and I got in because of monologues from Stick Fly.” And that’s all I ever wanted, in my artistic world, was to be able to add voices to the stage that weren’t getting there and to be able to give actors the opportunity to be able to play complicated, funny, flawed, smart, hyper-literate characters.

What was the experience of writing specifically for college-aged performers and audiences?

I had done that before, because I had written The Bluest Eye for Steppenwolf’s Theater for Young Adults, Toni Morrison’s play, and that gets done around the country. And I had written a play called Harriet Jacobs which also gets some play in the regional theaters…

I’ve done theater that was for audiences between the ages of 16 and 20, and I know that for that audience, the work has to be even more on point. Young people aren’t ever fooled and have a better sense of – new paradigms for how they see the world so I feel that it always makes me be more on point, because I know that I’m speaking to an audience that has a perspective – a socially relevant perspective…[On writing] for young actors, I would say, because most actors in conservatory programs are so talented…in terms of the skill set, it’s at a high level, because they’re kids, often, who have been passionate about theater for years and years and years. The first production [of Lizzie Stranton] was more hands on with the students, because I was there in the room creating the play in real time. But I think that college students are just so inspiring, so un- jaded…It’s just pleasurable to write for young people.

I had an opportunity to do a reading of the play – an open reading – at the Huntington [Theater Company]. And again, it was fun to have the play with equity, older actors, and they were great and it was funny, and it was exciting to see that it holds up in the professional arena. But the energy and the enthusiasm in the college production was palpable. And often, also, I would say, that most college students haven’t had the wonderful experience of wielding dildos and singing a song. [laughs] And I liked being the warped mind that could give them that experience! I’m sure their parents loved coming to see that…

 

Many of your plays have a strong background in realism, like Stick Fly and Smart People. What was it like working in such a different genre?

Well, not so much. What’s interesting is that the plays that are most available to you, that are realistic and have a forward-moving…chronology are the ones that our country is most comfortable with and so they’re the ones that get done most often. I have a play called Voyeurs de Venus which was commissioned by the Steppenwolf Theater in Chicago, and first mounted at a company in Chicago called Chicago Dramatists and was done in the same season, around the same time as my other play Stick Fly, the one that went to Broadway…And it [Voyeurs de Venus] won a Joseph Jefferson Award for best new play and Stick Fly got second for best new play…And I think that’s so telling. I don’t tell that to be arrogant, I think it’s telling because it [Voyeurs de Venus] was appealing to a mass audience in a way that I think many theaters don’t realize non-traditional plays can be. So in a way, it loops back to the question that you asked me about writing for young people and writing for a college environment – it gives you more freedom. I always am only going to write the plays that come out of me because artistically that’s what I want to express…So it [Lizzie] didn’t introduce to me a new form, it allowed me the freedom of knowing that an audience would see a play that isn’t necessarily naturalistic.

…I guess the short version of the answer to your question is that it’s not a form I’m unfamiliar with it’s just one that finds its way to stages less often.
Can you speak a little bit about intersectionality and its role in the play?

With regards to the characters and their identities? That’s an interesting question too, because I did want to play with identity but I think that it is relatively arbitrary in terms of which characters had which personality traits. And I find that that’s tricky and interesting when you’re doing work about race and class and gender, which is all that I ever do, really, whether I mean to or not. Because all of a sudden personality choices that you make for characters have a resonance and are vulnerable to…looking like you’re painting a whole people with broad strokes. And particularly because we don’t get to see that many people of that many ethnic origins onstage at the same time, we’re trained to think that when we see race…it’s representative of a whole people. And so even for this play, as much fun as it is…I struggled with that a little bit. And I had to release it. I just had to release it. And also it makes me notice that a lot of the characters were made for the women I knew would be playing them, and/or could be creative challenges to actresses who hadn’t had a chance in their careers at Boston University to play various kinds of roles.

What would you say to any of the “anti-feminists” out there?

Anti-feminists?! Oh, my goodness! What would I say? It has to be rated G or PG…? Male anti-feminists I would say are sexist, and we know that that hasn’t gone away. I think of the younger generation again, and even my mom’s generation versus my generation, there are fewer and fewer of those, and that’s encouraging, but certainly there’s still enough institutional gender disparity….

For all people who are anti-feminist: shame on you! And, you know, read a book! And for women who are anti-feminist, I think that they just didn’t get the right definition. And they need to be educated. Some of the feminist ideals my mother’s generation worked so hard for, have been diluted. So that would be my not so funny answer to what should be a really funny question. It’s true, you know? Go and open a Gloria Steinem anything and understand what feminism is – and then talk about how you’re not a feminist.

What conversations do you hope that Lizzie Stranton will inspire in audiences?

What I would say, and what I feel very strongly about [for all plays that I write] is that I want audiences to first be really entertained. I want laughs, even when it’s not a funny play or a play about funny things, but particularly when it’s a comedy. And I want them to feel as though it was an evening well-spent. Then, I hope, that people start talking on the way home, and they have disagreements about what they saw…and how they felt about the play. And then, if it’s very successful, they’re talking about it at breakfast…I feel so strongly about that. It’s got to be fun. It’s got to be entertainment. And, if it’s political, it can’t not have conversations that follow it. And, if it’s politically viable, somebody’s going to get offended, and it will often be the person that you least expect would. And that means I’ve done my job.

I’m sometimes surprised, because now that I’ve been being a playwright for a while, I think I’m not automatically given cool points. Like there’s nothing really cool about having a…play on Broadway. So I don’t know if people watch it through a lens of understanding that I’m on the right side. So I find that very interesting too, in terms of how people feel about the irreverence of certain things.

What advice would you give aspiring young female voices in the theatre?

Keep speaking loudly! Have your voice. Find the voices of people who historically have also been working hard to have a voice and have voices heard. The American theater struggles with celebrating diverse voices. I think young female writers need to be writing their stories, saying them, and having them heard, and not waiting for institutions to produce them – I’m talking specifically right now to playwrights. We have to write our reality, and know that it’s worthy, and it doesn’t have to look like anyone else’s ever. And it can seem to us like it’s mundane, but there is something that is just as appealing and inspiring and provocative about being the black woman who writes a play about maybe having grown up with privilege and feeling critiqued by black peers. Or the white man who maybe writes a play about being the only guy in a black neighborhood, or writes a play about living in the suburbs and actually having a pretty balanced life and having been exposed to whatever they were and what their complicated emotional landscape looked like in childhood. I think we have a tendency to think that the stories that we tell that are worth staging are the ones that are full of adversity and tragedy, or that other people have already deemed exotic or “other.” And I don’t know anyone whose life story or life experiences or the stories of others that they choose to tell are not interesting and don’t resonate with large audiences.

I guess I’m saying, keep writing, and put your stuff out there into the universe and don’t expect someone to just do it: do it yourself. And write and write and write and write so that your voice becomes strong and clear. And I would say in terms of women in the arts having a voice period, that it’s true for directors and it’s true for actors: be who you are, get your education, know how to do what you do so well that you don’t have to waste time wondering when sometimes you get treated “like a woman” by a male patriarchy. Or when sometimes you get treated like a person of color by an institution riddled with institutional racism. Know what you’re doing is valid and keep doing it.

We live in a world that will, in insidious ways, try to silence you. And it’s not like there are people sitting in cigar smoke filled rooms and suits, men, white men, colluding about how to keep everyone down – it’s so much more insidious than that. And how you let it not chip away at your self-esteem, you’re able to identify it and name it, and know that if you’re in it you’re not crazy. If you know the dynamic is there, you don’t waste emotional energy trying to figure out if you’re right about that dynamic. It will drive you crazy. Statistically we live in a country that is not equitable. And I feel as though the powers that be spend a great deal of energy saying, “look over here, whatever you feel, whatever your life experience is, it’s not true, it’s not real.” And that makes for a very specific, very American kind of crazy. And I think to women of all colors, and in a very specific way because I am a woman of color, to women of color, you don’t have time to waste trying to figure out what the dynamic is. You have only to do your work best.

 

Any final thoughts about this production of Lizzie Stranton?

Special thanks to Benny Sato Ambush, who has been a huge supporter of this play and in many ways taught me to value it more than I knew to. So to Benny, and to the Emerson community, and to the theater department, and to the great actors and actresses who are doing the play, and my director Lee, just a huge thank you! It’s a gift that it’s being done and I am grateful…And thank you for dramaturging the hell out of my show. I appreciate it.
Conducted and edited by Emily White

Why “Lizzie Stranton” Shows the Best of Emerson

Hello Readers!

See below for a take on Lizzie Stranton‘s applicability to our lives, written by Assistant Dramaturg Travis Amiel. Lizzie Stranton runs from February 4-7, so be sure to  purchase tickets online.

LIZZIE-art copy

Why Lizzie Stranton Shows the Best of Emerson

In Lydia Diamond’s L​izzie Stranton​ we are faced with a parallel 2016. In this universe, who runs the world? Men! …but it’s girls (well women really) who take agency. Their goal: end the war that men have started and refuse to end. In this reimagining of L​ysistrata (​the Greek comedy you might have read for class) abstinence is the point of attack, but the women on stage don’t see the world with simple, clear solutions. Like most Emersonians, the women of Lizzie Stranton​ are critical in how they’re going to tackle the most problematic element of modern society: the patriarchy. And they refuse to be stereotyped and exoticized, demanding inclusivity (requiring it in fact) in their conquest.

Full disclosure: I am a cisgender, white, gay man and therefore not quite the face of diversity. The character most similar to me in the play is also one of the most problematic. But this play represents the Inclusive Excellence that Emerson College strives for. I want to be in a school where “diverse” and “accepting” aren’t words thrown around to describe us (like “very important” or “great college” )​, but are linked to real efforts. L​izzie Stranton i​s one of those efforts. If you haven’t read the “Summary Report of Initiatives to Increase Cultural Competency Among Faculty and Students“,​ take a look. The title character says late in the play, “we, individuals, are still burdened by the misguided assumptions and beliefs put forth in an earlier time.” This sounds like the voice of many young people, demanding that we set new standards for our society, in which we obliterate systems of oppression.

Watching a run-through of the play, so many lines sparked my fingers to snap in support, as my lips and teeth instinctively whispered “yaaaas”. This was because I felt like I was watching these warriors against oppression, speak about the issues I too feel are being overlooked. When the character Azima brought up the need to also address our world’s environmental devastation, I thought of t​he article in the Beacon, reporting on Emerson’s recent trash audit.​ Our environmental impact as an institution has an impact worldwide.​Some see climate change as the next genocide,​unless we do something.

There’s a moment when one character asks the ensemble onstage to check their privilege, and it’s great. The audience stops seeing these characters as who they present themselves as, but in a greater context of who they actually are.

It’s not just the content that makes this production important, L​izzie Stranton i​s a n​ew​ play, and Emerson Stage’s production is the second full mounting of the play since it was commissioned by Boston University in 2008. Everyone involved with the play gets experience handling script revisions from a playwright who this week is opening a​ new play, Smart People,​off-Broadway.​

Lee Mikeska Gardner, Artistic Director of The Nora Theatre Company, based in Cambridge, directs the play, giving students the experience of working with a local professional director.

And lastly, this is a female-driven play (a rarity), and its addition to the theatrical cannon means that colleges, community theatres, maybe even high schools, have a new option when working with female-heavy departments.​ Already Emerson Stage’s production has had an impact on the development of Lizzie Stranton,​ a new character has appeared and new issues have been raised.

Check out L​izzie Stranton​ February 4th – 7th and see your body, your issues, and your school on stage. Tickets are availible at AEstages.org or by visiting the Culter Majestic or Paramount Box Offices.

Our private Gilead: Thoughts on the regional popularity of “The Spitfire Grill”

 

 

 

 

By Sydney Torres
Assistant Dramaturg, The Spitfire GrillSPITFIRE-LRart

 

 

The Spitfire Grill is a hidden gem of show. Audiences will discover that it is intimate and filled with soul. Composer James Valcq and lyricist Fred Alley said in many interviews that they hoped their show would find a home in regional theatres. If you take a peek at the production history of the show, it has indeed proven to be popular with regional, educational, and community theatres. Since its Off-Broadway premiere in 2001 at Playwrights Horizons, the musical has had over 500 different productions worldwide. What is it about this show that is so appealing to these theatres? I believe the clues lay in the musical’s setting.

 

The show is set in the fictional town of Gilead, Wisconsin, a change from the 1996 movie that Spitfire is based on, which is set in Gilead, Maine. Valcq and Alley decided to change the setting for their adaptation because they are both Wisconsin natives. They intentionally set the musical closer to their hometown and their roots. The name “Gilead” is actually a biblical reference to a rare medicine, and is the subject of the popular hymn, “There is a Balm in Gilead”:

“There is a balm in Gilead
To make the wounded whole;
There is a balm in Gilead
To heal the sin-sick soul.”

At the start of Spitfire we meet Percy, a young woman fresh out of prison. She travels to Gilead after seeing a picture of the town’s famous creek in a travel guide. She hopes it will be a place that will heal her “sin-sick soul” and offer her a new beginning. As she starts her new job at the Spitfire Grill, a local restaurant in the heart of town, she learns that the town of Gilead is just as wounded as she is. It is a town haunted by its past. The people of the town are set in their ways, and no longer see the beauty that surrounds them. Once she helps them rediscover the spirit inside of Gilead, they are on the path to becoming “whole” again.

As they sit in the Spitfire Grill one night, Percy and her new Shelby reflect on the town of Gilead. Shelby, who has lived in Gilead her whole life, tells her friend that there is nothing special about the town. When Percy describes Gilead from her own perspective, she is able to remind Shelby that Gilead is special:

“Have you ever dreamed of a town so small, they roll the sidewalk up?
Where the waitress spills the gossip as she fills your coffee cup?
You can own a piece of heaven, where the hummingbirds still hum,
and the colors of paradise come.”

 The description of Gilead that Percy gives vividly describes the feeling that the town evokes. Although it is not a geographically specific description, because Gilead is the kind of simple and archetypal town that transforms into whatever you want it to be. It can become your escape, your fresh start, your new home, even your “heaven” or “paradise”. I think this is the reason Spitfire is so popular among regional theatres: the town of Gilead could be any small town in the USA. When theatres work on this show, Gilead belongs to them. They can craft it to reflect their homes and communities, which makes the show more impactful to its audience.

Spitfire is about rediscovering life in yourself and in the places around you. Over the course of the show, we see one woman help a whole community come alive again and rediscover the beauty of their hometown, while finding a fresh start and new life for herself. It is the perfect show to go up during Emerson’s Family Weekend. When watching the show, I believe audiences will feel an ache of nostalgia for their own hometowns— their own personal Gilead. Emersonians will appreciate the tight-knit community represented in Spitfire, and the family dynamic that is eventually formed. Like Gilead, Emerson is not an especially large community, but we are definitely strong, collaborative, and unified.

Theresa Rebeck’s “O Beautiful”: Why here? Why now?

By Elizabeth Gilchrist, production dramaturg

BEAUTIFUL-LRart

In 2011, playwright Theresa Rebeck (creator of TV drama Smash; plays include Seminar and Omnium Gatherum) was commissioned by the theater department at University of Delaware to create a story bringing American history head-to-head with contemporary political and social issues. Inspired by her strict Catholic upbringing and a constant stream of devastating news stories, Rebeck wrote O Beautiful, in which she holds a mirror up to the audience demanding them to look at the current state of our country. She asks, “Who are we becoming? Who are we allowing ourselves to become? Where is our compassion?” and leaves the answers up to us. To present these sweeping questions, Rebeck constructed a mammoth play, both on an ideological level and on production scale.

O Beautiful covers a wide array of hot-button issues, ranging from abortion to the influence of religion in our school systems. The play also brings a handful of historical figures back to life. To communicate and share such an epic and comprehensive story, Rebeck needed an ensemble to match.

In an interview for UDaily during the development of O Beautiful Rebeck stated, “Part of the problem with producing contemporary political theater in America today is that many theaters don’t have flexibility or resources, be it hiring a lot of actors or staging a work that might be tough for some audience and board members. I never expected a university to get involved like this, but thinking about it, a university is exactly the right place to put together a play like O Beautiful.”

The original production at University of Delaware included a cast of 40, bringing the school’s professional company and undergraduate students together. Emerson Stage’s upcoming production features an ensemble of 37 students, ranging from sophomores to grad students in the Performing Arts department; as well as members of the school’s a cappella community, as represented by the vocal group Achoired Taste. O Beautiful has provided Emerson Stage the chance to bring a larger ensemble, and students from different communities, together to tell this story.

In addition to providing a large and committed ensemble of actors, Emerson Stage is an ideal place to produce Rebeck’s play due to the large, varied audience it attracts. The production hopes to reach students of all majors and concentrations, as well as those from the larger Boston community. The timing of the production, at the beginning of an election cycle, lends itself to the material in a powerful way as well.

Rather than using theater as a means of escape, O Beautiful demands that audiences focus on the reality of our country’s political and social climate. The scale of the production also urges audiences to witness the condition of their own communities. Emerson is full of students with different interests, experiences and ideas, all existing and creating within the greater Boston area. How do our backgrounds inform our choices, and how do these choices define the state of our community? With so many aspects of our society being presented by a wide array of characters, all opinions are brought out on to the table for consideration. At Emerson, O Beautiful gives voice to the the nation’s youngest population and allows them to contemplate their role in society.

“Beautiful” thoughts: current events through Theresa Rebeck’s eyes

By Madeline Fabricant, Assistant Dramaturg O Beautiful

Although the phrase “history repeats itself” may sound like rubbish, I am constantly amazed by how often it rings true. Theresa Rebeck’s play, O Beautiful, was written in 2011, but today’s current events make it more relevant than ever. This includes conversations on abortions, religion, race, gun control, cyber bullying, suicide, and many others. 

O Beautiful opens with a high school student, Alice, trying to determine whether or not she is going to terminate a pregnancy that resulted from a nonconsensual sexual encounter. She consults her friend, Jesus (yes, the actual Jesus), who gives her a surprising answer. This starts Rebeck’s discussion of whether the historical figures in this play really stand for what people say they do.

Abortion continues to be a huge topic of conversation in the media. Planned Parenthood, an organization whose main purpose is not abortions, continues to be under attack in particular. According to their website, only 3% of the work that Planned Parenthood performs is abortions. The other 97% are services that are used to keep women (and men) safe such as STI/STD testing & treatment, contraception, cancer screening, and other essential services. At the recent GOP-controlled House Judiciary Committee meeting about Planned Parenthood entitled, “Planned Parenthood Exposed: Examining the Horrific Abortion Practices at the Nation’s Largest Abortion Provider,” the organization itself was not even invited to defend themselves. Without Planned Parenthood and other abortion clinics in the country, many girls and women will seek other, more harmful, ways to procure abortions. Essentially: men who are much older than many women this will affect, like Alice, are making decisions on their behalf. The men claim this authority comes from a religious and moral superiority.

Jesus’ appearance in the first scene indicates that issues of religious dogma will be investigated in this show — and shortly thereafter, the appearance of a conservative TV show host makes it clear that Rebeck is questioning dogma in politics as much in religion. And Jesus isn’t the only historical, quasi-mythic character actively protesting the misrepresentation of his words. What is ironic is that if most of the Founding Fathers were alive today, they would not agree with the majority of the ideas that the Tea Party is spewing out to the public. Rebeck conveys this in her characterization of them – Benjamin Franklin in particular challenges dogmatic interpretations of the Founding Fathers.

This debate reaches a boiling point in the high school history classroom of Ty, the only black teacher in this small town, who wants to help students understand that what they read in their textbooks might not be the whole story. As the town’s suspicions swirl around Ty and his supplemental classroom handouts about the Founding Fathers, Rebeck’s characterization of these men, both onstage and through Ty’s lessons, makes clear that they were not perfect; they were human. They were no different from us.  Although many characters in this play believe these men were the conservative ideal, most were not.

This is relevant in 2015 when it comes to the presidential race and gun control. Just one example of this comes from Ted Cruz. He wrote in a recent email “It is a Constitutional right to protect your children, your family, your home, our lives, and to serve as the ultimate check against governmental tyranny — for the protection of liberty.” The Second Amendment does not protect one’s right to rebel against the government; particularly a government that is not a tyranny. The Second Amendment was written in 1791, when the army was not what it was today. The men in the show are not going to war with the guns they keep in their homes, their basements, and their garages.

Rebeck also grapples with issues of cyberbullying, racism, and covert racism and sexism particularly as characters’ actions tie back to characters’ claims of divine (or political) precedent. The events in the world just in the past few months make this contemporary play feel more incisive and relevant than ever. I think this is a piece that has the ability to get people desperate for change. It is also funny, sweet, and devastating. I feel so blessed to be able to watch such a beautiful, game-changing story unfold.

 

Thanks for sharing your insight, Madeline!
O Beautiful comes to the Greene Theater October 1-4. Get your tickets now!

Emerson Stage auditions – 9/4 update, 5pm

Below are the currently confirmed audition slots for Friday and Saturday. Going forward, please communicate your need to change auditions directly with the audition team at the Paramount Center. The general delivery email address is checked infrequently over the weekend.

Break a leg, everyone!

6:00 PM Simon Kiser
6:05 PM Valerie Madden
6:10 PM  Available…but it’s currently 5:41, so…
6:15 PM Samantha Kennedy
6:20 PM Rachael Furgiuele
6:25 PM Kelly Hutt
18:30 Noah Pattillo
6:35 PM Andrea Leon-Ramos
6:40 PM Allie Meek
6:45 PM Jessica Price
6:50 PM Adam Settlage
6:55 PM Jamie Molina
7:00 PM Marissa Levine
7:05 PM Shay Denison
7:10 PM Maddie Fabricant
7:15 PM Cora Swise
7:20 PM Break
7:25 PM Break
7:30 PM Katherine Logan
7:35 PM Ryanna Dunn
7:40 PM Taylor Hadra
7:45 PM Victoria Brancazio
7:50 PM Lissette Velez-Cross
7:55 PM Emma Stephenson
8:00 PM Olivia Medley
8:05 PM
8:10 PM Abigail Arora
8:15 PM Katie Pintado
8:20 PM Gentë Retkoceri
8:25 PM Rachel Hunsinger
8:30 PM Sam Terry
8:35 PM Jake Smerechniak
8:40 PM Mitchell Buckley
8:45 PM
8:50 PM Break
8:55 PM Break
9:00 PM Mona Moriya
9:05 PM Allie Gilman
9:10 PM Megan Mistretta
9:15 PM Susannah Wilson
9:20 PM Daniel Klingenstein
9:25 PM Caroline Shannon
9:30 PM Aylin Eker
9:35 PM Penelope de la Rosa
9:40 PM Amber Hood
9:45 PM Andrew Alcaraz
9:50 PM Cristina Scherban
9:55 PM Available
10:00 PM Sean Mullaly
10:05 PM Available
10:10 PM Available
10:15 PM Available
10:20 PM Available
10:25 PM Available
10:30 PM Becky Brinkerhoff
10:35 PM Available
10:40 PM Available
10:45 PM Available
10:50 PM Available
10:55 PM Emeralda Ross
Saturday, September 5
TIME Nickname
12:00 PM Carolina Wajner Saverin
12:00 PM Katy Poludniak
12:05 PM Emily Kinzer
12:10 PM Erin Riley
12:15 PM Jordan Kirby
12:20 PM Chloe Knight
12:25 PM Katharine Johnson
12:30 PM Hannah Eastman
12:35 PM Trent Brunngraber
12:40 PM Codie Higer
12:45 PM Lydia Jane Graeff
12:50 PM Maggie Dunleavy
12:55 PM Kathryn Kilger
1:00 PM Patricia de la Garza
1:05 PM Eloise O’Keeffe
1:10 PM Ashley Dixon
1:15 PM Alessandra Esparza
1:20 PM Break
1:25 PM Break
1:30 PM Josh Telepman
1:35 PM Dana Stern
1:40 PM Rachel Brunner
1:45 PM Rachel Gallagher
1:50 PM Krysten Schmelzer
1:55 PM Camille Serlin
2:00 PM Sabrina Comellas
2:05 PM Mary Allendorph
2:10 PM Alex Richardson
2:15 PM Monica Rosenblatt
2:30 PM Emily Elmore
2:35 PM Andrea Sweeney
2:40 PM Devereaux Merchant
2:45 PM Krystyana Greaves
2:50 PM Nicole Ledoux
2:55 PM Kelly Downes
3:00 PM Jonah Ongman
3:05 PM Break
3:10 PM Break
3:15 PM Maria Fernandez
3:20 PM Mary Krantz
3:25 PM Olivia Rubbo
3:30 PM Cat Yamashita
3:35 PM Renée Gros
3:40 PM Meghan Cotoni
3:45 PM Saia Meyerhoff
3:50 PM Meg Ciabotti
3:55 PM Kat Klein
4:00 PM Amanda Rose Wallace
4:05 PM Sawyer Fuller
4:10 PM Brigitte Bakalar
4:15 PM Jenni Chapman
4:20 PM Break
4:25 PM Break
4:30 PM Mary Frances Noser
4:35 PM Rachel Snavely
4:40 PM Angelina Raquel Morales
4:45 PM Zach Holden
4:50 PM Bonnie Atterstrom
4:55 PM Sydney Torres
5:00 PM Beth Gilchrist
5:05 PM Ansley Hamilton
5:10 PM Pablo Feldman
5:15 PM Lily Richards
5:20 PM Lindsey Young
5:25 PM Sydney Stachyra
5:30 PM Hannah Lustine
5:35 PM Patty McInerney
5:40 PM Krystyna Resavy
5:45 PM Samantha Hval
5:50 PM Jennifer Austin
5:55 PM Jordan Gross