EVERYBODY

By Branden Jacobs-Jenkins

Directed by Annie G. Levy

In celebrated playwright Branden Jacobs-Jenkins' "very meta and saucy adaptation" (TONY) of Everyman, the 15th Century morality play, an unprepared Everybody must make sense of life's greatest mystery, the very meaning of living, before their time runs out.

CAMEO OPPORTUNITY FOR AUDIENCE MEMBERS: 

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All performances of Everybody will include moments where audience members turn on their camera (but not their microphones).

Within 24 hours after purchasing a ticket you will receive an e-mail from the Box Office so that you can express your interest in this opportunity by filling out a participation form. Spaces are limited so if you are interested, please purchase a ticket to learn more. 

MARCH 11–14, 2021

This production contains short instances of intense and strobe lighting

Everybody is presented by special arrangement with Dramatists Play Service Inc., New York.

On this page you'll find detailed programmatic information

as well as notes from directors, designers, and the cast

about how our production of EVERYBODY

took shape over the past few months.

A message from the

Director

Welcome to Everybody, a production that has the particular honor of running during the anniversary of the moment when we at Emerson glitched and shifted to a new reality. 

This was the moment where, for many of us, Time lost all meaning. Time isn’t the only thing that got lost this past year, but it is a loss that we all acutely experienced.

When something is imminent, we know it could happen at any moment. An unimaginable shock could tap us on the shoulder and then it’s ours to bear.  There is a system that is often utilized to map out what happens after a shock. Known as the Kübler-Ross model of the five-stage of grief, it outlines a personal journey from Denial, to Anger, to Bargaining, to intense Sadness, to Acceptance, and back again.  And right now, we might find ourselves at any stage of this journey because, at this moment, we are all in the process of grieving. 

The most fortunate of us are only grieving a loss of time.

Grief? Time loss? Yes, this all very heavy, but be assured, the play you are about to watch is often very funny, with all the cheekiness possible in order to tackle such a difficult yet universal topic. Every story must have a glimmer of hope somewhere and while making Everybody, we allowed ourselves the space to find that hope and even some joy in the telling of such a heavy story at such a heavy moment through the magic of group dance breaks. 

One particular song, a hit from circa 1991, became, at least for me, the instructive anecdote for the most difficult days. Perhaps it can be a directive for us all right now, on this anniversary: In light of everything that may be imminent, join us for a moment of joy, and Everybody, Dance Now! 

Better dance now, because we don’t know what is imminent...

Not to give anything away, but there is a moment in our play where Time comes back. We didn’t realize that we had been waiting for this, but their arrival is a relief. 

Enjoy the show.

ABOUT ANNIE G. LEVY

Annie G. Levy is a theatre-maker and director whose work often revolves around mythology, historical turning points, and scientific breakthroughs. Her pieces include The CCC Project's Space Rock | Door Stop, the story of the Hodges Meteorite and Tree Army; The Lativia Project's Daughter of the Sun and The Persephone Project's SIX SEEDS. Levy is a founding member of the World Wide Lab (WWL), an international director’s collective and theatre laboratory. With WWL, she has created work for the Irondale Center in Brooklyn, Teatro Due in Rome, Syros Institute on the Greek Island of Syros, Art Zone 453 in Taipei, Taiwan, and for the Superior Theatre Festival in Thunder Bay, Canada. She has also created and directed new work with theatre incubator warner | shaw, the Northwood Theatre Company, and various other theatres in her home town of NYC, including City Center, Dixon Place, HERE, The New Ohio Theatre, Theatre at the Tank, Fringenyc, and Access Theatre. Levy is the recipient of a FAIR assistantship at the Oregon Shakespeare Festival, a residency at Robert Wilson’s Watermill Center,  Paul Artist Residency at Indiana University, Bloomington, and a Lower Manhattan Cultural Council’s Uptown/Downtown Artist. She is a member of the Lincoln Center Theatre Directors Lab and an associate member of SDC. She serves as the artistic director of Emerson Stage at Emerson College.

Meet the 

Movement Director

CASS TUNICK

Cass Tunick is a performing artist, writer, and teacher whose embodied artworks provoke an interdependency between physicality, language, imagination, and immediacy. Rooted in Action Theater improvisation, her physical theater practice draws on a composite of Eastern philosophies, somatics, and compassionate action as a way to address healing in society. Action Theater, a comprehensive theater training and practice, draws content/meaning (in the forms of movement, vocalization, and speech) directly from the body into an embodied present, making it an ideal study for actors. She received an M.F.A. in Writing & Poetics from Naropa University and for thirty years has worked closely with theater innovator Ruth Zaporah. Her one-woman show Citizen of Trees, and co-created dance/theater project Totally Other, examine ecology, connective transformation, and the fluidity of identity. She is a founder of Second Nature Company; other theatrical collaborators include InkBoat (Butoh dance), and Reflex Ensemble (experimental music). Solo and collaborative performances have been presented at numerous venues in New York and internationally. She is co-curator of Moment’s Notice through Boston Conservatory, a multidisciplinary improvisation salon. She has served as a visiting faculty member at Boston University and MassArt, and has worked at Emerson for the past five years teaching Movement and Action Theater. She has an ongoing fascination with the nature of being, where the daily body becomes a vehicle for the mind and imagination to express itself visibly.

A message from the

Dramaturg

DRAMATURG'S NOTE

What do a critic at the 1496 Antwerp Landjuweel theatre festival, a 15th century English Catholic churchgoer, and an audience member of Emerson Stage’s 2021 production of Everybody have in common? We’re all seeing a version of the same story.

THE NEED FOR A NEW DEATH

a blog post

What does Death look like, in your mind’s eye? If you grew up in the U.S. or Europe, you’re probably conjuring an image of the Grim Reaper. Tall guy, skull face, black cloak, carrying a scythe—sound familiar? You may also know that our popular conception of Death as a hooded, human-like form emerged during the 14th century, when the original outbreak of the bubonic plague occurred in Europe. The imagery of the Grim Reaper is grounded in that period and place. The black robes mimic the appearance of religious officials during funerary proceedings of the era, and the scythe was a common agricultural tool used to ‘reap’ or harvest crops, hence the association between it and the harvesting of souls from the earth.

ABOUT ELENA FRECK, BFA '22, Theatre

Emerson Stage debut! Emerson College theatre credits: Kidding Around's Home: A Playmaking Piece (Dramaturg); RareWorks' Babel (Executive Producer); Musical Theatre Society's Fun Home (Prop Designer); Full Fathom's Almost, Maine (Glory/Villian/Rhonda). Thank you to my parents, Ivan, Wow, Izzy, Ang, and the rest of Skating Snacks for their endless support, and to Robert Duffley and Annie Levy for their guidance and wisdom.

Meet the

Scenic Designer

ABOUT VALERIE STEBBINS, BFA '21, Theatre Design/Technology

ABOUT VALERIE STEBBINS, BFA '21, Theatre Design/Technology

Emerson Stage credits: Flora The Red Menace (Scenic Designer), The Last Days Of Judas Iscariot (Associate Scenic Designer), and What Remains Hidden (Is Still Known) (Assistant Scenic Designer). Other credits: Harvest Moon (Production Designer); Tastebreakers: An Underground Sound (Production Designer), The 38th Annual EVVY Awards (Co-Scenic Designer), Girl In The Machine (Scenic Designer).Thank you to my family and wonderful team!

Emerson Stage credits: Flora The Red Menace (Scenic Designer), The Last Days Of Judas Iscariot (Associate Scenic Designer), and What Remains Hidden (Is Still Known) (Assistant Scenic Designer). Other credits: Harvest Moon (Production Designer); Tastebreakers: An Underground Sound (Production Designer), The 38th Annual EVVY Awards (Co-Scenic Designer), Girl In The Machine (Scenic Designer).Thank you to my family and wonderful team!

Meet the

Costume Designers

SIENA TONE, BFA '23, Theatre Design/Technology

Emerson Stage credits: Good Breeding (Stage Crew) and The Resistible Rise of Arturo Ui (Assistant Costume Designer). Other credits: NYU Tisch Thesis Films’ Ghost Dance (Production Designer). A huge thanks to Hannah Brown, Tyler Kinney and the costume shop team for all your support and collaboration. I have learned so much from all of you. 

HANNAH BROWN, BFA '21, Theatre Design/Technology

Emerson Stage credits: 10 Out Of 12 (Costume Designer), Mad Moon (Co-Costume Designer), Squeaky Fromme Love Song (Wardrobe Supervisor), Flora and Ulysses (Assistant Costume Designer), and Antigone Project (Assistant Wardrobe Supervisor). Other Emerson credits include, The 37th annual EVVY awards (Stitcher/ Wardrobe), Kidding Around’s You’re a Good Man Charlie Brown (Associate Costume Designer) and I Never Saw Another Butterfly (Assistant Costume Designer). A massive thanks to Siena for being a wonderful co-designer and for being so supportive throughout this whole process. Thanks to the entire production team for being such amazing collaborators.

Meet the

Lighting Designers

SCOTT PINKNEY

Broadway: Harvey Fierstein’s Tony Award winning Torch Song Trilogy. Off-Broadway: Vincent, Becoming Dr. Ruth, Majestic Kid, Divine Fire, Nymph Errant and The World is Made of Glass. Regional Theatres: The Guthrie, Denver Center, The Huntington, George Street, TheatreVirginia, Olney Theatre. Barrington Stage: (named Associate Artist, 2014), more than 35 productions including American Son, Best of Enemies, Whipping Man and Follies. International: ART and Kiss of the Spider Woman for Singapore Rep, and Concerts for Club Mohamed Ali in Cairo. Boston Israeli Stage's Ulysses on Bottles (IRNE Nomination); Commonwealth Shakespeare's Comedy of Errors (Norton Award);  NEC Opera's Don Giovanni; New Rep's Freud's Last Session, and many productions for Emerson Stage. He serves as a Professor of Lighting Design at Emerson. 

NOAH SILVERMAN, BFA '21, Theatre Design/Technology

Emerson Stage credits: The Last Days of Judas Iscariot (Sound Designer), Stupid F##king Bird (Production Sound Engineer), Corduroy (Production Sound Engineer), 10 Out of 12 (Assistant Sound Designer), Working (Assistant Production Sound Engineer), What Remain Hidden (Is Still Known) (Assistant Production Sound Engineer), Augusta & Noble (Assistant Master Electrician), and Lucky Stiff (Sound Board Operator). Emerson College credits: Mercutio Troupe's Ipseity (Sound Designer), Kidding Around's Mermaid Tales (Sound Designer), and Kidding Around’s She Kills Monsters (Assistant Designer). 

Meet the

Sound Designer

JULIE BEAULIEU, BFA '22, Theatre Design/Technology

Emerson Stage credits: Lucky Stiff (Assistant Sound Engineer), The Devil on Your Shoulder (Co-Sound Designer), Working (Assistant Production Sound Engineer), Augusta and Noble (Assistant Production Sound Engineer), Flora the Red Menace (Sound Designer), The Last Days of Judas Iscariot (Production Sound Engineer), The Resistible Rise of Arturo Ui (Production Sound Engineer).  Emerson College credits: Musical Theatre Society's Heathers: The Musical (Percussionist); Kidding Around's She Kills Monsters (Sound Designer). Other credits: EVVY38 (Assistant Audio Manager) and EVVY39 (Audio Manager). Technical Assistant for Emerson’s Office of the Arts Audio Department 

Meet the

Props Lead

RYAN BATES

Emerson Stage credits: Corduroy. Ryan is the Props Director for Emerson Stage and has worked as a props lead and scenic designer throughout New England, including productions at New Repertory Theatre, Bridge Repertory Theatre, The Umbrella, Gloucester Stage Company, InMotion Theatre, Middlebury College, Longwood Players, Off the Grid, Fresh Ink, and many more. Ryan teaches Stagecraft at Emerson and has served on the faculty at Boston University. MFA: Boston University.

Meet the

Stage Manager

CAITLIN HUDECHECK,

BFA '21, Stage and Production Management

Emerson Stage credits: Men on Boats (Stage Manager), What Remains Hidden (Is Still Known) (2nd Assistant Stage Manager), Stardust (2nd Assistant Stage Manager), Flora the Red Menace (Production Supervisor), Mad Moon (Assoc. Production Supervisor), and Love and Information (Assistant Production Supervisor) Emerson College theatre credits: Musical Theatre Society’s Spring Awakening (Assistant Stage Manager) and RareWorks Theatre Company’s What Every Girl Should Know (Lighting Designer). Other credits: The Huntington Theatre Company’s Sweat (Production Assistant).  Thank you to my family, Deb, Tim, Angela, Sivan, Maia, Anthony, and Lilian for the last 4 years of support, growth, and love.

Meet the

Cast

ZEIANA ANDRADE (Somebody), BFA '22, Theatre and Performance. Emerson Stage credits: Good Breeding (Athena) and Men on Boats (Understudy). Emerson film credits: Sanctuary Lost and Tuesday. Zeiana would like to thank everyone for keeping theatre alive during such unprecedented times.

EMMA SARAH DAVIS (Somebody), BFA ‘21, Acting. Emerson Stage credit: Measure for Measure (Isabella). Emerson College credits: Mercutio Troupe’s A Hanukkah Story (Writer/Director) and Stalling (Jolene); RareWork Theatre Company’s Phoenix  (Jesse/Blue); Kidding Around’s Women Who Weave (Atalanta); and Emerson Shakespeare Society’s Ophelia Perennial (Ophelia). Lots of love and many thanks to my parents for their constant support!; shout out to my 10:30 peaches and my divine nine; much love to the rest of my family for their support and warmth; and to Berfin, who is family.  

ALLISON EARL (Somebody), BFA '23, Theater Education and Performance. Emerson Stage debut! Emerson College credit: Theater Education Graduate Association’s What Moves Us (Ensemble). Thank you to my family for your never-ending support.

CAITLYN GORMAN (U/S Usher/God/Understanding, Death, Love and Little Girl/Time), BFA '23, Theatre Education and Performance. Emerson Stage debut!  Emerson College credits: MFA graduate scenes: Authorial Intent (A); Student Film Three Bloody Prongs (Ms.Metrom). Thank you to my parents, dear friends, and the incredibly lovely team of Everybody.

DOM LETTERII (U/S Somebodies), BFA '23, Design/Technology. Emerson Stage credits: Good Breeding (Assistant Wardrobe Supervisor) and Men on Boats (Assistant Costume Designer). Emerson College credit: Kidding Around’s 13! The Musical (Richie/ Dance Captain). Thanks to Claire and Kyle for the love.

SARAH MAGEN (Love), BFA '21, Theater and Performance. Emerson Stage credit: Good Breeding (Iphigenia). Emerson College credits: Full Fathom’s Blood Like Water (Arlene) and RareWorks Theatre Company’s Elephant Graveyard (Preacher). 

JAYSE MATRISHON (Somebody), BFA '21,  Theatre and Performance. Emerson Stage debut! Emerson College credits: Full Fathom's We Never Left (Spencer) and The Morning After (Maestro). Thank you to my friends and family for all the love and support.

AVA PETRECCA (Little Girl/Time), BFA '22 Acting. Emerson Stage debut! Emerson College Credits: RaízLatinoamericano’s Home: Unknown (Ensemble); Rareworks Theatre Company's The Clinic (Bree Northrup); Emerson Shakespeare Society’s  [Enter Messenger] (Ensemble). Thanks to my parents for always pushing me towards my dreams, and also to our production's cast and crew for making this experience so amazing!

SARA TAYLOR (Death), BFA ‘21, Acting. Emerson Stage credit: Flora and Ulysses (Flora). Emerson College credits: RareWorks Theatre Company’s Phoenix (Stage Manager), Chalk (Stage Manager), and Mercutio Troupe’s Horse Girls (Producer). Thank you to this lovely production team and cast for all their hard work and joy! Much love to my family and to those who keep me sane.

AMANDA VAZQUEZ (Somebody), BFA '22, Musical Theatre. Emerson Stage credits: 10 out of 12 (Siget) and This Golden Day (Ensemble). Other Emerson College credits: Musical Theatre Society’s  Heathers (Ms. Fleming) and Little Women (Amy March). Other credits: Wild Theatre Company’s Don’t Fear the Rain (Inti) and Alice in Wonderland (Alice); Area Stage Company’s A Chorus Line (Morales) and In the Heights (Carla); International Lyric Academy’s And the World Goes Round (Vocalist). Thanks to: her parents, family, friends, this one of a kind and incredible special cast and crew, God (or “God”), and her cats. 

KANDYCE WHITTINGHAM (Usher/God/Understanding). BFA '23, Theatre Education and Performance. Emerson Stage credit: Corduroy (Mother). Emerson College credits: Kidding Around's She Kills Monsters (Kaliope) and RareWorks Theatre Company’s The Clinic (Monette). All of the love in the world to my family and friends for your endless support.

ADVISORS

Stage and Production Management—Debra A. Acquavella
Scenic Design—Luciana Stecconi

Scenic Painting—Joe Keener

Costume Design—Hunter Kaczorowski

Lighting Design—Scott Pinkney

Sound Design—​Elizabeth Cahill

STUDENT STAFF

Emerson Stage Office Assistants—Carleigh Allen, Casper Apodaca, Shannon Horsey, Kaitlin Phelan, Alex Tawid, Jacob Tolentino
Production Management Assistants—Anthony Feola and Caitlin Hudecheck

Videographer—Benjamin Bernard and Jacqueline Thom

Scene Shop Assistants—Talia Colten and Samuel Kisthardt

Scene Shop Staff—Jonah Barricho, Sean Dougherty,

Marco Giacona, and Emerson Hart

Paint Shop Staff—Emily Curtis, Serino Nakayama, Garrett Traer,

Fernando Rueda, Kimberly Ndegwa, Leah Heath, Isabella Kochakian,

Lauren Velentzas, and Noelle DeConzo.

Prop Shop Assistant—Alex Koplos

Prop Technicians—Delene Beauchamp, Dan Bovair, Evy Burch,

Oliver Hawke, and Ryan Rock

Costume Shop Office Assistant—Sam Golub

Stitchers—Lorence Jones-Perpich, Tayla Dixon, Catriona Morris, Caitlin Johnson, Madeline Boschen, Molly Shaughnessy, Beatrice Ward, Dominic Letteri

Scene Shop Assistants—Matthew Baynes and Noelle DeConzo

Scenic Painters—Emily Curtis, Leah Heath, Garrett Traer, Serino Nakayama, Isabella Kochakian, and Kimberly Ndegwa