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By David Adjmi
Directed by Annie G. Levy

This revolutionary take on the life and downfall of the Queen of France, Marie Antoinette, displays the vapid and ill-fitting earlier days of her monarchy and its deterioration as the revolution brews in her country all while providing the richest insight to one of history’s most potentially misconstrued events.

NOVEMBER 18–21, 2021
Greene Theater
All performances open to the public

A note on COVID Safety: Please know that as an audience member for any of our performances, you will be required to wear a mask and provide your vaccination status. Additional safety requirements may be added at any time at the discretion of Emerson College, the City of Boston, and the Commonwealth of Massachusetts. Any prospective ticket buyer with concerns about health safety protocols is encouraged to call our Box Office at 617-824-8400.

CONTENT ADVISORY: This play includes harsh language, cursing and simulated hair cutting using a straight razor; references to disordered eating, explicit sexual references, and extreme violence, including depictions of violence towards a child.

MARIE ANTOINETTE was commissioned by Yale Repertory Theatre James Bundy, Artistic Director, Victoria Nolan, Managing Director and received its first public performance on September 1, 2012. MARIE ANTOINETTE had its New York Premiere at Soho Rep. Sarah Benson, Artistic Director Cynthia Flowers, Executive Director 

Marie Antoinette is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc.



Production Photos by Craig Bailey/Perspective Photo. View full album.
On this page you'll find detailed programmatic information
as well as notes from directors, designers, and the cast
about how our production of MARIE ANTOINETTE
took shape over the past few months.
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A note from
Annie G. Levy, Director

It is difficult to remain neutral when it comes to the historical figure of Marie Antoinette. And opinions of her are certainly a mixed bag: Some feel sympathy, some feel she got what she deserved, some feel jealousy, some jump straight to condemning any contemporary Marie figure, some might feel a strong allegiance to the political force that disposed of her, some might simply attempt to dress up like her every Halloween.

Wherever your own life, politics, spending habits, and/or fashion sense leaves you in relationship to Marie, you are invited here, in witnessing this play, to potentially identify with Marie and, at minimum, take the opportunity to really consider her.

It is relatively common knowledge that Marie never said “oh, let them eat cake,” in response to the news of her starving subjects. But Marie, like most of us, cannot win the war against perception, and thus she remains a symbol of wretched excess even as her actual story remains significantly more complicated. To be clear, this note is not a defense of Marie, the same way Marie Antoinette is not a defense of Marie Antoinette. 

Instead, the play subtly asks us to consider the societal role of the scapegoat. Traditionally and mythically, a goat, designated to be the scapegoat, receives the sins of the community and is then banished, thereby absolving the community of their wrongs. Marie was both a creature created for her world and the perfect target for everything that was wrong with her world. She was a symbol of excess, she was a foreigner, and if the first two weren’t damning enough on their own, she was also a woman with some perceived semblance of and close proximity to power. She was (and is) an ideal scapegoat.


The use of a scapegoat should make us uncomfortable and the story of Marie Antoinette should make us uncomfortable. Any concentration of power should make us uncomfortable and mob mentality and state-mandated murder should make us uncomfortable. Turning a human being into a symbol for the purposes of destroying them should always make us uncomfortable. 


But, Marie does get the last laugh and the final word here. In telling this story at all, we perhaps give her the greatest gift possible: Remembrance, Prolonged Fame, and the ability to remain Legendary.


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.

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A note from
the Dramaturgs


MARIE But I can’t dispense with the past, with history.
SHEEP That’s why you’ve become its victim. And your own life was lost to you.
MARIE I wish I could sleep.
SHEEP Wake up.
~ David Adjimi, Marie Antoinette


History often muddles the truth of events, but one of the few things we can say based on various accounts is this: Marie Antoinette was known to be a good mother. This much was true, though so too was how her and Louis XVI’s regime squandered national resources and failed to work with revolutionaries. Yet the criticisms Marie faced in her age were so often rooted in sensationalism; certain events left a legendary stain on French consciousness that outlived their contemporaries. 


Dramaturgs' Interview With The Cast
Most of the dramaturgy work that we did with the cast was specifically about the historical events of the French Revolution, so we were curious to ask the cast how they saw the play in relation to their own 21st century lives. We asked members of the cast:


What have you drawn on from your own life in the 21st century to recreate these characters and events from the 18th century?

LEE FORREST, BFA '22, Theatre

Emerson Stage credit: Interior of the Artist Without Her Sister (Company Manager). Emerson College directing credits: Arizona Rain (Directing 2), Or What You Won't (Theyta), Of Wives and War: Three Shaw One Acts (EmShakes). Lee is also the Executive Director of EmShakes and Treasurer of Theyta. Lee is so grateful to their friends and family for their never-ending love and support!!

PRESLEE KROUT, BFA '22, Theatre and Performance

Emerson Stage credit: Interior of The Artist Without Her Sister (Assistant Director). Emerson College credits: Emerson Independent Video (Director); EmShakes’ Humble Boy (Producer), The Fog Around Us (Producer), Six Characters In Search of an Author (Stepdaughter); Mercutio Troupe’s Stalling (Camille); and Kidding Around’s She Kills Monsters (Vera). Much love to Lee, Carter, and Allison for their generosity through the entire process and Annie for leading this grand and melodramatic flock.

ALLISON TAAFFE, MFA '23, Applied Theatre

Allison Taaffe is a current graduate student pursuing her MFA in applied theater. She earned her BFA in Drama at NYU’s Tisch School of the Arts where she studied at the Playwrights Horizons Theater School and the Classical Studio. Formerly based in New York City, Allison has a passion for developing and devising new work, particularly by and about women. She has also worked as a teaching artist with Spotlight, a performing arts company in Peru that offers English language immersion through theater.

CARTER WHITE, BFA '22, Stage & Production Management

Emerson Stage Credits: The Late Wedding (Stage Manager), Going to California (Stage Manager), Marisol (Production Supervisor), The Resistible Rise of Arturo Ui (1st Asst. Stage Manager), Amanuensis, or the Miltons (1st Asst. Stage Manager), 10 Out of 12 (Assoc. Production Supervisor). Emerson College Credits: Girl in the Machine (Asst. Stage Manager). Semi-frequent producer and on-air host with WECB. Thank you to Annie, my fellow ADs, the fabulous SM team, and my loving family, friends, and partner. Kallisti.

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Meet the
Scenic Designer

ALEX MOLLO, BFA '23, Theatre Design/Technology

Emerson Stage Credits: Good Breeding (Scenic Artist), Amanuensis, or the Miltons (Assistant Scenic Designer), Corduroy (Second Assistant Scenic Designer), Everybody (Paint Charge), and Interior of the Artist Without Her Sister (Assistant Scenic Designer). Emerson College credits: Musical Theatre Against the Grain's The Fog Around Us (Scenic Designer, Paint Charge), and Musical Match Game (Scenic Designer, Paint Charge); The 40th Annual EVVY Awards (Paint Charge). A huge thank you my family, chosen and not, for always uplifting me and my designs. Thank you to my family in this production for making my first Emerson Stage design a fantastic experience.

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Meet the
Projections Designer


Broadway: Be More Chill (Drama Desk, Lortel, Outer Critics Circle nominated); Irena's Vow. Off-Broadway: Buyer & Cellar (North American Tour; Menier Chocolate Factory; Barrow Street; Rattlestick); Fireflies (Atlantic; Lortel nominated); I Was Most Alive With You (Playwrights Horizons); The Liquid Plain (Signature; Oregon Shakespeare Festival); GOODBAR (The Public Theater’s Under the Radar Festival). Regional: Indecent (Guthrie); The Who's Tommy (Denver Center); Approval Junkie, Tiger Style (Alliance; Huntington Theatre Company); Stax, Marley (Baltimore Center Stage); Invisible Man (Court Theatre, Chicago; Studio Theatre, Washington DC; Huntington); ReEntry (Baltimore Center Stage, Actors Theatre of Louisville, Roundhouse Theatre). Concert: The Magnetic Fields 50 Song Memoir.

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Sound Design & Original Music


Nathan Leigh has designed and scored over 300 plays at theatres including New York Theatre Workshop (Nat Turner In Jerusalem), Red Bull Theatre (The Duchess of Malfi), Huntington Theatre (Skeleton Crew), Berkshire Theatre Group (Godspell), Stoneham Theatre (IRNE Best Sound Design 2009 Strangers On A Train), and Central Square Theatre (IRNE Best Sound Design 2010 The Hound of the Baskervilles). With Kyle Jarrow, Nathan co-created the musicals Big Money (WTF Boris Segall Fellowship 2008) and The Consequences (WHAT 2012). With the Liars and Believers ensemble, Nathan Leigh composed scores for Song of Songs, Icarus, and A Story Beyond.

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Meet the
Props Lead

JULIA WONKKA, BFA '23, Theatre Design/Technology

Emerson Stage credits: This Girl Laughs, This Girl Cries, This Girl Does Nothing (Scenic Artist), Interior of the Artist Without Her Sister (Props Lead), Marisol (Assistant Scenic Designer), The Resistible Rise of Arturo Ui (Assistant Scenic Designer), The Last Days of Judas Iscariot (Assistant Props Lead). Emerson College credits: EVVY40 (Props Lead), Emerson Independent Video’s Man in the Box (Props Lead); and Mercutio Troupe’s The Painted Handgun (Scenic Designer).

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Meet the 
Costume Designer

EMILY GELDERMANN, BFA '22, Theatre Design/Technology

Emerson Stage credits: Marisol (Scenic Designer) and Amanuensis (Co-Costume Designer) Emerson College credits: The 40th EVVY Awards (Co-Scenic Designer); The 39th EVVY Awards (Stylist); Emerson Shakespeare Society’s Helen (Costume Designer); Musical Theatre Society’ Children of Eden (Costume Designer); and Kidding Around’s Mermaid Tales (Costume Designer). Thank you to mom and dad for always encouraging me to do what I love!

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Meet the
Lighting Designer

MIKAYLA BROWN, BFA '22, Theatre Design/Technology

Emerson Stage credit: Marisol (Assistant Lighting Designer). Regional credits: 4.48 Psychosis (Co-Director and Projection Artist), The Who's Tommy (Assistant Media Designer), Taming of the Shrew (Assistant Lighting Designer and Lead Electrician), Pericles (Assistant Lighting Designer and Lead Electrician), Voices: Past & Present (Media Designer), Beauty & The Beast (Assistant Projection Designer), Love & Information (Assistant Projection Designer).

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Meet the
Fight Choreographer


Broadway: Shōgun. Off Broadway: Bill W. and Dr. Bob. New York: Pan Asian Repertory Theatre, Mettawee River Theatre Company, and Lincoln Center Institute. Boston: The Huntington, SITI Company/ArtsEmerson, American Repertory Theater, Actors’ Shakespeare Project, New Repertory Theatre, Boston Ballet, Boston Lyric Opera, and SpeakEasy Stage Company. Regional: Shakespeare & Company, Shakespeare Theatre (DC), The Kennedy Center, Syracuse Stage, Birmingham Theatre, and Berkshire Theatre Festival. Film: Hook and Army of Darkness. Television: “Brush Up Your Shakespeare.” Education: MFA, acting, Brandeis University. Other: faculty at Emerson College, Shakespeare & Company.

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Meet the 
Stage Manager

KIRSTEN DAVIS, BFA '22, Stage & Production Management

Emerson Stage credits: This Golden Day (Stage Manager), Marisol (1st Assistant Stage Manager), Good Breeding (2nd Assistant Stage Manager), Working (Production Assistant), Corduroy (Production Supervisor). Other credit: Cloud Theatrics' Antigone (Stage Manager). Thank you to my SM team, my parents, my partner Niamh, and Deb for all your support.

Meet the

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LAUREN DODDS (The Dauphin & Understudy, A Sheep), BFA '23, Musical Theatre. Emerson Stage credits: Next To Normal (u/s Natalie), This Golden Day (u/s Maura). Emerson College credits: Kidding Around’s 13 the Musical (Patrice), She Kills Monsters (asst. Dramaturg) and All Grown Up Cabaret; Musical Theatre Society’s EFA Miscast Cabaret; Mercutio Troupe’s The Trial of Errors (Carmen); and Musical Theatre Against the Grain’s Inaugural Cabaret. Regional credits: Theatre Under the Stars’ The Music Man (Ensemble), Elf (Elf), Cathy Rigby is Peter Pan (Lost Boy) and Annie (Orphan u/s Molly, Kate, Tessie); Houston Shakespeare Festival’s Hamlet (Player) and Comedy of Errors (Policeman). Audience of one.

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CEDRICK EKRA (Axel Fersen/The Executioner), BFA '22, Musical Theatre. Emerson Stage credits: Spring Awakening (Melchior), Stupid F###ing Bird (Trigorin), This Golden Day (Wesley), and Next to Normal (Dan). Emerson College credits: Musical Theatre Society's Children of Eden (Father), Next to Normal (Doctor Madden/Fine). Regional credits: Playhouse on Park's Scottsboro Boys (Clarence), Jean's Playhouse's Evita (Magaldi). Cedrick would like to thank the cast, crew, and production team for an amazing back to in-person musical experience! Bisou mama

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AURORA HANNISIAN (A Sheep & Understudy, The Dauphin), BFA '22, Theatre Education and Performance. Emerson Stage credits: The Resistible Rise of Arturo Ui (Dogsborough/Defense Attorney). Emerson College credits: Kidding Around's She Kills Monsters (Farrah, Evil Tina, Narrator), Home: A Playmaking Piece (Ensemble), and The Mermaid's Tale (Grandmother); and Emerson Shakespeare Society's Of Wives and War (Napoleon). Much love to this special cast and production team for bringing this story to life! Thank you endlessly to my parents and friends for all their love and support! *Baaaa*

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THOMAS LAGRANGE (LOUIS XVI), BFA '23, Theatre and Performance. Emerson Stage credits: The Resistible Rise of Arturo Ui (Fish/O'Casey). Emerson College Credits: Emerson Independent Video's A Student Film and Floor 13; and BFA Film To Kill a Vampire. He is grateful to his family and friends for their endless support throughout this process and especially to his mentors for their unending wisdom.

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GIAVANNA MARIANO (Marie Antoinette), BFA '22, Theatre and Performance. Emerson Stage credit: This Golden Day (Soloist). Emerson College credits: Full Fathom Production's Seascape with Sharks and Dancer (Tracy); Musical Theatre Society's Little Women (Aunt March, Mr. Lawrence, Mrs. Kirk). Other credits: Emerson Independent Video's Ruth(less) (Ruth Johnson); and the BFA Film Highway Robbery (Sarah).  So, so much love to this incredible cast, to Annie, to Mom/Steve/Anth/Nick, and to 803 + co. You all have fragments of my heart. Insta: @gggggia_

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MAEVE MUNROE (Therese de Lamballe), BFA '22, Acting. Emerson Stage debut! Select Emerson College credits: Senior BA Film Next Thing (Joanie); NewFest Short Work’s Pity Pity (Ella); Mercutio Troupe’s Trial of Errors (Tegan); and Full Fathom’s Almost Maine (Sandrine, Marvalyn, Gayle, and Hope). Thanks to my incredible family and friends for all the support and love!

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JOSHUA O'BRIEN (Joseph/Mr. Sauce), BFA '23, Theatre. Emerson Stage credits: Interior of the Artist Without Her Sister (Clive), Spring Awakening (Dramaturg), and Squeaky Fromme Love Song (Assistant Production Supervisor). Emerson College credits: Musical Theatre Society’s La Cage aux Folles (Director), Fun Home (Lighting Designer); and Kidding Around’s Curious Incident of a Dog in the Nighttime (Lighting Designer). Huge thank you to Cody!

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JULIA WEINSTOCK (Yolande de Polignac/Mrs. Sauce), BFA '24, Theatre and Performance. Emerson Stage debut! Emerson College credits: Musical Theatre Society's Fall 2020 EFA Cabaret (Cast); August Mayhem Media's DREAM (Lily); Emerson Independent Video and Kevin Desnoyers' Coda (Ash). High School theatre credits: The Addams Family Musical (Wednesday), Les Misérables (Eponine), Into The Woods (Cinderella), The Sound of Music (Liesl), and High School Musical (Sharpay). Thanks to the cast for showing me the ropes in my first Emerson Stage production, and to my suitemates for always picking up my dinner after rehearsal!

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ETHAN WILLIAMS (Revolutionary 1, 2, and 3), BFA '22, Acting. Emerson Stage credits: This Golden Day (Understudy), The Resistible Rise of Arturo Ui (Ragg/Dullfeet), Good Breeding (Achilles), and Stupid F###ing Bird (Dev). Emerson College credits: Mercutio Troupe's When Her Art Is No Longer Her Own (B); Musical Theatre Society's American Idiot (Will), and Heathers: The Musical (Ram's Dad). Regional Credits: Apollinaire Theatre's Romeo and Juliet (Mercutio), Unified Theatre Company's Red (Ken), and Richmond Triangle Players' Corpus Christi (Thaddeus). He would like to thank everybody who had a hand in this production.

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SPENCER DANIEL (Understudy, Joseph/Mr. Sauce/Axel), BFA '24, Theatre and Performance. Emerson Stage credit: This Girl Laughs, This Girl Cries, This Girl Does Nothing (Man/2/Peter). Emerson College credits: Emerson Shakespeare Company's [Enter Messenger] (Chorus) and Interior with Peder and Marie (Peder), Full Fathom Productions' Life, Death, Bowling (Daryl). Thanks to mom and dads for their constant love and support!

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ALDEN GAGNON (Understudy, Polignac/Mrs. Sauce/Therese de Lamballe/The Royalist), BFA '22, Theatre and Performance. Emerson Stage debut! Emerson College credits: Musical Theatre Society's First Lady Suite (Lorena “Hick” Hickock). Regional/Off Broadway credits: Cherry Lane Theatre's Anxiety Stew (Vomma—originated); Hudson Guild Summerfest's Faith in Shackles (Joan of Arc); Theatre for The New City's Time it Is: To Music (Dance Ensemble); Barnstormers Theatre's Spamalot (Dance Ensemble); and The Umbrella Stage Co.'s 42nd Street (Tap Ensemble/Winnie) Thank you to my dearest family for your belief in me through my “nontraditional” college journey. @aldengagnon

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HOPE MATTHEWS (Understudy, Marie Antoinette), BFA '22, Acting. Emerson Stage credits: Men on Boats (William Dunn). Other Credits: Measuring Matthew (Jennifer), and Traces of Memory (Phoebe). Select Film Credits: Into the Light (Beth), Emerson Independent Video's Floor 13 (Woman), and BFA Film After (Raygan). Hope would like to thank her friends and family for always supporting her. Thanks also to the cast and crew for allowing her to be a part of such an incredible experience!

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ANTONIO MELE (Understudy, Revolutionary 1, 2, and 3), BFA '23, Theatre and Performance. Emerson Stage debut! Other credits: Weston Drama Workshop's Big Fish (Edward Bloom), Legally Blonde (Professor Callahan), Cabaret (Herr Schultz); and Framingham High School's Mamma Mia (Bill Austin). Thank you to my family and friends for their endless support!

Meet the 
Artistic and Production Staff

Assistant Director LEE FORREST

Assistant Director PRESLEE KROUT

Assistant Director ALLISON TAAFFE

Assistant Director CARTER WHITE

Assistant Scenic Designer SARAH MILLER

Scenic Artist BELLA PAGAN

Paint Charge MARIA LAIRD

Assistant Props Lead HARVEY JOHNSON

Projections Animator THEO CAMARA
Assistant Costume Designer MUNROE SHEARER
Wardrobe Supervisor DOM LETTERII
Associate Lighting Designer CALLIE MOOS
Assistant Lighting Designer OAK WALKER
Production Electrician PIPER PHILLIPS
Lead Electrician AMANDA RYAN

Assistant Sound Designer SUSAN EYRING
Production Sound Engineer JULIE BEAULIEU

Assistant Projection Designer JOE MORALES

Projections Engineer TAYLOR NESS

Assistant Projections Engineer JUANMA SUAREZ

Assistant Technical Director MERCY SUAREZ

Assistant Stage Manager ALEX TAWID DI MAGGIO
2nd Assistant Stage Manager AMIRA ALLAWI
Production Assistant DEVON CLARK

Production Supervisor MOLLY BERCUTT
Associate Production Supervisor CASPER APODACA

Assistant Production Supervisor HANNAH FREEMAN
Associate Company Manager CHANDLER DAVID

Assistant Company Manager MICHAEL MENOR

Run Crew


Meet the

Emerson Stage Staff


Artistic Director—Annie G. Levy
General Manager—David Colfer
Production Manager—Timothey Sullivan

Technical Director—Kristin Knutson

Props Director—Ryan Bates

Costume Shop Supervisor—Richelle Devereaux-Murray

Resident Sound Designer—Elizabeth Cahill

Head Carpenter—Connor Thompson

Scenic Carpenter—John Gill

Scenic Painter—Joe Keener

Sound Technician—Steven Deptula

Assistant General Manager—Alix Bigley

Assistant Costume Shop Supervisor—Brian Choinski

Draper/Cutter—Laurie Bramhall

Assistant Properties Manager—Lauren Corcuera


Stage and Production Management—Debra A. Acquavella
Scenic Design—Debra Booth

Scenic Painting—Joe Keener

Costume Design—Chelsea Kerl

Lighting Design—Scott Pinkney

Sound Design—Elizabeth Cahill

Fight/Intimacy—Ted Hewlett

Dramaturgy—Robert Duffley


Emerson Stage Office Assistants— Casper Apodaca, Shannon Horsey, Alex Tawid Di Maggio, Jake Tolentino
Production Management Assistants—Carleigh Allen and Anthony Feola

Videographers—Benjamin Bernard and Jacqueline Thom

Scene Shop Staff— Jonah Barricklo, Sean Dougherty, Marco Giacona, Emerson Hart, Sam Kisthardt, Baz Kouba, Dylan Norris, Mercedes Suarez

Prop Shop Staff—Delene Beauchamp, Amaya Gonzalez-Mollmann, Oliver Hawke, Mariel Richardson, Ava Scanlon, Mercy Suarez

Paint Shop Assistants—Matthew Baynes and Leah Heath

Scenic Artists/Painters—Emily Curtis, Sofia Goldfarb, Serino Nakayama,
Kimberly Ndegwa, Fernando Rueda, Garrett Traer, Sophie Hartstein, Yue Hua

Prop Shop Assistant—Delene Beauchamp, Evy Burch, Briana Figarella, Oliver Hawke, Mariel Richardson, Ava Scanlon, Mercedes Suarez

Stitchers—Tayla Dixon, David Estabrooks, Grace Fitzgerald, Emily Geldermann,

Caitlin Johnson, Lorence Jones-Perpich, Dominic Letterii, Justina MacNeil, Molly Shaughnessy, Munroe Shearer, Trixie Ward

Crafter/Dyer—Madeline Yazel

Laundry Assistants—Aleah Bloom and Angelina Parillo

Stock Attendants—Megan Decker, Jessica Immel, Lucile Lyon

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