The Wolves

When I first read The Wolves in 2016 as a teenager, I deeply connected to the dialogue and felt that, for the first time, a playwright had authentically captured the complexities of teenage women. The characters in this play are valued for their intellect, physical abilities and personalities, rather than their appearance. The overlapping, informal dialogue captures genuine conversations that pivot from trivial to personal to political to existential without judgement. These women have all the traits, concerns and world views of typical teenagers, but they are taken seriously. Their voices matter, so it made me feel that mine did too.

Like most teenagers, these characters are realizing how large and problematic the world can be, and they are finding their place and power within it. Since 2016, we have experienced a pandemic, presidential election, multiple social justice movements and increased global warming. We, too, are discovering our position in the world, as well as the actions we can take to preserve our own health and help each other. As we navigate a polarized political climate and the hesitation of post-pandemic society, the “pack” is essential. We all need a community where we can fail, make mistakes, hold each other accountable and celebrate together. 

Over the past few years, countless university and regional stages have transformed into turf fields. The “women’s soccer play” resonates with everyone because it is about so much more than sports. The Wolves is a portrait of complex young women, but it is also a musical composition. It is an exchange of alphas, an exploration of mental health, and a bridge between childhood and adulthood. This story is about high schoolers, but it is a story about all of us. Gertrude Stein was right — we really are all the same age inside.

— Sage Tokach, Associate Director

Alexandra Borsellino (U/S #00, #7) is a second-year transfer student in the BFA Acting program. Past Theatre UCF credits include The Amphibians (Stage Directions, U/S Simone and Bryn), Dear Helena (Stage Directions, U/S Diana and Mia) and Scaramouch in Naxos (Bacchante Ensemble). Other UCF credits include Absolute Power (Diana) and Therapy (Director) with Project Spotlight and #CaseyandTommyGetHitched (Viv) with Moment2Moment Productions. @alexandraborsellino

Savhanna DeBaylo (U/S #11) is a first-year transfer student in the  BFA Acting program. This is her Theatre UCF debut. She has also been seen on stage at State College of Florida in And Then There Were None (Mrs. Ethel Rogers), as well as participating in table readings of Metamorphosis (Pomona and Various Narrators) and Angels In America (Hannah Pitt). Other credits include technical roles in The Harvests (Assistant Stage Manager) and Significant Other (Lighting Technician).

Giulia Falabella (#25) is a senior in the BFA Musical Theatre Program with minors in Dance and Italian. She has been seen on the Theatre UCF stage in Hot Mikado (Ensemble, Yum-Yum u/s), Titanic (Ensemble, DaMico u/s), Sweat (U/S Jessie - performed) and Songs of Inspiration. Other credits include Chicago (Roxie Hart) and Songs for a New World (Woman 2). Instagram: @giulia.falabella.

Isabella Fedele (#13) is a sophomore in the BFA Musical Theatre program. With Theatre UCF, Isabella has performed in Scarmouch in Naxos (Satyr) and The Crucible (Abigail Williams). Other theatre credits include Tuck Everlasting (Winnie Foster) and Curtains (Niki Harris). Instagram: isabella656

Payton Georgiana (#7) is a senior in the BFA Acting program. Her past Theatre UCF credits include Scaramouch In Naxos (Silenus), Still Life With Iris (Mozart), Titanic (swing) and Of Mice and Men (U/S Curley’s Wife). Instagram: Paytongeorgiana66

Erin Greening (U/S #14) is a sophomore Musical Theatre major at UCF. Erin was previously seen as a vocalist in Theatre UCF’s Songs of Inspiration. Some of her other past theatre credits include The Little Mermaid (Ursula), State Fair (Emily Arden) and Chicago (June).

Sabrina Henson-Matheny (U/S #46) is a freshman. This is her Theatre UCF debut. Her previous performances include Little Women (Beth) and A Midsummer Night’s Dream (Puck).

Athena Jean-Étienne (#14) is a senior in the BFA Musical Theatre Program. She has been seen on the Theatre UCF stage in Much Ado About Nothing (Beatrice), Blood at the Root (Raylynn), A Gentleman’s Guide to Love and Murder (Ensemble), Titanic (Ensemble, U/S Caroline Neville) and Hot Mikado (U/S Katisha). Some of her favorite theatre credits include Sweeney Todd (Mrs. Lovett), Clybourne Park (Francine/Lena) and The Hunchback of Notre Dame (Esmerelda).

Samantha Jenkins (U/S #2 and #8) is a first-year transfer student in the BFA Musical Theatre program. This is her Theatre UCF  debut. Theatre credits include Tick Tick Boom (Susan), Shrek the Musical (Gingy/Sugar Plum Fairy), Singing in the Rain (Kathy Seldon), Footloose (Wendy Jo), CATS (Bombularina), Picnic (Madge) and Cabaret (Frenchie).

Kimber King (Soccer Mom) is a second-year MFA Acting student. She has performed professionally on stage and screen for over 18 years. Theatre UCF credits include The Grumpiest Boy in the World (Scientist 1), Dear Helena (Tessa) and Indecent (Elder Vera). Kimber has directed over 20 productions and produced three of her original plays; two with her children, Sky and Damian, who she says inspire her daily to “live life large.” 

Jessica Lang (#11) is a  senior in the BFA Acting program with a minor in Dance. Her previous credits at UCF include Project Spotlight’s production of The Second Circle (Gabby) and various understudy and ensemble roles in The Rover. Over the summer, she participated in the reading of Dear Helena and As It’s Written as part of Pegasus Playlab. 

Tori Micaletti (U/S Soccer Mom) is a second-year MFA Acting graduate student. Theatre credits include Much Ado About Nothing (U/S Beatrice), Heathers (Heather MacNamara), Junie B in Jingle Bells Batman Smells (May), A Peter Rabbit Tale (Flopsy/Nutkin) and Kiss Me Kate (Ensemble, U/S Lois).

Gabriella Montuoro (#2) is a senior in the BFA Acting program. She was previously in Theatre UCF’s #GodHatesYou (Grace) and Scaramouch in Naxos (Colombine). Her past credits include Rumors (Chris), The Polar Express Train Ride (Steward 1) and Noises Off (Brooke/Vicki).

Clarissa Moon (#46) is a senior in the BFA Musical Theatre program. She appeared in Theatre UCF’s A Gentleman’s Guide to Love and Murder (Ensemble, U/S Phoebe) and Hot Mikado (Swing). Clarissa has performed at theaters including the Orlando REP and Orlando Shakes. Favorite productions include Emma (Harriet) and Superior Being (Elina). You can also find Clarissa performing in various roles at Universal Studios.

Juniper O’Hara (#8) is a third-year transfer in the BFA Acting program. She has been a part of Theatre UCF’s production of both Scaramouch In Naxos (Ione) and Blood At The Root (U/S Toria) Instagram: juniper.t.berry

Carolina Rosario (U/S #25) is a second-year transfer in the B.A. Theatre Studies program. This will be her debut on the Theatre UCF stage. Past credits include A Glitch of Fate (Sidney) for Theatre UCF’s Project Spotlight and The Haunted Road (Evil Gretel).

Maisy Surman (U/S #13) is a freshman in the BFA Musical Theatre program.This is her Theatre UCF debut. Previous theatre credits include Ordinary Days (Deb) and Be More Chill (Christine).

Emmitt Williams (#00) is a fourth-year transfer in the BFA Acting Program. His previous Theatre UCF credits include The Grumpiest Boy in the World (Mom, Grump), Much Ado About Nothing (Don John), The Rover (Masquerader, U/S Lucetta) and Sweat (U/S Tracey). His directing credits include Blood at the Root (Assistant Director), Dear Helena (Assistant Director), Sombra Del Sol (Assistant Director) and Birdbrains (Director). Instagram: EmmitttWilliams.

Gian Arellano (Dramaturg) is a junior in the B.A. Theatre Studies program. This is his first time working with Theatre UCF. Gian is involved with Project Spotlight as a playwright. He is also involved with The Improv Academy as treasurer and a teaching assistant.

Taylor Bray (Production Assistant) is a first-year transfer student in the BFA Stage Management program. Previous theater credits include Privilege (Main Ensemble) at Valencia College. They have also been involved with numerous productions and summer camps at Penguin Point Productions.

Erica Fox (Asst. Sound Designer) is a sophomore in the BFA Theatre Design and Technology program. She has been involved with Theatre UCF in Knights’ Ghostlight Podcast (Student Asst. Sound Designer) and Dear Helena (Sound Designer). She is also involved in Project Spotlight (Sound Designer & Mixer) and TYA 24-Hour Playfest (Sound Designer). Instagram: @efox_theatre

Michela Gerratana (Deck Crew) is a second-year transfer student in the B.A. Theatre Studies program as a Creative Writing major. She has participated in the Theatre UCF show The Grumpiest Boy in the World (Dramaturg). Her favorite productions include The Addam’s Family (Alice, ensemble) and A Bad Year for Tomatoes (Myra Marlow). She is involved with Project Spotlight and has a newfound passion for scriptwriting. Instagram: michela.gerratana

Madeline Gilbert (Deck Crew) is a senior transfer student in the B.A. Theatre Studies program. She is a voice and piano teacher at Orlando Fine Arts Academy. Theatre credits include Assassins (U/S Squeaky Fromme, Sarah Jane Moore), All Night Strut (Female Star) and Trail to Oregon (Son). Madelinegilbert.com

Megan Ianero (Stage Manager, she/her) is a third-year transfer student in the BFA Stage Management program graduating this December. This is her fourth production with Theatre UCF after working on Sweat, Much Ado About Nothing and Scaramouch in Naxos. Her other professional credits include Incognito (Assistant Stage Manager), Wakey, Wakey (Assistant Stage Manager), Stalking (Stage Manager) and Dike (Assistant Stage Manager) at Urbanite Theatre.

Abigail Laboy Gracia (Wardrobe) is a senior in the B.A. Theatre Studies program. Her Theatre UCF credits include Mojada (U/S Tita, U/S Medea). She also has worked with Project Spotlight on the production Absolute Power (Kimberly). @abigailgrazie

Alyne Montenegro (Deck Crew) is a student in the B. A. Theatre Studies program with a minor in Music. She is an international student from Brazil and is a singer and an actress. This is her first Theatre UCF production. She has a experience with the acting, musical and songwriting world, and graduated from a conservatory in Brazil called Wolf Maya - School of Actors. Her journey in this field here in the U.S. is only about to start. Instagram: alyne_montenegro

Parker Offield (Deck Crew) is a first-year transfer into theatre pending at UCF. This will be his first production at UCF. Previous theatre credits include show crew/build crew for Brighton Beach Memoirs and Rhinoceros (Build Crew).

Natalia Rojas (Wardrobe, she/her/hers) is junior majoring in film and minoring in theatre. She has been seen in the Colombian National Theatre's production of The Jewish Woman (The Woman) and Die for Love (Rosa). The Wolves will be her first Theatre UCF production.

Sage Tokach (Associate Director) is a third-year grad student in the Theatre for Young Audiences MFA program. Her past Theatre UCF credits include The Grumpiest Boy in the World (Director), Writes of Spring (playwright) and Playback @ UCF (Director). Sage also works in Orlando as a teaching artist at Orlando Repertory Theatre and the Florida State Parks. Previous directing credits include Jason and the Argonauts (Maples Repertory Theatre), Robin Hood (Missoula Children’s Theatre), Willy Wonka Jr. (Aurora Theatre) and Fefu and Her Friends (Oklahoma City University).

Kathleen Wilkinson (Assistant Stage Manager) is in her final year in the BFA Stage Management program. Her Theatre UCF credits include To Saints and Stars (Stage Manager), A Knight of Dance 2021 (Assistant Stage Manager) and Urinetown (Production Assistant). She has also worked with Project Spotlight on the virtual production of T19-EC (Stage Manager). Other stage management credits include Footloose, Camelot and [title of show].

Allison Young (Deck Crew) is a senior double majoring in entertainment management and theatre studies. Her previous credits include Project Spotlight’s Side Story, High Tea With Disharmony (Mr. Knibbs) and Uncle McMuffins Last Testament (Warlock). She has also worked with UCF’s TYA program in their 24-hour play festival and Medea workshops. 

Sarah DeLappe’s 2016 play The Wolves holds a magnifying glass over adolescent girls on a soccer team and their narrow scope of the world. Deriving inspiration from the comfortable lives of New Yorkers, versus the unfamiliar and complex matters outside of their world, DeLappe crafts a play of girls who exist in their own bubble of suburbia — where their youth and innocence simplify world affairs to mere topics learned in class — and poses the question of how this sheltered viewpoint will prepare them for life off the field.

DeLappe’s inspiration for The Wolves came from her visit to The New Museum in New York City, though it was not entirely the displays themselves that sparked her ideas. The New Museum’s “Here and Elsewhere” contemporary art exhibit on the Arab world showed DeLappe sociopolitical systems that were completely foreign to her and difficult to understand as an American. However, other museum visitors walking around the same display spoke of something much more frivolous in comparison: brunch. DeLappe was fascinated by how these well-dressed New Yorkers could speak of mundane topics and the beauties of the United States around such a complex art exhibit. To her, the conversations proved that these privileged Americans could live in a bubble closed off from the outside world. Immediately, on the way home, DeLappe began crafting a dialogue where some girls would have conversations about the Khmer Rouge (the 1970s Cambodian communist regime that led a genocide against its own citizens) while others would simultaneously discuss whether tampons or pads were more effective. This became the very first scene of her new play.

DeLappe constructed her play to enclose the main characters in their own bubble of soccer and simple living to create a conversation of how this might impact their future. DeLappe sets The Wolves in “an indoor soccer field somewhere in suburban America.” This pocket of turf — this corner of the universe set aside for these girls — sits divorced from the rest of the world, suspended in a state of selective realism in which the only things that physically materialize on stage are things that require the girls’ immediate attention. Left out of the girls’ world is the bird they do not care for, trapped inside the dome, and even their male coach who sits lethargically on the sidelines. DeLappe actively parallels the seemingly isolated stage that only contains fluorescent lighting and the hum of fans with the isolated mindsets of the players. Throughout the play, the girls discuss serious world issues of which they lack complete understanding. For instance, #2 brings up child detainment at the US-Mexico border, but seems to be more worried about whether they will fare well when introduced to English curriculums. The girls bring up the US torture of Iraqi people in Abu Ghraib only for #13 to joke that their coach, who was previously in the military, “did not torture terrorists with his titties.” However, the casualness in which these girls bring up and joke about these subjects speaks to the privilege and security they were raised in rather than who they will grow up to be, the same of which cannot be said about the adults overheard by DeLappe during her visit to the New Museum. 

This foundation allows DeLappe to ask the question: what will happen to these girls when they exit the field and venture out into the world? What will happen to them as they age? Child detainment at the border and a Cambodian genocide may be topics too detached from these girls’ lives to be treated with seriousness, but the lives of young women are littered with unfair consequences and unfortunate realities when compared to their male counterparts. Eating disorders are more common among women, especially those ages 12 to 35 who are athletic; male soccer players can earn double or more than that of female soccer players; additionally, society remains more critical towards female athletes, shown in the outrage surrounding Simone Biles temporarily dropping out of the Tokyo Olympics for her mental health and Serena Williams’s anger at the umpire who accused her of cheating at the 2018 US Open. Meanwhile, Novak Djokoviv, a white male tennis player, had an outburst when he lost at the Tokyo Olympics and did not receive the same level of reprimand from the court or pay the fine that Williams did. Female athletes have been abused by the men in their field, exemplified by the discovery that Olympic doctor Larry Nassar sexually assaulted countless women athletes.

These potential hurdles only scrape the surface of the issues that the girls in The Wolves, and girls everywhere (especially those of color and who are queer), not only face in the realm of sports but in life. The girls in The Wolves do not have the luxury of the museum visitors to go home to their high-rise apartments and plan out Sunday brunches; these are girls growing up and still discovering themselves in a world that does not cater to them. DeLappe successfully creates a bubble for them to live in during the play, but what single event might be the one to pop the bubble — their status as women or merely life’s grand scheme? Will this detachment from the girls’ outside world be worth all the goals and giggles when something comes along and taints their perception of the world? Or will it make it that much more of a rude awakening?

Ultimately, Sarah DeLappe highlights the privilege that some people possess in reference to their understanding of the more complex and grim facts of life by positioning such issues in front of a backdrop of young girls on a soccer team who do not know any better than to offhandedly mention them in conversation. As a result, The Wolves also seeks to capture the childhood innocence alive in these players while imploring the audience to consider how exactly the girls will fare if — or when — their bubble pops.

— Gian Arellano, Dramaturg