Pegasus PlayLab 2022

CREATIVE TEAM

 

Playwright: Steve Moulds
Director: Christopher Niess
Stage Manager: Kayla Amburgey*
Sound Designer: Casey Deiter
Scenic Design Response: Donna Bess*
Lighting Design Response: Sam Cutshall*
Costume Design Response: Aidan McDonnell*

*Theatre UCF student

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CAST

Joe: Giuseppe Pipicella*
Abby: Faviana Vazquez*
Stage Directions/Understudies: Savannah Kutryb*, Kaitlyn Loughran*

* Theatre UCF student

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PRODUCTION TEAM

Assistant Stage Managers: Kaitlyn Gill*, Michael Ghysels*
Assistant Director: Hailey Marquez*
Dramaturg: Jonathan Gardon*
Crew: Angelina Buck, Samfritz Del Valle, Laura Ferreira de Carvalho, Sonya Smith-Tembe

* Theatre UCF student

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Cast Bios

 

Giuseppe Michael Pipicella (Joe) is going into the third year of the MFA Acting track, and therefore will be in residence at Orlando Shakes where he is about to understudy Beast in Beauty and the Beast and previously understudied Don Pedro in Much Ado About Nothing. At UCF, Giuseppe has appeared as Mendel (The Middle) in Paula Vogel’s Indecent and as Sarmion in John Davidson’s Scaramouch in Naxos. He is currently involved in Orlando Shakes’ PlayFest and UCF’s Project Spotlight (as leader of its Playwriting Club). After The Body, he will appear in Race to Infinity.

Faviana Vazquez (Abby) is working towards becoming a first-year transfer into the Theater Studies B.A. program. This is going to be her Theater UCF debut. She is involved in Pegasus PlayLab for the first time this year.

Savannah Kutryb (U/S Abby, Stage Directions) is a senior at UCF majoring in Clinical Psychology, with a minor in Theatre. She has a passion for expressing herself on stage and a drive for helping people in the field of mental health. She has been seen in Project Spotlight productions Casino Heist (Casey) and We Begin in a Tavern (Sid). Other theatre credits include The Comedy of Errors (Angelo/Emilia), Antigone (Ismene), The Busy Body (Scentwell).

Kaitlyn “Kait” Loughran (U/S Abby, Stage Directions) is a sophomore waitlisted for the BFA Acting program. This is her UCF debut. She is involved in UCF Playback and plans to join the UCF Improv Academy next semester.

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Production Team Bios

 

Kayla Amburgey (Stage Manager) is a first-year transfer in the BFA Stage Management Program. Theatre credits include: Production Assistant for First Date at Theatre UCF and Assistant Stage Manager for Fairview for UCF Celebrates the Arts in conjunction with the Orlando Shakes.

Sam Del Valle (Crew) is a senior with a double major in Theatre Studies and Human Communications. His past credits include Mr. Portendorfer (High Tea With Disharmony), Leo (Stargirl), Soldier 2 (Of Hawks and Sparrows). He’s also been involved as co-artistic director of Project Spotlight UCF until Spring 2022.

Jonathan Gardon (Dramaturg) is a second year in the BFA Acting program. His previous UCF credits include Indecent (U/S Lemml, U/S Mendel), Much Ado About Nothing (Messenger/U/S Verges) and the Assistant Director/Stage Manager for Moment 2 Moment's production of The Crucible. His other favorite credits include All in the Timing (Bill/Milton/Philip Glass/Leon Trotsky) and The Lion, the Witch, and the Wardrobe (Edmund) He has also worked as a Scareactor at Universal Orlando Resort's Halloween Horror Nights in Wicked Growth: Realm of the Pumpkin.

Michael Ghysels (Assistant Stage Manager) is a first-year transfer student in the BFA Stage Management Program. Originally from CA, his previous theatre credits include Clybourne Park (Stage Manager), Hand to God (Stage Manager), Pride & Prejudice, (Stage Manager), Significant Other (Asst. Stage Manager), and A Christmas Story (Asst. Stage Manager). This is his third production at UCF. Michael was the PA for Welcome to the Moon and crew for Indecent.

Kaitlyn Gill (Assistant Stage Manager) is a first-year transfer in the BFA Stage Management Program. This is her Theatre UCF debut as part of the stage management team and her first year working on Pegasus PlayLab. She worked on UCF Celebrates the Arts 2022.

Hailey Marquez (Assistant Director) is going into her third year as a B.A. Theatre Studies student. Her previous assistant directing credits include Shrek the Musical at the Dr. Phillips Center for the Performing Arts for UCF Celebrates the Arts and the developmental play Michael with Project Spotlight. After The Body, Hailey will be seen on the stage for Pegasus Playlab’s production of Race to Infinity as U/S Kitty and in the ensemble of Good Vibes Theatre Company’s production of RENT in August.

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Dramaturg's Note

 

The Body examines what it means to divorce yourself from others and from life. Joe reaches a psychological crisis that affects his relationship decisions with stepdaughter Abby, and a mysterious doll appears without warning. The play explores the dynamic of love and parenthood while navigating extreme circumstance.

It is up to Joe to either conquer or succumb to the powers of the "doll" and escape present difficulty to succeed as a parent or fail all over again. Exploring the darkness of one’s own thoughts and life is difficult to navigate while caring for an adolescent. The pressures on Joe build and reflect deeply on a lack of preparedness to face these obstacles.

Abby represents an alternate side of his turmoil and how adolescent innocence can thwart personal horror arising from crisis. Is she strong enough to overturn his negative thoughts and interpretations or is the situation hopeless? Overall, will make you think about your own horrors or obstacles in life, how they materialize expectedly and unexpectedly, and the strength needed to overcome them.

 

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PEGASUS PLAYLAB/Theatre UCF

Artistic Director: Julia Listengarten
Design Advisor: Vandy Wood
Stage Management Advisor: Claudia Lynch
Production Manager: Gary Brown
Marketing Coordinator: Jessica Compton
Box Office Manager: Bridget Parry
Artistic Associate: Sage Tokach*
Sound Design & Production: Casey Deiter
Costume Shop Manager: Allison Rexrode
Technical Director: Tramaine Berryhill
Assistant Technical Director: Michael Waldron
Production Electrician: Beth McAshan

* Theatre UCF student

CREATIVE TEAM

 

Playwright/Composer: Guinevere Govea
Playwright: Anna Pickett
Director: Julia Flood
Stage Manager: Elana Treiser*
Dramaturg: Megan Alrutz
Sound Designer: Casey Deiter
Scenic Design Response: Sonya Smith-Tembe*, Jeanna DelVecchio*
Lighting Design Response: Alex Russell*
Costume Design Response: Karina Rodriguez-Toledo*
Guest Designer: Michelle Habeck, Adriana Serrano
Choreographer: Giana Blazquez Bultman, Julia Veiga*
Music Director: Chandler Caroccio*
Music Advisor/Pianist: Deborah Wicks La Puma

*Theatre UCF student

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CAST

Finley: Bethany Post*
H.S. Crank: Drew Stark*
Dad/Pirate Captain: Andre Braza*
Shopkeeper/Mermaid/Elixir/Sea Monster: Renita James
Princess/Townsperson (Kid)/Pirate #1: Madilynn Crown*
Teacher/Assistant To Pirate Captain/Townsperson #2: Hannah Schorr*
Doctor/Queen/Townsperson #1: Mia Hammond*
Pearl/Stage Directions/Understudy: Bellamy Kopesec*

* Theatre UCF student

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PRODUCTION TEAM

Assistant Stage Managers: Toni Ghirardo*, Bridgett Rojas*
Assistant Director: Chanel Gomaa*
Assistant Dramaturg: Gabby Lawlor*
Producer: Megan Ann Rasmussen
Sound Designer: Casey Deiter
Assistant Producer: Christian Anderson*, Cory Kennedy*
Community Engagement: Clarie Derriennic, Xinyue Zhang, Sage Tokach*
Crew: Angelina Buck*, Laura Ferreira de Carvalho*, Samfritz Del Valle*, Sonya Smith-Tembe*

* Theatre UCF student

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Cast Bios

Andre Braza (Dad/Pirate Captain) is a proud Filipino-American theatre artist and musician. Some of his favorite roles include Spring Awakening (Moritz), Peter and the Starcatcher (Ted), The Grumpiest Boy in the World (Zachary Briddling). He was most recently seen in UCF’s production of Indecent joining in the ensemble and playing the accordion. He plays other instruments, including ukulele and 10+ years of experience with piano. He loves to experiment with improvisational forms of music. He plays piano for Playback UCF, an improv troupe at the University of Central Florida dedicated to retelling stories in hopes to heal and connect. He helps underscore stories on the spot, finding freedom and truth in spontaneity. He graduated from Appalachian State University with a BA in Theatre Performance, and a Minor in French Studies. Currently he is working on his Master’s Thesis and is expecting to graduate with an MFA in Theatre in the Spring of 2023.

Madilynn Crown (Princess, Pirate #1, Kid) is a third-year transfer student in the UCF BA Theatre Studies program. Madilynn is very excited about Spells of the Sea being her first project at UCF. Some of her favorite past roles include Joy in Cinderella, The Witch in Into The Woods, and Dolly Levi in Hello Dolly. Madilynn is excited to be a part of more UCF projects and productions in the future!

Mia Hammond (Doctor/Queen/Townsperson) is a second-year in the BFA Acting program. Her previous UCF credits include Project Spotlight: Poltergeist (Jacqueline/Kennedy). Some of her previous credits include Black Comedy (Clea) and The Seagull (Nina).

Renita James (Mermaid/Shopkeeper/Elixir/Monster) is a second-year grad student at the University of Texas at Austin.  Renita was recently heard in a radio play Kimmy at the University at Texas at Austin. Other Professional credits include Petite Rouge: A Cajun Red Riding Hood ( Petite Rouge) and The 12 dates of Christmas ( Mary).  She also works as a director, teaching artists, and arts administrator. 

Bellamy Kopesec (Pearl/Stage Directions/Understudy) is a freshman majoring in Kinesiology with two minors in dance and theatre. Spells of the Sea will be her first Theatre UCF production! Some of her favorite credits include 42nd Street (Maggie Jones, Dance Captain), Elf (Charlotte Dennon, Dance Captain) and Anything Goes (Chastity). She works with a youth theatre program, and is passionate about spreading joy through the arts!

Bethany Post (Finley) is a second-year student in the MFA Theatre for Young Audiences program. She has served numerous roles in both education and performance through the Missoula Children’s Theatre, the National Theatre for Children, the Arkansas Arts Center Children’s Theatre, the Arkansas Repertory Theatre and the Orlando Repertory Theatre. Favorite theatre credits include Giggle Giggle Quack (Chicken), Junie B. Jones Is Not A Crook (Mrs./Mother/Parrot), and Hansel and Gretel’s Gingerbread Games (Hoopoe).

Hannah Schorr (Teacher/Assistant To Pirate Captain/Townsperson #2) is a Junior in the BFA acting program. Her Theatre UCF credits include Indecent (U/S Vera), Scaramouch in Naxos (Bacchante ensemble), and As It’s Written (Stage Directions). Some of Hannah’s other favorite onstage roles include Uncle Fester (The Addams Family) and Kate Keller (The Miracle Worker). Hannah also enjoys mentoring kids through educational theatre.

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Production Team Bios

Megan Alrutz (Dramaturg) is an artist, educator, and scholar with over 20 years of experience in theatre, media, and interdisciplinary performance for youth and families. Her visually dynamic work has been produced or presented by the Alliance Theatre, The New Victory, Kennedy Center, Orlando REP, Seattle Children’s Theatre, Arts on Horizon, and Metro Theater. Megan is currently a producer and dramaturg on Mo Willems’ artistic residencies and productions with the John F. Kennedy Center for the Performing Arts and HBO Max. She is also a professor and associate chair at The University of Texas at Austin’s Department of Theatre and Dance.

Giana Blazquez Bultman (Choreographer) is a director, choreographer and teaching artist from Milwaukee, WI. As a Theatre for Young Audiences professional and advocate for young voices, Giana strives to empower young people through theatre that challenges them artistically, fosters justice and inclusion and cultivates artistic agency. Giana holds an MFA in  Drama and Theatre for Youth and Communities from The University of Texas at Austin. As a teaching artist she has worked for Pink Umbrella Theater Company, ZACH Theater, First Stage and the Orlando Repertory Theater. Regional Directing and Choreography credits include Radiance (UT Austin), Nate the Great (First Stage), Nobody Knows (First Stage), Lovabye Dragon (First Stage) and Welcome to Bronzeville (First Stage). Giana has also performed professionally at First Stage.

Claire Derriennic (Community Engagement) is a second-year MFA student in Drama and Theatre for Youth at the University of Texas. A multidisciplinary theatre-maker, Claire has written several plays exploring health education, including The Princess and the Period and Taste Buds: The Adventures of Cake and Broccoli. Her adaptation of Little Red Riding Hood, a choose-your-own adventure performance about catcalling, was recently staged at Georgetown University.

Julia Flood (Director) has served as Artistic Director of Metro Theater Company in St. Louis, MO since February 2014, and looks forward to producing Spells of the Sea as part of MTC’s upcoming 50th anniversary season. Prior to moving to St. Louis, Julia was artistic director of a professional TYA touring company based in Clearwater, FL for 16 years. A graduate of Northwestern University, Julia went on to study with famed acting teacher Alvina Krause and was a resident member of the Bloomsburg Theatre Ensemble in PA for the ensemble’s first seven years. Julia’s 40+ years of experience in the professional theater as an actor/director/playwright/teaching artist has led to a passionate belief in the power of theater to change the course of a young person’s life. She is committed to nurturing, commissioning and producing new voices for the theater, particularly for TYA. Julia has participated in new work development around the country, including at the Kennedy Center’s New Visions/New Voices new play development symposium, and served on the national board of Theatre for Young Audiences/USA from 2011 until 2019.

Chanel Gomaa (Assistant Director) is a poet and teaching artist based in Orlando Florida.  Chanel holds a BA in Theatre Studies from the University of Central Florida, and is currently pursuing an MFA in Theatre for Young Audiences there as well. Past credits as an assistant director include Into the Woods, The Super Variety Match Bonus Round, Aladdin Jr., High School Musical 2, Madagascar Jr, and Magic Treehouse: A Ghost Tale for Mr. Dickens Jr.  

Michelle Habeck (Guest Designer) is an artist, educator, mentor, and storyteller. Her design work is seen nationally at CenterStage Baltimore, Alliance Theatre, Seattle Children’s Theatre, and many others. She has shared collaborations with many fine artists including Julie Taymor, Twyla Tharp, James Still, and Kwame-Kwei Armah to develop new work and reexamine works that prove momentous to our immediate present. Michelle was lighting associate on numerous Broadway collaborations. Michelle is faculty and co-area head for Live Design and Production at The University of Texas at Austin’s Department of Theatre and Dance.

Corryn “Cory” Kennedy (Assistant Producer) is a second-year MFA Graduate Candidate studying Theatre for Young Audiences at the University of Central Florida. In addition to spending almost a decade as an educator; Cory has been privileged enough to work with leaders in the entertainment field including Universal, Carnival Cruise Lines, and Old Globe San Diego. Most recently, she was seen in Les MiserABBA (Yvette) which was awarded "Patrons Pick" at the Orlando Fringe. Next she will be associate directing Interference in the upcoming UCF season.

Gabby Lawlor (Assistant Dramaturg) is a second-year graduate student in the MFA Theatre for Young Audiences program here at UCF. This is her very first time working with Pegasus PlayLab and is thrilled to have been a part of this very special process! She is a proud alumnus of Florida State University where she earned her undergraduate degree in Theatre and Education. Favorite creative experiences include completing a semester abroad with FSU’s Theatre Academy London in 2017 and most recently serving as the dramaturg for Theatre UCF’s spring production of Indecent. Coming up, she will be literally and creatively immersed in summer fun as the Assistant Director for High School Musical 2 at Orlando Repertory Theatre. 

Anna Pickett (Playwright) is a theatre artist originally from Dallas, Texas. She is a recent graduate of The University of Texas at Austin, holding a B.S. in Applied Learning and Development: Youth and Community Studies. She aims to create endearing work for young audiences and families, focusing on theatrical spaces, museums, and immersive experiences.

Megan Ann Rasmussen (Producer) is an award-winning Producer. Broadway: (Co-Producer) Joy on Broadway. Off Broadway: (Investor) Harmony. Regional: Heaven Come Home, FREE PLAY: Open Source Scripts Towards an Antiracist Tomorrow. She creates theater that uplifts and strengthens. Director: Señora Tortuga, Cinderella East Rice and Beans: A Salsa Fairy Tale. Educator: Brigham Young University, Utah State University, Utah Valley University. Founder/Producing Artistic Director, Firehouse Theater for Youth. International: US Representative to the International Association of Theater for Children and Young People (Denmark/Sweden.) Editor: ASSITEJ International newsletter for 85 countries. Her articles and photography can be found in Stage of the Art and TYA Today. Ann Shaw Fellow. President, Theater for Young Audiences/USA (2010-2012.) BFA, Emerson College; M.A, Brigham Young University.

Karina Ali Rodriguez-Toledo (Costume Design Response) is a third-year transfer student in the BFA Theatre Design & Technology Program. Other Credits include Shrek: The Musical (Draper/Milliner/Puppetry), Welcome to the Moon and Other One Acts (Draper/Stitcher) and First Date (Draper/Stitcher) at Theatre UCF.

Bridgett Rojas (Assistant Stage Manager) is in her first year of the BFA Stage Management program. Her previous Theatre UCF credits include Orlando Repertory Theatre’s Youth Academy: Magic Treehouse: A Ghost Tale for Mr. Dickens Jr (Production Assistant), and Fabulation, or the Re-Education of Undine (Production Assistant). Other stage management credits include Art at the Funky Dog Theatre.

Adriana Serrano (Guest Designer) is a production designer, recognized for her versatile and strong aesthetic work in the narrative world. She has designed numerous features, shorts, commercials, music videos, and new media content. Her films have been shown in major film festivals like Sundance, Berlin, Tribeca, and Toronto, and have streamed in platforms like HBO, Netflix, ABC, and Amazon. Her credits as a production designer include, among others: Afternoon Delight, directed by Jill Soloway (Best director in Sundance), Arcadia (Best film at the generation K in Berlin), and Entre Nos (Honorable mention at Tribeca). The Obituary of Tunde Johnson directed by Ali Leroi, premiered at the Toronto International Film Festival and was the opening film off the Austin Film Festival in Austin. Adriana was trained as a visual artist at Universidad de los Andes in her native Colombia and received her MFA in Set Design at Brooklyn College in New York. She currently teaches Production Design at the University of Texas in Austin. She is part of The Art Directors Guild and is represented by APA.

Elana Treiser (Stage Manager) is a third-year BFA Stage Manager. Previous UCF credits include Shrek the Musical (Assistant Stage Manager), Welcome to the Moon (Assistant Stage Manager), various Stage Manager roles for UCF Celebrates the Arts 2021, and Birdbrains (Stage Manager) with Project Spotlight.

Julia Veiga (Choreographer) is a second-year Theatre for Young Audiences MFA candidate at Theatre UCF. She is a proud alumna of the University of Evansville with a B.S in Theatre Education. Her directing and assistant directing credits include Red Bike, Fabulation, Welcome to the Moon, Violet, and Small Mouth Sounds. Julia is passionate about fostering young artists at the Orlando Repertory theatre as a teaching artist in courses ranging from Stage Makeup, Costume Design, and Story Drama. 

Deborah Wicks La Puma (Music Advisor/Pianist) is a composer, music director, orchestrator, and one of the most produced Theatre for Young Audiences artists working today. Her most popular TYA musicals include Ella Enchanted (based on the book by Gail Carson Levine) with Karen Zacarias, She Persisted (based on the book by Chelsea Clinton) with playwright Adam Tobin, and Elephant & Piggie’s We Are In A Play and Don’t Let The Pigeon Drive the Bus: The Musical with best selling children’s author Mo Willems. As a music director and orchestrator she has worked with major regional theatre companies across the country, including the Guthrie, Oregon Shakespeare Festival, South Coast Repertory, La Jolla Playhouse and the John F. Kennedy Center for the Performing Arts. She received her MFA from New York University's Tisch School of the Arts, and her bachelor's degree from Stanford University. Her honors include an Off-Broadway Alliance Award for Best Family Musical, the Jane Chambers Playwriting Award, an NEA New American Works Grant, two Parents' Choice Awards, and a Helen Hayes Award for Outstanding Musical Adaptation. A proud Mexican-American and "Navy brat" who grew up in Brazil, Portugal and California, La Puma is a member of TYA/USA, ASCAP and The Dramatists Guild.

Xinyue Zhang (Community Engagement) is a second-year M.F.A. student in Drama and Theatre for Youth and Communities (DTYC) at The University of Texas at Austin. As a performer and teaching artist, Xinyue worked with Stages of Peopel’s Palace Project (London, UK), A4 Art Museum (Chengdu, China), Art Space for Kids (Shanghai, China). Her research and practice are located at the intersections of drama-based pedagogy, storytelling, early childhood education, and museum studies. Xinyue holds an M.A. in Theatre and Performance from Queen Mary University of London (First Class).

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Dramaturg's Note

“We can fight monsters and we can find treasure. All we need’s right here inside us.” - Finley and Crank

When faced with tragedy and unknown circumstances, how do we lean into our greatest fears? How do we find the courage to keep loving each other and ourselves? Spells of the Sea raises all of these questions as Finley Frankfurter sets out on the most daring journey she’ll ever take. And like Finley, Spells of the Sea has had a formative and collaborative journey. Spells of the Sea began its quest amidst the surge of the COVID-19 pandemic, with Guinevere “Gwenny” Govea as its captain. Gwenny imagined this story in response to the extreme isolation, loss, and uncertainty people were feeling at the time, especially kids. Gwenny’s first mate Anna Pickett came on as the director for Spells, which first premiered as a podcast series at the University of Texas at Austin’s New Works Festival. After several months of development for the stage, Spells of the Sea has now docked here at Theatre UCF’s Pegasus Playlab (for a short while at least). The staged reading you will see today has been workshopped for a little over a week with many creative voices in the room, including an awesome group of Orlando-based kids. With this creative team as their crew, Gwenny and Anna have been imagining and writing a magical and thought provoking story. As you watch and listen to this story unfold, we invite you to embrace the monsters and treasures inside of you and write your own beautiful adventure.

- Gabby Lawlor and Megan Alrutz, Dramaturgs

 

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PEGASUS PLAYLAB/Theatre UCF

Artistic Director: Julia Listengarten
Associate Artistic Director: Sage Tokach*
Design Advisor: Vandy Wood
Sound Design & Production: Casey Deiter
Stage Managment Advisor: Claudia Lynch
Production Manager: Gary Brown
Box Office Manager: Bridget Parry
Marketing Coordinator: Jessica Compton
Costume Shop Manager: Allison Rexrode
Technical Director: Tramaine Berryhill
Assistant Technical Director: Michael Waldron
Production Electrician: Beth McAshan

* Theatre UCF student

CREATIVE TEAM

 

Playwright: Gian Arellano*
Director: Edmarie Montes
Stage Manager: Taylor Bray*
Sound Designer: Casey Deiter
Lighting Designer: Vandy Wood
Scenic Design Response: Jonanthony Rodriguez*, David Jackson*, Matt Conte*
Costume Design Response: Peyton DeWitt*

*Theatre UCF student

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CAST

Sara: Hilary Pardey-Hernandez*
Samuel: Jonathan Gardon*
Arturo: Jullien Aponte*
Lucia: Gabriela Phillips*
Kitty: Emily Nardoni*
Deborah: Kate Milazzo*
Mr. Baldinger, Coach Ralph: Giuseppe Pipicella*
Guadalupe, Mrs. Ramos: Carolina Rosario*
Stage Directions, U/S Guadalupe, U/S Mrs. Ramos, U/S Lucia: Manuella Guerra Canal*
U/S Sara: Faviana Vazquez*
U/S Samuel, U/S Arturo: Brandon Diaz*
U/S Baldinger, U/S Coach Ralph: Zachary Engeloff*
U/S Kitty, U/S Deborah: Hailey Marquez*

* Theatre UCF student

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PRODUCTION TEAM

Assistant Stage Managers: Teddy Groleau*, Annalee Weydert*
Assistant Director: Madison Mintzer*
Dramaturg: Cristina Neely*
Crew: Angelina Buck*, Laura Ferreira de Carvalho*, Samfritz Del Valle*, Sonya Smith-Tembe*

* Theatre UCF student

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Cast Bios

Jullien Aponte (Arturo) is an Actor, Director and Senior in the BFA Acting program. Some of his favorite stage credits include Richard III (Buckingham), Much Ado About Nothing (Claudio), The Tempest (Ferdinand), Mojada (Jason), and Water By the Spoonful (Elliot). As a Director he’s works with Musical Traditions, a Florida based non-profit bringing cultural enrichment through traditional music. You can see him this fall at Penguin Point Productions where he’ll be playing Ethan in As It’s Written by Caroline Hull.

Brandon Diaz (U/S Samuel, U/S Arturo) is a rising Junior in the BFA Musical Theatre program his previous credits at UCF include Young Shrek in Shrek the Musical at the Dr. Phillips Center, male swing for First Date the musical (U/S Man 2, U/S Man 3), and the virtual production of Mojada (U/S Jason, U/S Acan). You may have also seen in him the Sophomore Theatre Showcase in Fall of 2021. Brandon Diaz will also be in a production of Chicago the Musical at the Dr. Phillips as the Judge and Male Ensemble member.

Zachary Engeloff (U/S Baldinger, U/S Coach Ralph) is a senior in B.A. Theatre Studies program with a minor in Film - Cinema Studies. He has seen on the Theatre UCF stage for the Project Spotlight shows Poltergeist (Donnie/The Caller) and We Begin In a Tavern (Bard #1). Other theatre credits include Twelfth Night or What You Will (Malvolio) and Much Ado About Nothing (Don John).

Jonathan Gardon (Samuel) is a second year in the BFA Acting program. His previous UCF credits include Indecent (U/S Lemml, U/S Mendel), Much Ado About Nothing (Messenger/U/S Verges), The Body (Dramaturg) and the Assistant Director/Stage Manager for Moment 2 Moment's production of The Crucible. His other favorite credits include All in the Timing (Bill/Milton/Philip Glass/Leon Trotsky) and The Lion, the Witch, and the Wardrobe (Edmund) He has also worked as a Scareactor at Universal Orlando Resort's Halloween Horror Nights in Wicked Growth: Realm of the Pumpkin.

Manuella Guerra Canal (Stage Directions, U/S Guadalupe, U/S Mrs. Ramos, U/S Lucia) is a sophomore in the BFA Musical Theatre program. Previous Theatre UCF credits include Shrek (Dragon) and First Date (U/S Casey). Other credits include Beauty and the Beast (Belle), Urinetown (Soupy Sue), and The Little Mermaid (Ursula).

Hailey Marquez (U/S Kitty, U/S Deborah) is going into her third year as a B.A. Theatre Studies student. Her previous stage credits include Oppie in Project Spotlight’s production of Apocalyspeville! and will be seen in Good Vibe Theatre Company’s production of RENT in August. She also has a passion for directing, and most recently assistant directed The Body with Pegasus Playlab and Shrek for UCF Celebrates the Arts at the Dr. Phillips Center.

Kate Milazzo (Deborah) is a third year MFA Acting Candidate. She has appeared in Shrek the Musical (Wicked Witch, Dragon Puppeteer), Indecent (Halina), and Scaramouch in Naxos (Ione). Kate is an alumni of the University of Evansville, her favorite roles include The Three Musketeers (Aramis), The Wolves (#7), and a reading of Q2: A New Musical (Rue). Other interests include American Sign Language and directing.

Emily Joy Nardoni (Kitty) is a junior in the B.A. Theatre Studies program with a minor in Performing Arts Administration. She has previously performed in Theatre UCF’s Pegasus PlayLab production of As It’s Written (Jordan, Agent, Mrs. Kilpatrick), Project Spotlight’s The Fish (Sam) and Something Borrowed, Something Blue (Rosalina), and As It’s Written (Mrs. Kilpatrick) presented by Project Spotlight and UCF Celebrates the Arts, which she will be performing in again this fall with Penguin Point Productions. She has been pursuing theatre for years, and is seeking a career in acting as well as teaching and directing children’s theatre.

Hilary Pardey-Hernandez (Sara) is in her third year in the BA Theatre Studies Program. She was featured in Theatre UCF Fall 2020, Mojada (Josefina) and Pegasus Playlab, and Dear Helena (Stage Directions, U/S Tessa, U/S Helena). She appeared in Project Spotlight’s Fall 2020 One Acts in Remnant of the Imposter (Mother/Board 1) and their Fall 2021 Ten-Minute Competition, Rigged. Currently, she is an apprentice in the Daniel Mills Apprenticeship Program at the Garden Theatre, as well as leadership training for Project Spotlight at UCF.

Gabriela Phillips (Lucia) is a first year in the BFA Acting Program. She was previously seen in Rigged during Project Spotlight’s 10-Minute Play Festival. She is very excited to be making her Pegasus Playlab debut!

Giuseppe Michael Pipicella (Mr. Baldinger, Coach Ralph) is going into the third year of the MFA Acting track, and therefore will be in residence at Orlando Shakes where he is about to understudy Beast in Beauty and the Beast and previously understudied Don Pedro in Much Ado About Nothing. At UCF, Giuseppe has appeared as Mendel (The Middle) in Paula Vogel’s Indecent and as Sarmion in John Davidson’s Scaramouch in Naxos. He is currently involved in Orlando Shakes’ PlayFest and UCF’s Project Spotlight (as leader of its Playwriting Club). Before Race to Infinity, he appeared in The Body.

Carolina Rosario (Guadalupe, Mrs.Ramos) is a third-year transfer and senior in the B.A. Theatre Studies program. Her previous UCF credits include Project Spotlight’s The Lost Cosmonauts (Voice of Houston & U/S Springfield) and Glitch of Fate (Sidney). A Stormy Knight (Player 1/Gwendolyn) by Cory Kennedy and The Wolves (U/S #25).

Faviana Vazquez (U/S Sara) is working towards becoming a first-year transfer into the Theater Studies B.A. program. This is going to be her Theater UCF debut. She is involved in Pegasus PlayLab for the first time this year.

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Production Team Bios

Gian Arellano (Playwright) is a senior in the B.A. Theatre Studies program. Two of his previous plays, Rigged and Time Will Tell, were produced by Project Spotlight, an RSO committed to developing student theatre that he now leads as Artistic Director. Gian also worked as the dramaturg for Theatre UCF’s production of The Wolves and Project Spotlight’s As It’s Written.

Taylor Bray (Stage Manager) is a second-year transfer student in the BFA Stage Management program. Their previous Theatre UCF credits include UCF Celebrates the Arts (Stage Manager) and The Wolves (Production Assistant). Other theatre credits include Privilege (Main Ensemble) at Valencia College. They have also been involved with numerous productions and summer camps at Penguin Point Productions.

Matt Conte (Scenic Design Response) is a second-year Design and Technology student at the University of Central Florida with a focus on scenic and projection design. Previous credits include Projectionist for Indecent (UCF). He will also be the Assistant Projection Designer for The Interference (UCF).

Teddy Groleau (Assistant Stage Manager) is a second-year in the BFA Stage Management program. His Theatre UCF credits include Writes of Spring 2022 (Production Assistant). Other theatre credits include Tuck Everlasting (Stage Manager), Mamma Mia! (Stage Manager) and Little Women (Stage Manager).

David Jackson (Scenic Design Response) is a first-year transfer student in the BFA Design and Technology Program. His work can be seen on Theatre UCF stage in First Date (Spotlight 1) and Shrek the Musical (Show Crew). More work on Eastern Florida State College’s stage in A Comedy of Errors (Prop Designer) A Midsummer Night’s Dream (Scenic Assistant). Additional work with The Ensemble Company (Ensemble) and Project Spotlight (Scenic Design).

Madison Mintzer (Assistant Director) is a 3rd year BFA Musical Theatre student. This is Madison’s Assistant Directing debut. Past credits include: UCF’s Shrek (Female Swing), UCF’s Welcome to the Moon (Sally, U/S Shirley), The Henegar’s First Date (Woman 2), The Henegar’s Hello Dolly! (Ernestina), Alhambra Theatre’s The Music Man (Ensemble), and Titusville Playhouse’s The Wild Party (Mae).

Edmarie Montes (Director) is thrilled to be returning to Theatre UCF for Pegasus Playlab! A native of Orlando, Edmarie graduated with a BFA in Acting from Theatre UCF. Some of her favorite directing credits include: In The Heights, Shipwrecked! An Entertainment, [Title of Show], Once on this Island, Death Himself, and La Medea. The chance to return to Theatre UCF in this capacity has been a dream and an honor.

Cristina Neely (Dramaturg) is going into her senior year in the B.A. Theatre Studies program with minors in Marketing and Medieval/Renaissance Studies. Her most recent credits include directing We Begin in a Tavern in the Spring and Casino Heist in the Fall, both through Project Spotlight’s One-Act Festival.

Annalee Weydert (Assistant Stage Manager) is a second-year in the BFA Stage Management program. Her Theatre UCF credits include Shrek the Musical (Production Assistant). Other theatre credits include Mamma Mia! (Asst. Stage Manager) and Jerry’s Girls (Asst. Stage Manager).

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Dramaturg's Note

How do we break the cycles set before us to move forward in our aspirations for progress? This plight, one that nearly every generation has had to face, is explored in playwright Gian Arellano’s Race to Infinity. In the Delgado household, the push and pull between progress and tradition is especially heightened by the family’s Latinx cultural background. Parents Arturo and Lucia, being immigrants from Central America, hold traditional ideals typical of Latinx parents - a clinging to the way things were back home. Siblings Samuel and Sara are left to appease these ideals while also navigating the modern age in America. Thus, matters are complicated. Parental pressures to succeed are compounded by the kids’ first-generation status and need to succeed for sake of their parents’ sacrifice; the expectation of perfection is intensified when their tía is in town, ready to report the newest Delgado news to the rest of the family in El Paso (which will then be reported to the neighbors, extended family in El Salvador, and anyone with ears); the role of a woman to perform as feminine starts with piercing ears at birth. Many of these topics are swept under the rug with the sentiment of “we don’t talk about it,” or it’s “the way it always has been.” In the Delgado household, with Sara and Lucia on their own, they cannot be ignored any longer.

Sara poses a threat to everything her mother Lucia knows about traditional womanhood: she doesn’t play with dolls or makeup, demands to be heard, refuses softness, and dares to challenge heteronormative ideals. Lucia is woman incarnate, with her perfect appearance and even more perfect family (that is - until the divorce). How can these two disparate forces coexist in one household when the men in the house are gone? Add in the ramifications of divorce (especially taboo in the Latinx community), addiction in its many forms, and the “other”-ing of being Latinx in North Carolina, and the Delgado household becomes a pressure cooker. In a house where the walls are so thin you can’t escape the argument in the next room, the divide between what’s said and what’s unsaid expands.

Race to Infinity has seen many forms; at one point, the show existed almost entirely within a video game. In a way, it still does. To Sara, the need to beat her older brother’s high score doesn’t cease at her gaming console. Lucia has compared Sara’s success to Samuel’s from as far back as she can remember, blending the lines between high scores in a game and GPAs.

From the imposition of outdated gender norms, to hand-me-down games, to the bar of expectations with an infinitely moving height, Arellano explores how trauma can be passed on through generations in many complex ways. Amid these internal and external pressures, how can Sara and Samuel, two siblings pitted against each other for eternity, find peace in their own way?

– Cristina Neely, Dramaturg

 

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THEATRE UCF PRODUCTION STAFF, FACULTY, AND ADVISORS

Artistic Director: Julia Listengarten
Design Advisor: Vandy Wood
Stage Management Advisor: Claudia Lynch
Production Manager: Gary Brown
Marketing Coordinator: Jessica Compton
Box Office Manager: Bridget Parry
Artistic Associate: Sage Tokach*
Sound Design and Production: Casey Deiter
Costume Shop Manager: Allison Rexrode
Technical Director: Tramaine Berryhill
Assistant Technical Director: Michael Waldron
Production Electrician: Beth McAshan

* Theatre UCF student

CREATIVE TEAM

 

Playwright: Nick Malakhow
Director: Roberta Emerson
Stage Manager: Bianca Antonetty*
Scenic/Lighting/Projection Designer: Vandy Wood
Co-Projection Designer: Jonathony Rodriguez*
Sound Designer: Casey Deiter
Costume Designer: Leyandra Cardoza*

*Theatre UCF student

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CAST

Jasmine: Anita Whitney Bennett*
Ben: Matthew Zenon*
Cal: Kyle Machande*
Jill: Kimber King*
Student #1: Vicki Rezman*
Student #2: Tyler Simons*
Student #3: Aja Hendrix*

* Theatre UCF student

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PRODUCTION TEAM

Assistant Stage Managers: Van Hernandez*, Vicki Rezman*
Assistant Director: Tyler Simons*
Dramaturg: Aja Hendrix*
Props Manager: Donna Bess*
Light board Operator: Alexander Russell*
Q-lab Operator: Sam Cutshall*
Projectionist: Jonanthony Rodriguez Olivero*
Wardrobe Crew: Aidan McDonnell*, Karina Rodriguez-Toledo*, Michael Ghysels*, Toni Ghirardo*, Bridgett Rojas*
Deck Crew: Kayla Amburgey*, Kaitlyn Gill*, David Jackson*
Scene Shop Crew: Donna Bess*, Matthew Conte*, Jeanna DelVecchio*, David Jackson*, Sonya Smith-Tembe*, Jonanthony Rodriguez*, Noah Diggs*, Samantha O’Donnell*, Lily Ruckert*, Aixangela Cabellero*
Costume Shop Crew: Peyton DeWitt*, Aidan McDonnell*, Karina Rodriguez-Toledo*, Taylor Whiteman*
Lighting Shop Crew: Sam Cutshall*, Richard McWhorter*, Alexander Russell*
Sound Shop Crew: Fatima Murad*

* Theatre UCF student

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Cast Bios

Anita Whitney Bennett (Jasmine) is a third-year graduate student in the MFA Acting program. Theatre UCF credits: The Amphibians, Dear Helena, and How to Catch Creation. Other theatre credits include The Mountaintop (Camae), God’s Necklace (Hyena Spotty/Nyaliep), and Un-tamed (Josie/Lu/Isha/Renee).

Kimber King (Jill) is entering her third year of the MFA Acting program. She has performed professionally on stage and screen for over 18 years. Previous UCF credits include Indecent (Elder Vera), The Grumpiest Boy in the World (Scientist 1), Dear Helena (Tessa), and The Wolves (Soccer Mom). Kimber has directed over 20 productions and produced three of her original plays.

Kyle Machande (Cal) is a freshman in the B.A. Theatre Studies program. This is his first time gracing the stage at Theatre UCF. Other theatre credits include Come Blow Your Horn (Buddy) and Hunchback of Notre Dame (Phoebus). He is involved with Project Spotlight and is a volunteer who teaches youth theatre.

Matthew Zenon (Ben) is a senior Theatre Studies major with a minor in Mass Media. This is his first Theatre UCF mainstage production and he’s ecstatic to be working on this play. He’s recently been seen as Dr. Martin Luther King (U/S) in The Mountaintop at the Garden Theatre and Omari in Pipeline by Dominique Morriseau. He’d like to thank the cast and director Roberta Emerson for supporting him through this production.

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Production Team Bios

Kayla Amburgey (Deck Crew) is a first-year transfer in the BFA Stage Management Program. Theatre credits include: The Body (Stage Manager) as a part of Pegasus PlayLab, Fairview (Assistant Stage Manager) for UCF Celebrates the Arts in conjunction with the Orlando Shakes, and First Date (Production Assistant) at Theatre UCF. 

Bianca Antonetty (Stage Manager) is a first-year transfer in the BFA Stage Management program. Theatre credits include Significant Other (Stage Manager) and The Harvest (Stage Manager) at the State College of Florida, First Date (Production Assistant), and Shrek the Musical (Production Assistant) at the University of Central Florida.

Donna Bess (Props Manager) is a first-year transfer from Valencia College into the BFA Theatre program. Previous experience includes, First Date (Wardrobe) and Shrek the Musical (Costumes) at UCF Celebrates the arts.

Leyandra Cardoza (Costume Designer) is a senior transfer student in the BFA Design and Technology program. Her previous Theatre UCF credits include Shrek the Musical (Draper, Millinery, Puppetry), Fabulation or the Re-Education of Undine (Costume Designer), Indecent (Stitcher), The Wolves (Stitcher), Sombra del Sol (Stitcher, Wardrobe Crew), Scaramouch in Naxos (Assistant Costume Designer) and Urinetown (Draper). She has a Fashion Design AAS from the Fashion Institute of Technology. 

Samuel Cutshall (Q-lab Operator) is a Junior in the BFA Design Tech Program. He has been involved in lighting since his debut and is now branching into audio. His previous shows include Welcome to the Moon and Other One Acts (Lighting Console Op) and Fabulation or the Re-Education of Undine (Production Electrician).

Kaitlyn Gill (Assistant Stage Manager) is a first-year transfer in the BFA Stage Management Program. This is her Theatre UCF debut as part of the stage management team and her first year working on Pegasus PlayLab. She worked on UCF Celebrates the Arts 2022.

Aja Hendrix (Dramaturg) is a fourth-year transfer student in the B.A. Theatre Studies Program. She has previously collaborated on We Begin in a Tavern (Dramaturg) for Project Spotlight. 

Savannah Hernandez (Assistant Stage Manager) is a first-year in the BFA Stage Management Program. She has been on the Stage Management team for UCF Celebrates the Arts 2022, and this is her first Stage Management role in a traditional show at UCF. 

Aidan McDonnell (Wardrobe Crew) is a freshman in the BFA Theatrical Design and Technology Program. This will be his second Theatre UCF production participating on the costuming team; the first being Pegasus Playlab’s The Body (Costume Designer). Aidan was recently Costume Designer for the musical-comedy Apocalypseville, making its debut at the Fringe Festival 2022. 

Victoria Rezman (Assistant Stage Manager) is a first-year in the BFA Stage Management Program. She has previous experience with UCF Celebrates the arts.

Jonanthony Rodriguez (Co-Projection Designer) plans to pursue a career in themed entertainment industry as a set designer. He is a second-year transfer in the BFA Design and Technology program focusing on scenic design. His previous UCF credits include A Knight of Dance (Wardrobe crew) at UCF Celebrates the Arts 2021, and Indecent (Assistant Projection Designer). He gained experience collaborating in the UCF scene shop building sets for UCF productions. Working on multiple productions at the same time, has given him the organizational and efficient skills to ensure all the designs are made on time and with the same level of details on all the productions.

Karina Ali Rodriguez-Toledo (Wardrobe Crew) is a third-year transfer student in the BFA Theatre Design & Technology Program. Other Credits include Spells of the Sea (Costume Response) for Pegasus Playlab, Shrek the Musical (Draper/Milliner/Puppetry), Welcome to the Moon and Other One Acts (Draper/Stitcher), and First Date (Draper/Stitcher) at Theatre UCF. @Kartsie KartsieCreations.com

Bridgett Rojas (Wardrobe) is in her first year of the BFA Stage Management program. Her previous Theatre UCF credits include Orlando Repertory Theatre’s Youth Academy: Magic Treehouse: A Ghost Tale for Mr. Dickens Jr (Production Assistant), Fabulation or the Re-Education of Undine (Production Assistant), Spells of the Sea (Assistant Stage Manager). Other stage management credits include Art at the Funky Dog Playhouse.

Tyler Simons (Assistant Director) is a Junior in the B.A. Theatre Studies program. This will be his Theatre UCF mainstage debut. His past UCF credits include Thaddeus Blair: Werewolf Hunter (Director) and First Day (Director). He is involved in the educational student internship at Orlando Shakes.

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Dramaturg's Note

Nick Malakhow’s Affinity Lunch Minutes propels the audience into the culture of a fictional Quaker educational institution set in Philadelphia, Pennsylvania in 2015. Although unfamiliar to many, The Religious Society of Friends (Quakers) boasts an impressive reputation. For example, The American Friends Service Committee (AFSC), created in 1917, has consistently worked in conflict zones throughout the world, supporting those in the wake of natural disasters, humanitarian crises, and oppressive conditions. While Friends maintain their commitment to the essential tenets of stewardship, peace, integrity, community, equality, and simplicity, they also express their openness to incorporating practices and rituals of other-than-Christian communities (Muslim, Catholic, and Buddhist) resulting, for some, in dual membership in Quakerism and another religion. Modern Quaker educational institutions that affirm Quaker principles have continued to appeal to American political and economic elites due to their refined –but not overly religious – views. Currently, most students enrolled in Quaker schools are non-Friends, likely admirers of the respectability accumulated by Quakers throughout history.

Based on their dedication to justice and peace, it is easy to consider those who are associated with Quakers, either by faith or as recipients of a quaker education, as good people. This is partly because Americans have been socialized, as early as preschool, to assign certain people, places, and things as either good or bad. Contrary to widely held belief, this binary thinking has allowed for “-isms” (such as racism, classism, sexism, and heterosexism.) to remain unimpeded, especially in institutions marketed as progressive (such as universities). Throughout Affinity Lunch Minutes, the audience will experience how each character responds to the
often-inconspicuous influence of Internalized Oppression, Implicit Bias, Intersectionality, and Racism. It is important to define these terms so that we all can better acknowledge their presence and understand the reactions that they incite, in addition to helping contextualize the themes of the play.

Internalized oppression: The process by which members of the stereotyped group may internalize the stereotypical categories about their own group.

Implicit bias: Prejudice (preconceived notions or evaluations based on another’s personal characteristics) that you did not know you had about a certain group of people. These subconscious attitudes often run counter to people’s consciously expressed beliefs, making implicit bias impossible to self-identify.

Intersectionality: the reality that we all have identities that intersect and make us who we are. This term is typically used to understand how multiple forms of inequality or disadvantage sometimes compound themselves and create obstacles that are not well understood by conventional social justice advocacy structures.

Racism: a system of advantage based on race. It is not only a personal ideology based on racial prejudice but a system involving cultural messages and institutional policies and practices as well as the beliefs and actions of individuals. Systemic Racism is woven into the fabric of our Nation and is often misunderstood as prejudice or bigotry (a devotion to one’s prejudices often resulting in outward displays of discrimination).

One of the central beliefs about liberal democracies is that governments intervene as little as possible in order to allow change to occur “naturally” as a result of a “rational and democratic process” –similar to how Quakers favor decision-making processes requiring extended periods of contemplation. How Quakers conduct business is more than arriving at a consensus; they view decision-making as a calculated process that holds the journey paramount to the destination. The journey is an opportunity to discover God's will. A decision is not made until
deep unity is accomplished, first from the individual and then by the spiritual community.

Yet those of us who have witnessed exhaustive media coverage of events (such as the Trayvon Martin shooting, the unrest following the shooting of Michael Brown and the resulting Department of Justice report on the Ferguson Police Department, the Charleston church massacre, the Walter Scott trial, the appeal to racial prejudices in electoral politics, the bitter debates about affirmative action and immigration reform, the execution of George Floyd, the Buffalo supermarket shooting, and the Robb Elementary School shooting in Uvalde) understand that racism is the barrier that allows for these events to continue. The laws of this country have not kept up with the change of political circumstances; therefore, we are not even where we were during the pre-Civil Rights Era. Although we’d love to say things are different now, it’s obvious that isn’t the case when the words of famous Civil Rights-era social justice advocates are still being utilized to inspire Black, Indigenous, and other people of color with the hope that they might one day be afforded the same chances as white people.

“We must accept finite disappointment, but never lose infinite hope.”

— Martin Luther King Jr.

Malakhow’s Affinity Lunch Minutes goes beyond representing Black people operating in a predominantly white space by depicting the persistence of institutional racism. It encourages the audience to reflect on how our environment inconspicuously shapes us and how implicit bias, intersectionality, internalized oppression, and racism influences perception. Finally, the audience is left to consider who stands to benefit from the current institutional and structural process of dealing with change, and who is hurt.

– Aja Hendrix, Dramaturg

 

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THEATRE UCF PRODUCTION STAFF, FACULTY, AND ADVISORS

Theatre UCF Artistic Director: Julia Listengarten
Design Advisor: Vandy Wood
Stage Management Advisor: Claudia Lynch
Production Manager: Gary Brown
Marketing Director: Jessica Compton
Box Office Manager: Bridget Parry
Artistic Associate: Sage Tokach*
Sound Design & Production: Casey Deiter
Costume Shop Manager: Allison Rexrode
Technical Director: Tramaine Berryhill
Assistant Technical Director: Michael Waldron
Production Electrician: Beth McAshan

* Theatre UCF student

What is Pegasus PlayLab?

Pegasus PlayLab is a festival dedicated to developing plays by emerging playwrights. Playwrights are invited to UCF's campus for a two-week residency to develop their new play with students and faculty. Audiences are to hear staged readings and experience a full production of a new play first workshopped at Orlando Shakes’ PlayFest. Follow these plays into the next stage of development and be part of the creative process with playwrights, casts and artistic teams!

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When is Pegasus PlayLab?

Pegasus PlayLab spans six weeks starting mid-May through the end of June. Selected playwrights are expected to commit to a two-week residency within that timeframe.

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What Should I Expect at a Workshop?

What you will see on stage is the culmination of 8 days of rehearsals, script changes and discussions between the actors, playwright, director, dramaturg, and designers. Actors will bring the new work to life in front of the audience with scripts in-hand and minimal staging.

After the performance, discuss what you saw and heard with the playwright, director, cast and the rest of the creative team. You play a crucial role in the work’s development through your feedback.

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What Should I Expect at a Full Developmental Production?

This is a play that has already been through workshops and readings and is ready for a fully-staged production with a set, costumes, lighting and a full rehearsal schedule.

This does not mean that this is the final version of the script. After developmental productions, the playwright will use what they saw and the feedback you give to continue to revise the script.

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How do I get involved as a UCF student?

All UCF students can audition to be in the readings and workshops. Auditions for Pegasus PlayLab are typically held in March. Check the Theatre UCF Production Audition page for the most up to date audition information. Design, technology and stage management students may also be assigned roles on the performances.

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How Do I Submit My Play?

Please upload a draft of a full-length play and complete the required questions on the Pegasus PlayLab Google Form.

We are seeking four full-length plays, including devised works and Theatre for Young Audiences (TYA) pieces, which we will rehearse for two weeks in collaboration with the playwright and subsequently present as workshop productions. There is a possibility that one play will be fully mounted into a production.

As an equal opportunity/affirmative action employer, UCF encourages all qualified applicants to apply, including women, veterans, individuals with disabilities, and members of traditionally underrepresented populations.

If you have any questions, please email [email protected].