A Christmas Carol playbill

by Charles Dickens

Adapted and Directed by Kate Buckley

Land Acknowledgement and DEI

We acknowledge that we live, work, and create art on the traditional lands of the Tsalagi peoples (now the Eastern Band of Cherokee Indians, Cherokee Nation of Oklahoma, and the United Keetoowah Band of Cherokee Indians) and the Tsoyaha peoples (Yuchi and Muscogee Creek).

We are indebted to these indigenous peoples for their stewardship, both past and present, of this beautiful land.

We recognize and value diversity in all forms, including age, ethnicity, family structure, gender identity, national origin, race religion, spirituality, sexual orientation, socioeconomic background, and veteran status.

We believe inclusivity and diversity in our workplace should reflect the increasing multicultural and global society in which we live. We seek to foster excellent creative research, scholarship and professional practice by creating a welcoming environment, ethical recruitment practices, and a diverse student body who will have lives of awareness and understanding through their creative research, teaching, practicing and advocating for others in a diverse world.

Detailed information on our DEI initiatives can be found here: https://theatre.utk.edu/diversity-inclusion/

About Charles Dickens

Charles Dickens by Margaret GiliesEnglish writer and social critic, Charles Dickens created some of the world’s best-known fictional characters. Regarded by many as the greatest novelist of the Victorian era, his works enjoyed unprecedented popularity during his lifetime and, by the 20th century, he was recognized as a literary genius.

Did you know?

Born in Portsmouth, Charles Dickens had to leave school to work in a factory when his father was incarcerated in a debtor’s prison. Charles, only 12-years-old, boarded with a family friend in Camden Town. To pay for his board and to help his family, he worked ten-hour days at a Blacking Warehouse, earning six shillings ($23.50 USD) a week pasting labels on pots of boot blacking.

He later wrote that he wondered, “how I could have been so easily cast away at such an age.”

The strenuous and harsh conditions made a lasting impression and became the foundation of his interest in labor/socio-economic reform for the working class, poor and became the major themes of his work.

“The warehouse was a tumble-down old house, abutting of course on the river, and literally overrun with rats. Its wainscoted rooms, and its rotten floors and staircase, and the old grey rats swarming down in the cellars, and the sound of their squeaking and scuffling coming up the stairs. The dirt and decay of the place, rise up visibly before me, as if I were there again.”  ~ Dickens

After his mother died and left him money to pay off the creditors, Charles’ father was released from prison and went to live with family members.  

However, Charles’ own mother would not support her young boy’s removal from the boot blacking warehouse.

“I never afterwards forgot, I never shall forget, I never can forget, that my mother left me there.” ~ Dickens

Eventually, Charles was sent to Wellington House Academy where much of the desultory teaching, poor discipline punctuated by the headmaster’s sadistic brutality, seedy ushers and general run-down atmosphere, are embodied in David Copperfield.

Our Housekeeping Illustration by Hablot Knight Browne from the First Edition of David Copperfield

Charles then worked as a junior clerk in a law office. A theater buff, he went to theaters obsessively, claiming that for at least three years, he went to the theater every day!

At 20, he set out on his career as a writer, working as a political journalist, and travelled across Britain to cover election campaigns. In 1836, he accepted the editor’s position at Bentley’s Miscellany. He also finished the last installments of The Pickwick Papers, and began writing the first installments of Oliver Twist.

Becoming disillusioned in England, Charles spent a month in America giving lectures and questioning international copyright laws.

Cratchit family illustration by John Leech from the First Edition of A Christmas CarolReturning to England in 1843, he began work on A Christmas Carol. The seeds for the story were planted during a trip to Manchester when he witnessed the conditions of the manufacturing workers there. This caused Dickens to “strike a sledge-hammer blow” for the poor.

He later wrote that, as the tale unfolded, he “wept and laughed, and wept again” as he “walked about the black streets of London 16 or 20 miles many a night when all sober folks had gone to bed.”

Charles Dickens wrote A Christmas Carol in six weeks. Published on December 19, the first edition sold out by Christmas Eve. By the end of 1844, 13 editions had been released. In 1849, he began public readings of the story, which proved so successful he undertook 127 further performances until 1870, the year of his death. A Christmas Carol has never been out of print and has been translated into several languages. The story has been adapted many times for film, stage, opera and other media.

From the Director

From the Director

Welcome, Welcome, Welcome back to a tradition that has been serving the Knoxville community for more than 40 years. We are all thrilled to be live on stage again! Thank you very much for your support during the pandemic and for joining us as we present our newly adapted production of A Christmas Carol.

This production has an intimate style, which focuses on the language of Dickens, inventive theatricality, and the talents of the ensemble to move the story forward. Ninety percent of the language is taken from Dickens’ classic novella, some of which you may not have heard previously on our stage.

The lessons in Dickens’ story are profound and powerful: that before anything else in life, common welfare – charity, mercy, forbearance, and benevolence – should be everyone’s business, and that we all have a chance to change, be forgiven, and have time to redeem our wrongs.

When you exit the theatre, our hope is that you will leave feeling lighter and that you will hold Dickens’ lessons deep in your heart throughout the year.

Thank you for coming!
Kate Buckley


Our performances of A Christmas Carol are lovingly dedicated to Steve Smith.

Good Night Sweet Prince is how the line begins, and there is absolutely no doubt in my mind that those flights of angels are already singing Steve to his eternal rest. And knowing  Steve, he’s not only singing with them, but keeping everyone on key, conducting the choir, and recruiting new members with that wry smile and twinkle in his eyes. And how perfect and appropriate, Dr. Steve was an eye doctor. Man, those eyes… Beautiful; Brilliant; Mischievous.

But with Shakespeare’s permission, and the universe’s, of course, here’s where I paraphrase:

Dr. Steven Maurice Smith (what a beautiful name) is, was, and always will be one of the SWEETEST of all human beings to have ever graced this planet. And, thankfully, we at the CBT, have had the distinct honor and supreme pleasure of knowing, loving, and laughing with Steve for many, many years.

When the Clarence Brown Theatre, or many of us in the art and culture community, needed a hand, an advocate, a few bucks, A CHAIR FOR A GALA, a friend, Steve was there, front and center. With Donald by his side, Steve was quick to inspire, cajole, twist a few arms, pilfer a few pocket books, whatever the enterprise was looking for, he and Donald could find it, do it, make it happen. And, generally, within 24 hours. Or less.

When I initially reached out to Donald on behalf of all of us at the CBT, my exact words were, well, “there are no words, Donald, and our collective hearts are broken.” So, what’s next? How do we celebrate and remember and thank Steve in a very public, meaningful, and truthful way?     

The Clarence Brown Theatre is dedicating and performing this season’s A Christmas Carol in his honor and in his memory: Dr. Steven Maurice Smith, Dr. Steve, Steve, our dearly beloved and WAY TOO SOON departed CBT family member. Both Donald and Steve mean the world to the Clarence Brown Theatre, and WE couldn’t be more emphatic and unanimous about that statement and this gesture.

God Speed, Dr. Steve, and, please, keep an ever-watchful eye on us all! And, from the deepest recesses of our souls, thank you for sharing your grace, your spirit, and your wit!

On behalf of the entire CBT Family,
Tom Cervone, Managing Director 


David Brian Alley*  -  Ebenezer Scrooge/Ensemble
Davion T. Brown*  -  Marley/Cratchit/Fezziwig/Ensemble
Rachel Darden*  -  Miss Ortle/Future/Ensemble
Shinnerrie Jackson*  -  Mrs. Fezziwig/Present/Ensemble
Amberlin McCormick*  -  Fan/Young Girl/Ensemble
Brady Moldrup  -  Fred/Past/Ensemble
Michael Najman*  -  Schoolmaster/Dick Wilkins/Ensemble
Christine Sage*  -  Belle/Ensemble
Zachariah Tkachyk*  -  Ebenezer/Ensemble

Gwyneth Doppelt - Female Understudy/Crew

* Members of Actor’s Equity Association, the union of professional Actors and Stage Managers in the United States.

In loving memory of Sean Payne, father of our two wonderful Cratchit children, Madelyn and Levi.

Madelyn and Levi Payne


David Brian AlleyDAVID BRIAN ALLEY (Ebenezer Scrooge) David first became a CBT Company member in the Fall of 2000, performing in The Woman in Black. Most recently he was seen in the Spring of 2020 as Polonius in Hamlet, and he is beyond thrilled to finally be back to performing for CBT audiences after our long “hiatus.” In addition to playing the roles of Jacob Marley and Bob Cratchit in past productions of A Christmas Carol, David has also appeared in Madwoman of Chaillot; King Charles III; The Santaland Diaries; The 39 Steps; The Trip to Bountiful; Noises Off; Kiss Me, Kate; Fuddy Meers; It’s a Wonderful Life: A Live Radio Play; Moonlight and Magnolias; The Merry Wives of Windsor; Amadeus; Copenhagen; Major Barbara; A Flea in Her Ear; Stones in His Pockets; ‘ART’; The Rainmaker; and The Glass Menagerie among others. Regional: Playmaker’s Repertory; The Mark Taper Forum; Hollywood Actors’ Theatre; The iO Theatre Chicago; and Chicago TheatreWorks. Film: Light from Light; Something, Anything; Prison Break-In; The Heart is Deceitful; Gina: An Actress, Age 29; and The Sleep Seeker. TV: Women of the Movement (ABC); Snapped; Storm of Suspicion; Vengeance; Unsolved Mysteries; and It’s A Miracle. David’s absolute favorite role is as a father to his two incredible children, Devin and Caroline. He is a Proud member of Actors’ Equity Association and SAG-AFTRA. davidbrianalley.com

Davion T. BrownDAVION T. BROWN (Marley / Cratchit / Fezziwig / Ensemble), is a third-year grad student in pursuit of his MFA in Acting at the University of Tennessee, Knoxville. Before joining the UTK roster, Davion spent three years as a freelance Actor touring the country. Davion has been cast in a cornucopia of productions, and has held an assortment of iconic roles throughout his career thus far. Including: in Hamlet (as Hamlet), in Macbeth (as Macbeth), and in No Exit (as Joseph Garcin), just to name a few. Davion expresses his excitement to be back performing at the CBT again after such an unprecedented time, especially with such a universally loved play. Lastly, Davion would like to take this time to thank You for continuing to support the Arts and her Artists. Your support means the world to us all.

Rachel DardenRACHEL DARDEN (Miss Ortle / Future / Ensemble) is a third-year MFA Acting candidate who has come to UTK from her home state of Colorado. After receiving her BA in Musical Theatre, she spent time in New York City before taking time off acting to explore such interests as yurt living, hitchhiking through New Zealand, and making pie. For the past four years, she has been honing her craft in the Denver area and has been an active member in the Education Department at the Denver Center for the Performing Arts. Rachel is an avid puzzler and the proud aunt of two cats.


Shinnerrie JacksonSHINNERRIE JACKSON (Mrs. Fezziwig / Present / Ensemble) earned her Bachelors of Music at Oberlin Conservatory and her MFA at the University of Tennessee. She can be seen in 30 Rock and in Whit Stillman’s Damsels in Distress. Previous theatre productions include A Night with Janis Joplin (tour), Vanya and Sonia and Masha and Spike (Cincinnati Playhouse), and Ain’t I a Woman: a one woman show about the heroines of African American history.


Amberlin McCormickAMBERLIN McCORMICK (Fan / Young Girl / Ensemble) is so excited to be making her CBT MainStage debut in Kidswrite 2021. She is a third-year MFA Acting candidate at the University of Tennessee, Knoxville. Her credits include: Viola in Twelfth Night (National Black Theatre Festival), Eurydice in Eurydice (Warehouse Performing Arts Center) and Avigail in The Unusual Tale of Mary and Joseph (River and Rail Theatre). Amberlin would like to thank her wonderful instructors, family, and classmates! You can also follow her on Instagram: @theundercoverratchet


Brady MoldrupBRADY MOLDRUP (Fred / Past / Ensemble) Much love to Chloe, his new wife! Brady is from Knoxville, loves the sunsphere, sells Legos, taught theatre at Bearden High School last year, and just finished choreographing the musical over there this year. He likes to pretend he’s an NYC bike messenger when he rides and is a big Jeopardy fan. His second favorite movie is Hook. He is a UT grad, and is pumped to be back upon the CBT stage. Thank you to Kate Buckley for the chance to bring some Christmas spirit to the best city in the south. Merry Christmas everyone!


Michael NajmanMICHAEL NAJMAN (Schoolmaster / Dick Wilkins / Ensemble) is thrilled to be performing live again for the first time since the start of the pandemic. Born and raised in Queens, NY, he is now an MFA Graduate Acting student at UTK. He last appeared in Director John Sipes’ production of Hamlet in the Carousel Theatre. Recently, Michael has been pursuing voice acting as a way to further his training and career. Watch him play Dungeons and Dragons with his acting friends every Sunday night at 6:30 pm on www.twitch.tv/MagicPodCasters!


Christine SageCHRISTINE SAGE (Belle / Ensemble) is honored to be back in the theatre with you all, sharing a piece of timeless storytelling. At the CBT she played Ruth in Blithe Spirit and Mrs. Cratchit in A Christmas Carol. She comes from Los Angeles, where she won an Ovation Award for her performance in Shakespeare’s The Tempest. She’d like to give a special thanks to Blake for making long stretch without theatre more fun.


Zachariah TkachykZACHARIAH TKACHYK (Ebenezer / Ensemble) is an MFA Acting candidate graduating in May of 2022. He hails from Montana, and received his Bachelor of Arts in Musical Theatre from The University of Northern Colorado. He recently appeared alongside Levi Kreis in the workshop of a new play being directed and written by Randy Redd. His past CBT credits include Hamlet and A Christmas Carol. Some of his past regional theatre credits include Big River, How to Succeed in Business Without Really Trying, The Music Man, and High School Musical. Zachariah is a proud member of Actor’s Equity Association, and he is honored to be a part of the CBT family.


(Female Understudy / Crew) is a senior at the University of Tennessee, and is thrilled to be up on stage sharing stories once again. Over the last four years, she has had the privilege of being apart of several productions at Clarence Brown Theatre: The Flower Child in The Madwoman of Chaillot (’19), Fan in A Christmas Carol (’19), and Sydney in Black Flag (’20) — part of Clarence Brown’s virtual antiracism play festival. She would love to thank her family and friends for their continuous love and support, and her fellow cast and crew-mates for their relentless hard work and artistry.



Directed and Adapted by - Kate Buckley ◊ 
Musical Director - Terry D. Alford
Scenic Designer - Katherine Stepanek
Costume Designer - Lauren T. Roark
Lighting Designer - Travis Gaboda
Sound Designer - Mike Ponder
Music Designer - Tate Thompson
Projection Designer - Joe Payne  
Choreographer - Casey Sams
Voice, Text and Dialect Coach - Katie Cunningham
Production Stage Manager - Patrick Lanczki *
Managing Director - Tom Cervone
Production Manager - Susan L. McMillan

◊ Member of the Stage Directors and Choreographers Society, a national theatrical labor union.
 Represented by United Scenic Artists, local USA-829 of the IATSE.
* Members of Actor’s Equity Association, the union of professional Actors and Stage Managers in the United States.

Kate BuckleyKATE BUCKLEY (Director and Adaptor) As a Professor of Theatre at the University of Tennessee, Ms. Buckley has directed 15 productions for the Clarence Brown Theatre. Other regional theatre credits include: The Goodman Theatre, Oregon Shakespeare Festival, Milwaukee Repertory Theatre, Utah Shakespeare Festival, American Players Theatre, Kansas City Repertory, and Chicago Shakespeare Theatre. International Credits Include: The National Theatre of Slovakia; Colla Marionette Company, Milan, Italy. Ms. Buckley was a founding member of Chicago Shakespeare Theatre and served as the Artistic Director of The Next Theatre in Evanston, Illinois. She has been a guest lecturer on Shakespeare at universities and arts organizations nationally and abroad. She received a Joseph Jefferson award for Best Director, four Chicago After Dark Awards for Outstanding Direction and her productions have won four consecutive Jefferson Awards for Best Ensemble. She has received a Distinguished Alumni Award from Aurora University, a Creative Achievement/Research Award, and the Paul Soper Professorship from the University of Tennessee.

Terry D. AlfordTERRY D. ALFORD (Musical Director) Terry is a Distinguished Lecturer in Theatre and teaches Musical Theatre Performance and Honor’s Introduction to the Theatre and Acting. Prior to joining the UT faculty Mr. Alford held the positions of Director of Musical Theatre at The University of Tulsa, and Director of Musical Theatre at The University of Wisconsin at Stevens Point. He has worked professionally as a performer, director, musical director, and composer at theaters across the country, including the California Theatre Center, Madison Repertory, Omaha Playhouse, Augusta Barn, Fireside Theatre, Light Opera of Oklahoma, and the Clarence Brown Theatre. Terry has directed or musically directed numerous productions and has created the scores for four original musicals and a variety of chamber and vocal music pieces. Terry also directs or musically directs shows locally with the Flying Anvil Theatre and the Knoxville Children’s Theatre. He earned his BA and MFA in theatre from The University of Tennessee. Terry is a member of the Clarence Brown Professional Company and regularly directs and musically directs for the Clarence Brown Theatre. Favorite CBT directing credits include South Pacific, A Shayna Maidel, The Real Inspector Hound, The 25 th Annual Putnam County Spelling Bee, Assassins, and Into the Woods. Favorite CBT Musical Direction credits include Urinetown, Spamalot, Kiss Me Kate, The Who’s Tommy, and Man of La Mancha. In addition, Terry composes incidental music for CBT productions and is the director of the CBT Summer Acting Workshop and serves as co-facilitator of Outreach and Education hosting Theatre Tours and Talkbacks.

KATHERINE STEPANEK (Scenic Designer) Katherine, a native of St. Louis, is thrilled to be designing another show with the Clarence Brown Theatre. Previous work includes: Blithe Spirit, Exit, Pursued by A Bear, Million Dollar Quartet, as well as Detroit ’67. Outside productions have included both scenic and lighting design work for Highlands Playhouse (Highlands, NC), Shawnee Theatre (Bloomfield, IN), the Clarice Smith Dance Theatre (College Park, MD), the Summit Theatre Group (Kansas City, MO), and the Jack Aldrich Theater (Sandusky, OH). Katherine has also worked in the art department for various films, including Marvel’s Avengers: Endgame and Avengers: Infinity War. She is currently getting her graduate degree in Scenic Design from the University of Tennessee.

Lauren T. RoarkLAUREN T. ROARK (Costume Designer) is the head of graduate costume design in the Department of Theatre at the University of Tennessee. She has previously designed King Charles III and Million Dollar Quartet at the Clarence Brown Theatre. Select regional credits include Repertory Theatre of St. Louis, Milwaukee Repertory Theatre, Kansas City Repertory Theatre, Great Lakes Theatre, Arkansas Repertory Theatre, and the Tony Award winning Utah Shakespeare Festival and Cincinnati Playhouse in the Park. Her work has been featured in the United States Institute for Theatre Technology’s Young Designers’ Forum Exhibition and she was awarded the Barbizon Award for Theatrical Design Excellence. Lauren has worked in costume shops spanning three continents, including Brazil and Hong Kong. She holds an MFA in Costume Design and Technology from the University of Missouri–Kansas City and is a proud member of United Scenic Artists, Local 829. To learn more, visit www.laurentroark.com.

TRAVIS GABODA (Lighting Designer) is a native of Stevens Point, WI. However, he is proud to call Knoxville his home. Design credits: Clarence Brown Theatre (It’s A Wonderful Life: A Live Radio Play and The Santaland Diaries);  Cumberland County Playhouse (Oklahoma! and Steel Magnolias), Timber Lake Playhouse (CATS, Anything Goes, HAIR, and Voices in the Dark), and a series of Dance compilations at Austin East High School. Travis served as the resident Master Electrician for the CBT and has moved into the position of Electrics Shop Manager. He is a proud alumnus of the University of Wisconsin-Stevens Point, where he received his BFA in Theatre Design. He would also like to thank his wife Sarah and sons Taylor and Nathan for their constant understanding and love.

Mike PonderMIKE PONDER (Sound Designer) Mike was an early disciple of the home studio boom and the revolution in computer and MIDI based production, dabbling in music recording, writing and commercial jingles in Boston before returning to Knoxville to buy a house with a small studio space in the basement. For over 21 years, Mike has been Sound Engineer and Sound Designer for UT Theatre and the Clarence Brown Theatres, designing, engineering and even composing for many of the theatre’s productions over the years. Some standout productions have been the American production of the Hungarian movement-only play, Oozstanc (US title: Dance in Time), with the creator and director Laszlo Marton as well as playing live music and sound effects “poolside” for Metamorphoses; Other stand-outs include, for The North Carolina Stage Company (Asheville), Hedwig & the Angry Inch and Lee Blessing’s Chesapeake with its composed dog oriented bass. Mike maintains the small project studio in West Knoxville.

TATE THOMPSON (Music Designer) is from Parkersburg, West Virginia and earned his BA in Theatre at Fairmont State University in Fairmont, WV. This is Tate’s first season at CBT and will be designing A Christmas Carol (music), The Curious Incident of the Dog in the Night-Time (projections), and She Kills Monsters (sound). He will also be the assistant sound designer and mixer for Always…Patsy Cline. Tate is a member of the Theatrical Sound Designers and Composers Association.

Joe PayneJOE PAYNE (Projection Designer) runs the Sound and Media Design MFA program for the Department of Theatre. He has designed sound, projections, and/or composed music for more than 250 professional productions throughout the United States, including twenty seasons at the Utah Shakespeare Festival, Berkeley Rep, Syracuse Stage, Cincinnati Playhouse in the Park, Round House Theatre and Imagination Stage (Bethesda, MD), Marble City Opera, ten years at Pioneer Theatre Company (SLC, UT), Indiana Repertory Theatre, Alabama Shakespeare Festival, The Repertory Theatre of St. Louis, The Virginia Stage Company, Milwaukee Repertory Theatre, Utah Opera and Symphony, The Fulton Opera House (Lancaster, PA), and others. Joe is a member of United Scenic Artists USA Local 829, and the Theatrical Sound Designers and Composers Association, and is the Commissioner of the United States Institute for Theatre Technology Digital Media Commission.

Casey SamsCASEY SAMS (Choreographer) is the Interim Department Head and a Professor of Theatre specializing in movement. She teaches movement, acting, period dance and musical theatre to both undergraduate and graduate students. She received her undergraduate and graduate degrees from Penn State and completed the Certification in Laban Movement Analysis at the Laban/ Bartenieff Institute for Movement Studies. Prior to arriving in Tennessee, Casey served as the Education Director for Virginia Stage Company, where she created programming for students from pre-k to post-graduate. She has worked as a Director, Choreographer, Movement Coach, and Intimacy Choreographer at theatres across the country including The Clarence Brown Theatre, Cincinnati Playhouse in the Park, The Roundhouse Theatre, St. Louis Repertory Theatre, Milwaukee Repertory, North Carolina Stage Company, PlayMakers Repertory, Virginia Stage Company, Pennsylvania Musical Theatre, The Knoxville Opera Company, and Vermont Stage Company. She is also a certified meditation instructor with The American Meditation Society and Koru Mindfulness.

KATIE CUNNINGHAM (Voice, Text and Dialect Coach) has been acting at Clarence Brown Theatre since 2013 and teaching at UTK since 2018. She joined the full-time faculty as an Assistant Professor in 2020, and specializes in voice, speech, and dialects. She is known to CBT audiences for her onstage roles in Noises Off, The 39 Steps, and Outside Muliingar among many others. Recent voice, text, and dialect coaching includes River & Rail Theatre; Southwest Shakespeare Company; and several productions at Clarence Brown Theatre. Her work has been published in the Voice and Speech Review, The Conversation, and the International Dialects of English Archive. She is a Certified Teacher of Knight-Thompson Speechwork, studied with Patsy Rodenburg in London, and has extensive experience in Fitzmaurice Voicework. In early 2022, she will complete a graduate certificate in Vocology from the Department of Speech and Hearing Science at Lamar University and previously earned a distinguished certificate in vocal pedagogy from Boston Conservatory at Berklee. She holds an M.F.A. in Acting from Florida State University/Asolo Conservatory for Actor Training and a B.A. in Dramatic Art & Political Science from the University of North Carolina at Chapel Hill. She is a proud member of Actors’ Equity Association, SAG-AFTRA, VASTA (Voice and Speech Trainers’ Association), and PAVA (Pan-American Vocology Association).

PATRICK LANCZKI (Production Stage Manager) is thrilled to be back for his eighth season at the CBT and his sixth as Production Stage Manager. His regional stage management credits include five years as resident stage manager at Asolo Repertory Theater, as well as multiple seasons at Arkansas Repertory Theater, Merry-Go-Round Playhouse, Northern Stage, and several Off-Broadway productions. As an actor, starting at age 16, he has appeared in numerous national and international tours, including seven tours of Jesus Christ Superstar, television, movies and voiceovers. A special thank you to my Stage Management Assistants Jess, Emily, and Linzy for all of their hard work on this production. Patrick has been a proud member of the Actors’ Equity Association since 1984 and dedicates his work on this production, as always, to his late father Alex. AHFOL to Katie, my best friend, favorite actress, and wife.

Tom CervoneTOM CERVONE (Managing Director) has dedicated most of his professional career (and life) advocating for and working in the best interests of the arts and culture industry, 25 years (and counting) serving proudly as the managing director for the Clarence Brown Theatre/Department of Theatre at UTK. He previously served as the first executive director of the Historic Tennessee Theatre Foundation and the executive director for Dogwood Arts. Cervone spent many years on the board of the Arts and Cultural Alliance of Greater Knoxville, and currently serves on the boards of the WordPlayers, the Knoxville Children’s Theatre, Department of Theatre and recently appointed to the Board of Governors of West Liberty University. Cervone remains active within the UTK community as a member of the Exempt Staff Council and Chancellor’s Commission for LGBTQ people. He received the Chancellor’s Citation for Outstanding Service to the University in 2010. He is a longtime member of the Actors’ Equity Association. Cervone holds his undergraduate degree in Speech and English Education with an emphasis in Theatre from West Liberty University in West Virginia and an MFA (1993) and MBA (2010) from UTK. He is a graduate of and was selected as the Class Representative of the Leadership Knoxville class of 2011.  Cervone is a member of his undergraduate alma mater’s class of 2015 Alumni Wall of Honor.

SUSAN L. McMILLAN (Production Manager) is in her eighth year as Production Manager at CBT and UT Department of Theatre. In addition, she teaches Stage Management. Prior, Susan was the Production Manager and Stage Management Instructor at the University of California, Santa Barbara, for 6 years. Susan is a member of Actors’ Equity Association, and was a Stage Manager at the Oregon Shakespeare Festival for 18 years. Additionally, she has stage managed at the Guthrie Theatre, Shakespeare Theatre Company, Portland Center Stage, PCPA, Rogue Valley Opera, Portland Civic Theatre, and has toured to the Kennedy Center. Through science and music (B.S. degrees in Biochemistry and Biology from Oregon Stage University), Susan found her passion in theatre. She is incredibly grateful for the opportunities and adventures, inspirational mentors, artistic and talented colleagues, amazing students, and the love and support of her family and friends.

Production Crew


Assistant Director
...Gwyneth Doppelt

Stage Management Assistants
...Emily Adams
Jess Klus...
...Linzy Monks

Fire Watch
...Phyllis Belanger
...Katie Stepanek


Wardrobe Supervisor
...Elizabeth Aaron

Assistant Wardrobe Supervisor
...Courtney Morris

Wardrobe Crew
...Rachel Clift
...Blake Julian

...LoRen Seagrave


Deck Crew
...Ariana Dotson
...Sarah Hazlehurst
...Tyler Sivels


Assistant Lighting Designer
...Josh Mullady

Production Electrician
...Gabriel Arredondo Creel

Light Board Operator
...Julia Lowe

Spot Operator
...Joseph Coram
...Shea Snow


Sound Board Operator
...Bek McFall


Assistant Projection Designer
...DJ Pike

Projections Operator
...Jax Costello


...My'Chyl Purr
...Lucas Swinehart
...Sebastian VanHorn
...Wil Waring

CBT Staff


Interim Artistic Director - Kate Buckley
Interim Department Head- Casey Sams
Managing Director - Tom Cervone
Business Manager - Tara Halstead
Accounting Specialist - Sarah Odio
Marketing & Communications Director - Robin Conklin
General Manager - Shelly Payne
IT Specialist - Mark Spurlock
Graphic Designer - Julie Anna Summers


Manager of Ticketing and Sales - Sarah Burton
Box Office Manager - Callie Bacon
Lead House Manager - David Ratliff
Patron Service Associates - Faridat Akindele, Tyler Glover,
....Ona Linna-Hipp, Tucker Miller, Amoirie Perteet,
....Emily Pope, Eric Thompson, and Jenna Tiger


External Relations & Community Development Manager -
....Amanda Middleton
Grants, Education, and Outreach Manager - Hana Sherman
Tours, Workshops - David Brian Alley
Summer Acting Workshops, Talk Backs - Terry D. Alford


Production Manager - Susan L. McMillan
Rental Coordinator/Assistant Production Manager -
....Phyllis Belanger
Production Stage Manager - Patrick Lanczki


Costume Shop Manager - Melissa Caldwell-Weddig
Cutter/Draper - Kyle Andrew Schellinger
Costumers - Elizabeth Aaron, Amber Williams,
....and Neno Russell
Costume Assistants - Max Hromek
....and Sebastian Van Horn
Wig Makers - Siobian Jones, The Mighty Wig


Electrics Shop Manager - Travis Gaboda
Lead Electrician - Jon Mohrman
Lighting Assistants - Lisa Bernard, Kaylin Gess,
....Josh Mullady
, and My’Chyl Purr


Technical Director - Jason Fogarty
Assistant Technical Director - George Hairston
Lead Carpenter - Jerry D. Winkle
Senior Carpenter - Kyle Hooks
Scene Shop Assistants - Justin South, Katie Stepanek,
....and William Waring
Scenic Charge Artist - Jillie Eves
Painter - Laura Cliff


Props Supervisor - Christy Fogarty
Lead Properties Artisan -  Sarah Gaboda
Prop Assistants - Emily Adams, Kat Cooper,
....Ellary Hutsell, DJ Pike, and Wll Waring


Sound Supervisor - Mike Ponder
Assistant Sound Engineers - Tate Thompson
....and Lucas Swinehart

Theatre Faculty


Kenneth Martin  Department Head, CBT Artistic Director
Casey Sams  Movement & Musical Theatre, Associate Department Head
Kenton Yeager Lighting Design, Head of Graduate Studies


Jed Diamond  Acting
Joe Payne  Sound and Media Design
Christopher Pickart  Scenic Design


Kathryn Cunningham  Voice and Speech
Gina Di Salvo  Theatre History and Dramaturgy
Shinnerrie Jackson Acting
Lauren T. Roark  Costume Design
Neno Russell  Costume Technology


David Brian Alley  Senior Lecturer in Acting, Head of Undergraduate Studies
Terry D. Alford  Distinguished Lecturer in Music Theatre
Tracy Copeland Halter Acting
Steve Sherman Acting
Laura Beth Wells Acting
Katy Wolfe Voice


Carol Mayo Jenkins Acting


Misty Anderson Professor of English and Theatre, English Department, Allen C. Carroll Chair of Teaching
Stanton B. Garner, Jr.  Professor of English and Theatre, Chair, Department of English  


Bill Black Costume Design & Technology Professor Emeritus
Kate Buckley  Directing Professor Emeritus
Marianne Custer  Costume Design Professor Emeritus
Calvin MacLean  Department Head, CBT Artistic Director, Professor Emeritus
John Sipes  Acting, Directing & Movement Professor Emeritus
Terry Weber Acting, Voice Professor Emeritus

CBT Advisory Board

Chair: Margie Nichols
Chair Elect: Julie Howard
Immediate Past Chair: Lyle Irish

Jennifer Banner
Larry Brakebill
Amy Caponetti
Lisa Carroll
Jeff Cheek
Brooks Clark
Ramsey Cohen
Katharine Pearson Criss
Steve Drevik
Danielle Ely
Pamela Given *
Amy Morris Hess
Diane Humphreys-Barlow
Erica Lyon
Angela Masini
Maureen Dunn McBride
John North
Sara Phillips
Vladimir Protopopescu
Lee Riedinger
CortneyJo Sandidge *
Susan Sgarlat
Linda Shahinian
Steve Smith
Kay Stoutt
Pedro Tomás *
Alice Torbett
Robin Turner
Terry Tyler *
Georgiana Vines
Alexander Waters
Melanie Wood
Wendy Wortham


Charlie Brakebill
Joe De Fiore
Susan Farris
Townes Lavidge Osborn

Ex Officio

Kate Buckley
Casey Sams
Tom Cervone
Andrew Sheehy
Holly Jackson-Sullivan
Jan Simek
Stephanie Wall

*New Board Member
◊ Deceased