Playbill
September 2-20
DIAL M FOR MURDER (HATCHER) is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc.
www.concordtheatricals.com
Originally commissioned and produced at The Old Globe Barry Edelstein, Erna Finci Viterbi, Artistic Director; Timothy J. Shields, Managing Director
Run Time:
2 hours 15 minutes including one 15-minute intermission
Content Advisory:
This production contains mature themes, including depictions of violence, attempted murder, and domestic abuse. This production also includes discussions of infidelity. Audience discretion is advised.
ARTISTS
Director –Melissa Maxwell◊
Scenic Designer – Leilane Bertunes
Costume Designer – Matthew Carl
Lighting Designer – Dylan Tillery
Sound Designer – Elisabeth Dupuy
Voice/Text/Dialect Director
…– Sammy Pontello
Fight Director – Benjamin Boucvalt
Intimacy & Movement Coach –
…Gabriela Bulka
Stage Manager – Patrick Lanczki *
Artistic Director – Kenneth Martin
Managing Director – Tom Cervone
Production Manager –
…Susan L. McMillan
◊ The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.
* Members of Actor's Equity Association, the union of professional Actors and Stage Managers in the United States.
Welcome to the 2026–2027 Season
Every season begins with a question. Not simply what stories we should tell, but why we gather to tell them at all.
For as long as people have lived in communities, we have shared stories. We have used them to wrestle with mystery, to pass along wisdom, to challenge injustice, to celebrate love, and to remind ourselves that even after loss there is hope. Stories teach us who we have been, invite us to imagine who we might become, and occasionally reveal truths that have been waiting for us all along. That is the work of the theatre.
Welcome to the Clarence Brown Theatre Company’s 52nd season as the professional theatre in residence at the University of Tennessee. For more than half a century, artists, artisans, students, and audiences have come together here to create something extraordinary: a place where stories are shared. This season embraces the full breadth of the human experience. There is mystery to unravel and laughter to discover. There are difficult questions that refuse easy answers and characters who challenge our assumptions. There are stories of grace, forgiveness, and redemption, and stories that remind us love is often found in unexpected places. Some are brand new, arriving from Broadway while they are still shaping the American theatrical landscape. Others have earned their place among the enduring classics of musical theatre. Together, they remind us that every generation tells its stories differently, but the questions at the heart remain remarkably the same.
At the Clarence Brown Theatre Company, those stories come to life through a remarkable partnership. As a professional theatre company within one of the nation’s leading public universities, we bring together accomplished artists and the next generation of actors, designers, technicians, stage managers, and storytellers. The result is a theatre that honors tradition while embracing innovation. A place where education and professional artistry enrich one another every day. But no story is complete without an audience.
Long after the scenery is designed and the costumes are built, after the lights are focused and the actors have rehearsed, something essential is still missing. Theatre only becomes theatre when you arrive. Every laugh, every moment of silence, every collective gasp transforms a performance into a communal experience. In an age when so much of our lives is lived through screens, there remains something profoundly hopeful and authentic about people gathering in one room to experience a story they can never experience in quite the same way again.
Thank you for making the Clarence Brown Theatre Company part of your life. Whether you are joining us for the first time or returning as a lifelong subscriber,
we are honored to welcome you.
~ Ken Martin
I am excited and honored to helm this well-known, beloved classic, especially this adaptation which, I feel, revitalizes the story in a way that makes it more relevant and resonate to our modern times and sensibilities.
I find it interesting that the play is typically categorized as a crime thriller or murder mystery, given that the playwright makes no attempt to hide from his audience who done it. From the very first scene, we are in on all of the characters’ secrets and intentions, so there is no mystery or suspense. Rather, I see the play as a psychological drama. My focus in directing it is that gap between one’s authentic self and the public persona one puts forth (either due to societal pressure or one’s own self-loathing), the false narrative one creates to maintain the lies one tells oneself and the world, and the deceptions one is willing to perpetrate to protect the version of self one has created. Our production is not about who done it but WHY, and those reasons go far beyond the five motives Maxine lists for murder. Those reasons speak to the deep, granular frailties of being human and either not being allowed to be who you truly are or falling short of who you think you were meant to be.
~ Melissa Maxwell
Jeffrey Hatcher (Playwright)
Broadway: Never Gonna Dance (Book). Off-Broadway: Three Viewings and A Picasso at Manhattan Theatre Club; Scotland Road and The Turn of the Screw at Primary Stages; Tuesdays with Morrie (with Mitch Albom) at The Minetta Lane; Murder By Poe, The Turn of the Screw and The Spy at The Acting Company; Neddy at American Place; and Fellow Travelers at Manhattan Punchline.
Other Plays/Theaters: Compleat Female Stage Beauty, Mrs. Mannerly, Murderers, Mercy of a Storm, Smash, Armadale, Korczak’s Children, To Fool the Eye, The Falls, A Piece of the Rope, All the Way with LBJ, The Government Inspector, Dr. Jekyll and Mr. Hyde and others at The Guthrie, Old Globe, Yale Rep, The Geffen, Seattle Rep, Cincinnati Playhouse, Cleveland Playhouse, South Coast Rep, Arizona Theater Company, San Jose Rep, The Empty Space, Indiana Rep, Children’s Theater Company, History Theater, Madison Rep, Intiman, Illusion, Denver Center, Oregon Shakespeare Festival, Alabama Shakespeare Festival, Milwaukee Rep, Repertory Theater of St. Louis, Actors Theater of Louisville, Philadelphia Theater Company, Asolo, City Theater, Studio Arena and dozens more in the U.S. and abroad.
Film/ TV: Stage Beauty, Casanova, The Duchess, and episodes of Columbo. Grants/Awards: NEA, TCG, Lila Wallace Fund, Rosenthal New Play Prize, Frankel Award, Charles MacArthur Fellowship Award, McKnight Foundation, Jerome Foundation and Barrymore Award Best New Play. He is a member and/or alumnus of The Playwrights Center, the Dramatists Guild, the Writers Guild and New Dramatists.
Frederick Knott (Adaptor)
Frederick Knott was born on August 28, 1916 in China to an English missionary family. Knott earned a law degree from Cambridge University after attending Oundle School and served in the British Army from 1939 to 1946, achieving the rank of major. Knott only wrote three plays during his lifetime, yet his spine-tingling thrillers ran successfully on Broadway in the 1950s and 1960s, and have been standards in regional theatre and touring productions throughout the world.
His most famous script, Dial ‘M’ for Murder, is about a man who plots the murder of his wealthy wife but has to improvise once she staves off his plan and was rejected several times before playing successfully on British television in the early 1950s. It then hit the London stage to rave reviews. In 1952, the play opened on Broadway, and in 1954 was adapted by Knott into a film directed by Alfred Hitchcock, starring Grace Kelly and Ray Milland. His second most popular play, Wait Until Dark, ran for 374 performances on Broadway in 1966 and earned actress Lee Remick a Tony Award nomination for her portrayal of a blind woman terrorized by thugs. In 1967, the play was made into a popular film of the same name starring Alan Arkin and Audrey Hepburn. It was revived on Broadway in 1998 in a production starring Marisa Tomei and Quentin Tarantino. His third play, Write Me a Murderer, opened on Broadway in 1961 and ran for twenty-five weeks. Fredrick Knott passed away in 2002.
How and when did you first enter the world of theatre?
Being born and raised in Brazil, I was exposed to art from an early age. My artistic journey began with dance at 13 years old, and that was my first connection to the stage. I transitioned from dance to theatre, specifically acting, while also pursuing a degree in Digital Design. While building my theatre career, I developed a parallel career in digital design and visual arts, working for major companies in Brazil and eventually becoming a Head of Design. Throughout this time, I continued creating and working in theatre while developing my skills as an artist, earning a certificate in Acting and later a postgraduate degree in Directing and Acting. For many years, I worked simultaneously as a digital designer and theatre artist. This journey led me to create my own independent theatre company in Brazil, Cia Inquietações de Teatro, where I began writing, designing, directing, and performing my own productions. Through these experiences, I discovered scenic design as the place where all my artistic passions could meet. I always had the desire to expand my work internationally and study abroad, and that journey brought me here!
Why scenic design?
My background as a multidisciplinary artist allows me to approach scenic design from a broad perspective. I love that scenic design brings together so many of my artistic interests: painting, drawing, creating entire worlds, and finding new ways to tell stories. Through space, color, texture, and composition, I seek to support the emotional journey of the characters and invite the audience to experience the story rather than simply observe it. My experience as a performer and director also influences the way I design. I think about how actors will inhabit the space, how the scenery can support their storytelling, and how the environment itself can become an active part of the narrative.
What is a favorite part of the design for Dial M for Murder?
I really love the textures and colors of this design. I am combining Edwardian and Late Victorian influences for the structure of the flat with an Old Money aesthetic for the interior. The burgundy tones, fine woods, tufted leather, and brass details create a sense of luxury, desire, and suspense, exactly the atmosphere I wanted for this story. I spent a lot of time researching the period to make sure every texture, material, and piece of furniture contributed to the world of the play and carried its own story. One of the most fascinating aspects of Dial M for Murder is that the audience becomes a witness to the crime. I wanted the set to feel like another character in the room, a place filled with secrets, history, and tension. I cannot wait for the audience to step into this world.
Explain your process as an artist when designing the set for a show?
Everything begins with reading the script. I like to take notes throughout the first reading, allowing the world of the play to start developing in my mind. I look for details about the location, time period, specific props, important scenic elements, and anything that reveals the needs of the story. After that, I usually begin with visual exploration: notes about colors, shapes, textures, and images that connect with the atmosphere I am building. I often look for inspiration in paintings, museum exhibitions, architecture, and historical references. Period research is especially important because it helps define the visual language of the production. The next step is collaboration. I work closely with the director to understand the vision for the production and decide what direction the design should take, whether it is more realistic, abstract, or somewhere in between. From there, I develop hand sketches, collaborate with the production team, and bring those ideas to life through 3D modeling, drafting, and renderings until the complete scenic design package comes together.
What is it like working with the CBT company?
Theatre is made by people, and CBT has an amazing group of talented artists who bring dedication, creativity, and passion to every production. I feel very lucky to learn from them every day and I am grateful for their patience, support, and collaboration throughout this process. It has been a wonderful experience working in these beautiful theatres, learning new skills, switching between centimeters and inches, and sharing stories with such a dedicated team. I also want to thank my mentors and friends who have believed in me, supported my work, and encouraged me throughout this journey. It has been a true pleasure to be part of this community.
What do you hope for in the future?
I define myself as a theatre maker passionate about creating theatre around the world. I strongly believe in the idea that we should create the art we want to see, and my hope is to continue learning, collaborating, and developing my artistic voice internationally. I believe theatre has no language barriers and no physical limits. To me, a life as a theatre artist means being part of a collaborative community dedicated to inspiring, educating, and shaping culture. My work goes beyond aesthetic beauty. It is about creating experiences that connect people and contribute to the emotional and cultural fabric of society.
Melissa Maxwell (Director) is an actor, director, writer, Co-Associate Artistic Director of Great River Shakespeare Festival, and Director of Professional Development at The Stella Adler Studio of Acting, where she teaches the business of acting. DIRECTING CREDITS: Utah Shakespeare Festival (Steel Magnolias, Trouble in Mind), Playmakers Rep (Clyde’s), GRSF (Imbroglio), George Street Playhouse (Clyde’s), Repertory Theatre of St. Louis (The African Company Presents), Kitchen Theatre/Civic Ensemble (Slashes of Light). ACTING CREDITS: Mint Theatre (Drama Desk nomination), The Guthrie (The History Plays 2024), GRSF (company member since 2017), George Street Playhouse, Public Theatre of Maine, Capital Rep, Pearl Theatre Company, Alabama Shakespeare Festival, Cincinnati Playhouse. Film and TV: Bad Day, FBI: Most Wanted, MANIFEST, Mrs. Fletcher, Madam Secretary, HOSTAGES, Law & Order, The Thomas Crown Affair, The Sopranos. PLAYWRITING CREDITS: Imbroglio (GRSF World Premiere), Salt in a Wound (ETA Creative Arts Center). Unrequited Love (New Perspectives Theater). Fetus Envy (manhattantheatre). PUBLIC SPEAKING: TEDx Talks: TEDxMosesBrownSchool: Taking Ownership and TEDxBarnardCollegeWomen: On Courage. www.melissamaxwell.com
Leilane Bertunes (Scenic Designer) is a multidisciplinary theatre artist working as a scenic designer, actor, director, and playwright. She is currently a third-year MFA candidate in Scenic Design at the University of Tennessee, Knoxville. Originally from São Paulo, Brazil, she holds a certificate in Musical Theatre, a bachelor’s degree in Digital Design, and a graduate certificate in Acting and Directing. Leilane is proud and grateful to be part of this amazing show and company. She was also the scenic designer for Failure: A Love Story, The Harvest, and Appropriate (upcoming) with the Clarence Brown Theatre Company. As a visual artist, she has exhibited watercolor works in the United States and Brazil, as well as at the International Contemporary Art Salon at the Carrousel du Louvre in Paris. She is also the founder of Inquietações Theatre Company, an independent theatre company dedicated to creating original productions such as Palhacíssima e Outros Surtos and Sereníssima?, as well as collaborating with Brazilian directors including Dan Rosseto and Bernardo Berro. Learn more at leilanebertunes.com
Matthew Carl (Costume Designer) Matthew is currently earning his masters in Costume Design at the University of Tennessee Knoxville. Past design credits include Cabaret (The Jenny Boyd Theatre), Dragons Love Tacos, Luchadora! ( Orlando Family Stage), Failure: A Love Story (Clarence Brown Lab Theatre), La Cage Aux Folles and The 25th Annual Putnam County Spelling Bee (Significant Productions), and Glu, a new musical (Timberlake Playhouse). Select past associate design work Beautiful The Carole King Musical, The Sound of Music and Beauty and the Beast (The Paramount Theater), Cinderella (Drury Lane Oakbrook). Matthew has also been a shopper for Broadway costume shops, Parsons-Mears Ltd, and Pintler Costumes and Technology.
Dylan Tillery (Lighting Designer) Dylan is a third year Lighting Design M.F.A candidate at the University of Tennessee, Knoxville. This will be his third realized design with the Clarence Brown Theatre Company, having previously designed Sense and Sensibility and How To Defend Yourself. He has designed for various companies around the country, including the Clarence Brown, the Bijou Theatre, Oak Ridge Playhouse, Cortland Repertory Theatre, the Gordon Theatre, as well as assisting and working for Cincinnati Playhouse in the Park, the Ohio Light Opera, the Janiec Opera Company, the Saenger Theatre, the Pensacola Opera, and others. He is very excited to be opening the Clarence Brown season again, and is thrilled for another delightful year with the company. He would like to express his love and gratitude for his friends and family for their continued and constant support. www.dylanjtillery.com
Elisabeth Dupuy (Sound Designer) Elisabeth is a third-year Sound and Media MFA student. Recent credits include: Something Rotten USF, She Loves Me USF, Cabaret CBTC, Finn: The Musical, Monumental Theater, A Christmas Carol CBTC, How to Defend Yourself CBTC, Antigone, Presented by the Girls of St. Catherines, GMU SoT, and The Road to the End, Capitol Fringe Festival. IG: @lis.ekd
Sammy Pontello (Voice/Text/Dialect Director) is an actor, voice, text, and dialect coach, and teaching artist based in Knoxville, Tennessee. They’ve worked regionally with Florida Studio Theatre, Orlando Shakes, Great River Shakespeare Festival, Texas Shakespeare Festival, and the Clarence Brown Theatre. Past coaching credits include: A Christmas Carol, You Can’t Take It with You (Clarence Brown Theatre), Romeo and Juliet, Comedy of Errors (Great River Shakespeare Festival). MFA Acting: University of Tennessee-Knoxville. IG: @sjpactor | sammypontello.com
Benjamin Boucvalt (Fight Director) Benjamin is an active martial artist and does fight choreography for stage and film across the country. He has choreographed and performed as a company member at Great River Shakespeare Festival for the past 14 years. Other theatres Benjamin has worked with include the Asolo Repertory Theatre, Playmakers Repertory Company, and the Orlando Shakespeare Theater. Benjamin’s latest book, The Name Hennessy, was published in 2024. He voices one of the main characters in the audiobook that was also released that same year—a fully dramatized production with individual actors reading each character. A staged production of the story is currently in development. AEA/SAG-AFTRA
Gabriela Bulka (Intimacy and Movement Coach) has worked as a movement director with RJ Theatre Company, where her credits include the New York premieres of Charlie (TheatreLab) and Hamlet Split Apart (The Flea Theatre). This October, she will join the artistic team of Circle Theatre Festival. Additional credits include serving as Dance Captain and Fight Captain on several productions at Clarence Brown Theatre, as well as Assistant Intimacy Director at Great River Shakespeare Festival. A graduate of the Ballet School of Kraków, Gabriela believes the body is one of the actor’s greatest storytelling tools and brings her lifelong love of dance and movement to every production she helps create.
Patrick Lanczki (Production Stage Manager) Patrick is thrilled to be back for his 13th season at the CBT and his 11th 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. Patrick has been a proud member of the Actors’ Equity Association since 1984 and dedicates his work on this production to his family: AHFOL to Katie, my best friend, favorite actress, and wife, and the newest member of our family: our son Paddy.
Kenneth Martin (Artistic Director/Department Head) comes from the University of Missouri, at Kansas City, where he was the Patricia Mcllrath Endowed Professor and Chair of the Theatre Division. His career in academia also included nearly 18 years serving as chair of the theat departments across the USA. Ken is also a scenic designer and member of United Scenic Artists, his designs have been seen at theatres across the country including Kansas City Repertory Theatre, Florida Repertory Theatre, Skylight Music Theatre, The New Theatre, Ohio Light Opera, Cleveland Ensemble Theatre, Ocean State Theatre and many others. He has also designed shows for many colleges and universities including Marquette University, University of Wisconsin-Stevens Point, Coastal Carolina University, Cuyahoga Community College, and The Ohio State University. Martin has actively served his profession as a respondent for the Kennedy Center American College Theatre Festival, as a consultant for several regional theaters and through active participation in organizations like the United States Institute for Theatre Technology, Educational Theatre Association and the Southeastern Theatre Conference.
Tom Cervone (Managing Director) Tom is grateful and honored to serve the Clarence Brown Theatre as Managing Director. Cervone has also served as executive director for both Dogwood Arts and the Historic Tennessee Theatre Foundation, but the CBT/UTK Theatre Department is Tom’s administrative and artistic home. Cervone is a long-time board member of the WordPlayers and continues to evangelize on behalf of the art and culture community locally and nationally. Tom received the Chancellor’s Citation for Outstanding Service to the University in 2010. Cervone holds his undergraduate degree in Theatre from West Liberty University in West Virginia and a Master of Fine Arts and an MBA from UT. He is a graduate of and was selected as the Class Representative of the Leadership Knoxville class of 2011. Cervone was inducted into his undergraduate alma mater’s class of 2015 Wall of Honor and was appointed by the Governor of WV in 2021 to serve as a member of the Board of Trustees of WLU.
Susan L. McMillan (Production Manager) is in her twelfth year as Production Manager at the 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 (B.S. degrees in Biochemistry and Biology from Oregon State University) and music (cellist), Susan found her way into theatre (Minor in Theatre from OSU). She is incredibly grateful for all the opportunities and adventures along the way, inspirational mentors, artistic and talented colleagues, amazing students, and the love and support of her family and friends. And very grateful for Molly – woof! This season is fully dedicated to her beloved, beautiful, and deeply missed mother, Grace – a shining light forever.
The Cast
Margot Wendice – Kat Lee *
Maxine Hadley – Elise Thayn *
Tony Wendice –
…Christopher Joel Onken *
Lesgate – Thomas Nash Tetterton *
Inspector Hubbard –
…David Brian Alley *
British Broadcasting Voice –
…Sammy Pontello
U/S Margot Wendice/Maxine Hadley –
…Gabriela Bulka
U/S Tony Wendice/Lesgate –
…Parker Rawlins
U/S Inspector Hubbard – Michael Higdon
* Members of Actor’s Equity Association, the union of professional Actors and Stage Managers in the United States.
David Brian Alley (Inspector Hubbard) Dial ‘M’ for Murder marks the beginning of David’s 27th season as a Lecturer and Artist-in-Residence for the Department of Theatre and Clarence Brown Theatre. He has appeared in over 65 CBT productions in that time, most recently as Paul Sycamore in You Can’t Take it With You. Favorite CBT roles include Ed in The Curious Incident of the Dog in the Nighttime; James Reiss in King Charles III; Crumpet the Elf in Santaland Diaries; Smee in Peter and the Starcatcher; Clown 1 in The 39 Steps; Ludie Watts in The Trip to Bountiful; and Charlie in Stones in His Pockets to name a few. David is a proud member of Actors’ Equity Association and SAG-AFTRA. davidbrianalley.com
Gabriela Bulka (U/S Margot Wendice/Maxine Hadley) is an actor, dancer, and proud immigrant artist originally from Kraków, Poland. Previous CBT credits include Cabaret (Fraulein Kost), The Play That Goes Wrong (Sandra), Sense and Sensibility (Mrs. Jennings), A Christmas Carol (Mrs. Cratchit/Ghost of Christmas Past) and Cry It Out (Jessie). Gabriela received the BroadwayWorld Nashville Regional Award for Best Performer in a Play for Sense and Sensibility and earned a Best Performer nomination for The Play That Goes Wrong, which received awards for Best Ensemble and Best Direction. Training: MFA Acting, University of Tennessee; The Lee Strasberg Theatre & Film Institute, New York. www.gabrielabulka.com
Michael Higdon (U/S Inspector Hubbard) is the Associate Dean for Academic Affairs and the W. Allen Separk Distinguished Professor of Law at the University of Tennessee Winston College of Law. Outside the classroom, he has directed and performed with several community theaters in the Knoxville area. He is honored and delighted to be on the CBT stage for a second time.
Kat Lee (Margot Wendice) Kat is overjoyed to be a part of the 2028 MFA Acting Cohort and this production of Dial M For Murder! Kat’s other credits include: 5 seasons at the Utah Shakespeare Festival, among other contracts at regional theaters around the country. Keep telling stories! Find me: @katlee.jpg www.iamkatlee.com
Christopher Joel Onken (Tony Wendice) is thrilled to revisit Dial M, playing Lesgate and Tony previously. Broadway: The Inheritance. Off-Broadway: The Inn at Lydda (Red Bull Theatre). 90 productions at 25+ regional theatres. Titular roles: Richard II, The Importance of Being Earnest, Romeo and Juliet, Troilus and Cressida, Shakespeare in Love, Frankenstein, The Elephant Man, Vanya and Sonia and Masha and Spike, Henry VI, and The Hairy Ape. Other favorites: Brutus and Mark Anthony (Julius Caesar), Emanuel (The Lehman Trilogy), Eric (The Inheritance), Hannay (The 39 Steps), Watson (Moriarty), and Sherlock + 6 others (Hound of the Baskervilles). TV: “FBI” (CBS). @christopherjoelonken
Sammy Pontello (British Broadcasting Voice) is an actor, voice, text, and dialect coach, and teaching artist based in Knoxville, Tennessee. They’ve worked regionally with Florida Studio Theatre, Orlando Shakes, Great River Shakespeare Festival, Texas Shakespeare Festival, and the Clarence Brown Theatre. Favorite previous roles include: Emcee, Cabaret; Col. Brandon, Sense & Sensibility; Chris, The Play That Goes Wrong; Ebenezer Scrooge, A Christmas Carol; Man #1, U/S James Agee, Knoxville (CBT); Beadle Bamford, Sweeney Todd (TSF); Launce, Two Gentlemen of Verona (GRSF). IG: @sjpactor | sammypontello.com
Parker Rawlins (U/S Tony Wendice / Lesgate) is excited to be returning to the Clarence Brown stage. In addition to his work as an actor, he is also a writer, director, and professor in the field of Film. He holds a Bachelor of Science in Theatre Arts from Southern Utah University as well as an MFA in Film & Media Arts from the University of Utah. He’s grateful to his partner, Ellie, for her love and support. Onstage credits include Gabe (Next to Normal), Bobby Strong (Urinetown), and the titular role in Sweeney Todd: The Demon Barber of Fleet Street. www.parker-rawlins.com
Thomas Nash Tetterton (Lesgate) At the Clarence Brown Company: Cabaret; The Royale; A Christmas Carol. Select Regional Credits: Hamlet; Much Ado About Nothing (PlayMakers’ Rep), The Caine Mutiny Court Martial (Judson Theatre Co.), The Rainmaker; Silent Sky, The Life of Galileo (Burning Coal Theater), Romeo & Juliet; Cymbeline (Virginia Shakespeare Festival), Love’s Labour’s Lost; A Christmas Carol (Annapolis Shakespeare), Richard III (Sweet Tea Shakespeare), Inherit the Wind (Compass Rose Theater). TV & Film: Die Hart (Roku.com), Closing Shift (Best Comedy at ConCarolinas), Have A Nice Life (avail. on Amazon). New Play Workshops with The Civilians NYC, Carolina Theater Workshop, PlayMaker’s Repertory Company, and more. BFA in Acting from Shenandoah Conservatory. MFA in Acting candidate at the Clarence Brown Theatre/University of Tennessee, Knoxville. He sends his love to Galen and their two dogs – Offal & Guapo. www.tntetterton.com @thomasntetterton
Elise Thayn (Maxine Hadley) is beginning her second year as an MFA Acting Graduate candidate. Before coming to UTK, Elise spent several years as a professional performer and educator, most notably at the Utah Shakespeare Festival. Other onstage credits include Prospero (The Tempest) and #00 (The Wolves). Elise loves long walks on the beach, her favorite font is Lato, and her mom is coming to see this show. Hi, mom!