There will be no intermission.
The Wolves” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
LEAD PRODUCTION TEAM
We must listen to women. To really listen—empathically and actively. Not just the women who have the power to stand at a podium (though perhaps we could also listen to those women a little more closely). We underestimate the weight of grocery store conversations, of coffee chats, of the conversations in front of the bathroom mirror - the power of the everyday. The Wolves is a piece that requires us to listen. It’s a piece that pulls back the proverbial curtain and lets us hear the words that are shared before a high school women’s indoor soccer game. Sport asks us to be spectators; The Wolves asks us to be participants.
Reviews of The Wolves laud the play’s multidimensional characters, who are women. I look forward to the point where meeting the bare minimum isn’t an achievement. When women are so regularly written with the complexity of their counterparts. When characters that women play serve a greater purpose with regularity outside of serving as a sexual object for the male lead or as his mother. The options are even bleaker for women of color, whose roles are often further reduced in media. I treasure that these characters you will see today are complex - that they are athletes and intellectuals, that they are leaders, that they are allowed unpoliced conversations, and that they both thrive and fail.
The freedom to be so brilliantly flawed and complicated as our players are is a freedom that few women characters have had on stage. When we finally encounter the complex characters we crave and deserve, the impossible expectations placed on women’s bodies and policing women’s experiences can result in our misperception of these characters. We reduce the Hedda Gablers and Ophelias alike to “problematic” or, even worse, “crazy” with barely a blink. The Wolves forces viewers to consider diverse experiences valid and possible under the banner of Woman.
Comically absurd and deathly serious, trivial, and charged with the utmost importance, DeLappe’s play presents us with the reality of how the lives of young women are forever in a state of tug-of-war. A societal gaze that receives sexual gratification from their forced maturity exists alongside the constant infantilization that refuses to take the thoughts and interests of girls seriously. Even the word “girls” is often used to reduce grown women to a passive, childlike, powerless role.
In 2019, when Rachel Chavkin won the Tony for her direction of Hadestown on Broadway, she took our industry to task, saying, “I wish I wasn’t the only woman directing a musical on Broadway this season. This is not a pipeline issue. It is a failure of imagination by a field whose job is to imagine the way the world could be.” The Wolves is a precise example of a play written by a playwright who imagined what our industry, our media, and our world could be.
We. Are. The Wolves.
What happens in the in-between can often be overlooked. Between major events like championships, graduations, and school dances, the everyday life of one’s teenage years can often be forgotten. That’s what The Wolves by Sarah DeLappe does, it takes an unflinching look at an era that even the characters themselves often find unremarkable. During the in-between season, when the girls are stuck playing soccer inside rather than on the outdoor travel team they’re used to, they don’t get time to relax per-say, but to be normal teenagers. Experiencing interpersonal conflict, changes in team dynamics, developing relationships, and just ordinary life.
While the team’s mannerisms and conversations may not seem remarkable, the topics of conversation often are. While initially made as extremely topical to 2016 when it was written, the play has become a time capsule to the events of the mid-to-late 2010s. The girls talk about the failures of American border control, trials convicting Cambodians that committed genocide against their own people in the 70s, and the sexual assault and torture of prisoners at Abu Ghraib in the 2000s, not with the maturity and control of adults, but with the emotion and frustration only teenagers unable to substantially help can.
While the play is all about a soccer team, one doesn’t need to be an expert in the sport to follow along. Through context clues given via acting and direction, an inexperienced audience member can understand the team dynamics and conflicts that come about because of the members’ different positions, skills, and lingo.
By highlighting the feelings and frustrations of teenage girls through their conversations, as well as their relationships with each other through their sport, DeLappe creates an original and authentic portrayal of adolescent life, unique to media that only portrays this era of one’s youth through its major events.
Giuliana Soldatelli Damo
GUILIANA SOLDATELLI DAMO (U/S #00, #13) is a first-year Theatre Arts major with a concentration in Musical Theatre. This is Giuliana’s debut on the university stage.
KALYN DIERCKS (Soccer Mom, U/S #8, #11) is a junior Theatre Arts major with concentrations in Acting and Design and Technology. Previous acting credits include Indecent (U/S The Middle) and The Penelopiad (Maid/Naiad Mother) at UW-Parkside.
AUDREY JENKINS (#14) is a first-year student with a double major in Political Science and Theatre Arts, with a Concentration in Acting. This is Audrey’s debut on the university stage.
JANET JURADO (#13) is a junior with a double major in Communication and Theatre Arts, a concentration in Acting, and a minor in Digital Media and Production. Janet served as Soccer Choreographer and Coach for this production of The Wolves. Previous credits include She Kills Monsters (Evil Gabbi), The Penelopiad (Maid/Melantho) and Proof (Claire). She also served as wardrobe crew for Indecent and spotlight operator for Rodgers and Hammerstein's Cinderella. Janet is currently working as a lead actress on a new horror movie directed by Jake Jarvi scheduled to be released in 2023.
KAMMI KRINGLE (#25) is a senior Theatre Arts major with an interest in both Acting and Lighting Design. Previous credits include She Kills Monsters (Assistant Lighting Designer), Circle Mirror Transformation (Marty), The Penelopiad (Assistant Lighting Designer), The Mad Ones (Stage Manager), Stupid F##king Bird (Nina/Emma U/S), The Complete Works of William Shakespeare [Abridged] (Master Electrician), The Glass Menagerie (Assistant Stage Manager), and Rodger and Hammerstein's Cinderella (Master Electrician).
TALIA LAST (#7) Is a senior Theatre Arts major with concentrations in Acting and Musical Theatre. Recent credits include Mamma Mia! (Ensemble, U/s Sophie) at Racine Theatre Guild, Indecent (The Elder: Vera), The Mad Ones (Kelly U/S), The Penelopiad (Maid/Eurycleia), Rodgers and Hammerstein’s Cinderella (Madame), and A Doll’s House, Part 2 (Anne-Marie) at UW-Parkside; Twelfth Night (Maria), Hamlet (Rosencrantz), and Romeo and Juliet (Tybalt) at Fleeing Artists Theater; and The Comedy of Romeo and Juliet...(Kinda Sorta) (Juliet) at Lakeside Players. Talia is also certified with the Society of American Fight Directors in Rapier & Dagger, Knife, and Quarterstaff, and is pursuing her actor combatant status.
OLIVIA MAURITZ (#8) is a first-year student with a double major in Art and Theatre Arts and a concentration in Musical Theatre. This is Olivia’s debut on the university stage.
ALYSA RITACCA (U/S #7, #14, #25) is a first-year student exploring different majors. She has been involved in multiple productions at Children’s Theater Academy (CTA) in Kenosha, such as Frozen (Sven), Moana (Moana), and Newsies (Ensemble). Alyssa has designed props for CTA’s production of Newsies and scenery for their production of Seussical. This is Alyssa’s debut on the university stage.
DONAJI SANCHEZ (#46) is a junior Communication major with a minor in Theatre Arts. She has been a part of Actors Craft in Kenosha for the past two years. Previous stage credits include Circle Mirror Transformation (Lauren) at UW-Parkside. Previous film credits include Madison Levreau’s The Author (Lizzie) and Micah Martin’s The Mechanics (Lauren).
ELIZABETH SPARKS (#11) is a senior with a double major in Music Performance and Theatre Arts, as well as a concentration in Musical Theatre. Recent acting credits include Mamma Mia! (Sophie) at Racine Theatre Guild, Brighton Beach Memoirs (Nora) at Lakeside Players, and Indecent (The Ingenue: Chana), The Mad Ones (Sam), Rodgers and Hammerstein’s Cinderella (Ensemble/Marie U/S), Stupid F##king Bird (Mash U/S), and 3Sisters (Irina) at UW-Parkside.
JENNA SPEER (#2) is a senior Theatre Arts major with a concentration in Musical Theatre and a transfer student from State Fair Community College (Sedalia, MO). Recent credits include Indecent (U/S The Ingenue) at UW-Parkside, Cyclopedic Ensemble's Stinky Cheese Man (And Other Fair(L)y Stoopid Tales), Summit Theatre Group’s Mamma Mia! (Ali), SFCC’s First Date (Lauren), James and the Giant Peach (Aunt Spiker), and Coffeyville Community College’s regional premiere of The Humans (Brigid). Jenna has recently obtained her Level One Unarmed Stage Combat with Distinction certificate from Dueling Arts International.
CHALENA WILLIAMS (#00) is a senior Theatre Arts major with concentrations in Acting and Directing, and a minor in Digital Media and Production. Previous credits include She Kills Monsters (Farrah the Faerie), Love’s Labour’s Lost (Jacquenetta), Pretty (Narrator), and The Tourists (Narrator). Last season, Chalena served as Assistant Director for UW-Parkside's production of Indecent by Paula Vogel. This Summer, Chalena worked at Interlochen as their Production Lead Video Technician. Chalena has also held multiple internships with Fresh Films and Reese Witherspoon’s Hello Sunshine Production company. In October 2021, Chalena traveled to Brunswick, GA to join the family of Ahmaud Arbery in solidarity. While there, she directed and shot a documentary highlighting the activists that came to demand justice for Ahmaud Arbery
Assistant Stage Manager
Stage Management Faculty Advisor
Scenic Charge Artist
Assistant Lighting Designer
Sound Design Faculty Advisor
Costume Design Faculty Advisor
Props Faculty Advisor
Hair and Makeup Faculty Advisor
Costume Shop Supervisor
Scenic Lab Supervisor
Light Board Operator
Sound Board Operator
Program Layout & Poster Design
Department Administrative Assistants
Theatre Arts Department Chair
Theatre Arts Artistic Director
Costume Construction Crew
PRODUCTION TEAM BIOS
RACHAEL SWARTZ (Director) teaches Musical Theatre, Voice, Movement, and On-Camera Acting at UW-Parkside and during the summer serves on the Acting and Musical Theatre faculty at Interlochen Center for the Arts. Rachael is a proud union member of both Actors' Equity Association and Stage Directors and Choreographers Society. Some of her recent regional performance credits include: The 39 Steps (Annabella/Pamela/Margaret), The Sound of Music (Mother Abbess), and Romeo and Juliet (Nurse). Recent on-camera credits include work with the Travel Channel, ID, Oxygen and TV One. She holds an undergraduate degree from Baldwin Wallace University & her MFA in Theatre Performance from The University of Southern Mississippi.
TRAVIS SIEPL (Assistant Director) is a junior Theatre Arts major with a concentration in Directing. Prior credits include She Kills Monsters (Assistant Director), The Penelopiad (Assistant Stage Manager), Stupid F##king Bird (Sound Board Op), Proof (Stage Manager), and Rodgers and Hammerstein’s Cinderella (Stream Team). This season, Travis will also be directing a production of reasons to be pretty by Neil LaBute as part of our ParksideSTUDIO series.
JANET JURADO (Soccer Choreographer and Coach) is a junior with a double major in Communication and Theatre Arts, a concentration in Acting, and a minor in Digital Media and Production. Janet plays #13 in this production of The Wolves. Previous credits include She Kills Monsters (Evil Gabbi), The Penelopiad (Maid/Melantho) and Proof (Claire). She also served as wardrobe crew for Indecent and spotlight operator for Rodgers and Hammerstein's Cinderella. Janet is currently working as a lead actress on a new horror movie directed by Jake Jarvi scheduled to be released in 2023.
STAR HOWARD (Stage Manager) is a senior Theatre Arts major with a concentration in Stage Management. Previous credits include She Kills Monsters (Stage Manager), The Penelopiad (Stage Manager), Rodgers and Hammerstein’s Cinderella (Assistant Stage Manager), Romeo and Juliet (Assistant Stage Manager), Stupid F##king Bird (Assistant Sound Designer), and Silent Sky (Deck Chief) at UW-Parkside. Additional credits include Love Stings (Production Intern) and Fishing for the Moon (Production Intern) at Northern Sky Theater.
JOSHUA CHRISTOFFERSEN (Scenic Designer and Technical Director) has worked as the Technical Director for the Brown University/Trinity Repertory company MFA program and a Carpenter for Trinity Repertory Company in Providence, RI. Josh has also worked multiple summers in Spring Green, WI as a carpenter at the American Player’s Theatre, building and sculpting scenery for their exciting outdoor productions. He has also toured for multiple years both nationally and internationally as a Crew Chief and Head Carpenter for Sesame Street Live! and the World Premier Tour of Curious George, The Musical, Live! Josh earned his BFA in Theatre from Emporia State University and received his MFA in Theatrical Design at the University of Iowa.
JESSICA BAKER (Lighting Designer) is a Theatre Arts alumni from UW Parkside. She is a KCACTF Region 3 Theatrical Design Recipient for her lighting designs of The War of the Worlds and Romeo and Juliet. Summer of 2019, she was an intern at The Great River Shakespeare Festival. Most recently, she worked at The Santa Fe Opera as a lighting apprentice working on operas including Carmen, The Barber of Seville, Tristan und Isolde, and Falstaff.
CLAIRE-IONIE SABAJ (Costume Designer) is a senior Theatre Arts major with a concentration in Design and Technology. Previous credits at UW-Parkside include Indecent (Assistant Costume Designer) and She Kills Monsters (Graphic Designer).
ALLISON HAYES (Sound Designer) is a senior Theatre Arts major with a concentration in Musical Theatre. Previous credits include Circle Mirror Transformation (Swing and Sound Designer), The Penelopiad (Maid/Iole) at UW-Parkside, James and The Giant Peach (James), She Kills Monsters (Farrah) at State Fair Community College, and The Addams Family (Pugsley) at Next Generation Performing Arts Camp.
MAGGIE JAY (Scenic Charge Artist) is a sophomore Theatre Arts major with concentrations in Acting and Design and Technology. Previous credits at Parkside include Circle Mirror Transformation (Theresa), The Tourists (Peggy), and The Penelopiad (Deck Crew).
PETR JAROS (Assistant Lighting Designer) is a sophomore Theatre Arts major with a concentration in Design and Technology. Past credits include She Kills Monsters (Master Electrician), Circle Mirror Transformation (Lighting Designer), and The Mad Ones (Adam U/S). Recently, Petr directed Anne of Green Gables and a Playwriting Showcase at Racine Lutheran High School.
COLTON SMITH (Props Head) is a senior Theatre Arts major from Lawrence, Kansas. Previous acting credits include Indecent (Lemml), The Thanksgiving Play (Caden) at UW-Parkside, and The Curious Incident of the Dog in the Night-Time (Ed) and The Humans (Erik) at Coffeyville Community College. Recently, Colton served as intern assistant director for Little Shop of Horrors at the Lawrence Arts Center. Colton received the Playwright's Award at Kansas State Thespian Festival in 2019.
HANS PFRANG (Assistant Stage Manager) is a senior Theatre Arts major with a double concentration in Acting and Musical Theatre. Previous credits include Indecent (The Ingenue: Avram), The Penelopiad (Laertes/Suitor/Maid), Rodgers and Hammerstein’s Cinderella (Jean Michel/Topher U/S), A Number (Salter), A Doll’s House, Part 2 (Torvald), and Urinetown, The Musical (Senator Fipp/Ensemble). Hans has also collaborated with Southwest Shakespeare Company’s virtual production of The Roaring Girl (Lord Nolan’s/A Fellow). Hans attended The Open Jar Institute in 2021 for their week-long Summer Intensive in New York City.
TAYLOR IRELAND (Assistant Stage Manager) is a junior Theatre Arts major with a concentration in Stage Management. Taylor served as Stage Manager for The Stinky Cheese Man and Other Fair(l)y (Stoopid) Tales at Cyclopedic Ensemble, The Diviners, James and the Giant Peach, and Oedipus at State Faire Community College. Other credits include Dearly Departed (House Manager), Naked Mole Rat Gets Dressed: The Rock Experience (Crew), and First Date (Light Board Operator) also at SFCC. Taylor was recently seen on stage as Chief Wiggum in Mr. Burns: A Post-Electric Play.
JORDAN MCGRAW (Head Carpenter) is a senior Theatre Arts major with a concentration in Acting. Recent credits include Indecent (The Elder: Otto), The Penelopiad (Icarius/Maid/Percussion), Rodgers and Hammerstein’s Cinderella (Sound Board Operator), Little Women (Laurie), The Government Inspector (Director of Schools), and The Last Days of Judas Iscariot (Deck Crew). Jordan has also worked as professional mascot characters in NCAA/National Competition.
SAVANA ANDERSHOCK (Head Electrician) is a sophomore Theatre Arts major with a concentration in Design & Technology. Previous credits include Indecent (Assistant Master Electrician) and The Penelopiad (Deck Crew). Recent acting credits include She Kills Monsters (Narrator) and The Thanksgiving Play (Logan).
EMILY MOISANT (Wardrobe Supervisor) is a junior Theatre Arts major with a concentration in Directing. Previous credits include Circle Mirror Transformation (Stage Manager) and The Penelopiad (Dramaturg) at UW-Parkside, as well as In the Next Room (Wardrobe Crew) at UW-Milwaukee. Recently, Emily served as Wardrobe Supervisor for Maples Repertory Theatre in Macon, Missouri. This season, Emily will be directing Hir by Taylor Mac as part of our FreshINK series.
LESLIE VAGLICA (Costume Shop Supervisor) is a costumer whose foundation in fashion and art has enriched her focus in theatrical costuming. She has worked as a costume technician for companies such as American Players Theatre, Milwaukee Repertory Theater, the Florentine Opera Company, Skylight Music Theatre, and Milwaukee Chamber Theatre. Professional regional design credits include work for The Milwaukee Repertory Theatre, Chamber Theatre, Sugar Creek Opera, Milwaukee Opera Theatre, Florentine Opera Company, Luminous Theatre, UW Milwaukee Dance and Musical Theatre, Peter Stathas Dance, and Renaissance Theaterworks. She has also worked as Costume Shop Manager at Hope Summer Repertory Theater in Holland, MI. Leslie is a graduate of UW-Eau Claire and holds a certificate in Apparel Product Design and Development from Mt. Mary University.
World premiere produced by The Playwrights Realm (Katherine Kovner, Artistic Director | Roberta Pereira, Producing Director) on September 8, 2016 and remounted on December 5, 2016 by special arrangement with Scott Rudin and Eli Bush.
Originally presented by New York Stage and Film and Vassar in the Powerhouse Season, Summer 2016.
Playwrights Horizons Theater School produced a workshop of The Wolves in 2015 in association with Clubbed Thumb, where the play had been developed previously.
Winner of the 2016 Sky Cooper New American Play Prize at Marin Theatre Company, Mill Valley, CA
Jasson Minadakis, Artistic Director; Keri Kellerman, Managing Director Produced by Lincoln Center Theater, New York City, 2017
Casa Capri for ongoing support
THEATRE ARTS SUPPORTERS
The College of Arts and Humanities with the UW-Parkside Foundation gratefully acknowledges the following individuals for their investment in the Theatre Arts Department and students.
Susan M. Cable, D.D.S., '81*
Susan M. Cable, D.D.S., '81*
Dr. Donald A. Cress*
Marie Kohler & Brian Mani*
Laurie & Steve Feiler
Debra Karp & Stephen Smiley
Kim and Jody Sekas
Ruth A. Frear
Dr. Claire M. Hicks
Lisa & Mike Humke
Jeff & Lynn Skatrud
You can enhance Theatre Arts Education.
In the same way that mounting a play requires a team, funding it is likewise a team effort. To produce our amazing shows, we rely on a combination of sources—ticket sales, the University, and private funding.
Play a part in advancing the student experience through your one-time or recurring contribution to the Dr. Donald A. Cress Theatre Production Enhancement Fund.
Donations listed were received Jul 1, 2020-Sep 30, 2021. For omissions or changes to this donor list, please contact firstname.lastname@example.org
*Denotes members of the UW-Parkside Chancellor’s Society.
This production is entered in the Kennedy Center American College Theater Festival (KCACTF). UW-Parkside is very active in the Region 3, the largest region of the Kennedy CenterAmerican College Theatre Festival
We regularly accrue a significant number of Merit Awards (in Design, Direction, and Tech) as well as Acting Awards, including what we consider to be the highest accolade, The Ensemble Acting Award. At festival, our students compete and succeed.
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Since 1968, the University of Wisconsin-Parkside has continued to build a reputation as an outstanding liberal arts institution with particularly strong fine arts programs. With The Rita Tallent Picken Center for Arts & Humanities, our state-of-the-art instructional facilities and stunning performance venues match our award-winning academic programs and provide even greater community access. UW-Parkside offers a wide variety of undergraduate and graduate degree programs, as well as specialized online programs. Each year, more than 100 College of Lake County graduates transfer to UW-Parkside to pursue a four-year degree. The award-winning Theatre Arts program is a popular destination for transfer students.