The show will run approximately 2 hours
with one intermission.
Any video and/or audio recording of this production is strictly prohibited.
Dear Arts Patrons,
Welcome to the Viterbo University 2022–23 performing arts season. Whether it be for a Bright Star, Conservatory for the Performing Arts, or Weber Center series event, we are very pleased to have you join us for what surely will be an outstanding production.
The Franciscan Sisters of Perpetual Adoration have always cherished the arts, and we are proud to continue the legacy of our founders. Viterbo is truly blessed to have incredibly talented Conservatory students, faculty, and Fine Arts Center staff. Every show is painstakingly crafted and selected to offer the highest quality and culturally enriching entertainment possible to our community.
To all Viterbo arts patrons, benefactors, sponsors, volunteers, and artists, allow me to express my sincere gratitude for your support. Enjoy the show!
“Pace e Bene”
Peace and all good
Viterbo University President
Measure for Measure is often described as one of Shakespeare’s “problem” plays—not quite a comedy, not quite a tragedy—with the resolution at the end containing potentially more questions than answers. But rarely are chapters of history and humanity wrapped up in neat little bows of all comedy or all tragedy, so aren’t the “problem” plays really just a reflection of real life? I hereby submit my petition for these plays to be re-named Shakespeare’s “why do these feel like they could have been written yesterday” plays!
We are not so different from the people who gathered in London to first watch Measure for Measure in 1604. Both then and now, there are secrets and schemes taking place behind closed doors. There are women whose stories aren’t believed. There are people who have children out of wedlock because they can’t afford to get married beforehand. There are sisters and brothers who don’t know how to help each other. There are rules in law books that are not enforced, until suddenly, with some new political leader appointed, they re-emerge as enforceable. There are sex workers who make a good living. There are people who pay for sex. There are people carrying the heartbreak of broken promises. There are those who seek redemption in their faith. There are those who seek redemption in following the rules. There are those who seek redemption in breaking all the rules. There are women who don’t fit in with the societal expectation they’ve been dealt. There are leaders who don’t have all the right answers and make mistakes in the attempt. And there is justice–messy justice–asking us to decide if the ends justify the means.
I was trained at the Academy for Classical Acting under the direction of Michael Kahn. Perhaps best known for casting Patti LuPone in a “bit part” (her words) while she was a student at Juilliard, his actual legacy exists in the success of both the Folger Theatre and Shakespeare Theatre in Washington, D.C. His first big break came from directing Measure for Measure for Joseph Papp in 1966. It is in the spirit of his words that I invite you to experience this production:
“Shakespeare is not a moralist. The reason that Shakespeare has lived for this many years is he doesn't have a point to make about politics. He doesn't have a point to make about love. He has an investigation of those. I've always felt when I was doing Shakespeare that I was both honoring the playwright, 450-years-old, and trying to see it through the times I live in. It means those things in the plays that strike me, and any of us, as something that also connects to the world that I'm in, has always been important to me in staging the plays.”
Somewhere in America
A small town
All scenes take place in and around Vienna Industries.
Three weeks pass between Act One/Scene One and Act One/Scene Two.
The rest of the play takes place over the span of three days.
End of Act 2, Scene 4:
time heals written and performed by cØra
Act 4, Scene 1:
Ode to Angelo written and performed by
Ensemble/2nd Gentleman/ Francisca/Barnadine:
Duke: Mikala Clark
Escalus: Kalyn Schmit
Angelo: Colin Cada
Lucio: Calvin Pierce
Mistress Overdone: Amber Arevalo
Pompey: Cortney Piepenburg
Provost: Grace Reynolds
Claudio: Spencer Curtis
Juliet: Bailey Millimaki
Isabella: JaymeAnn Olson
Elbow: Max Larson
Froth: Clay Corley
Mariana: Lauren Canfield
Beth Anderson (Overdone, Froth)
Ryan Dettbarn (Isabella, Pompey)
Mahlivanh Fleckenstein (Duke, Lucio, Elbow)
Katie Schafer (Angelo)
Shannon Starkloff (Juliet, Escalus, Provost)
Adelaide Young (Mariana, Claudio)
Director: Erin Jerozal
Assistant Director: Lauren Bergquist
Stage Manager: Will Handrick
Assistant Stage Managers: Jess Schneider,
Production Manager: Teddy Eck
Technical Director: Chad Kolbe
Master Electrician: Jason Underferth
Lighting Designer: Erik Vose
Sound Designer: Ian Zempel
Scenic Designer: Nate Mohlman
Charge Scenic Artist: Kit Meyer
Carpenters: Ron Stoffregen, Jason Underferth
Costume Designer: Jen Brown
Assistant Costume Designer: Mads Magson
Hair and Makeup Designer: Shea Grande
Costume Shop Supervisor: Alex Bell
Properties Design Master: Jessica Rigdon
Intimacy Coordinator: Mary Trotter
Light Board Operator: Ainsley Alrutz
Follow Spot: Tom Hartl
Sound Board Operator: Ian Zempel
Sound Run/Mics: Finley Hadel
Deck Supervisor: Emma Phillips
Costume Supervisor: Jo Kasper
Hair and Makeup Supervisor: Maddy Ballard
Onstage Run Crew: Katie Kostner, Makayla Taylor, Tucker Mensen, CJ Zimmer
Costume Crew: Claire Capra, Savannah DeShazo, Sophia Barbato, Zach Sullivan
Prop Crew: Maura Koth, Brandon Rundquist
Scenic Construction: Sophie La Fave,
Anika Phillips, Emma Phillips,
Iraya Catalina Cress, Yassie Bonner,
Erica Ashley, Lauren Canfield, Virginia Foshee,
McKenzie Greenwood, Jillian Kohl, Marie Peterson,
Calum Sullivan, Kalyn Schmit, Mason Wold
Costume Shop: Colin Cada,
Aren Alexander-Battee, Shea Grande,
Gabby Moten, Lindsey Meath, Victoria Pardon,
Bri Reilly, Joie Steele, Katie Schafer,
Props Shop: Bailey Millimaki, Calvin Pierce,
Clay Corley, Payton Seacrist, Reagan Kettner, Shannon Starkloff, Amber Arevalo, Ryan Dettbarn