CAST
Jan………………….Rebecca Spence*+
LeeAnne…………...Jessica Ervin+
Pilot…………………Eric Slater*+
Co-Pilot…………….Glenn Obrero+
Greig……………….Paul Oakley Stovall*
Mark Twain………..LaKecia Harris
UNDERSTUDIES
LeeAnne…………Ema Kester
Co-Pilot/Mark Twain….River Ruiz
**Understudies will not substitute unless a specific announcement is made at the time of the performance.
Place: A plane on the tarmac, a plane in the sky, a plane about to land
Time: Now and then also back in time
The play runs approximately 90 minutes with no intermission
PRODUCTION TEAM
Devon De Mayo+^………………...........Director
Pat Fries+……………………..................Artistic Producer
Heather Gervasi…………………………Production Manager
Anna Vu*…….………...............……...…Production Stage Manager
Clara Zucker…….…...…………....……..Asst. Director
Regina Garcia+#…….…………….........Scenic Design
Saawan Tiwari…..…………………...….Costume Design
Garrett Bell………………………..….....Lighting Design
Satya Chavez…...…………..........……..Sound Design
Sam Lancaster.........…………………….Props Director
Devin Meseke…………………………..Scenic Painter
Tanya Palmer+.........……………………Dramaturg
Mia Maccarella.......……………..……...Stage Manager
Casey Fort………………………………Assistant Stage Manager
Ava Niemi……………………………....Cover Assistant Stage Manager
Mitchell "Moose" Finger …...………..Tech Director
Abby Letscher……..........……………...Master Electrician
Ema Kester......…………..............……..Box Office Manager
Ashley Neal+..........………………........Casting Director
Glenn Obrero+.....................................Casting Associate
Josiah Rubio..........................................Directing Intern
Jeff Kurysz…………...................………Key Art Photography
Movement devised by Ensemble and Director
+ Member Rivendell Theatre Ensemble
* Member Actors’ Equity Association, the union of professional stage actors and managers
^ Member Stage Directors and Choreographers Society, a national theatrical union
# Member USA 829 – a labor union and professional association of Designers, Craftspeople, and Department Coordinators.

RIVENDELL THEATRE ENSEMBLE STAFF
Founder & Artistic Director…………...……..……....Tara Mallen+
Managing Director……………………………………Trisha Hooper+
Interim Executive Director …………………………..Adrianna Desier Durantt
Associate Artistic Director …………………………...Ashley Neal+
Grants Manager……...................................................Madison Blackwood
Director of New Work………………………………...Caroline Michele Uy+
Graphic Designer ………….………………………….Anthony Churchill
Marketing Director………….…………………………Tanya Ward+
Public Relations ……………………………………….Cathy Taylor Public Relations, Inc.
Financial and HR Consultant…………………………Polaris Solutions Group
Development Consultants……………………………Artistic Fundraising Group
Ushering provided by The Saints
SPECIAL THANKS
Rivendell Theatre Ensemble extends a special thank you to Sara Fisher and the Integrative Movement Institute, Scott Verissimo, Lucia Lombardi and Snooper, Susan Bowen, Erin Courtney, Adithi Chandrashekar, Davy Kats, Carlos Murillo, Kelli Simpkins, Brit Cooper Robinson, Kyle Ringley, Andi Muriel, Mary Cross, Christopher Wayland, Manual Cinema, Amy Peters and Depaul University, Dena Isaacson and Exposition Flooring, and Bill Wolf from Peggy Lawton.
As always…to Ivan, volimo te!
A NOTE FROM THE DIRECTOR
Getting to return to Rivendell Theatre with Bonnie's Last Flight is a joy on so many levels! I am so thrilled to be in my artistic home with such an incredible group of collaborators, starting with playwright Eliza Bent, who I have long admired as a playful, poetic, and deeply funny writer. Then, to work with this cast and design team of brilliant artists, many of whom I have gotten to know through being in Rivendell's ensemble together, is a gift!
This play ignites all of the feelings that we experience when flying by coupling a chaotic theatrical form with a story about the thoughts that can only surface when we are defying gravity. So, it's a wild ride! The experience of weightlessness in flight is, as philosopher Peter Sloterdijk puts it, "a genuine transformation of the human condition." Flying forces us to engage with our sense of wonder and our mortality. Who hasn't texted a loved one to say that you're taking off as a way to acknowledge the fragility and danger of what you are about to do? And how many of us reeeeaaallllyyy understand the engineering that allows a 100,000 lb plane to take off?! It's a marvel! And the experience makes us, even if it's fleeting, reflect on the BIG questions in life.
The other side of that is that commercial travel, with its speed and efficiency, sometimes makes us less appreciative of human fragility. We barely listen to the safety instructions, if at all, and we are already thinking about what happens after we land before we've even lifted off. Sometimes, we don't even look out at the clouds; but instead keep the window shut, earbuds in, and screen engaged to ignore the flying part altogether.
The marriage of these two things - the fragility of flying and the ease of commercial travel is unnerving. This play puts us in that unsteady space with characters who are all at a precipice. They are reflecting on the past to try to understand the present and dream for the future.
Lastly, it feels important to be in joyous rooms with others right now. I hope this room is joyous for your "flight" with us today. When we board a plane, we passively agree to be in community with the other passengers for the length of that flight, whatever it brings, and in theatre we do the same. We appreciate you being with us! As Mark Twain puts it in the play "We won’t prosecute you for trying to find a narrative. Nor will we banish you for trying to find a moral. But we do hope you enjoy the ride. Bumps and all!"
Thanks for joining us.
- Devon DeMayo, RTE member, Director of Bonnie’s Last Flight
A NOTE FROM THE PLAYWRIGHT
I wrote Bonnie's Last Flight as the Frasier to the Cheers of a previous show of mine, Toilet Fire. In Toilet Fire, a play about digestion and religious identity, a flight attendant with a gift of the gab appeared. Turns out she wanted to keep talking. I wrote a bajillion monologues for her, but Mark Twain kept invading her story. This felt confusing yet also correct.
A friend asked: "What if you put Jan on a plane? Who would she work with?" I instantly knew an actor who I dreamed would play her co-worker, so I wrote the role of Greig for my friend the actor Greig Sargeant. The play grew and we did a production in 2019 in which I played Mark Twain. Air travel has changed a lot since then. It feels important to say I wrote this play when I was in a different chapter of my life. At the time I had never been to Chicago; I may as well have been writing about Neptune. In February of 2020 I moved to Chicago to start anew. My life has changed radically and for the better. The gratitude I feel toward Rivendell for pulling me out of my self imposed retirement is immense. I hope you enjoy the ride, bumps and all.
- Eliza Bent, Playwright of Bonnie’s Last Flight
A NOTE FROM OUR DRAMATURG
In Bonnie’s Last Flight, Grieg, a veteran flight attendant, bemoans some of the changes that have occurred in air travel over the last half century. “Ooh, I miss the glamour!” he exclaims. “The 70s and early 80s. The TWA lounge, the flatware, the leg room… Flying was … an event. . . Not something where you roll up in a Juicy sweat suit.”
What explains these changes to the flying experience – beyond the exponential growth of the athleisure industry? While many point to the September 11, 2001, attacks as a turning point, it was, in fact, a law passed during the Carter administration that spelled the end of the glamorous era that Grieg is nostalgic for. In 1978, Congress passed the “Airline Deregulation Act” which effectively ushered out the Civil Aeronautics Board (CAB), the government entity that had, since its establishment in 1938, been responsible for regulating all aspects of air travel. The CAB had ensured safety standards were met and that flight routes across the country continued, even to sparsely populated areas. Theyalso suppressed competition, keeping prices high and therefore financially inaccessible for many Americans. But for those select few who could afford air travel, the experience was certainly more of an “event” than the harried, crowded slog we’ve come to identify with a trip to the airport.
New York Times journalist Claire Fahy notes in “Sean Duffy Longs for the ‘Golden Age’ of Air Travel. What Was That?” a November, 2025 article sparked by the Trump-appointed Transportation Minister’s admonition to travelers to “dress up,” that passengers in 1958 could expect to be served hot meals prepared by noted chefs and relax afterwards under a branded wool blanket with a large pillow and padded eye mask. But once the “Airline Deregulation Act” lifted restrictions on fares and access to routes, airlines could fly where they wanted and charge what the market would bear. This led to a surge in competition with the creation of hundreds of new airlines and the expansion of several small regional carriers, resulting in major price drops. Driven to increase their efficiency to keep costs low, airlines began to adopt the hub-and-spoke system, using a few major airports as central connecting points. This meant a rapid increase in airport and air traffic congestion, and the elimination of many convenient nonstop flights that were considered unprofitable.The interior of the plane, and the experience on it, continued to change as well, with leg room decreasing – along with the size and quality of the meals and other perks.
In the 1980s, a series of economic shocks, including a recession and the Air Traffic Controller’s Strike, remade the airline industry once again. Several airlines didn’t survive, with some forced into bankruptcy and extinction, and others subsumed through mergers into larger, well-funded carriers. Southwest Airlines was an example of a new airline that thrived in this era of de-regulation, with their emphasis on no-frills cabin service, and their move out of “hub” airports into satellite airports in major cities.
While these changes all pre-dated September 11, 2001, the Bush Administration’s passage of the “Aviation and Transportation Security Act” in November, 2001 in the wake of the terrorist attacks further transformed the passenger experience, making it even less recognizable from the “Golden Age” of travel in middle of the 20th century. In the years since, not only have screening lines grown longer and security practices more intrusive, but a business “innovation” first introduced by American Airlines has kept base ticket prices relatively low, but ballooned the out-of-pocket costs that accrue after check in. In 2008, as the price of crude oil shot up, airlines were looking for ways to claw back some of their expenses without raising ticket prices. Recognizing that they would be charged a 7.5% federal excise tax on base prices but not on other goods and services, American Airlines began to “unbundle,” or separate, the cost of various services like baggage check, seating assignments, WiFi use and early boarding from the cost of the ticket. Soon other airlines followed suit, and by 2011, “unbundling” had become common industry practice. Overhead bins have never been the same since.
In spite of the many indignities that these cycles of de- and re-regulation have wrought on the weary American airline passenger, Eliza Bent’s funny, inventive and wise new play Bonnie’s Last Flight reminds us of the fundamental wonder of flight; and the important role travel plays in expanding our sense of possibility and promise – for ourselves, our friends, our family, and the stranger sitting next to us on the flight. As Mark Twain – himself a licensed pilot, though of a riverboat on the Mississippi – once said, “Travel is fatal to prejudice, bigotry, and narrow-mindedness, and many of our people need it sorely on these accounts.”
- Tanya Palmer, Dramaturg
PROFILES

Rebecca Spence (Jan)
Rebecca Spence (JAN) is a Rivendell Ensemble member and was last seen on their stage in The Firebirds Take the Field. Other RTE credits: How the World Began, Wrens, and These Shining Lives. Additional theatrical credits include work with Chicago Shakespeare Theatre, Steppenwolf Theatre Company, Goodman Theatre, Court Theatre, Northlight Theatre, Remy Bumppo Theatre Company, Lookingglass, TimeLine Theatre Company, Windy City Playhouse and Theatre Wit. Film credits include: Candyman, Heist 88, Princess Cyd, Man of Steel, Contagion, The Dilemma, Public Enemies, Grace is Gone, and The Break-Up. She may be seen currently as Liliana Weeks in the new Taylor Sheridan series The Madison (Paramount+), and in recurring roles in Dark Matter (AppleTV+); Mr. Throwback (NBC); Power Book IV: FORCE (Starz); 61st Street (CW); and Paper Girls (Amazon Prime). Other television roles include: Lady in the Lake, The Big Leap, Utopia, Empire, Easy, Boss, Crisis, Chicago Fire, Betrayal, The Mob Doctor, Detroit 1-8-7, The Chicago Code, The Beast, and Prison Break.
Jessica Ervin (LeeAnne)
Jessica Ervin is an ensemble member at Rivendell where she originated the role of Annie in Rivendell’s Jeff Award-winning production of Motherhouse. Other credits with Rivendell include: No Such Thing, Dry Land (Jeff Nomination – Actress in a Principal Role), I Wanna F*cking Tear You Apart, The Firebirds Take the Field, and understudying Pivot, Scientific Method, Alias Grace, and the tour of Women at War. Jessica’s other theatrical work includes roles with Goodman, Audible’s Minetta Lane (New York), Strawdog, A Red Orchid, Walkabout, Kalliope and Co., and Prop Thtr. On-screen, she has appeared on Chicago Fire (NBC), and in the films Regret Like That, Princess Cyd, Provo, Lucid, and Late Bloomer, in addition to other shorts and a commercial for CDW NetApp. Jessica is a graduate of The School at Steppenwolf and Ball State University. She is proud to be represented by the Actor’s Talent Group. www.jessicaervin.com
Eric Slater (Pilot)
Eric Slater has been a member of the Rivendell Ensemble since 2005 and has worked on more than fifteen projects in that time including The Tasters, Cal In Camo, Alias Grace and Rasheeda Speaking. Slater was also the associate director of Pivot earlier this season. Some other Chicago credits include: Inherit the Wind, The Cherry Orchard, This Happened Once At The Romance Depot Off i-87 in Westchester, Support Group For Men, Smokefall, Feathers And Teeth (Goodman); The Doppelganger (an international farce) (Steppenwolf); Tiny Beautiful Things, Hand To God (Victory Gardens); Small Jokes About Monsters (16th Street). Off-Broadway: Juvenal Players (The Kitchen); The Dudley's: A Family Game! (Theatre for a New City); Our Greatest Year (Kraine & The Brick); Original cast of Gloryana (Workshop Production, The Public Theatre & The York Theater). Film: Regret Like That, In The Flood, You Don’t Belong Here, Widows, The Try Out. TV:”Monster: The Ed Gein Story”, "Emperor of Ocean Park”, “Fargo”, “Chicago Fire”. This Spring he directed the critically acclaimed Spaceman by Leegrid Stevens with [producingbody]. Slater has also written and directed his first short film, Moon Thief, currently in post-production.
Glenn Obrero (Co-Pilot)
Glenn Obrero is a member and Casting Associate of Rivendell Theatre Ensemble. Rivendell: Scientific Method, Wipeout, and Pivot. He was recently seen in The Targeted at A Red Orchid Theatre. Select Chicago Theater credits: The Great Leap (Steppenwolf Theatre), 20K Leagues Under The Seas (Lookingglass Theatre), The Chinese Lady (Timeline Theatre), Ironbound (Raven Theatre), and A Tale of Two Cities (Shattered Globe Theatre). Regional Theatre: Peninsula Players Theatre, Kitchen Theatre, and Asolo Repertory Theatre. Film: When Cats Fly (Wonderphil Ent), InIt2WinIt (Gnarly Naldo) and Wheelhouse (Protea). TV: Chicago Fire (NBC) and Next (FOX). Ensemble: Griffin Theatre. Representation: Gray Talent Group.
Paul Oakley Stovall (Grieg)
Paul Oakley Stovall makes his Rivendell debut! Paul is an accomplished theatre practitioner, winning his first Tony Award as a producer of A Strange Loop and performing the role of George Washington in the 1st national tour of Hamilton for over 4 years. He has also toured with Rent and Once On This Island, and has performed regionally across the US and in Japan. He is a four time Jeff nominee for his work in his hometown of Chicago as an actor, director and playwright. His film/tv appearances include Shameless (SHO), Chicago Fire (NBC), Empire (FOX), and the late Robert Altman’s The Company, and his afro-futurism sci fi web series Tulsa can be seen on Amazon Prime. His play Immediate Family has been directed across the country by the legend Phylicia Rashad, and his co-adaptation of James Baldwin’s Giovanni’s Room which he also directed, garnered rave reviews, including making the New York Times best of theatre list in 2025. Paul was a proud advance associate lead and media logistics coordinator, traveling to over 15 countries for the two terms of forever First Lady Michelle Obama. He served as Executive Producer and Creative Director of the inaugural Juneteenth UnityFest, and of the 2024 NAACP Legal Defense Fund Annual Gala.
LaKecia Harris (Mark Twain)
LaKecia Harris is making her Rivendell stage debut in Bonnie's Last Flight and is a core artist in the development of Rivendell's Folded Map. Credits: Manual Cinema's A Christmas Carol (Manual Cinema; Studebaker Theater; Writers Theatre), Rabbits in Their Pockets (Lifeline Theatre), The Secretaries (First Floor Theater), Hurricane Diane (Theater Wit), Fulfillment Center (A Red Orchid Theater), School Girls; Or The African Mean Girls Play (TheatreSquared). LaKecia is a native of Chicago’s Southside, she attended Ball State University where she received her BFA in Acting. You can follow her on instagram: @kiwilakeciah
Ema Kester (U/S LeeAnne)
Ema Kester is thrilled to be making her Rivendell debut! Chicago credits include Everybody (ETA Creative Arts), Forest of Sin (First Pescatarian Church Theatre Group), and several new play festivals such as Fresh Produce (Rivendell) and WeWomen (Artemisia Theatre). Ema is a graduate of Loyola University Chicago, is currently studying for her Master's in Counseling at Northwestern, and proudly sits on the artist board of Chicago Artist Guide. Last but certainly not least, you may have seen Ema as the Box Office Manager here at Rivendell Theatre.
River Ruiz (U/S Co-Pilot)
River Ruiz is a theatre and screen actor from Humboldt Park, Chicago, and a graduate of the ACADEMY at Black Box Acting. Their recent stage credits include windows (PrideArts), Lobby Hero (Shattered Globe Theater), and The Wizards (Concrete Content). River has also acted in multiple professional staged readings across Chicago and the Midwest (Inicios: Chicago Latine Playwright Festival, DaughterBoy, The New Harmony Project). On screen, River has appeared in Netflix’s Easy. River is thrilled to be making their Rivendell Theatre debut and would like to thank their partner, friends, family, and miish bebesh for their unwavering love and support.
PRODUCTION TEAM
Devon de Mayo (Director)
Devon de Mayo (Director) is thrilled to be back at Rivendell where she has been an ensemble member since 2019. Most recently, she directed Untitled Vampire Play at Lookingglass Theater. Directing credits include: The Rise and Fall of Little Voice (Gift Theatre); In Every Generation, If I Forget (Victory Gardens); First Love is the Revolution (Steep Theatre); The Tasters, Laura and the Sea & The Scientific Method (Rivendell Theatre); Women Laughing Alone With Salad (Theatre Wit); The Burn (Steppenwolf Theatre); Harvey (Court Theatre); Sycamore (Raven Theatre); You on the Moors Now (The Hypocrites); Animals Out of Paper (Shattered Globe Theatre); You Can’t Take it With You, and Lost in Yonkers (Northlight Theatre); Everything is Illuminated and Compulsion (Next); Roadkill Confidential, The Whole World is Watching, As Told by the Vivian Girls and The Twins Would Like to Say (Dog & Pony). Devon served as Resident Director on Prima Facie and The Audience (both on Broadway). She co-wrote and co-directed Guerra: A Clown Play, a collaboration with Mexico City-based artists La Piara (performances in New York, Chicago, Albuquerque, Mexico City and Bogota). Devon is an Assistant Professor and the Director of Performance in TAPS at the University of Chicago.
Eliza Bent (Playwright)
Eliza Bent is the love-grandchild of Lily Tomlin, Pee Wee Herman, and Mr. Peanut. Bentertainments include plays (The Regulars), solo pieces (Karen, I Said, which the New York Times described as a “wicked satire”), adaptations, and hybrid affairs. Bent’s works have been developed, workshopped, and produced at the Abrons Arts Center, JACK, the New Ohio, the Atlantic Theatre, the Bushwick Starr and New York Theatre Workshop’s Next Door Series. Residencies: MacDowell, SPACE on Ryder Farm, New Georges, Target Margin Institute Fellow, Goodman Theatre Playwrights Unit. Bent’s short film Summer’s Last Swim was an official selection for Downtown LA’s 2023 Film festival and a Chicago Filmmakers Best LGBTQ+. As a performer Bent has toured internationally with the Obie-award winning ensemble Half Straddle and Bent’s stand-up special Penguin in Your Ear has bowed at the Brick in Brooklyn, the Elysian in LA, Crashbox in LA, Color Club in Chicago and Benson Theatre in Omaha, NE. A perennial guest of the Great Plains Theatre Commons, Bent has a BA in philosophy from Boston College and MFA in playwriting from Brooklyn College. Currently on faculty at Northwestern University’s Radio TV & Film department.
Pat Fries (Artistic Producer)
Pat Fries (Artistic Producer) is thrilled to return to Rivendell, where he is an Ensemble Member. Other credits include work with Goodman Theatre, Powerhouse Theatre, Berkeley Rep, Olney Theatre Center, Chicago Symphony Orchestra, Next Theatre, Northwestern University, Porchlight Music Theatre, and Teatro Vista.
Heather Lynn Gervasi (Production Manager)
Rivendell credits include: Pivot, Do Something Pretty (Rivendell Theatre). Additional Chicago credits include: The Jackie Wilson Story, Great Women of Gospel (Black Ensemble Theatre); On Your Feet (Drury Lane Theatre); The Brief and Wondrous Life of Oscar Wao (Goodman Theatre); Birthday Candles (Northlight Theatre); TITANÍQUE, Fun Home Anything Goes, Sunday In The Park With George: In Concert, RENT, Cabaret, Ernest Shackleton Loves Me, Broadway In Your Backyard (Porchlight Music Theatre). Other Regional credits include: Little Women Now (Road Less Traveled Theatre); Entertaining Mr. Sloane (Irish Classical Theatre).
Anna Vu (Production Stage Manager)
Anna Vu (Production Stage Manager) is a Chicago-based stage manager originally from Atlanta, GA. She is excited to be making her Rivendell debut! Select Chicago credits include: Uncle Vanya, The Shape of the Bones (The New Theatre Project); The Targeted (A Red Orchid Theatre); The Taming of the Shrew (Court Theatre); Short Shakes! Hamlet, Sunny Afternoon, Richard III, The Odyssey with A.B.L.E. (Chicago Shakespeare Theater); The Color Purple, Toni Stone (Goodman Theatre); Love Song, Blues for an Alabama Sky, Galileo’s Daughter (Remy Bumppo). Some regional theatre credits include: Murder on the Orient Express, Over the River and Through the Woods (Cortland Repertory Theatre); Pericles, The Comedy of Errors (Utah Shakespeare Festival). Vu received a BFA in theatre management from Auburn University. She is an Associate Artist with Remy Bumppo Theatre Company. Much love to Kenny the dog. https://vuanna.weebly.com
Mia Maccarella (Stage Manager)
Mia Maccarella (Stage Manager) is excited to return to Rivendell. Previous Rivendell credits include Wipeout and Motherhouse. Select Chicago credits: The Lizard y El Sol, Covenant (Jeff Nominated for Best Ensemble), The Brief...Oscar Wao, A Christmas Carol, Revolution(s) (Goodman Theatre); Rodger's and Hammerstein's Cinderella (Drury Lane). It's a privilege to create. Love to Sean and Ludacris the Cat.
Regina García (Scenic Designer)
Regina García (Scenic Designer) is a Chicago-based scenic designer from Puerto Rico. She has had long standing relationships with the Latinx Theatre’s renowned Teatros and most recently The People’s Theatre in NYC. Recent regional credits include work with GeVa Theatre and South Coast Rep. Regina is a Fellow of the Princess Grace Awards USA, and the NEA/TCG Development Program for Designers and is the recipient of USITT’s 2025 Distinguished Achievement Award in Scenic Design and Technology. She is the Head of the Scenic Design program at DePaul’s The Theatre School and a founding member of La Gente: The Latinx/é Theatre Production Network. Garciaportfolio.com
Saawan Tiwari (Costume Designer)
Saawan Tiwari (Costume Designer) is a theatrical creative and producer newly based in Chicago. She is thrilled to be returning to Rivendell to finish their 30th season! Previous Rivendell credits: Do Something Pretty. Additional Chicago credits include: E*RNEST (*theatre), Kitty and the Beanstalk (Lifeline Theatre). Off-Broadway: The Gospel According to Heather (Theatre 555). Additional Regional credits: benevolent, Road Kills, cunnicularii, cityscrape (Good Apples Collective); The Seven (Juilliard School); Sex and the Abbey (Wiley Water Productions); Picher Project (Dixon Place); Sitayana (Waves of Love); Hip Hop Cinderella (New Victory Theatre); Bruise and Thorn (Pipeline Theatre Company); Draw the Circle, Endlings (Hedgerow Theatre). Saawan is a proud member of the LGBTQ+ and AAPI communities. saawandesigns.com
Garrett Bell (Lighting Designer)
Garrett Bell (Lighting Designer) is a Chicago-based Lighting Designer and Scenic Designer, as well as a lecturer at the University of Chicago and the City Colleges of Chicago. Some of his recent design credits include Spaceman (producingbody); The Posthumous Trial of Giulia Tofana (Larkspur Productions); The Official Biography (Scenic, Her Story Theatre); Birthday Candles (Buffalo Theatre Ensemble); Black Bone (Definition Theatre, world premiere); Queen for a Day (Hell in a Handbag); Coronation (world premiere, Joseph Jefferson award) and A Play About David Mamet Writing a Play About Harvey Weinstein (Refracted Theatre Company); Tecumseh! (The Scioto Society); The Outgoing Tide (Buffalo Theatre Ensemble); and Heisenberg (Lighting & Scenic, Griffin Theatre). More of his work can be seen at garrettmbell.com.
Satya Chávez (Sound Designer)
Satya Chávez (Sound Designer) is an award-winning composer, sound designer and performer.
Their original musicals include Refuge, (NNPN Rolling World Premiere, the Edgerton Foundation New American Play Award, and multiple Jeff Awards); ADELITAS (New York Theatre Workshop); Fruition (Goodman New Stages Residency); The Olive Tree (TheatreSquared); and Brighter Futures (Paramount Theatre).Their original scores and sound designs include Where Did We Sit on the Bus? (DCPA, Kravis Center, Cleveland Playhouse, Steppenwolf); The Brief and Wondrous Life of Oscar Wao (Goodman Theatre); Memorabilia (Jeff Award, Sound Design), ¡Bernarda!, and Both (Teatro Vista); Corduroy (Chicago Shakespeare Theater), and more. Keep in touch at satyachavez.org.
Tanya Palmer (Dramaturg)
Tanya Palmer (Dramaturg) is a dramaturg and creative producer. A proud Rivendell Ensemble member, previous Rivendell credits include dramaturging Pivot, Wipeout, and The Firebirds Take The Field. She currently serves as the Assistant Dean and Executive Artistic Director at Northwestern University’s School of Communication, where she oversees programming at the Virginia Wadsworth Wirtz Centers for the Performing and Media Arts. Prior to joining Northwestern, she served as the Director of New Play Development at the Goodman Theatre in Chicago for 14 seasons and at Actors Theatre of Louisville for 5 seasons. Originally from Calgary, Canada she lives in Evanston, Illinois with her husband Jim and their two teenagers, Harper & Theo.
Sam Lancaster (Props Director)
Sam Lancaster (Props Director) returns for a second production with Rivendell, following work on Do Something Pretty. Other credits include The Hobbit (YPT); and Blues for an Alabama Sky (Remy Bumppo).
Devin Meseke (Scenic Painter)
Devin Meseke (Scenic Painter) is excited to return to Rivendell after previously painting Do Something Pretty, Pivot, and No Such Thing. He has also previously painted for Steppenwolf Theatre, Chicago Shakespeare Theatre, Broadway in Chicago, Peninsula Players Theatre, Shattered Globe Theatre, Lifeline Theatre, Mercury Theatre, Remy Bumppo Theatre Company, and Albany Park Theatre Project. He holds a BFA in Scenic Design from DePaul University.
Clara Zucker (Assistant Director)
Clara Zucker (Assistant Director) is a Chicago-based director, dramaturg, and producer. Directing credits include All Nighter, Artemis Books & The Well-Meaning Man (The Village Theater); Dear Evan Hansen (Assistant Director, Paramount Theatre); The Lacy Project (Snails on a Bike); Doom Tank (Under St. Mark’s Theatre); Sophie Sucks Face (Edinburgh Fringe Festival). Dramaturgy credits include Ashland Avenue, Revolution(s) (Goodman Theatre). Clara works as the literary assistant at Goodman Theatre and is the Co-Artistic Director and founding member of The Village Theater. She holds a BA from Oberlin College. Thanks to her family, Emily, and her brand new nephew. clarazucker.com
Mitchell "Moose" Finger (Tech Director)
Abby Letscher (Master Electrician)
About Rivendell
Serving as a narrative of change, Rivendell Theatre Ensemble seeks to elevate the lives of women through the power of theatre. We accomplish this by giving voice to women and their stories through artistic recognition of their lives, and by creating a rewarding experience for audiences and community through insightful stories and expansive outreach.
RIVENDELL ARTISTIC ENSEMBLE
Tara Mallen, Founding Artistic Director
Mary Cross
Rashada Dawan
Victoria DeIorio
Devon de Mayo
Jerre Dye
Jessica Ervin
Diane D. Fairchild
Andres Fiz
Pat Fries
Regina Garcia
Meighan Gerachis
Hallie Gordon
Rae Gray
Trisha Hooper
Keith Kupferer
Katherine Mallen Kupferer
Lucia Lombardi
Krystel McNeil
Jane Baxter Miller
Elvia Moreno
Andi Muriel
Ashley Neal
Glenn Obrero
Kristin J. Osborn
Tanya Palmer
Janice Pytel
Eric Slater
Sarah Slight
Rebecca Spence
Meg Thalken
Mark Ulrich
Caroline Michele Uy
Georgette Verdin
Tanya Ward
Christopher Wayland
RIVENDELL BOARD MEMBERS
Andrea McDermott, Co-Chair
Scott Verissimo, Co-Chair
Stephanie Frei, Treasurer
Kia Banion
Phoegina Brown
Ann Christophersen
Jennifer Kranz
Tara Mallen
Shera Street
Meera Sundareson
MAKING ART POSSIBLE
Rivendell Theatre Ensemble is a 501(c)3 nonprofit organization. On the following pages we thank the donors who underwrite about 80% of our budget, complementing ticket sales and rental income to support equitable artist pay, high production values, and new play development at Rivendell.
If you are on this list, we thank you. You help us elevate the lives of women through the power of theatre. When you hear applause here, know that some of it is for you!
If you are not on this list yet, please join the Rivendell family by becoming a donor today. Every dollar makes a real difference at Rivendell—from paying theatre artists to providing the equipment and supplies they need to maintain the facilities in which they create.
Please consider making a one-time or monthly donation at www.rivendelltheatre.org/donate.
Or give right now with Venmo—we are @rivendelltheatre.




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