Written by Sophie Treadwell
Adapted and Directed by Lisa Hall
Patch Olsen
Milinda Weeks
Lexi Goldsberry
Lillian Hanks
Devon Parikh
Andrew Domyan
Jessie Anne
Liz Golden
Steven Rimke
Assistant Director
Haley Howe
Assistant Scenic Designer
Kim Wille
Maisie Bunker Nelson
Sam Brockman
EMILY PORTER
CHLOE HENRY
SASHA HAYDN WILKINSON
BRONWYN ANDREOLI
ISABEL EARDLEY
SEVEN HARRISON
TYLER MCCABE
CASEY COPIER
ALEX RUSSON
Assistant Stage Manager
Kara McCarthy
Performance PAs
Carly Short-Jensen
Daisy Wilcox
Rehearsal PA
Matthew Hillstead
Stage Hands
Riley Gray
Daniel Cespedes
Props Supervisor
Griffin Belknap
Wardrobe Supervisor
Josie Brown
Dressers
Kaitlyn Sutton
Elizabeth Gonzalez Sosa
Brendan Sampsel
Light Board Operator
Alexa Wood
Lighting Swing
Harper Clayton
A1
Isabella Henao
A2
Hayden Mecham
Makeup Supervisor
Michaella Hales
Makeup Technicians
Talon Rohner
Hannah Cardall
Krystal Gates
Crew Swings
Ian Morgan
Xander Moore
Costume Faculty Mentor
La Beene
Hair & Makeup Faculty Mentor
Shannon Hutchins
Lighting & Sound Design Faculty Mentor
Graham Whipple
Stage Management Faculty Mentor
Jen Delac
Dramaturgy Faculty Mentor
Janine Sobeck Knighton
In her original play, Sophie Treadwell filtered an American obsession with true crime through the lens of theatrical expressionism. At that time, the core value of theatrical expressionism was the vulnerable, feeling individual destroyed by the mechanized society. Originally, the imagery of mechanization used to harm the individual was that of the industrial revolution: steel and steam, manual machines, cogs and wheels, electricity, conveyor belts. But there were also human systems of power: the law, medicine, work, and marriage/gender. The narrative of the societal machine(s) destroying the feeling individual is as relevant today as it was in the early 20th century. Human systems of power still bring the individual into subservience. But our sense of the mechanical has been replaced by our sense of the digital.
The machine-like qualities of the set, movement, speech, and story in the original Machinal tell the story of social and moral anxieties of a demographic that no longer exists. By replacing the mechanical with the digital, we rerun Treadwell's script through a more relevant prism: pathological connection, constant multiple streams of information, friction between reality and online identity, and qualities of speed, lightness, carelessness, immediacy, all invisible but pervasive.
Before I say anything else, I'd like to make it clear that I love social media. It can be a source of incredibly creative entertainment, it can connect people through and across time and geography, it can build community, bring laughter, and foster awareness. In some ways, it's an important part of my life. However, it also alarms me that something as delicate and temperamental as an algorithm (that has so many forces acting on it, aside from what we're interested in or seek out) can shape the content we see on a daily basis. It's not like a library where we pick out books we want to read. It's a library that's being forcefully curated with very entertaining books about very specific things that very specific people and entities want to present to us.
And so, of course, that algorithm can feed into narratives about how you should look, how you should dress, what people think, what you should think, who other people are, what other people want, and what you should want. In the end this can create some powerful thought processes in our heads. As an elder millennial, I came of age alongside social media. I had a Friendster account first, then Myspace, then Facebook, then Instagram and TikTok. I love that connectedness, and I revel in the possibilities for positive change available through viral action. However, you'd have to be blind not to see the traps that digital existence can lay out for us, with its unpredictable narratives: how they iterate and change, how they influence, how they convince us what other people think and how we're seen by the world. And those traps can lead us to curate ourselves in specific ways.
Sophie Treadwell's original play, on which I've based this adaptation, is theatrical expressionism at its best: playing out the tragedy of an individual crushed by the weight of institutional expectations, social pressures, and media. There is a link there to the way social media and our devices can also deliver to us that steady stream of institutional, social, political, and structural pressure without breaks or an end. I'm interested in how that pressure interacts with the individual psyche. In this play, that is the individual psyche of a somewhat fragile person who is dwarfed by the magnitude of what life expects from her. Our fragile heroine makes her own choices along the way, but none of them are free from the watchful eye of the world around her, and the media that subjugates and eclipses her individual experience of daily life.
I just want phones, or TikTok, or social media generally to become the villain of this play, because they're not. They are just vehicles for content and connectedness, and what we allow to flow through them are the same social, societal and gendered pressures and expectations that Sophie Treadwell was writing about in the 1920s. I'd like this adaptation to bear witness to the potential consequences of individuals subjected to that pressure: Humans can experience anxiety and alienation because of our digital existence. Women, specifically, experience toxic silencing and exploitation by social systems. Young women experience the trauma of empty consent. Neurodivergent women experience sensory violence. BIPOC women experience intersectional silencing. However, I'd also like to advocate for the healing properties and positive potential of our phones and social media to disperse support, entertainment, social change, and connection.
LISA HALL
Director
LISA HALL is a Professor of Theatre History at UVU, and is in her thirteenth year here. Prior to this position, Lisa earned her PhD in Theatre History and Criticism at the University of Colorado, Boulder, an MA in Playwriting from Boston University, and a BA in Performance from San Francisco State University. She is a director and playwright in addition to teaching, most recently directing The Divine at UVU. She lives with her wife, kids, and pets in Utah County.
PATCH OLSEN
Stage Manager
PATCH is pleased to have Machinal as their senior project - after six long years, they will graduate this Spring with a BFA in stage management. Notable works include The Normal Heart with AOTC, The Pumpkin Giant with The Parker, and Persuasion with UVU. They would like to thank Maisie for her help and support on this production and in life, and Theo Beene for the rides home.
LEXI GOLDSBERRY
Costume Designer
LEXI GOLDSBERRY is excited to make her UVU debut. She is a senior and is excited to see where the next steps of her life takes her. She works with the Youth Program at the Hale Center Theatre Orem as the manager of their costuming department and most recently designed James and The Giant Peach as a Theatre for Young Audiences production. She is passionate about working with youth and exposing them to the arts as a place of safety and creativity.
LILLIAN HANKS
Hair and Makeup Designer
LILLIAN HANKS is a design student, specializing in Hair & Makeup and Costumes. Recently, she has designed hair & makeup for UVU's production of Lucky Stiff, and looks forward to designing costumes for the upcoming musical Into the Woods. She is currently working at the costume shop for the School of the Arts as the Hair & Makeup Supervisor.
ANDREW DOMYAN
Sound Designer
ANDREW DOMYAN is so very excited to bring you into a new and troubling aural world. Many of his recent shows, such as UVU’s Ghost Quartet and Creekside’s Relative Space, have explored blurring the lines between story and audience, and he hopes to continue this trend in Machinal, immersing you in a soundscape of the familiar, a deluge of the mundane. It has been said: “the soul’s ear must be free from sounds to hear that divine voice which resounds throughout the universe.” What then for us, o perpetually tethered; a world governed by sounds we forget to perceive?
HALEY HOWE
Assistant Director
HALEY HOWE is a Senior in the Bachelor of Fine Arts Musical Theatre track here at Utah Valley University. This is her first time Assistant Directing and she has enjoyed every minute of working on Machinal. She would like to thank Lisa Hall for the opportunity to work with and learn from her on this project. She hopes you enjoy the show.
MAISIE BUNKER NELSON
Assistant Sound Designer
MAISIE is super excited to do something other than stage management for a show. She has loved assisting on this process and has learned a lot. She is excited to add this to her list of projects and learn more about the world of sound. She is getting a BA with an emphasis in stage management and has worked on a total of forty five shows while here at UVU. She is excited to do stories like this that mean a lot to us as humans.
EMILY PORTER
Her
EMILY, a sophomore in Utah Valley University's Bachelor of Fine Arts Program with a focus on Musical Theater and a minor in Marketing, is thrilled to make her UVU debut in this production. Her journey in theater, highlighted by memorable roles like Beatrice in "Much Ado About Nothing", the Acrobat in "Matilda the Musical," and a Dancer in many other shows, has ignited her passion for storytelling through performance. "Machinal" has been a transformative experience, allowing her to explore profound themes and form deep connections with her peers. Emily is excited to share her love for theater and hopes to inspire others to explore the depths of human connection through her performance at UVU!
CHLOE HENRY
Woman 1
CHLOE HENRY is happy to be working with the Utah Valley University Theatre Department again after having done the Pirates of Penzance and Romeo and Juliet in recent years. She most recently performed as Sister Margaretta in The Sound of Music at Sundance Summer Theatre. Chloe has previously studied Music and Theatre at Snow College, and is a current student of the Musical Theatre BFA program here at UVU.
SASHA HAYDN WILKINSON
Woman 2
SASHA feels so lucky to be a part of this important and boundary-pushing production.
Past roles include Leanne/Helga/Frenchy/Ginny (Puffs…), Lisa (Possessive! The Musical),
Wednesday (Addams Family), “Day by Day” (Godspell), and Narrator (Joseph…). She has
also sung in multiple Concert productions playing roles such as Zoe (Dear Evan Hansen),
Cosette (Les Mis), and Ariel (The Little Mermaid). Sasha has studied at the Open Jar
Institute in NYC and did theatre study abroad in London and Stratford. Sasha is an
avid singer/lyricist and just released her first single! Thanks to her invaluable
support system of family and friends. IG: @sashahaydntaylor
Bronwyn Andreoli
Woman 3
Bronwyn Andreoli is currently pursuing a BFA degree in Musical Theater at UVU. Her most recent credits include Swing/Ensemble in The Sound of Music (Sundance Summer Theatre), Dominique Du Monaco in Lucky Stiff (UVU), Lady Capulet in Romeo and Juliet (UVU), Belle/Soprano 2 in A Christmas Carol (HCTO), Octet/Topper's Girl in A Christmas Carol (HCT), and Belle in Beauty and the Beast Jr. (HCTO).
Isabel Eardley
Woman 4
Isabel Eardley is a Senior in the BFA musical theater program here at UVU! She trained at Utah Conservatory of Performing Arts where she now teaches classes there to the most amazing kids. Her favorite performing credits are “#14” in The Wolves, “Nadine” in The Wild Party, and “Izzy”, singing ‘By My Side’ in Godspell. She is honored to be able to work with the insanely talented people in this cast and hopes that you enjoy Machinal!
Seven Harrison
Man 1
As a child, Seven lived in costume, created characters, and composed music to underscore his imaginative play. But it wasn’t until his freshman year of high school that he stepped onto the stage and began his acting journey. Since then, he has played many roles ranging from Tom in Glass Menagerie to Romeo in Romeo and Juliet (a Grassroots Shakespeare Company production). Seven’s career has taken him many places including off broadway, commercials and films such as Murder Among The Mormons and The Witnesses. Seven currently studies acting in the BFA program at Utah Valley University.
Tyler McCabe
Man 2
Casey Copier
Man 3
Alex Russon
Man 4
Kara McCarthy
Assistant Stage Manager
Carly Short-Jensen
Performance PA
Daisy Wilcox
Performance PA
Matthew Hillstead
Rehearsal PA
MILINDA WEEKS
Scenic Designer
MILINDA WEEKS is an Associate Professor at Brigham Young University, specializing in Scenic Design. She earned her MFA in Theatrical Arts, with an emphasis in Scenic, Lightning, and Media Design from the Caine College of Fine Arts, Utah State University. Before joining the faculty at BYU Milinda taught in the Theatre Department at Snow College for over a decade where she garnered dozens of design and directing credits while also serving as the Head of the Theatre Design and Tech program. Milinda’s recent design credits include The Secret Garden (BYU) The Sound of Music and Cinderella (Sundance Summer Theatre), and Lucky Stiff (UVU). Milinda is a member of USITT and the Scene Artists Guild.
DEVON PARIKH
Lighting Designer
DEVON is a junior at UVU in the BFA sound design track, and this show is his first department lighting design as a lead designer! He has worked as an assistant lighting designer on 'Is there an Actor in the House?', and has completed some non-main stage projects. He is excited to continue to work on lighting and sound!
JESSIE ANNE
Dramaturg
JESSIE ANNE (she/her) is a dramaturg from Houston, Texas. She has a Bachelor of Arts in Theatre Arts Studies and a Bachelor of Science in Psychology, both from Brigham Young University. She is currently pursuing an MFA in Creative Writing and an MA in English Studies from Arcadia University. Her dramaturgy work is focused heavily on new play development, and as a researcher, she specializes in topics within intersectional feminism and psychology.
LIZ GOLDEN
Intimacy Coordinator and Acting Coach
LIZ GOLDEN is an actor, director and Lecturer of Performance. This is her 8th year teaching at UVU and she is happy to be furthering the efforts of the department to ensure a safe and creative rehearsal space students.
STEVEN RIMKE
Vocal Coach
Utah Valley University acknowledges that we gather on land sacred to all Indigenous people who came before us in this vast crossroads region. The University is committed to working in partnership—as enacted through education and community activities—with Utah’s Native Nations comprising: the San Juan Southern Paiute, Paiute Indian Tribe of Utah, Uintah & Ouray Reservation of the Northern Ute, Skull Valley Goshute, Confederated Tribes of the Goshute Reservation, Northwestern Band of Shoshone Nation, Hopi Tribe, Navajo Nation, Ute Mountain Ute-White Mesa Community, and urban Indian communities. We recognize these Native Nations and their continued connections with traditional homelands, mountains, rivers, and lakes as well as their sovereign relationships with state and federal governments. We honor their collective memory and continued physical and spiritual presence. We revere their resilience and example in preserving their connections to the Creator and to all their relations, now and in the future.
With this statement comes responsibility and accountability. We resolve to follow
up with actionable items to make the School of the Arts at UVU and The Noorda Center
for the Performing Arts an inclusive, equitable, and just space for all. There is
much work to be done, and we are committed to putting these words into practice.
Artwork by Shane Walking Eagle (Sisseton Dakota).
Chair, Associate Professor
LA BEENE, MFA
Associate Chair, Associate Professor
JULIE HEATON, MFA
Administrative Assistant
CURTIS CLUFF, MFA
Associate Professor
AMANDA CRABB, MM
Assistant Professor
JENNIFER DELAC, MFA
Lecturer
ELIZABETH GOLDEN, MFA
Lecturer
M. CHASE GRANT, MFA
Professor
LISA HALL, PHD
Professor
LAURIE HARROP-PURSER, MFA
Lecturer
SHANNON HUTCHINS, MFA
Assistant Professor
RICHARD LORIG, MFA
Professor
JOHN NEWMAN, PHD
Assistant Professor
STEVEN RIMKE, MFA
Lecturer
GRAHAM WHIPPLE, MFA