For safety reasons, we cannot accommodate late admission OR re-seating while the performance is in progress.
This production runs three hours and is presented with one ten-minute intermission.
This production makes use of water-based haze/smoke effects.
Audience photography, filming, and recording is prohibited.
The articles in this program are the opinions of the corresponding authors.
This production uses the Artist Engagement Services of the University Resident Theatre Association.
LAND
ACKNOWLEDGEMENT
We recognize that Stanford sits on the ancestral land of the Muwekma Ohlone Tribe. This land was and continues to be of great importance to the Ohlone people. Consistent with our values of community and inclusion, we have a responsibility to acknowledge, honor and make visible the university’s relationship to Native peoples.
Our Sponsors
This production was made possible through the generous support of the PIGOTT FUND FOR DRAMA and the MAY ELLEN RITTER PRODUCTION FUND.
SPECIAL THANKS
Special thanks to MARION PARR and STANFORD HAIR (Tresidder Union).
ARTISTIC TEAM
Director
Rotimi Agbabiaka
Assistant Directors
Evelyn Burt, Blue Kennedy, Anna Rebecca Susan
Choreographer
Aleta Hayes
Fight Director
Dave Maier
Intimacy Director
Natalie Greene
Text/Vocal Coach
Stephanie Hunt
Scenic Designer
Nina Ball
Props Artisan
Maya Hausman
Assistant Scenic Designers
Eunice Jeong, Max Kelly
Costume Designer
Becky Bodurtha
Assistant Costume Designer
Leila Yokoyama
Wig & Hair Designer
Jackie Fernandes
Lighting Designer
Trini Rogando
Assistant Lighting Designer/Programmer
Kelvin Niu
Lighting Design Advisor
Christian Mejia
Sound Designer
Cliff Caruthers
Stage Manager
Virginia Tipps
Assistant Stage Managers
Zoe Ehrlich, Emily Lim
CAST
In Alphabetical Order
Capulet
Quinn Bennett
Balthasar, Livia | u/s: Lady Montague, Friar John
Evelyn Burt*
Mercutio, Gregory
Noah Dehli
Friar Lawrence
Thomas Freeland (Guest Artist)
Lady Capulet
Maddie Garfinkel
Chorus, Citizen, Singer, Musician | u/s: Juliet
Nala Monet Hamilton
Romeo
Ben Hollingshead
Nurse
Emma Hong
Abram, Rosaline, Musician, Second Watch | u/s: Nurse, Chorus
Ashley Jang
Benvolio
Max Kelly
Tybalt | u/s: Mercutio
Blue Kennedy†
Montague, Friar John | u/s: Friar Lawrence
Jack Kirkner
Sampson, Peter | u/s: Benvolio
Cash Lee-Jones
Lady Montague | u/s: Lady Capulet
Quynh Anh Nguyen
Juliet
Andi Taylor
Prince
Mia Thompson
Paris
Ben Vallier
Apothecary, Helena, Citizen, First Watch | u/s: Tybalt, Prince, Sampson/Peter
Claire Zhang
*Dance Captain; †Fight Captain
CREW
TAPS 39 Crew
Henry Cargill, Sabrina Gerace, Michael Ohayon, Janhavi Purkar, Phillip Wong
TAPS STAFF
Department Chair
Diana Looser
Artistic Director
Amy Freed
Director of Finance & Operations
Eugene Buck
Asst. Director of Finance & Operations
Wenlin He
Student Services Manager
Katie Dooling
Finance & Faculty Affairs Admin
Janet Pineda
Production Manager
Tyler B. Osgood
Technical Director
Beckett Finn
Costume Shop Lead
Heather Miller
Scenic & Technology Lead
Brett Cavanaugh
Head Electrician
Kenny McMullen
Head Cutter/Draper
Emma Vossbrink
Head Carpenter
Zach Zigman
Costume Technicians
Lauren Suiter, Kyo Yohena
Wardrobe Support
Linda Wu
Facilities Manager
Lori Fowler
Director of Marketing & Special Events
Stefanie Okuda
Marketing & Special Events Coordinator
Brendon Martin
Production Photographers
Frank Chen, Stephen Hitchcock
STUDENT STAFF
Student Asst. Production Managers
Disha Cattamanchi, Alister Sharp
Student Asst. Facilities Manager
Sawyer Williams
Student Asst. Marketing Coord.
Kendall Johnson
Student Theatrical Technicians
Kyan Gandhi, Maya Hausman, Jonathon Howell, Vivi LaFont, Aredhel Martin, Eduardo Moreno Adanez, Noah Murase, Sam O’Neill, Trini Rogando, Kate Stewart, Jude St John, Leyth Toubassy, Yasmine Toubassy, Raina Yang
Student Costume Shop Administrator
Charlotte Kearns
Student Costume Stock Runner
Andi Taylor
Student Costume Technician Lead
Ezra Melosh
Student Costume Technicians
Blake Pigott, Lauren Suiter, Ryder Thompson
Costume Loan Out Coords.
Tiffany Cartanega, Emily Maremont, Rebecca Spence, Lauren Suiter
Props Loan Out Coords.
Lela Hanson, Roberto Ibarra
BY ROTIMI AGBABIAKA
TAPS lecturer
Why are we drawn to Romeo & Juliet? Why immerse ourselves in this corpse-ridden play full of civil strife? Why keep going after death rears its head (spoiler alert) on page one?
From the first few lines we learn that the “star-crossed lovers” are destined to die, and throughout the tale, the lovestruck pair have premonitions of their grisly end. Romeo senses “some consequence yet hanging in the stars” and Juliet envisions her newly wed husband “as one dead in the bottom of a tomb.”
How could they not be so keenly aware of the fate that awaits us all? In Verona, death is always around the corner. A chance encounter with an enemy house, a miscalculated insult, any of these could herald one’s swift demise. In this divided city, death is a next door neighbor.
Yet something wonderful happens as you stick around these ill-fated folks. You hear a vibrancy in their language, you see a muscularity in their presence, you taste the relish with which they live, you feel the passion with which they love. You suspect that the looming presence of fate drives these citizens of Verona to make the most of every moment they have left.
We have set this production during the early Italian Baroque period — ten to twenty years after the play’s first performance by Shakespeare’s company in the mid-1590s. During that time, the Catholic Church aimed to lure the faithful away from Protestantism with a seductive appeal to the emotions and senses. Cardinals and noble families filled the chapels, palaces, and piazzas of the Italian city states with elaborate artworks commissioned from superlative artists like Caravaggio and the sculptor Gian Lorenzo Bernini.
In their opulent embrace of drama, sensuality, asymmetry, and the chiaroscuro technique of juxtaposing shadow and light, these artists celebrated life’s extreme beauty during a time that was also characterized by a violent underbelly and sectarian strife. Like Romeo & Juliet, their art still stuns us with its zest for life. It reminds us that the world’s darkness compels us to better appreciate its light.
The “two (or so) hours’ traffic of our stage” tonight is a microcosm of the time we spent rehearsing this play, which is a microcosm of the time we have on this great globe called Earth. We have endeavored to make the most of our time with Romeo & Juliet. To plumb its wild language, to embody its spirited characters, to engage with their questions about love, family, honor, valor, order, pleasure, force, and freedom — to embrace its shadows and light. In so doing, we have expanded our experience of the world — our appreciation of the complex beauty of our time on this planet has deepened.
I hope that our time spent together with Romeo & Juliet makes you more in love with the world and more inspired by its indomitable light.
BY EMMA HONG
Class of 2026 | "Nurse"
Since entering Stanford as a polite, people-pleasing freshman who always stayed within the lines, my journey has been one of expansion. It has been learning to take up space without apologizing, to stand up for what I believe in, and to live life fully on my own terms. Now in my final quarter, it feels right to take on Romeo & Juliet’s Nurse — the epitome of expansion.
Fittingly named “Angelica,” the Nurse is Juliet’s devoted caregiver. Having lost both her daughter and husband, she loves and raises Juliet as her own. She is tender and motherly, yet delights in bawdy humor and playful mischief. She is gentle and compassionate, yet commands respect from those around her and fights fiercely to protect those she loves.
In first taking on this larger-than-life character, I was terrified of not being bold enough, strong enough, or mature enough. To compensate, I pushed my voice to be loud and ran all about the stage to fill the space, leaving me scattered and frantic. After TAPS Lecturer Stephanie Hunt encouraged me to trust myself, I let go of all my anxieties and simply existed. I trusted that my voice was supported enough to land the point and that my body was grounded enough to command the space.
This shift became especially clear in a moment when the Nurse defies Capulet to protect Juliet: “I speak no treason.” Initially, I screamed and pointed aggressively at him, trying to match his authority through volume and force. But once I grounded myself and trusted my own power, I discovered that I could put my foot down without raising my voice.
In that moment, I recognized how far I had come — not only in my craft, but as a person. Four years of voice, movement, and improvisation training at Stanford had made my physical instrument expressive, responsive, and strong — allowing me to follow my impulses boldly. Four years of real lived experiences — love, betrayal, and grief — had also given me a resilience and groundedness once foreign to me. My freshman-year self would have laughed at the thought of embodying such a powerful woman. “To see now how a jest shall come about!”
And yet, I warrant, this “jest” would not have come about without the mentors who challenged me, fellow artists who inspired me, and friends who believed in me. Rotimi Agbabiaka entrusted me with the Nurse before I fully trusted myself, and taught me the tools to bring her to life. Stephanie Hunt shared delightful textual discoveries, guided me as I worked to expand my voice, and cheered me on at every step. The ensemble uplifted one another with such playfulness onstage and kindness offstage, continually inspiring me with their warmth and talent. Finally, to my friends — my chosen family — thank you for listening to my theater rants, showing up for me, and reminding me who I am beyond the stage.
BY TRINI ROGANDO
Class of 2026 | Lighting Designer
Lighting Design is one of the most ephemeral of design disciplines, a truly illustrative, emotional, poetic artistic medium. Combine that with the richly beautiful, read-between-the-lines text of Shakespeare, and it is elevated to a medium that both orients the audience in a particular time and place, and is invited to evoke emotional beauty that cannot be captured in purely language. Lighting is a craft blending artistic instinct with technological understanding, a combination that feels ever-innovative in tandem, and affects every single visual department.
These are just a few of the many reasons that I am passionate about the craft of lighting design. I tried theatrical design for the first time through an interest in the language of Shakespeare. I did not do theater in high school, but as a Stanford frosh, I joined the Stanford Shakespeare Company, curious about a new way of telling old stories. It was only through the luck of being assigned to lighting design that I discovered the artistic passion that would shape my college experience — theatrical design — and declared a TAPS minor after taking Becky Bodurtha’s introductory theatrical design class. Years later, I find it full-circle that my last show here as a TAPS undergraduate will be by Shakespeare as well.
I’m honored to have had such trust placed in me to light such an ambitiously-scaled mainstage. Romeo & Juliet is a play of juxtaposition, of deep, unbridled emotion, of deep amber heats and stark ghostly cools. The world created for you through lighting reflects that — the rich metallics of gilded Baroque art and fragile marble, brought to visual consciousness through dramatic lighting choices. Opulence upon opulence through the numerous chandeliers and flickering candles. This is a play teetering on the brink — of what, exactly? Disaster, love, deep sorrow. Each of these emotions is heightened and enforced through lighting cues as the story races towards its unavoidable conclusion.
It feels very odd to be nearing the end of my time at Stanford. I’ve enjoyed and grown from all my time working with TAPS immensely, as a scenic technician, costume shop student, assistant stage manager, and designer. I’m so thankful to all the people who have pushed me to create and supported my ambitions — particularly my family, for many of whom this will be the first of my designs they see. And on campus, I am especially grateful to my friends in the Stanford Shakespeare Company who took the time to first mentor me, a deeply lost frosh, in basic lighting design principles: Wilder Seitz (‘23) and Leyth Toubassy (‘25). I’ve also learned from and had the joy of collaborating with many other lighting students on campus, who continually remind me why and how shared community strengthens theatrical work: Espen Garner (‘25), Ryan Dukes (‘26), Raina Yang (‘28), Kelvin Niu (‘28), Jonathon Howell (‘26), Zoe Tweedie (‘25) and Marina Castilla-Liu (‘28).
Lastly, more than words can express, I am also incredibly grateful to the TAPS Lighting Lecturer Christian Mejia and Head Electrician Kenny McMullen for their humor, grounded advice, and many years of educational lighting wisdom. Every moment of Baroque design you notice tonight is possible because of the labor and planning of them and the other members of TAPS’s incredibly hardworking production staff. I hope you enjoy the output of our work!
COSTUME
DESIGN
BY BECKY BODURTHA
TAPS senior lecturer
SCENIC
DESIGN
BY NINA BALL
TAPS lecturer
REHEARSAL
BUILD
& TECH
ROTIMI AGBABIAKA (Director) is an actor, director, writer, and TAPS Lecturer, teaching acting and solo performance. He recently directed The Tempest (San Francisco Shakespeare Festival), and The Red Shades: A Trans Superhero Rock Opera (Z Space). Rotimi has performed at Playwright’s Horizons, Yale Rep, A.C.T., Folger Theatre (Oberon/Theseus, Midsummer Night’s Dream), CenterREP (EmCee, Cabaret), and Cal Shakes, among others. His solo shows, Type/Caste and MANIFESTO, have toured the nation. rotimionline.com
QUINN BENNETT (Capulet) is a first year PhD student in the Energy Science & Engineering program. Previously at Stanford, they were involved in AATP & SLOCo’s Cabaret (Cliff Bradshaw). This is their first TAPS production.
EVELYN BURT (Assistant Director; Balthasar, Livia | u/s: Lady Montague, Friar John) is a sophomore double-majoring in Biology and TAPS with a minor in Music on the pre-med track. She trained in musical theatre at Theatre Under the Stars’ Pre-Professional Company, with favorite roles including Eponine in Les Misérables and Alice in Alice by Heart. Previously at Stanford, she appeared in TAPS’s Fun Home as Dance Captain and Swing [Alisons, Joan, Helen].
HENRY CARGILL (TAPS 39 Crew) is a senior from Oklahoma majoring in TAPS as an actor. His previous credits with TAPS include Assassins (John Wilkes Booth), Fun Home (Bruce Bechdel), and most recently Moonchild (Sky Turtle). He started acting when he was eight and hopes to continue after he graduates.
CLIFF CARUTHERS (Sound Designer) is a San Francisco based sound designer and composer with over 300 production credits from coast to coast. He has taught sound design at Stanford when the opportunity arises, since 2018. cliffcaruthers.com
NOAH DEHLI (Mercutio, Gregory) is a sophomore majoring in TAPS with a minor in Music and Mechanical Engineering. At Stanford, credits include Stanford Music Dpt.’s Into the Woods (Baker), TAPS’s Witch (Understudy, Fight Captain), SLOCo’s Hunchback of Notre Dame (Phoebus), STL’s student-written play Come Again (Director, Set Designer, Intimacy Coordinator), TAPS Capstone Port Pourri (Set Designer), and AATPxSLOCo’s Cabaret (Bobby, Fight Choreographer).
ZOE EHRLICH (Assistant Stage Manager) is a senior (TAPS major, Creative Writing and Art Practice minors) and coterminal master’s student (Sustainability) from Austin, TX. At Stanford, she’s performed in She Loves Me (Ilona Ritter) and Into the Woods (Stepmother) with the Music Department, Assassins with TAPS (Sam Byck), and A Chorus Line with Ram’s Head (Kristine Urich). Zoe also directed a reading of her original play Dog Days at the Nitery and sings with Fleet Street.
JACKIE FERNANDES (Wig & Hair Designer) is a senior and coterm studying communication. Previously at Stanford she has acted in six Ram’s Head and Theater Labs productions, and was involved with AATP’s Matilda (Choreographer).
THOMAS FREELAND (Friar Lawrence—Guest Artist) is an Advanced Lecturer in the Oral Communication Program here at Stanford. He received his PhD from TAPS (then Department of Drama) in 1999. As a PhD student he directed Shakespeare’s Measure for Measure and Much Ado About Nothing among other productions, as well as acting in several productions. He has published translations of plays and other articles in Performing Arts Journal, Modern Drama and New German Critique.
MADDIE GARFINKEL (Lady Capulet) (she/her) is a sophomore double-majoring in TAPS and Physics. Previously at Stanford, she was involved in TAPS’s Fun Home (Small Alison), Grad Rep 26’s The Algorithm of Happiness (Costume Designer), Ram’s Head’s Legally Blonde (Ensemble and Costume Designer), and TAPS’s Three Sisters (U/S Irina).
SABRINA GERACE (TAPS 39 Crew) (she/her) is a graduate student in Environmental Engineering. An avid member of the LSJUMB and University Chorus, this is her first theatrical production at Stanford.
NATALIE GREENE (Intimacy Director) is an artist and educator working at the intersections of performance, consent, and community engagement. As a director, choreographer, and intimacy professional, Natalie has worked with A.C.T., Aurora Theater, Cal Shakes, Center Rep, Custom Made, Portland Center Stage, Shotgun Players, and several productions with Stanford TAPS. She is the former artistic director of the award-winning devised theater ensemble Mugwumpin, and currently Director of Education and Community Programs at American Conservatory Theater.
NALA MONET HAMILTON (Chorus, Citizen, Singer, Musician | u/s: Juliet) is a sophomore majoring in Theatre and Performance Studies. Previously at Stanford, she performed in SLOCO’s Fading In (Avery) and the Music Department’s She Loves Me (Customer/Busser). She is very excited and thankful to perform in her first TAPS production.
MAYA HAUSMAN (Props Artisan) is a junior majoring in Political Science and Classics, with a minor in Music and Honors in Ethics in Society. At Stanford, she currently serves as the Technical Director of the StanShakes and has been involved in numerous past productions, including Romeo and Juliet (Producer). In addition to her work with StanShakes, she is a student technician in the TAPS Scenic Shop.
ALETA HAYES (Choreographer) is at home in the theater in Dance, Music and Drama. Hayes serves as TAPS Senior Lecturer and Dance Concentration Coordinator, and has worked as a performer with notable directors and choreographers such as: Robert Wilson, Ping Chong, Jane Comfort, Martha Clarke, Bernice Johnson Reagon, and William Parker. She has also worked as a choreographer numerous times with Stanford professor/directors, Harry Elam, and Rush Rehm. Hayes is the founder and artistic director of the Chocolate Heads Movement Band, a multi-genre, dance-driven performance project co-created with talented Stanford students from various disciplines, cultures and styles. Since 2009, the troupe has performed at venues such as the Bing Concert Hall, the Cantor, the Anderson, Memorial Church, and the Rotunda in Green Library.
BEN HOLLINGSHEAD (Romeo) is a sophomore double-majoring in TAPS and Economics. Previously at Stanford, he appeared in TAPS’s The Arsonists (Schmitz), StanShakes’s Henry IV (Prince Hal), and NExT’s Hamlet: Prince of Denmark (Laertes). Elsewhere, he was recently in BADA Midsummer in Oxford’s A Midsummer Night’s Dream (Demetrius) and The Bishop’s School’s Hamlet (Hamlet).
EMMA HONG (Nurse) (she/her) is a senior double-majoring in Engineering Physics and TAPS. Recent credits include Winnifred in TAPS’s Witch, Samantha in AATP’s Man of God, and herself in Theaterlab’s Everything Must Go. She trained classically for a semester at the London Academy of Music & Dramatic Art (LAMDA), playing Dogberry in Much Ado About Nothing and Guardiano in Women Beware Women. Emma also serves as Co-Artistic Director of AATP, uplifting AAPI stories and artists.
STEPHANIE HUNT (Text/Vocal Coach) teaches acting and voice at Stanford. For TAPS, she directed Anton Chekhov’s Three Sisters and has served many productions here as a voice/text coach. A core company member of the theater company Word for Word in San Francisco, Stephanie has acted in fully-staged stories by Upton Sinclair, Angela Carter, Tobias Wolff, Virginia Woolf, Kevin Barry, and Colm Tóibín. Her MFA is from the American Conservatory Theater. stephaniejanehunt.com
ASHLEY JANG (Abram, Rosaline, Musician, Second Watch | u/s: Nurse, Chorus) is a freshman double-majoring in Mechanical Engineering and TAPS. She previously trained in K-pop, with formal instruction in singing and dance. A violinist from elementary through high school, she spent many years performing in orchestral settings and now turns to the stage to explore storytelling through acting.
EUNICE JEONG (Assistant Scenic Designer) is a junior majoring in Biology with a concentration in cellular, molecular, and organismal biology. She was the scenic designer for TAPS’s 찜질방 (jjim-jil-bang) in Fall 2025.
MAX KELLY (Assistant Scenic Designer; Benvolio) (he/him) is thrilled to be performing in his first TAPS show. This past year at Stanford, he performed in SLOCo and AATP’s Cabaret (Victor), performed in and vocal directed Ram’s Head’s Gaieties, vocal directed Ram’s Head’s Grease, and was a lyricist for SLOCo’s 48-Hour Musical, True North.
BLUE KENNEDY (Assistant Director; Tybalt | u/s: Mercutio) is a frosh double-majoring in Mechanical Engineering and TAPS. Previously at Stanford, they acted in The Arsonists (Chorus) and Gaieties (Ensemble). They were also involved in Theater Labs’ Pestilence, Wow! (TD) and Ram’s Head Grease (Associate Producer). Their stage combat experience includes training at Berkeley Rep, ACT, and workshops with Dave Maier. They are so thrilled to be a part of this production and hope you enjoy!
JACK KIRKNER (Montague, Friar John, Citizen | u/s: Friar Lawrence) is a freshman. He was recently involved in The Arsonists (Chorus/Policeman) and Fifty Shades of Grayieties (Drew). He is very excited to be a part of his first Shakespeare play! He hopes you enjoy the show!
CASH LEE-JONES (Sampson, Peter | u/s: Benvolio) is a freshman studying TAPS and Sustainability.
EMILY LIM (Assistant Stage Manager) is a Korean American director, playwright, and performance artist and a third-year TAPS and Psychology student. Recent directing credits include her original play 찜질방 (TAPS Fall 2025 DevStage) and Matilda the Musical (Asian American Theater Project), and recent performance art works include (No) (Et Al. Gallery) and To Our Grandmothers (Awakenings Art). Emily is an Artist-in-Resonance with the Institute for Diversity in the Arts and a 2025 Chappell Lougee Scholar.
DAVE MAIER (Fight Director) is a prolific fight director and stage combat instructor, whose work has been seen throughout the bay area and beyond. Previous Stanford TAPS credits include: A Midsummer Night’s Dream, Cabaret, and Rosencranz and Guildenstern Are Dead, among others. He is the resident fight director at San Francisco Opera, Marin Shakespeare Company, and Oakland Theatre Project.
MIKEY MENDOZA (Laundry Crew) (he/him) is a sophomore majoring in Environmental Systems Engineering with a minor in Mechanical Engineering. He was previously involved in TAPS’s Three Sisters (Laundry), Witch (Laundry), Fun Home (Laundry), and The Arsonists (Laundry); Theater Labs’s Proportionality (Danny) and Wink (SM).
QUYNH ANH NGUYEN (Lady Montague | u/s: Lady Capulet) is a sophomore majoring in Symbolic Systems, TAPS.
KELVIN NIU (Assistant Lighting Designer/Programmer) is a sophomore majoring in Design. Previously at Stanford, he was involved in BLACKstage and TAPS’s The (M)others (LD) and Ram’s Head’s Legally Blonde (LD) and Gaieties 2025: Fifty Shades of Grayeties (LD). His lighting portfolio can be found online at kelvinxniu.com.
MICHAEL OHAYON (TAPS 39 Crew) is a Bioengineering major and Dance minor on the pre-medical track. He is a member of the Cardinal Ballet Company, the Colorguard director at The King’s Academy in Sunnyvale, and will serve as a co-captain for the Blue Devils Colorguard for the 2026 season.
JANHAVI PURKAR (TAPS 39 Crew) is a CS student whose work spans research and immersive media. She has explored virtual environments and human interaction through academic and creative projects, and has worked as a production assistant on student film productions. Her interests center on storytelling across cinema, technology, and visual culture, alongside music and photography.
TRINI ROGANDO (Lighting Designer) is a senior at Stanford double-majoring in Design (Digital Methods) and TAPS (Theater-Making). She has previously designed lighting for TAPS’s Graduate Repertory in 2025 and 2026, StanShakes’s A Midsummer Night’s Dream, and Ram’s Head’s Gaieties 2025: Camp Stanford and Gaieties 2026: Fifty Shades of Grayeties (co-lighting). Romeo & Juliet is her TAPS Capstone.
ANNA REBECCA SUSAN (Assistant Director) is a junior double-majoring in English and Art History, with a TAPS minor. She received the Chappell Lougee Scholarship to support the development of her debut novel. She recently began exploring acting and is excited to continue growing as both a performer and theater-maker. She is grateful to be part of this production and to learn from such a generous cast and creative team.
ANDI TAYLOR (Juliet) (she/her) is a junior double-majoring in TAPS and Communication. She recently directed StanShakes’s A Midsummer Night’s Dream, and has previously acted in their productions of Twelfth Night (Viola), Romeo and Juliet (Lady Capulet), and Titus Andronicus… and Zombies! (Bassianus/The Nurse). andijanistaylor.com
MIA THOMPSON (Prince) (she/her) is a junior majoring in Computer Science. This is her first production at Stanford, and she hopes it will be the first of many.
PHILLIP WONG (TAPS 39 Crew) is a Senior double-majoring in Economics and American Studies and minoring in TAPS. At Stanford, Phillip is an Actor, Playwright, and Crew Member.
LEILA YOKOYAMA (Assistant Costume Designer) is a junior majoring in History and minoring in Music. Most recently at Stanford, she was the lead costume designer for Grease (Ram’s Head).
CLAIRE ZHANG (Apothecary, Helena, Citizen, First Watch | u/s: Tybalt, Prince, Sampson/Peter) is a freshman potentially majoring in Mathematics with a minor in TAPS.
CATHY ZHANG (Laundry Crew) loves theatre and going on side-quests.