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by William Shakespeare



Why Romeo and Juliet? I’ll put this as simply as I can. It’s a story about the consequences of tribalism. “Three civil brawls bread of an airy word…” A story of what happens when we attack each other based on the “airy words” of politicians, media, and others in power. Sound familiar? When we speak with those that we perceive to be on a different side do we listen, investigate, and try to find common ground or do we parrot these “airy words”? And when these words lead us to conflict (as they are designed to do), who are the ones that suffer? The innocent, the voiceless, and the young.  

Which brings me to question two. Why a punk club in the 1980’s? To quote Henry Rollins: “Where there is young people and vitality, you are going to find punk rock.” A theater artist, at the core, is built and trained to question the status quo. When a story teller hears these “airy words” their first instinct should be (and often is) to question, dissect, challenge, and shed light on truth. That is very punk. If you are a “theater kid,” are the parent of a “theater kid,” or have spent any time with a “theater kid,” you know that we are kind of odd. Because of our general mistrust of the status quo, we long to challenge and it is harder for us to “fit in” (we often don’t even want to). This is also very punk. My theater students here at Lipscomb University love you. You, their parents. You, their peers. And you, their professors. But, they are also mad at us for our inability to see past the “airy words”. This is the most punk. So, setting Romeo and Juliet in a punk club full of societal outcasts gives them the perfect opportunity to express their love for all of you while letting them express some of the frustration many of us feel. Also, punk is flippin’ fun.  

So, have fun tonight. Let your inner punk out. Question the “airy words” next time you here them.  And please remember, “…Punk Rock never really dies because the punk rock attitude can never die.”- Billy Idol

Prof. Nat McIntyre, M.F.A.


Chorus 1/Rosaline- Jillian Rice
Chorus 2/Paris- Jonathan Thompson
Chorus 3- Emma Rose Williamson 
Romeo- Jakholbi Murry 
Juliet- Shelby Talbert 
Benvolio- Alayasha Martin
Claudio- Charlie Webb 
Nurse- Christina Ray
Friar Lawrence- Claire Hopkins
Tybalt- Alex Dee
Lady Capulet- Victoria Griffin
Lord Capulet- Austin Jeffrey Smith
Mercutio/Ensemble- Easton J. Curtis
Tybalt/Ensemble- Alex Dee 
Prince/Ensemble- David Long III
Lord Montague/Ensemble – Reese Twilla
Lady Montague/Ensemble- Prenda Mercado
Ensemble – Michaela McGarel, Cleo Graham, Abi Williams, Marley Crouch, Max Hunkler, Kailey Goodin



Romeo u/s- Kage Harrold
Juliet u/s- Marley Crouch
Mercutio u/s- Bryce Dunn
Benvolio u/s- Andrea Perez Hernandez
Claudio u/s- Will Defendall
Friar Lawrence u/s- Marian Barber
Nurse u/s- Shelby Smith
Tybalt u/s- Abi Williams
Lady Capulet u/s- Annie McMurrian
Lord Capulet u/s- Lorenzo Rivera
Female Chorus u/s- Meghan Wombles
Male Chorus u/s- Otha Gibson IV
Ensemble u/s- Inez Vega Romero
Ensemble u/s- Adam MacLeod


PRODUCTION TEAM (*Denotes student)

Producer: Beki Baker
Director: Nat McIntyre
Assistant Director/Props Assistant: Marlee Claassen*
Production Manager: Andy Bleiler
Choreographers: Mary Humphrey*, Ja’Naye Flanagan*
Dance Captain: Michaela McGarel
Scenic Designer: Andy Bleiler
Assistant Scenic Designer: Easton J. Curtis*
Costume Designer: June Kingsbury
T-shirt/Poster: Design- Claire Hopkins *
Lighting Designer: Anne L. Willingham
Composers/Lyricists: Luke Sheets, Jordan Ostrom, Claire Hopkins*
Technical Director: Chelsea Flowers
Stage Manager: Hannah Boner
Assistant Stage Managers: Ash Barrett*, Garner Harsh*
Dramaturg: Addy Sigmon*
Text Coach: Annika Burley
Fight Choreographer: Andrew Johnson
Fight Captain: Charlie Webb* 
Intimacy Choreographer: Nettie Kraft
Dance Music: Caleb Kuhlmann


Drums: Kamri Hoffman
Guitar: Mario DeBartolomeo
Bass Guitar: Patrick Armould



Stage Crew: Shandril Watson, Rachel Penner, Kellin Ferrell, Lillian Brown
Wardrobe: Tyler Worden, Saidee Hannel, Ava Sin, Sofia Hernandez-Morales
Hair and Makeup Crew: Meg Wombles, Inez Vega-Romero
Light Board Operator: Emma Stanard
Sound Board Operator: Téa Doherty



Scene Shop Foremen: Marlee Claassen, Annie McMurrian, Marian Barber, Ash Barrett, Aubrey Bagley, Gabe Herrmann 
Scenic Shop: Cleo Graham, Mary Humphrey, Abi Nicholson, Hannah-Noelle Clark, Makinley Smith, Marley Crouch, Aleia Eagleton, Anna Hassloch, Peyton Lewis, Rachel Penner, Will Deffendall, Maxwell Hunkler, Jonathan Thompson, Shandril Watson
Costume Shop: Victoria Griffin, Bennett Scott, Austin Smith, Emma Rose Williamson, Tyler Worden, Alayasha Martin, Aubrey Bagley, Lillian Brown, Kayla Beene, Regan Mills, Sofia Hernandez Morales, Grace Mullins, Inez Vega-Romero, Marian Barber, Ash Barrett, Saidee Hannel, Andrea Perez-Hernandez, Samantha Scattini, Shelby Smith
Lighting Foreman: Bennett Scott
Lighting Crew: Erynn Barrett, Bryce Dunn, Kailey Goodin, Emma Ramsey, Addy Sigmon, Emily Stephens, Michaela Vega-Romero, Connor Adair, Elanah Bruce, Sam Dabbs, Olivia Eley, Abe Gibson, Kaylie Herpolsheimer, Hayden Lindsey, Nathan Mann, Michaela McGarel, Ava Sin, Reese Twilla, Audrey Venable, Abigail Williams



Jenny, Lucy, and Maggie McIntyre, Don Chaffer



Lipscomb Theatre acknowledges the land we are on is the original homeland of the Cherokee, Yuchi, Shawnee, and Chickasaw tribal nations, who are still here and whose descendants live and thrive here despite the systems of harm levied against them.