What a dream to be performing at the famous strand, as a Roxbury girl who cut her teeth in the Boston theater scene, this is a full circle moment. Some of my favorite credits include: 103 Within The Veil (Company One), Fires In the Mirror (ASDS), The Nosebleed (Lincoln Center, Woolly Mammoth, Tour), SNL/Second City Showcase (Second City), My Story is Gluskabe (Penobscot Theater). To learn more about Kaili and follow her journey visit www.KailiYTurner.com or @MadamnStarlight on IG.

Sydney Jackson is thrilled to be making her Company One Theatre debut! She is a Boston and New York based Actor and Singer. Sydney’s professional credits include Squeak in The Color Purple (Umbrella Arts) and Ensemble in Beauty & the Beast (Summer Theatre of New Canaan). Some of her favorite educational credits include Effie White in Dreamgirls (WHS), Ti Moune in Once on This Island (WHS), Jack’s Mother in Into the Woods (Play Group Theatre), and Pearl Krabs in The Spongebob Musical (Play Group Theatre). She is currently pursuing a BFA in Acting with a Concentration in Musical Theatre from Boston University College of Fine Arts. Sydney would like to thank her family and friends for their support! www.sydney-jackson.com

Eliza Fichter is making their Company One Theatre debut! Recent projects include The Minutes (The Umbrella Stage Company), Kill the Magistrate (Boston Playwright’s Theatre), Oxbow (Huntington Theatre’s Summer Workshop Series), The Crucible (BEDLAM and The Nora Theatre), The Revolutionists (Central Square Theater), and Matchless & The Happy Prince (Underground Railway Theater). An interdisciplinary artist from Massachusetts, Eliza is also a printmaker and a current Artist-in-Residence at Mount Auburn Cemetery. elizafichter.com

Schanaya Barrows (she/her) is excited to be taking the stage with Company One! She graduated with a Bachelor of Fine Arts in Performance with a minor in Dance and composition at Salem State University 2021. Her recent credits include A Wrinkle in Time (Assistant Director) Wheelock Family Theatre, The Interrobangers (Dani Bundy) Company One, The Color Purple (U/S Squeak, Olivia) The Umbrella Arts Center, Dance Nation (Ashlee) The Apollinaire Theatre, can i touch it? (Meeka, Beth) by Summer L. Williams at Company One (Won an Elliot Norton Award for Outstanding Performance 2023) , The Colored Museum (Hair Designer) by Pascale Florestal at The Umbrella Arts Center, Once on This Island (Hair Designer) by Pascale Florestal at SpeakEasy Stage, Dream Love Escape by Kate Kohler Amory (Helena, Peter Quince, Choreographer) The Ridiculous Project, Machinal by Sophie Tredwell (Adding clerk, Lawyer of Defense, Reporter, Bridesmaid, Choreographer) Salem State University, The Long Christmas Ride Home by Paula Vogel (choreographer), Much Ado About Nothing by William Shakespeare (Choreographer), Bedroom Farce by Alan Ayckbourn (Female swing, Fight Captain), Gunplay:A play about America by Frank Higgins (George Washington, Shante Johnson, Lois Milberger, Woman, Announcer), Ragtime by Terrence McNally (Sarah’s Friend, Harlem Ensemble, Dance Captain), Poison of Choice by William Cunningham (Haley/Chavez) Salem State University, A Freeman of Color by John Guare (Melpomene, Leda, Margery Understudy, Dance Ensemble) Salem State University.

Awards: Elliot Norton Winner (2023), Kennedy Center American College Theatre Festival Region 1 Irene Ryan Best Scene Partner (2019), Merit Nomination for best ensemble (Ragtime). Irene Ryan Nominee Kennedy Center College Theatre Festival (2019)

Aislinn Brophy is delighted to return to Company One after assistant directing Hype Man in 2018! They are a queer writer and theater artist whose work seeks to explore hard truths about our world with empathy and joy. Selected acting credits include Rosalind in Playing Mercury (ISLE Theater Company), Mariana in Measure for Measure (Brown Box Theatre Project), Ellen/Mrs. Saunders/Cathy in Cloud 9 (Central Square Theater), and Nasi in A Story Beyond (Liars & Believers).

Aislinn is a cross-genre writer who works as both a playwright and an author. The world premiere of their play with music, Water, Water Everywhere, was recently produced by ISLE Theater Company. In 2022, they published their debut young adult novel, How to Succeed in Witchcraft, with Penguin Random House. Their second novel, Spells to Forget Us, is due for publication this September. aislinnbrophy.com

Born in Chicago, Illinois, Alexandria King received her BA in Drama from Tufts University and advanced theatre training from The Moscow Arts Theatre School, Billie Holiday Theatre Black Arts Intensive and Sordelete Inc. Her previous credits include: Regional: The Bluest Eye (The Huntington Theatre). Non Regional: The Forgotten Girl (Milwaukee First Stage), Bud Not Buddy (Wheelock Theatre), Twelfth Night (Classical Theatre of Harlem, Pipeline (WAM & The Nora Theatre), A Christmas Carol in Harlem (Classical Theatre of Harlem), Antigone (Classical Theatre of Harlem), Detroit 67′ (New Horizon Theatre), The Girls of Summer (The Layon Gray Experience,LLC), The Revolutionists (The Nora Theatre), Broken City: Wall St. (Pop Up Theatrics), Arabian Nights (The Underground Railway Theatre), Shockhead Peter (Company One), Splendor (Company One), A Midsummer Night’s Dream (Roxbury Repertory Theater), Black Nativity (The National Center of Afro-American Artists). Film: I Wanna Dance With Somebody (Compelling Pictures), Sighted Eyes/Feeling Heart (Film Posse), Red Monster (Beyond Measure Productions), Clear History (HBO). Award Wins- Eliot Norton Awards Outstanding Ensemble & Production, The Bluest Eye. Award Nominations (Berkshire Theatre Critics, Eliot Norton and IRNE Awards). Website: www.AlexandriaDanielleKing.com Instagram: @divineloveheals

Kirsten Greenidge’s work presents African American experiences on stage by examining the nexus of race, class, and gender. Kirsten is currently a Playwright in Residence at Company One Theatre in Boston Massachusetts, where she helps run Company One’s playwriting program, PlayLab. She is the author of Baltimore, a commission from the Big Ten Consortium at the University of Iowa, which toured to the National Black Theatre Conference; Bud Not Buddy, an adaptation of the children’s novel by Christopher Paul Curtis, with music by Terence Blanchard, which will be produced this winter at Metro Stage Company in St. Louis; The Luck of the Irish (Huntington Theatre Company; LTC3); and Milk Like Sugar (La Jolla Playhouse; Women’s Theatre Project; Playwright’s Horizons), which was nominated for a Lucille Lortel Award and received an Independent Reviewers of New England Award, and San Diego Critics Award, and an OBIE Award. She is a 2016 winner of the Roe Green Award for new plays from Cleveland Playhouse for Little Row Boat; Or, Conjecture, a play about Sally Hemings, James Hemings, and Thomas Jefferson, commissioned by Yale Rep. Her play As Far As a Century’s Reach toured to the Edinburgh Fringe Festival in August, after being part of the Royal Exchange’s B!RTH Project. She is a proud author of Audacity, part of Oregon Shakespeare Festival’s EVERY 28 HOUR PLAYS, and she’s enjoyed development experiences at Family Residency at the Space at Ryder Farm, the Huntington’s Summer Play Festival, Cleveland Playhouse (as the 2016 Roe Green New Play Award recipient), The Goodman, Denver Center Theatre’s New Play Summit, Sundance, Bay Area Playwrights Festival, Sundance at Ucross, and the O’Neill. Kirsten is currently working on commissions from Company One, La Jolla Playhouse, OSF’s American Revolutions Project, The Goodman, and Playwrights Horizons. She is an alum of New Dramatists, and has proudly graced the Kilroys list of New Plays by women and women identified Playwrights several years running. Her play Familiar`, a winner of the Kennedy Center/American College Theatre Festival New Play Award, was presented by Harvard’s A.R.T. Institute this winter. She is an alum of Wesleyan University, and the Playwrights Workshop at the University of Iowa. She oversees the Playwriting Program at the School of Theatre at Boston University. https://www.kirstengreenidgeplaywright.com/

Summer L. Williams is an award-winning director and Co-Founder/Associate Artistic Director of Company One Theatre in Boston. Her most recent directing credits include Jump by Charly Evon Simpson at Everyman Theatre in Baltimore, MD,  can i touch it?, a National New Play Network Rolling World Premiere by Francisca Da Silvera at Company One Theatre, sandblasted by Charly Evon Simpson with Vineyard Theatre and WP Theater, Off-Broadway. 

Local/Regional credits: The Arboretum Experience at American Repertory Theater (A.R.T), Daddy Issues at Salt Lake City Acting Company New Play Sounding Series, the Digital World Premiere of Downtown Crossing at Company One Theatre, Wolf Play at Company One Theatre, School Girls, or The African Mean Girls Play at SpeakEasy Stage Company, Miss You Like Hell with Company One Theatre and OBERON at American Repertory Theater, the World Premiere of Leftovers at Company One Theatre, Wig Out! with Company One and OBERON at A.R.T.; Smart People at Kitchen Theatre Company in Ithaca, NY and Geva Theater in Rochester, NY; Barbecue at Lyric Stage Company of Boston—Winner of the 2018 Elliot Norton Award for Outstanding Director; Revolt. She Said. Revolt Again. at Company One Theatre; Bootycandy at SpeakEasy Stage Company; An Octoroon and Colossal with Company One Theatre—Winner of the 2016 Elliot Norton Award for Outstanding Director for both productions. Intimate Apparel at Lyric Stage Company of Boston; Shiv as a part of The Displaced Hindu Gods Trilogy; Shelter of Last Resort by Miranda Craigwell as a part of XX PlayLab 2014; the New England Premiere of Jackie Sibblies Drury’s We Are Proud To Present A Presentation About The Herero Of Namibia, Formerly Known As Southwest Africa From The German Sudwestafrika Between The Years 1884-1915; Idris Goodwin’s How We Got On; Lynn Nottage’s By The Way, Meet Vera Stark at the Lyric Stage Company of Boston; The Brothers Size and Marcus; Or The Secret Of Sweet as part of The Brother/Sister Plays (2012 Elliot Norton Award nominated for Outstanding Production and winner of the 2012 IRNE Award for Best Play); Neighbors, Grimm; The Good Negro; Voyeurs De Venus (Winner of 2009 Elliot Norton Award for Outstanding Director); The Bluest Eye (IRNE and Elliot Norton Award nominated); The Last Days Of Judas Iscariot; Spell #7 (IRNE nominated); Jesus Hopped The A Train (2004 Elliot Norton Award for Best Fringe Production); and Twilight: Los Angeles 1992 (IRNE nominated).

Ilana M. Brownstein is a dramaturg and facilitator specializing in new plays, public arts advocacy, and collaborative work centered on a mission of equity, diversity, and inclusion. In her public-facing work, she is a frequent moderator/facilitator, panelist, and invited delegate at conferences and convenings, and has adjudicated numerous dramaturgy and playwriting residencies and awards. She is an experienced producer, designing responsive containers that allow artists to identify and meet their own goals in creative ways.

Previously, she was the Director of New Work at Company One Theatre and organizational co-leader. In addition to production dramaturgy, she trained early career dramaturgs in creative producing; curated and produced professional and creative development programs; represented the Company with the National New Play Network, and in the field at large; and supported playwrights at all stages of their careers.

As the Founder of Playwrights’ Commons, she created social programs to support and connect Boston’s numerous playwrights to one another; and designed and ran the annual Freedom Art Retreat, bringing playwrights, designers, and dramaturgs to the New Hampshire woods for a week of collaborative creation and artistic renewal. As Literary Manager at the Huntington Theatre, she created and produced the Huntington Playwriting Fellows program and Breaking Ground Festival, programs celebrated as part of a 2013 regional Tony Award. She served as editor in chief for the annual Limelight Literary Guide journal; and managed distribution of the substantial Calderwood Commissioning Fund. At the Boston University School of Theatre, she created and developed the dramatic literature core curriculum for BFA students; forged a curricular concentration in dramaturgy and new plays for undergraduate and graduate students; and was the director of the Theatre Minor program, connecting the resources of a professional school to the university at large.

Her dramaturgy in the new play sector includes productions, workshops, commissions, and collaborations with a wide-ranging pool of writers including Kirsten Greenidge, Idris Goodwin, Francisca da Silveira, Tara Moses, Josh Wilder, Aditi Kapil, Jackie Sibblies Drury, Natsu Onoda Power, Rajiv Joseph, Lauren Yee, Lydia R. Diamond, Mia Chung, Qui Nguyen, Kristoffer Diaz, Melinda Lopez, August Wilson, Wendy Wasserstein, A. Rey Pamatmat, Theresa Rebeck, Naomi Iizuka, David Lindsay-Abaire, and Lisa Kron, among many others. She has been a guest artist at festivals and theatres around the world, including The O’Neill, Kennedy Center, New Harmony Project, PlayPenn, New Dramatists, HowlRound’s Mellon Workshops, Ensemble Studio Theatre, Denver Center New Play Summit, Humana Festival, The Baltic/American New Play Workshop in Estonia, the Tofte Lake Center, and on Broadway.

She holds an MFA in Dramaturgy (Yale), and a Directing BA (College of Wooster), and served on the National Advisory Board for HowlRound/A Center for The Theatre Commons. She is an enthusiastic member of several artist cohorts, including ArtEquity’s anti-racism facilitators; National Arts Strategies New England Creative Community Fellows; and Todd London’s Third Bohemia. She is a two-time winner of the LMDA Elliott Hayes Award for excellence in dramaturgy (2008, 2014).

Elena Morris is a dramaturg, playwright, and performer passionate about building new plays and just futures. She recently produced a sold-out workshop of Little Peasants, a new play from the food advocacy nonprofit Food Tank. Dramaturgy credits include “olf Play (Assistant Dramaturg) and the Better Future Series (Dramaturg) at Company One and Cardboard Piano at New Rep. Elena currently works in the Development department at The Huntington. She previously served as a staff Dramaturg at Company One, Artistic Associate at New Repertory Theatre, and an administrator at ArtsBoston, where she wrote articles on local artists and promoted cultural events on The ArtsBoston Calendar. Elena earned a BFA in Theatre Arts from Boston University in 2018. elenamorris.com

Rachel Oppong is exctied to make her debut with Company One Theatre! With a combined major in Theatre and Psychology at Northeastern University, Rachel is excited to be with Company one for her co-op. While she’s accustomed to the stage as an actress, she’s thrilled to broaden her horizons and delve into all facets of theatre production. As Assistant to the Director for Morning Noon, and Night, Rachel’s is excited to embrace the opportunity to expand her knowledge across various departments of theatre.

Charlie Berry is excited to be making their Company One Theatre debut! Recent credits include MassOpera: Caravana de mujeres New Opera Workshop (Stage Manager). Lyric Stage: The Game’s Afoot (Rehearsal ASM), Sister Act (Deck Crew), The Light (ASM). Huntington Theatre Company: The Band’s Visit & Prayer for the French Republic (Deck Crew/Automation). Commonwealth Shakespeare Company: Macbeth (ASM). North End Music & Performing Arts Center: Le Nozze di Figaro (Stage Manager). Education: BFA Stage & Production Management. Special thanks to all their friends’ cats that decorate their black clothing with fur for every show!

Michael is making their Company One Theater debut! As assistant stage manager he is excited to be a part of the start of this great show Morning, Noon, & Night. In the past, he has acted in various roles throughout the theater space, from actor to director while he was pursuing his undergraduate degree. Now, Michael is delighted to begin his path involved with the theater scene here in Boston.

Ren is an interdisciplinary artist and filmmaker/directress based in Boston, MA. She is deeply inspired by nostalgia and expressing the intangible and unreal through visual media and design. With a background in fine arts, Ren is gravitated to experimentally investigating visual storytelling and how to use various mediums in innovative and evocative ways. Ren is deeply committed to collaborating with local artists and engaging with the community to foster and support artistic endeavors. Her primary focus lies in coordination, design execution, and overseeing production to bring creative visions to life.

Peter Duerst is delighted to be working on his second Company One production! Previously with Company One, he was a Production Assistant on The Interrobangers. Peter has also done scenic and electric work as a Production Technician with Boston Conservatory at Berklee. When not working on theater, he does software engineering for Medtronic’s surgical robotics team. Peter has a Bachelor of Science in Mechanical Engineering and Theater Arts from MIT. While in college, he worked with the MIT Shakespeare Ensemble and Theater Arts department in a plethora of roles, including carpentry, technical directing, and video engineering. Peter also does community theater, having acted with Theatre@First, the Post-Meridian Radio Players, and the Quannapowitt Players! Special thanks to my partner Tal for all her support and to my friend Robert for always reading my bios. peter.duerst.me

Sara Gorelkin is a theatre artist and administrator from Long Island, NY, who is thrilled to be making her Company One Theatre debut with Morning, Noon, and Night! She will graduate this May with a BFA from Boston University in Theatre Arts-Design & Production with concentrations in stage management and dramaturgy. In addition to her time at BU’s School of Theatre, Sara is currently the Arts Administration intern at SpeakEasy Stage Company. Sara has previously worked as the stage manager for Kirsten Greenidge’s One Penny Down at Boston University and is grateful for the opportunity to collaborate on another of her new works. Check out more of Sara’s work at www.saragorelkin.com.

Justin Lahue is thrilled to be making his Company One debut! He is a Boston based theatre artist and filmmaker with a BA in theatre from Suffolk University. Previous collaborations include work with Commonwealth Shakespeare Company, Speakeasy Stage, Boston Conservatory, Northeastern University, Wellfleet Harbor Actors Theater, Hub Theatre Company, Harbor Stage Company, Wheelock Family Theatre, Firehouse Center for the Arts, Seacoast Repertory Theatre, The Tank (NYC), and New Hampshire Theatre Project. He is the recipient of a 2022 BroadwayWorld Boston award (best professional scenic design (Straight White Men), as well as a 2022 Cannes Film Award and regional Emmy nomination in art direction for the feature film Not on This Night. For more information on his work, please visit www.justinlahue.com.

Jonathan is making his debut as a costume designer, specializing in fashion and womenswear, with some formal training from a mentor, he has built up a portfolio and skill sets that make him a unique addition to the design team.

Christopher Brusberg is a regional lighting designer based in NYC who is passionate about Opera, Dance, and New Theatrical Work, including how the intersection of design and storytelling can influence the relationships between art, the viewer, and the artist. Chris is happy to return for his seventh show with Company One. He has designed for the following companies: Opera Lafayette (DC/NYC), Annapolis Opera (Resident Designer), Tri-Cities Opera, Syracuse Opera, EMERGE125 (Resident Designer), BANDPoteir, Lyric Stage Company of Boston, Arrow Rock Lyceum, The Cherry Arts Space, New Repertory Theatre, NYU Steinhardt, and Boston Conservatory. Christopher holds a MFA from the University of Maryland and is a proud member of USA829. For upcoming design work, check out: Website: www.ctblighting.com, Instagram: @ctblighting

Aubrey Dube returns to Company One after working on; Downtown Crossing and Vietgone. Other credits include; Fat Ham, The Bluest Eye, Joe Turner’s Come and Gone, Clyde’s & The Lehman Trilogy [associate designer] (Huntington); Paradise Blue, The Thin Place, Stew (Gloucester Stage); Simona’s Search (Hartford Stage); The Fortune Teller (Chuang Stage); How We Got On (Arts Emerson); Trayf, Good (New Rep); Clyde’s (Berkeley Rep); Queens, Torch Song, The House of Ramon Iglesia (Moonbox Productions); Vinegar Tom, Monster, Serious Money, Pentecost (PTP/NYC); A Taste of Honey (BCAP); Potus, A Case For The Existence of God (SpeakEasy Stage); Fences (The Umbrella Theatre); The Renaissance Mixtape (Apollo Theatre NYC). University: Cymbeline, Pilgrims of the Night (Suffolk University); Orlando (Brandeis University); Antipodes, Love and Information, As You Like It, Sensitive Guys, The Moors (Northeastern University); Big Love, The Imaginary Invalid, In The Next Room, Man of La Mancha (Middlebury College); Delirium, Daddy Issues, The Hothouse (Boston University). Education; MFA in Sound Design. @footballpowerhour on youtube

Jason Ries & Karen Krolak are a bonded pair of interdisciplinary odd ducks who collaborate on a panoply of performing and visual art projects. Over the last two decades their creative endeavours have been presented in New York, San Francisco, Minneapolis, Chattanooga, Boston, Latvia, Ukraine, and S. Korea. Locally, they have worked with Monkeyhouse, Company One, Laura Sánchez, Actors’ Shakespeare Project, The Pingree School, The Dance Complex, NACHMO Boston, Lyric Stage, and the Clary and Cimermanis Little Free Library. They are the ones to call if your project demands a frozen pie from the early oughts, a historically inaccurate family of blow up dinosaurs, dustbunnies that could battle a German Shepard, or contradicting accounts of how they got lost on a variety of continents.Jason Ries & Karen Krolak are a bonded pair of interdisciplinary odd ducks who collaborate on a panoply of performing and visual art projects. Over the last two decades their creative endeavours have been presented in New York, San Francisco, Minneapolis, Chattanooga, Boston, Latvia, Ukraine, and S. Korea. Locally, they have worked with Monkeyhouse, Company One, Laura Sánchez, Actors’ Shakespeare Project, The Pingree School, The Dance Complex, NACHMO Boston, Lyric Stage, and the Clary and Cimermanis Little Free Library. They are the ones to call if your project demands a frozen pie from the early oughts, a historically inaccurate family of blow up dinosaurs, dustbunnies that could battle a German Shepard, or contradicting accounts of how they got lost on a variety of continents.

Maria Servellón is an award-winning filmmaker, multimedia artist, educator, and arts advocate from Boston, MA. Her expertise spans across various mediums, including film, media art, projection, installation, photography, and design. Maria’s work explores the synesthetic connections between art, music, and dance as they contribute to the formation of a self-identity.

Maria has garnered recognition through numerous screenings and exhibitions across Massachusetts, New York, California, Oregon, the UK, and Mexico. Among her notable works are the magic-realist short film, Hyphen (2018), the projection design for the Company One/American Repertory Theater play Black Super Hero Magic Mama (2022), and the immersive installation Hibiskiss (2022), showcasing the breadth of her creative work.

Maria’s contributions to the arts earned her being named one of 2018’s “Latinos 30 Under 30” by El Mundo Boston and a finalist for the 2019 New England Film Star Award. In 2020, she was honored as a “Latina Leader” by Amplify Latinx and an “Outstanding Young Leader” by the Greater Boston Chamber of Commerce. She has been awarded grants, fellowships, and residencies from the Boston Mayor’s Office Of Arts & Culture, Boston Arts & Business Council, Boston Public Schools, Boston Dance Theater, Danza Orgánica, Collective Futures, and Mass MoCA. Maria received her BA from UMass Boston, an MFA from Emerson College, and has taught at Emerson College, UMass Boston, and Northeastern University.

Grace Kroeger is a Minnesota born, new to Boston engineer and designer in both audio and video. She earned her BA in German and Theater: Design & Technology at the University of Minnesota: Twin Cities. Their favorite aspects of theater are the puzzle of putting complicated systems together, creating system schematics, and (most importantly) programming within QLab. They are excited to be working again with Maria Servellón and Company One for Morning, Noon, and Night!

Recent credits include – Projections Technician: Interrobangers, Company One. Video Programmer: La Voix Humaine, Des Moines Metro Opera; A Thousand Acres, Des Moines Metro Opera. Video Engineer, La Voix Humaine, Des Moines Metro Opera. Assistant Video Designer: Interstate, Mixed Blood Theater; Hometown to the World, Town Hall.

Brett Melican is a filmmaker and theatre electrician. Brett has worked as an electrician on Speakeasy Stage Company’s current season, as well as with Revels, the Central Square Theater, and the Telluride Film Festival. He is a founder of Electric Goo Films, an independent film production company, and The Sprocket Hole, a publication and film screening series in Boston. As a cinematographer, gaffer, electrician, camera assistant, and editor, he has worked on a number of independent and commercial film productions in the Boston area. To see more of Brett’s work visit brettmelican.com

Logan is joining Company One for his second production as the audio engineer. Recent theater credits include production assistant for C1’s The Interrobangers and projection designer for Company One’s Born to Do This. He works as a “jack of all trades” doing freelance for lighting, projections, sound, and scenic for local event production agencies and commanages his video art studio space in Somerville, VHF Studio, where he makes collaborative video art installations. His work can be viewed at VHFStudio.com.

Matilda is currently a student at Berklee College of Music anticipating to graduate next year, pursuing Music Production and Engineering, and Performance focused in musical theater. With a passion in live sound for musical theater as A1/A2, she envisions a community of inclusivity and collaborative creative arts. Through opportunities to expand her passion with theatre around herself, Matilda hopes to take steps into sharing the depths of technical theatre.