Program Notes | Romeo & Juliet

Pyotr Ilyich Tchaikovsky
Born: May 7, 1840, in Votkinsk, Viatka District, Russia
Died: November 6, 1893, in St. Petersburg, Russia
Composed: in 1869–70, revised 1880
World Premiere: May 1, 1886, in Tbilisi, Georgia
Duration: 19 minutes
Instrumentation: two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, cymbals, bass drum, harp, and strings

Unlikely Friendship
In the late 1860s, Mily Balakirev (1837-1910) was a powerful figure in Russian music. His influence extended beyond the circle of disciples known as the ‘Mighty Handful.’ Pyotr Ilyich Tchaikovsky fell under Balakirev's influence in 1867. By 1869, the two men were spending a considerable amount of time together and exchanged a lively correspondence.

Theirs was an unlikely friendship. Balakirev was a difficult and troubled man, inherently suspicious of anyone having formal Conservatory training in music. He represented the musical anti-establishment. Tchaikovsky had been schooled in western music and favored traditional forms. Inevitably the more experienced Balakirev imprinted his musical ideas and forceful personality on Tchaikovsky. At Balakirev's suggestion, Tchaikovsky began work in October 1869 on an overture based on Shakespeare's tragedy, Romeo and Juliet, completing the first version by late November.

Balakirev accepted the dedication, writing to Tchaikovsky with praise for the love theme and declaring that the overture was his best work to date. Following the first performance in Moscow in March 1870, Tchaikovsky withdrew Romeo and Juliet and revised it substantially. It was published in May 1871 by the Berlin firm Bote & Bock. Nearly 10 years later, Tchaikovsky returned to Romeo and Juliet, this time altering the coda. That third version is the one we hear at these performances.

A Unique Musical Form
Tchaikovsky called this work "fantasy-overture." The title is significant and distinguishes Romeo and Juliet from the Lisztian tone poems that were so prevalent at the time. His approach to Shakespeare's play is conceptual, rather than a musical attempt to depict the play scene by scene.

Love, death, and fate all figure prominently in Romeo and Juliet. Each manifests itself in Tchaikovsky’s music and is clearly developed, in various guises, within the framework of sonata form. He treats his themes in the broadest possible fashion; for example, the sword theme is not limited to the fighting among Mercutio, Romeo, and Tybalt, but also symbolizes the enmity between the two feuding families, and the lovers' futile plight. Tchaikovsky's orchestration is economical and brilliant—undoubtedly the positive influence of Balakirev, who had criticized his lack of restraint in scoring earlier works—with cymbal crashes employed to great effect in rhythmically exciting passages.

The Love Theme
Tchaikovsky's greatest achievement in Romeo and Juliet is the love theme. The most memorable melody in the work—it actually consists of two segments, one for Romeo and one for Juliet—beautifully intertwined and full of longing. In the 1880 version, Tchaikovsky reworked the coda to re-emphasize the love music through recapitulation and further development. By means of the triumphant ending, he provided the lovers (and, by extension, us) with spiritual catharsis and redemption, making eminently clear where lay his personal sympathies. United together eternally in death, Romeo and Juliet decidedly have the advantage over those left behind to contend with the vagaries of fate.

Sergei Prokofiev
Born: April 23, 1891 in Sontzovka, Ukraine
Died: March 5, 1953 in Moscow, Russia
Composed: Autumn 1935–1936
World Premiere: December 30, 1938 in Brno, Czechoslovakia
Duration: 1 hour and 4 minutes
Instrumentation: piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, tenor saxophone, two bassoons, contrabassoon, cornet, three trumpets, six horns, three trombones, tuba, timpani, triangle, wooden drum, maracas, tambourine, snare drum, cymbals, bass drum, tubular bells, xylophone, glockenspiel, celesta, teo harps, piano, organ, viola d'amore, and strings

Since Shakespeare's time, his plays have inspired artists: poets, painters, and especially musicians. Long before the film industry appropriated Shakespeare as its darling, Hamlet, MacBeth and King Lear, A Midsummer Night’s Dream and The Tempest spawned art works in other fields. Probably none of the plays has had a greater impact in music than Shakespeare’s first great tragedy, Romeo and Juliet. The tale of star-crossed lovers in Verona was a source of inspiration to many composers during the 19th century. Hector Berlioz wrote a dramatic symphony based on the drama; Vincenzo Bellini and Charles Gounod composed Romeo and Juliet operas, and Pyotr Ilyich Tchaikovsky wrote the Fantasy Overture that opened this concert.

The theatrical magnetism of the story continued to be irresistible in the 20th century. One brilliant musical imagination after another was captivated by the emotional sweep of the doomed young lovers, and the passion of the feud between their two families. The most famous modern adaptation was surely Leonard Bernstein’s 1957 musical West Side Story, which transferred the feud to New York City and metamorphosed its principal characters into Puerto Rican immigrants.

A Shakespeare Ballet
More than twenty years before Bernstein, the Russian composer Sergei Prokofiev turned his attention to Romeo and Juliet in the mid-1930s. He chose ballet, a realm in which Shakespeare's play had not yet found a home. There was good reason for such an apparent gap in the repertoire. Shakespeare's drama, so suffused with innuendo and dramatic detail, would be a monumental challenge to convey through ballet. The dancers would not be able to rely exclusively on technique; they would need to act in order to project the emotional and psychological nuances of Shakespeare's story. Prokofiev developed the ballet scenario with Sergei Radlov (1892-1958), a Soviet stage director with considerable Shakespearean experience. Even so, they faced a long battle bringing the project to the stage.

Though no novice to ballet scores—he had collaborated with the legendary impresario Sergei Diaghilev and the choreographers Léonide Massine and George Balanchine in the 1920s—Prokofiev's previous experience was with one-act ballets. This new subject required great detail in the scenario and, by association, greater length in the music. At almost two and one-half hours, the ballet remains one of the longest in the entire repertoire.

Prokofiev composed most of his Romeo and Juliet in 1935, only two years after he returned to the Soviet Union. After his score was complete and ready for production, Romeo and Juliet started to encounter political and artistic snags that resulted in its postponement. Frustrated, Prokofiev extracted two sets of seven numbers each from his score of 52 numbers and published them separately as orchestral suites. Eventually he extracted a third suite as well.

As suites, the excerpts from the ballet became well known in Russian concert halls several years before the ballet was finally produced at Leningrad's Kirov Ballet in 1940. The work has since earned the status of a classic and has become Prokofiev's most beloved ballet score.

An important characteristic of the Suites is that their movements bear no direct chronological relationship to events in the ballet. Prokofiev rearranged their sequence for musical (as opposed to dramatic) logic, contrast, and coherence. Many conductors have elected to mix movements from more than one of the Suites, rather than adopting the composer's selection. In keeping with that flexible tradition, Xian Zhang has chosen excerpts that show Prokofiev’s versatility and skill as a character portrayer, rather than adhering to a sequence that corresponds precisely to the events of the tragedy. This weekend, the Shakespeare Theatre of New Jersey enhances the Romeo and Juliet experience with excerpts from Shakespeare’s tragedy.

ABOUT THE MUSIC
In the first number, Prokofiev communicates the menacing antipathy between the Montagues and Capulets with great artistry. ‘Madrigal’ is the moment the lovers meet at the ball: their first dance, which ignites a romantic spark that is inconsistent with—and oblivious of—their families’ feud. A tender Andante, it is scored lightly to emphasize the intimacy of the moment. By contrast, ‘Minuet’ is broad, public, and ceremonial, suggesting the elegance of the Capulets’ ballroom.

‘Masks’ is the music for Romeo, Mercutio, and Benvolio arriving at the Capulets’ ball, uninvited and in disguise. Percussion is essential to establishing a martial mood for this movement. Yes, the young men are at a social event and intend to be on their best behavior, but the uncompromising march rhythm makes clear they could be looking for trouble.

The ‘Death of Tybalt’ captures the frenetic atmosphere of the melee as Romeo resolves to avenge Mercutio’s death through a duel with Tybalt, nephew of Juliet’s mother. Tybalt’s death at Romeo’s hand, which concludes the ballet’s second act, prompts a scene of somber mourning as the Capulets gather around the body of their fallen kinsman. The die is cast, and Romeo is banished from Verona.

In the ballet’s last act, Romeo purchases poison in Mantua when he learns of Juliet’s death. He returns in secret to Verona, where he slips into the Capulet crypt. In ‘Romeo at Juliet’s Grave,’ Prokofiev combines funeral march, anguish, and overwhelming grief. The young man mourns his beloved, unaware that she will soon awaken from her drugged sleep. Knowing that he cannot live without Juliet, he drinks the vial of poison. She regains consciousness, only to discover Romeo dead at her side, the flacon empty. Seizing his dagger, she plunges it into her breast. The star-crossed lovers are united in death.

Prokofiev once said that he "had taken special pains to achieve a simplicity which will, I hope, reach the hearts of all listeners. If people find no melody and no emotion in this work of mine, I shall feel very sorry; but I feel sure that they will sooner or later." With their sweep and brilliant orchestral color, these selections stand proudly in the finest romantic tradition and remind us of the timeless tragedy in Shakespeare’s drama.

2025–26 marks the GRAMMY® and Emmy Award-winning conductor Xian Zhang’s 10th season as Music Director of the New Jersey Symphony, and her inaugural season as the Music Director of the Seattle Symphony with whom she has been a long-term collaborator since her debut in 2008. Zhang has also been appointed Principal Guest Conductor of the NCPA Orchestra in Beijing, beginning this season. Following her tenure as Music Director of Orchestra Sinfonica di Milano between 2009–16, she continues as their Conductor Emeritus.

With the New Jersey Symphony, Zhang has commissioned composers such as Wynton Marsalis, Jessie Montgomery, Qigang Chen, Chen Yi, Steven Mackey, Thomas Adès, Daniel Bernard Roumain, Christopher Rouse, Vivian Li, Gary Morgan, Christian McBride, Paquito D’Rivera, and Allison Loggins-Hull. She is also responsible for introducing their annual Lunar New Year celebration. Under her artistic leadership, the New Jersey Symphony won two awards at the mid-Atlantic Emmy Awards in 2022 for their concert films, including EMERGE which was conducted by Xian Zhang, directed by Yuri Alves and co-produced with DreamPlay Films.

As a guest conductor, Zhang appears regularly with the Los Angeles Philharmonic and Philadelphia Orchestra. Her Deutsche Grammophon recording with the latter (Letters for The Future with Time For Three, released 2022) won GRAMMY® awards for Best Contemporary Classical Composition (Kevin Puts’ Contact) and Best Classical Instrumental Solo.

2025–26 highlights include returns to the Philadelphia Orchestra, New York Philharmonic, St. Louis Symphony, and National Arts Centre Ottawa. In Europe, she returns to Netherlands Radio Philharmonic with a performance at the Amsterdam Concertgebouw, and makes her debut at the Finnish National Opera conducting Tosca. This follows her huge success at the Metropolitan Opera in New York, where she recently conducted Madama Butterfly and Tosca to great acclaim:

“The success of Kurzak’s performance was due in no small part to Xian Zhang’s sensitivity as a conductor. Zhang has an exceptional ear for balance, as well as the ability to draw the softest, most transparent tones imaginable from the orchestra. […] With such skills and obvious audience appeal, Zhang should prove a valuable addition to the Met’s conducting staff.” – New York Classical Review

Other recent highlights include subscription programs with the Boston Symphony Orchestra, London Symphony Orchestra, Orquestra Sinfônica do Estado de São Paulo, Houston Symphony, San Francisco Symphony, Washington’s National Symphony Orchestra, Montreal Symphony, Baltimore Symphony, Orchestra of St. Luke’s (including Brahms Requiem at Carnegie Hall), and Orchestre National du Capitole de Toulouse.

Zhang previously served as Principal Guest Conductor of the Melbourne Symphony Orchestra and BBC National Orchestra & Chorus of Wales, the first female conductor to hold a titled role with a BBC orchestra. In 2002, she won first prize in the Maazel-Vilar Conductor's Competition. She was appointed New York Philharmonic’s Assistant Conductor in 2002, subsequently becoming their Associate Conductor and the first holder of the Arturo Toscanini Chair.

Brian B. Crowe is in his 31st season with The Shakespeare Theatre where he is in his third season as Artistic Director. Directing credits: Mary Shelley’s Frankenstein, The Importance of Being Earnest, A Gentleman’s Guide to Love and Murder, A Midwinter Night’s Dream, The Metromaniacs, Charles Dickens’ A Christmas Carol (2019), Titus Andronicus, The Bungler, Coriolanus, Pericles (2013), Oliver Twist, Timon of Athens, The School for Wives, The Winter’s Tale (2008), Henry VI: Blood & Roses, and The Comedy of Errors (2001) on the Main Stage; The Comedy of Errors (2021), William Shakespeare’s Long Lost First Play, Love’s Labour’s Lost (2015), The Learned Ladies, A Midsummer Night’s Dream (2007), and The Taming of the Shrew (2006) on the Outdoor Stage. He has also directed scores of productions for the Theatre’s education department. Other directing credits include Rutgers University, 12 Miles West, The Human Race Theatre Company, Dayton Playhouse, and the Act-Up Theatre Festival. He received BFA degrees in Directing and Acting from Wright State University and served on the Executive Committee of the Shakespeare Theatre Association.

The Shakespeare Theatre of New Jersey (STNJ) is one of the oldest and most prestigious classical theatres in the nation, serving over 75,000 children and adults annually. The longest-running Shakespeare theatre on the East Coast, the company marks its 64th season in 2026. For over six decades, STNJ has worked tirelessly to preserve dramatic masterworks, contribute to the vitality of our community, and serve the unique needs of artists, students, and members of the general public. The Theatre’s mission is two-fold: to bring new, relevant life to the world’s classics for a diverse audience; and to use those masterworks to provide transformative experiences on stage and in classrooms. As a teaching theatre, the company is dedicated to using the classics as interdisciplinary teaching tools for artist training and arts education.

The Shakespeare Theatre’s five-play METHOD AND MADNESS season kicks off in May with performances at the FM Kirby Shakespeare Theatre on the campus of Drew University in Madison, NJ.

Earl Baker, Jr. is in his third season with The Shakespeare Theatre. Company credits: Duncan (Macbeth), Oberon (A Midsummer Night’s Dream), and Duke Fredrick/Duke Senior (As You Like It). Memorable theatre credits include: one man show Thurgood (White Heron Theatre Company), Antiochus and Cerimon in the Theatre for a New Audience production of Pericles (directed by Trevor Nunn), The Tempest (La MaMa Experimental Theatre Club), Angelique (Manhattan Class Theater Company), Superior Donuts (Denver Center for the Performing Arts Theatre Company), Luminosity (PlayMakers Repertory Company), Proof (Virginia Stage Company), 12 Angry Men (Merrimack Repertory Theatre), After-Play (George Street Playhouse), Othello (PlayMakers Repertory Company), Twelfth Night (Yale Repertory Theatre), and The Killing Act (Williamstown). Film credits: The Cobbler, Win Win, The Visitor, The Ten, Four Lane Highway, Everyday People, and Brother to Brother. Founding member of Actors Center Workshop Company. Training: MFA, David Geffen School of Drama at Yale University.

*Member of Actor’s Equity Association

Clark Carmichael is in his 18th season with The Shakespeare Theatre, most recently seen in Macbeth. He was a Jumper on Broadway in Tom Stoppard’s Jumpers. Regional/Off-Broadway credits: Lincoln Center, Irish Repertory Theatre, Repertory Theatre of St. Louis, Hartford TheatreWorks, The Acting Company, Red Bull Theater, Two River Theater, Kansas City Repertory Theatre, New York City Fringe, Williamstown Theatre Festival, Merry-Go-Round Playhouse, Dorset Theater Festival, Pennsylvania Center Stage, Great Lakes Theater Festival, Kentucky Shakespeare, New Jersey Repertory Company, Mill Mountain Theater, Hope Summer Repertory Theatre, Hudson Valley Shakespeare Festival, and Shakespeare Theatre Company in Washington DC. Television credits: Leo Ropac on FBI, Equalizer, Lioness, Green Veil, The Politician, Living with Yourself, Little America, Plot Against America, Pose, Blacklist, Gotham, House of Cards, Law & Order, Unforgettable, and Boardwalk Empire. Film credits: Verity, Invitation to a Murder, Inside Game, The Irishman, Ocean’s 8, God Committee, Kindergarten Teacher, Sweet Lorraine, and Hard Sell. Clark holds an MFA from University of Missouri-Kansas City and a BS from Northwestern University.

*Member of Actor’s Equity Association

Dino Curia is in his eighth season with The Shakespeare Theatre. Company Credits: Romeo and Juliet, Macbeth, The Rose Tattoo, Twelfth Night, Much Ado About Nothing, A Child’s Christmas in Wales, The Comedy of Errors, SNUG, Shaw! Shaw! Shaw!, Crazy Love!, Shakespeare LIVE! productions of Romeo and Juliet, A Midsummer Night’s Dream, and Julius Caesar, as well as a handful of staged readings. Other credits include: The Taming of the Shrew, Romeo and Juliet (Shakespeare in the Woods), Romeo and Juliet (Pax Amicus), and The Outsiders National Tour (National Theater for Education and the Arts.) He holds a BFA in Acting from Montclair State University.

*Member of Actor’s Equity Association

Jesmille Darbouze is in her fifth season with The Shakespeare Theatre. Broadway credits include: Tony-nominated play A Doll’s House, where she played the role of Kristine alongside Academy Award winner Jessica Chastain and Tony and EMMY nominee Arian Moayed; Tony-nominated play Betrayal; and Tonynominated musical Kiss Me Kate. Jesmille began her training at New World School of the Arts in Miami, FL and then went on to receive her BFA at the Carnegie Mellon School of Drama. STNJ credits include: Much Ado About Nothing (Beatrice), Exit the King (Queen Marie), Love’s Labour’s Lost (Princess of France), A Midsummer Night’s Dream with the New Jersey Symphony (Helena). Television/Film credits: 73rd Annual Tony Awards, Sugar Plum Twist (Hallmark), Puffy (TBS Pilot), The Mysteries of Laura (NBC), and Jessica Jones (Netflix). Jesmille is currently an Assistant Professor of Acting at Marymount Manhattan College.

*Member of Actor’s Equity Association

Isaac Hickox-Young is in his eighth season with The Shakespeare Theatre of New Jersey. Company credits include Romeo and Juliet, The Book of Will, A Midwinter Night's Dream, The Rose Tattoo, The Caretaker, A Child's Christmas in Wales, The Comedy of Errors, SNUG, The Rainmaker, and Charley's Aunt. For the company’s educational touring program, Shakespeare LIVE!, his credits include productions of Romeo and Juliet, A Midsummer Night's Dream, and Julius Caesar. Regional credits include Murder on the Orient Express (Fireside Theatre); The Wickhams: Christmas at Pemberley (Shaker Bridge Theatre); Buddy: The Buddy Holly Story (The Argyle Theatre); Hamlet, Twelfth Night, and Peter and the Starcatcher (Illinois Shakespeare Festival); Romeo and Juliet (Lake Tahoe Shakespeare Festival); and A Midsummer Night's Dream (Merry War Theatre Group). He is a proud graduate of the Acting Program at the University of Cincinnati College-Conservatory of Music.

*Member of Actor’s Equity Association

Hassiem Muhammad is in his first season with The Shakespeare Theatre. He is a classically trained actor and graduate of The University of North Carolina School of the Arts. He can be seen on CBS’ Blue Bloods, FBI, and Madam Secretary, and has also appeared in regional theater productions around the country, winning a 2023 Helen Hayes Award for his portrayal of Caliban in a production of The Tempest at Round House Theater. Applying his love of storytelling to audiobook narration, Hassiem has recorded titles produced by Recorded Books and Hachette Book Group, in partnership with Voice Works Audio in New York City. Hassiem also has his own podcast, The Actor’s Instrument: Tools for the Long Game, streaming on all major platforms and YouTube. He is represented by HCKR Agency (Legit) and Stewart Talent (Commercial).

*Member of Actor’s Equity Association

David Shih is in his second season with The Shakespeare Theatre. Company credits: As You Like It, Marriage, and Machinal (Next Stage Ensemble). Other theater credits: Life of Pi (Broadway, US National Tour, A.R.T.); SUMO (The Public Theater, La Jolla Playhouse); Bus Stop (Classic Stage); The Far Country (Yale Repertory Theatre, CT Critics Circle Award); Will Eno’s Gnit (Theatre for a New Audience); KPOP (Ars Nova); Kim’s Convenience (Westport Country Playhouse, CT Critics Circle nominee); ONCE UPON A (korean) TIME and Bike America (Ma-Yi Company); The Paper Dreams of Harry Chin (Indiana Repertory Theatre); The Great Wave (Berkeley Repertory Theatre); Henry VI (The National Asian American Company); Awake and Sing! (The Public/NAATCO); Somebody’s Daughter (Second Stage Theater); Crane Story (Playwrights Realm). TV credits: Law & Order, Billions, The Path, Hunters, City on a Hill, Iron Fist, Elementary, Madam Secretary, and The Blacklist. Film credits: The Amazing Spider-Man 2, Eighth Grade, and Saving Face. David was also the voice of Eddie Toh in Grand Theft Auto V.

*Member of Actor’s Equity Association

Alison Weller is in her ninth season with The Shakespeare Theatre. Favorite roles include Varya (The Cherry Orchard), Belise (Learned Ladies), and Hilde (A Song at Twilight). Alison is a longtime Associate Artist with the investigative theater company The Civilians and was an original collaborator on Gone Missing and This Beautiful City. She has taught investigative theater extensively and currently teaches dramaturgy to the graduate cohorts in Performing Arts Management at Brooklyn College. Alison is also the resident voice, speech, and dialect coach at Cape Rep Theater in Brewster, MA. Alison has appeared on Broadway in Coram Boy and her film credits include The Good House, Spirited, and Don’t Look Up. She holds a BA from Harvard University, an MFA University of California San Diego, and a Producing Certificate from the London Film School.

*Member of Actor’s Equity Association

Billie Wyatt is in her seventh season with The Shakespeare Theatre of New Jersey. Her company credits include Romeo and Juliet, Jane Austen's Sense and Sensibility, As You Like It, A Midwinter Night's Dream, The Rose Tattoo, Twelfth Night, Florence and Mojo, The Metromaniacs, A Child's Christmas in Wales, The Comedy of Errors, SNUG, Ken Ludwig's The Three Musketeers, Charles Dickens' A Christmas Carol, and multiple productions for Shakespeare LIVE!, the theatre’s touring educational program. Her Pennsylvania Shakespeare Festival credits include A Raisin in the Sun, The Tempest, and Sense and Sensibility. Additional appearances include Camille and Flyin' West (Quintessence Theatre Group); Julius Caesar (Hamlet Isn’t Dead); and All's Well That Ends Well (Oxford Shakespeare Workshop).

*Member of Actor’s Equity Association

Rod Kinter is in his second season with The Shakespeare Theatre, where he choreographed fights for last season’s production of Romeo and Juliet. Broadway/First National: The Lightning Thief, The Percy Jackson Musical, The Life of Pi (national tour). Live from Lincoln Center: Porgy and Bess. Resident Fight Director at New York City Opera for 15 years. Resident Fight Director at The Pearl Theatre Company. Off Broadway: Between Two Knees, The Lightning Thief, The Percy Jackson Musical, The Anthem, Fatal Attraction, A Greek Tragedy, Abe Lincoln’s Big Gay Dance Party, and Days to Come. Regional Theatre: American Repertory Theatre, Cincinnati Playhouse in the Park, Cleveland Playhouse, Seattle Rep, Yale Repertory Theatre, The McCarter Theatre, The Dorset Theatre Festival, Gulfshore Playhouse, Barter Theatre, and Cape Playhouse. Shakespeare Festivals: Oregon Shakespeare Festival, Utah Shakespeare Festival, Hudson Valley Shakespeare, and Shakespeare on the Sound. Rod is on the faculty at The American Musical and Dramatic Academy and is a full member of the Stage Directors & Choreographers Society.

Jenna Gregson is in her sixth season with The Shakespeare Theatre. Past STNJ credits include: Romeo & Juliet (Production Stage Manager), The Importance of Being Earnest (PSM), As You Like It (PSM), Shipwrecked! (PSM), The Little Prince (PSM), The Rose Tattoo (Assistant Stage Manager), The Three Musketeers (ASM), What the Butler Saw (ASM), and A Midsummer Night’s Dream (ASM). Pennsylvania Shakespeare Festival: Hamlet (ASM) and Rosencrantz & Guildenstern are Dead (ASM); Bucks County Playhouse: The Rocky Horror Show (ASM); Premiere Stages: Diversion (ASM), Selling Kabul (ASM); Princeton Ballet School (ASM); New Jersey School of Ballet (SM); The Polar Express Train Ride (SM/PM); Morristown Performing Arts Center: School of Rock (PSM); and TSquared Production Company: -Absolutely, Probably,
Unless at the 2022 Edinburgh Fringe Festival (SM/PM).