Masks are required for all audience members at every show. We ask that you try to bring your own masks, and we will provide masks at the door as needed.

Please note: we will have actors moving through the aisles in the audience throughout the show. Please keep the aisles clear, and feel free to find a seat away from the aisles if the sudden movement could be startling.

CONTENT WARNING(S):

Child Neglect

Depiction of an injection

Profanity

Substance Abuse

Transphobia

CAST

Caroline Dold as Abria

Nathan Greeley as Maverick

Luna King-O'Brien as Patty

North Lovelady-Allen as Sam

Annelise Raedy as Liza

Arthur Schmiedl as Landen

Parker Teeven as Marten

Annelies Schoolderman as Voice of Mother

ARTISTIC Team

Director: Seven Jacquay

Assistant Director: Isabella Poschman

Stage Manager: Yasiel Ewing

Assistant Stage Manager: Ori Beirne

Scenic Designer: Juno Rose Thompson

Lighting Designer: Réka Ladányi

Assistant Lighting Designers: Zeph Samdperil and Tillie Heidinger

Sound Designer: Brian Oliveira

Assistant Sound Designer: Natasha Kometz

Sound and Tech Assistant: Liam Whitworth-Neufeld

Costume Designers: Annelies Schoolderman and Susannah Poese

Props Designer: Molly Reiser

Accessibility Designer: Yasiel Ewing

Intimacy Coordinator: Ethan Katz

Fight Coordinator: Gabriel Semrau

Music Team

Angelo Cresta (Flute)

Arrow Glickerieman (Violin)

Sam Persell (Trumpet)

Artemis Hoban (Trombone)

DIRECTOR'S NOTE

Transgender people are not the only ones who receive gender-affirming care. Haircuts, hair loss treatments, and hair implants are all visible interventions that cisgender people often pursue. When cisgender celebrities have cosmetic plastic surgery it’s viewed as a symbol of status and wealth. There are a multitude of reasons why a person might be prescribed a course of hormone replacement therapy, but only cisgender people are afforded the luxury of it being legitimized as necessary.

Demonizing trans people and gender-affirming care is not only a cowardly and cruel attempt at gaining power through the oppression of others but also harms cisgender people in the process.

Putting trans people under such scrutiny subjects everyone to violations of privacy and prevention of personal autonomy, regardless of how they identify.

Additionally, it is extremely important to note that trans and genderqueer People of Color are disproportionately subject to the violence resulting from the growth in anti-trans sentiment.

When the playwright approached me about joining the team, I was confident that Conrad would be a great collaborator, but at the time I didn’t know how much Deficiency would resonate with me. I knew it would be a thrilling opportunity to direct a new work, but upon hearing the plot, I was immediately invested in the message of the show. With the consistent rise in violence against transgender people and more anti-trans legislation being passed every day, this play is incredibly pertinent

Trans healthcare saves lives. Everyone receives gender-affirming care, as it can manifest in many different small or large ways. Once we as a society stop alienating and threatening the rights of transgender and gender non-conforming people, there will be more acceptance for the expression of different identities in all of their multitudes.

To my dearest Isabella, Yasiel, Ori, and Conrad, I’m so thankful we embarked on this journey together. Many thanks to my family, the pals, Anjanette Hall, and Justin Emeka for all their support, as well as Ansel for the extra set of eyes.

- Seven Jacquay

Playwright's Note

I have been trying to determine what it is that I hope people will take away from this story. In a time where recent events have put a spotlight on some of the subject matter of this play, it is almost harder to find a message, as there is very little hope for what is to come of our democracy, of our morals, of our rights. Despite this, I will still try to ask you all to think on something before you leave this theater.

Our country is very good at making us believe two things. One, that we are all but the same, and two, that we are all nothing alike. Despite the fact that these two beliefs contradict each other, they also work together in a way that antagonizes variation and poisons desirability. The truth is, we all exist somewhere in between these two beliefs. We must find that golden string that connects us all, and the expansive, diverse array of colors that make up the rest of our beings.

To hate is to believe that there is no way to understand each other. To do nothing at all is to believe that because you are safe for now, then everyone is safe overall. To love is to try and learn of what is happening to those around you, and how it may differ from yourself. Your sibling may be hurting. Your loved one may be lost. You have to look at what bars make up your cage, and the bars that make up another, and what keys do you need to unlock both.

- Conrad Branch

LAND ACKNOWLEDGEMENT

We acknowledge that we gather on Indigenous land: that this land claimed by John Shipherd and Philo Stewart for the Oberlin Colony and the Oberlin Collegiate Institute in 1833 was once part of the traditional territory of the Erielhonan, the Erie Confederacy who were known as the Cat Nation. In 1656 when the Erie were overcome and absorbed, this land became territory of the Haudenosaunee Confederacy, who were known as the Five Nations Iroquois League. This land was finally ceded to the United States under pressures of colonization by the signers of the Treaties of Fort Industry in 1805. In the Seneca language, Ohi:yo’ means “Beautiful River,” and we honor those who have stewarded northeast Ohio’s waters and lands across the generations. This calls us to commit to continuing to learn how to be better stewards of the resources that sustain us as well. This Land Use Acknowledgement was created by Sundance, the City of Oberlin, Bernard Perley, Amy Margaris, Gregor Mattson, and Chie Sakakibara for the Oberlin area.

Additionally, as a theatrical production, we acknowledge that Native voices and perspectives continue to be excluded from theatre arts. Additionally, after the colonization of this land and the forced removal of Indigenous peoples, the cultural foundations of American theatre took root in minstrelsy, and the mockery of enslaved people. As students of a predominantly white institution, we acknowledge this history and aim to contribute to an inclusive culture of theatre where different perspectives are welcome and present. We encourage you to support Native and Black voices in theater, including the Native Theater Project, the Institute of American Indian Arts, the Bushfire Theatre of Performing Arts, and the Cincinnati Black Theatre Company.

ACCESSIBILITY INFORMATION

All performances will be sensory friendly performances, and both our Saturday matinee and evening performances will be relaxed performances. There will be a scene-by-scene breakdown specifying where potentially alarming sensory stimuli occur and open captions for all performances.

Please see below for an explanation of the bolded terms!

What is a Sensory Friendly Performance?

A sensory friendly performance is a show that is specifically designed to be more accessible to people with sensory processing disorders, autistic people, people with developmental disabilities, and children and families. For our show, we will keep the house lights on low and have a trigger warning light so that audience members can choose how they want to handle any potentially alarming sensory stimulus. We will not be having any flashing lights in this show.

What is a Relaxed Performance?

A relaxed performance means that for this performance, it is completely acceptable and encouraged for people to talk, react, fidget, move around, and more!

What is a Scene-by-Scene Breakdown?

A scene-by-scene breakdown is a description of the contents of the show split up by scenes. For our production, we will be using this breakdown to identify potentially alarming sensory stimuli so that audience members with sensory sensitivities can prepare themselves or adjust their experience by closing their eyes, putting on sunglasses, using headphones, covering their ears, or adjusting their position to not be near moving actors. You can read the scene-by-scene breakdown at the end of the program.

What are Closed Captions?

There will be a live stream of captions on the OMTA YouTube channel each night. Audience members who wish to utilize these captions can scan a QR code at the ticketing table and view these captions on their phones. Open captions are captions that individual viewers cannot turn off, while closed captions can be controlled individually.

Please Note: Due to the captions being on phones, we ask that you please put your phone on Do Not Disturb for the entirety of the show and that you make sure your screen brightness is all the way down in order to lessen the impact on other audience members.

CAST BIOS (alphabetical)

Caroline Dold (Abria)

Caroline is a second year Creative Writing and Enviromental Studies double major from Kansas City, Missouri. Her previous Oberlin Theatre experience includes Delaney Daniels and All These Amazing Things (Nancy/ensemble). She has loved being a part of this show, and believes that its message is particularly powerful in a time of uncertainty for countless queer people in America. Much thanks to the whole team, and especially to Conrad for bringing these characters to life!

Nathan Greeley (Maverick)

Nathan Greeley is a second-year Studio Art and Musical Studies double-major from Chicago. His production experience includes OMTA's Percy Jackson and The Lightning Thief: The Musical (Luke/Poseidon), Something Rotten! (Shakespeare) in high school, Delaney Daniels and All These Amazing Things (Caleb/Ensemble), and the upcoming Theater Department production of The Rocky Horror Show (Brad). He would like to thank the Deficiency team and hopes you enjoy the show!

Luna King-o'Brien (Patty)

Luna is a second-year Cinema & Media student from Ithaca, NY. You may have seen her in the similarly named role, "Patricia," in last semester's production of Mrs. Ermintrude's Guide To Etiquette. Outside of Oberlin, she's been in productions such as Honk! (Maureen/Lowbutt), The Little Mermaid (Flounder), The SpongeBob Musical (Perch Perkins). She'd like to thank everyone involved in the show and her friends and family for their support. Subscribe to her YouTube: www.youtube.com/@lunaisawesome

North Lovelady-Allen (Sam)

North Lovelady-Allen is a first year studying Psychology and Theater. This is the first production they’ve been involved with at Oberlin, and they are so excited to be a part of the incredible team that made Deficiency possible! They’d like their family and friends for their unwavering support.

Annelise Raedy (Liza)

Annelise is a first-year prospective Creative Writing major. This is her first production at Oberlin and she would like to thank the incredible cast and crew for such a great experience!

Arthur Schmiedl (Landen)

Arthur (Landen) is a first-year prospective Theater major from Cleveland, OH. This is his first production with OSTA and has had such a wonderful experience! He would like to thank this cast and crew as well as his friends and family for supporting his theater journey.

Parker Teeven (Marten)

Parker is super happy to be playing Marten in Deficiency! It's Parker's first time playing a character like Marten, but he's learned a lot and had so much fun doing it. Parker's past roles at Oberlin include Courtier and Coro in Cendrillon the opera and Luke in Miss Ermintrude's Guide To Etiquette by James McCreary. His favorite role so far is playing Dimitry in his high school’s production of Anastasia the Musical.

ARTISTIC TEAM BIOS

Seven Jacquay (Director)

Seven Jacquay (any pronouns) is simply ecstatic to be directing this show at this moment in time. Previous credits include Ancestra (Asst. Director/Composer/Irene), Delaney Daniels And All These Amazing Things (Maerose Mystor), 9 to 5 (Violet Newstead), and Legally Blonde (Elle Woods). He'd like to thank the entire Deficiency team, and all of the wonderful creatives she collaborated with during the past semester.

Isabella Poschman (Assistant Director)

Isabella Poschman is a a 2nd year Theater major. This is her first time doing directorial things. Past Oberlin performances include Dracula (Lucy), Cabaret (Frenchie), etc. Thank you to the production team and wonderful cast and also OSTA!

Conrad Branch (Playwright in Residence)

Conrad Branch has been writing plays before high school, performing before elementary, and attempting to tell his stories to the world before he was potty trained. Conrad would like to thank all of those who have supported him in telling these stories, from his childhood tutors that helped him to understand the evil cruel English language, to his theater teachers who believed that their student's words were worth being said on the stage. Most of all, Conrad would like to thank the wonderful cast and crew that has brought this script to life, along with his Director and Assistant Directer who have been working with him since September. This is Conrad's second year and his first show put on at Oberlin, and hopes to be apart of many more creative projects in the future.

Yasiel Ewing (Stage Manager)

Yasiel Ewing is a third year Theater and English double major. They have recently worked as the stage manager on Miss Ermintrude's Guide to Etiquette, Fall Forward 2024, and Student Dance Showcase 2024, and they're currently stage managing The Experience Machine (Friday night only at the Cat in the Cream!) as well as The Rocky Horror Show (ASM) and the Oberlin Dance Company performance (SM). They have tremendously enjoyed working with Seven, Conrad, Isabella, Ori, and the rest of the production team and cast on this show as it has grown and evolved, and they are so excited for you to see it!

Ori Beirne (Assistant Stage Manager)

Ori Beirne is a second-year who always ends up in rehearsal rooms and theaters, for unknown reasons. They've found themself backstage of Cabaret (ASM), in the booth for Galatea Erupted (Sound Designer), and on the floor of Dye for Eurydice Tells Orpheus Goodbye (Assistant Lighting Designer). They hope you're feeling very transgender right now, and that you enjoy the show!

Juno Rose Thompson (Set Designer)

Do you know what you desire? Do you know what you are? Do you know what your life will look like? Juno sure doesn't, but they desire to tell you that they had a really fun time creating the set you see before you, and they hope you enjoy the show. They've previously worked as the stage manager for Eurydice Tells Orpheus Goodbye (Fall 2024), and are currently working on production coordinating OMTA's 2025 Winter Term musical, The Trail to Oregon, and set designing for Legally Blonde (Spring 2025)!!

Brian Oliveira (Sound Designer)

Brian Oliveira is a first-year planning to double major in Theater & Musical Studies. Some of her past show credits include Romeo and Juliet (Romeo), Julius Caesar (Decius/Volumnius), Vampire Cowboy Trilogy (Sound Design), and The Caucasian Chalk Circle (Azdak/Sound Design). He'd like to thank Natasha Kometz for being an epic ASD and the entire company for all their hard work!

Natasha Kometz (Assistant Sound Designer)

Natasha is a first year prospective Creative Writing and Biology student from New York, NY. This is their first Oberlin production, but previously they've been costume assistant for The Hello Girls, acted in the musicals Chicago and Bat Boy, as well as the play She Kills Monsters. They've also written and directed their own one-act. They've deeply enjoyed working on sound for this production and can't wait to work on more things!

Réka Ladányi (Lighting Designer)

Réka (they/he/she) is a second-year studying a little bit of everything and is like Batman in many ways. For one, they are drawn to bright lights and work in the shadows. The nocturnal tendencies are a bonus. But they are also very much not like Batman. Mainly due to the lack of a cape, abs, and plane. They like pointing lights at people and have done that and more on several past OMTA/OSTA productions.

Zeph Samdperil (Assistant Lighting Designer)

Zeph (any pronouns) is like Batgirl in the sense that she red hair and and her dad has a job that is in some way related to crime. Zeph (any pronouns) is not like Batgirl in the sense that Batgirl is not doing lighting design for OSTA's production of Deficiency. Zeph has never done lighting before but they used to adjust sliders on a lightboard for a weekly open mic night in rural Normandy. This also is untrue of Batgirl (presumably- I don't know everything about Batgirl).

Tillie Heidinger (Assistant Lighting Designer)

Tillie (she/her) is the Robin of the lighting team trio. She's a first-year, making her the youngest of the three, and she's still bright-eyed and hopeful (don't worry, this will change with time). However, she does lack Robin's acrobatic and crime fighting abilities, and her parents are indeed still alive. This is the first show she's worked on at Oberlin and it's her first time doing tech/crew! Tillie has done lots of acting spanning from elementary school to middle and high school, but she's excited to dip her toes (wings?) into the world of tech and lighting.

Molly Reiser (Props Designer)

Molly is a second-year Creative Writing major from Ann Arbor, MI. This is her third production with Oberlin, she was props designer for All in Your Mind and a set painter for The Lightning Thief. She’d like to thank the crew of Deficiency for making this happen and the cast for reading words on pages. Just kidding, actors!!! Molly loves you and appreciates you greatly. She’d also like to thank Zeph Samdperil for letting her out of the dungeon in the basement, although she wished it happened more often. She’s sad to return once this is all over as she’s made many friends here. All she asks for in return is that people enjoy the show. If you’re still reading this, give Molly a high five when you see her. Unless she is busy because then she’ll be mad at you and herself for writing this.

Annelies Schoolderman (Voice of Mother/Costumer)

Annelies Schoolderman is a second year student majoring in Environmental Studies with a minor in Theater. You may have seen her in Oberlin's production of Ancestra (Mrs. Burke/Ernestine Rose). Now, you can enjoy listening to her recorded voice. In addition, she'd like to thank the cast and crew of Deficiency for making her intro to costuming a positive experience!

Ethan Katz (Intimacy Director)

Ethan Katz is a third year Theater and Creative Writing major from NYC. He worked as the intimacy director on Falling Westward, Horse Girls, Eurydice Tells Orpheus Goodbye, and The Experience Machine. You can see him as Ash in Wolf Play literally right now, or tomorrow, or later today, probably.

Emily Zinner (Treasurer)

I toucha da money.

Zivia Avelin (Production Coordinator)

Zivia Avelin is a first year Theater major and prospective GSFS minor from Philadelphia. They are very excited to be part of their first OMTA/OSTA production as production coordinator for Deficiency, and they are extremely proud of all the work the cast and crew has done to bring this story to life!

Lucy Zener (Production Assistant)

Lucy Zener is a first-year studying politics and theater. She has ASMed OSTA’s Horse Girls, been a production assistant at the Rehearsal for Truth theater festival in NYC, and is currently an ASM for Wolf Play. They’re so grateful for this opportunity and wonderful experience! Much love to the Deficiency team!

Gabriel Semrau (Fight Choreographer)

Gabriel Semrau is actually full of testosterone. *rubs belly* *groans* Mmmmmm muy delicioso

Scene-by-Scene Breakdown

This breakdown is specifically for sensory triggers. We will be identifying loud sounds, sudden and/or moving lights, and sudden movements (like falling). Actors will be using the aisles throughout the show. There are no flashing lights in this show.

Act I

Scene 1: Prologue

Scene 2: Noon

Scene 3: Afternoon

Scene 4: Night

Sudden Movement
- After Marten asks Sam “What meeting?” and tries to exit
Loud Sound
- After Patty says “You can talk to me when you are ready,” and Abria enters

Act II

Scene 1: Nightmare

Loud Sound
- After Abria enters and says “Hi, sweetie”
Sudden/Moving Lights
- After Marten says “Now it’s time for a makeover,” and moves towards the coffee table
- Ends after Marten says “I’ve got foundation and blush”
Loud Sounds
- Landen and Liza are on the couch and Landen says “Wait, stop, it’s too embarrassing”
- Ends when Landen goes “Nooooo”

Scene 2: Dawn

Scene 3: Morning

Sudden Movement
- Sam and Maverick are partially behind the couch, after Maverick says “You either need to grow a pair or stay a pussy”
Loud Sound
- After Abria enters and says “Hey babe”

Scene 4: Dusk

Loud Sound
- After Landen enters and Maverick goes “BZZZT”

UPCOMING OMTA/OSTA PRODUCTIONS

Spring 2025 Season

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