Alan Stevens Hewitt (Playwright): ASH grew up in a musical family, the son of a Philadelphia Orchestra oboist. He cut his teeth as a teenager recording for Ruffhouse/Columbia Records at Studio 4 in Philly, and during the 90’s as member of alt-folk band The Low Road (Caroline Records), touring with Los Lobos, Barenaked Ladies, and label-mates Ben Folds Five. He moved full-time to NYC in the late 90’s to pursue his conservatory degree in composition at Mannes College of Music/The New School, where he studied with Robert Cuckson and Carl Schachter. In the mid-aughts, with partners, he opened The Coral Room, a nightclub in the Chelsea section of Manhattan, which featured a 10,000 gallon saltwater aquarium with live “mermaid” performances and hosted cutting edge bands, performance artists, events, and djs nightly. As an actively performing musician, his credits include Broadway’s Frozen, Come From Away, The Band’s Visit, Fun Home (also 1st Natl. Tour), Finding Neverland, Matilda, Sting’s Last Ship, Rocky, Jekyll & Hyde, Lysistrata Jones, Green Day’s American Idiot, Spring Awakening (also 1st Natl. Tour), Off-Bway’s Closer Than Ever, RENT, tours in the U.S. and abroad, and numerous recordings as player, composer, arranger, and producer. His first score for theatre was for a production of Bertolt Brecht’s Baal that the NYTimes thought was awful. He lives in the Lower Hudson Valley and enjoys motorcycles and longboarding.

Steven Cheslik-deMeyer (Playwright): Fresh out of art school in the early 80s, Steven bought a used guitar in a junk shop on St. Marks Place, learned three chords, and taught himself to write songs by listening to Dolly Parton records. He insinuated himself into the post-punk neo-folk scene in the East Village, but soon discovered the world of downtown theater. Through the late 80s and early 90s, he wrote and performed music in several experimental productions with Tiny Mythic Theatre Company and directors Kristin Marting and Tim Maner. In 1992, he and Jay Byrd created an act called Y’all, singing original songs and telling stories in the style of old-time country vaudeville. The act sprang from the downtown theater scene but went on to play in coffeehouses, churches, retirement homes, and rock clubs across the U.S., Canada, and Europe. In ten years, Y’all recorded four CDs, published two books, appeared on MTV and Comedy Central, and went broke. Their last two years together, they lived in a camper on the road with a third partner. Steven made a documentary about that relationship and the final years of Y’all, Life in a Box, which premiered in the San Francisco International Film Festival in 2005. After the demise of Y’all, Steven returned to New York where he continues to make music and theater and musical theater. He is a 2019 Jonathan Larson Grant finalist, a MacDowell Fellow, and a graduate of the University of Texas at Austin with a degree in American Studies. For more information, go to stevencheslikdemeyer.com

Tim Maner (Playwright): Right out of college, Tim co-founded the tiny mythic theatre company with a focus on developing the work of creator/directors and a mission to “disrupt the american living room / rearrange the furniture in the american mind”. tiny mythic’s work became a staple of the downtown alt-theatre scene of the early 90s, and just a few years later, the previously transient company transformed into the award-winning NYC arts center, HERE, called “One of the most unusual arts spaces in New York – and possibly the model for the cutting edge arts space of tomorrow” by The New York Times. His producing/presenting history at HERE included hundreds of productions brought to life by thousands of artists. He remains an active founding board member working to expand opportunities for mid-career artists. Tim has created over twenty original works as a creator/director including: The Hawthorne Project, a six-year collaboration with writer/adaptor Elizabeth Banks building a trilogy of multi-layered multi-media events adapted from Nathaniel Hawthorne’s three American novels and The Opera Project, a five-year collaboration with writer Ruth Margraff and composers Matthew Pierce and Fred Ho creating a series of original new wave operas. Outside of the work he created with his own companies he has directed at The New York Shakespeare Festival and New Dramatists Guild, was a guest artist/teaching fellow at Harvard University, and has taught at New York University/Playwrights Horizons. He’s also sung in some bands, arranged and conducted a Cowgirl Chorus, and originated roles in two Robert Wilson shows: Hamletmachine (NY/European Tour) and Salomé (La Scala, Milan). He is a graduate of NYU/ Tisch School of the Arts.

Brian Haimbach (Director) is thrilled to be directing at OCT again. His past OCT shows include The Big Meal, Shrimp and Grits; She's Gone, and Becky's New Car. He received a grant from the Oregon Arts Commission to take his one man show How to be a Sissy to the Edinburgh Festival Fringe and sang the role of Harvey Milk in the oratorio I Am Harvey Milk with the Portland Gay Men’s Chorus. He helped open OCT’s new theatre when he played Dan Next to Normal. As a director and producer he has worked on world premier productions and/or readings of plays by Lee Blessing, Arlene Hutton, Caridad Svich, and Catherine Trieschmann. Professionally he has spent time with Touchstone Theatre, Chicago Dramatists, and the O’Neill Playwrights Conference and has been featured in “American Theatre Magazine.” He is the head of the Theatre program at Lane and earned a PhD in theatre with a specialization in directing and new play development from the University of Georgia.

Brian McWhorter (Music Director) is the Music Director for Orchestra Next and the Eugene Ballet, where he has conducted every major production since 2012. McWhorter’s discography spans many genres – from contemporary classical to orchestral, improvised music to pop and rock. To date, he has appeared on dozens of albums, and his work with chamber ensembles such as Beta Collide and Meridian Arts Ensemble has brought him all over the world. McWhorter is Professor of Music at the University of Oregon and Faculty Fellow at the Clark Honors College, where he teaches courses on Louis Armstrong, film music, and gesture studies through a class called Intro to Air Guitar. His research focuses on the creative process, the art and design of practice, and the socio-economic realities of a life in the performing arts. He holds degrees in performance from the University of Oregon and Juilliard.

Rodrigo Gonzalez-Jacob (Music Assistant Director) is an Argentine-Spanish conductor based in Eugene since 2022. He serves as the Assistant Conductor for Orchestra Next. With professional background in symphonic, ballet, and opera genres. In the United States, he has collaborated as an assistant, fellow, or cover conductor with the Oregon Symphony, Eugene Symphony, Oregon Mozart Players, Opera San Jose (California), Bay Area Symphony (Texas), and the Anchorage Symphony with the Eugene Ballet (Alaska). Prior to his move to the U.S., he held posts in Argentina as Music Director of the National Academic Orchestra, and Principal Guest Conductor of the National Symphonic Band. He holds a Master’s in Orchestral Conducting from the University of Oregon, supplementing a bachelor and artist diploma in viola performance and a postgraduate degree in conducting from the National Conservatoire of Music (Argentina).

Director's Note

Lizzie Borden was arguably the first American media sensation. The murders of the Bordens were definitely the first to trigger America’s hunger for true crime narratives. Before the non-stop news cycle and ultimately social media became the drugs of choice, the gruesome murders of Andrew and Abby Borden started an addiction to celebrity culture and public opinion that continues to feed our fix for distraction. 

Did Lizzie do it? Does it matter? In this case, and ultimately in American life today, the truth is not a matter of facts, but rather a subjectively mercurial point of view that twists the “truth” into whatever suits our needs of the moment. Lizzie became a household name not because of anything she achieved, but because the was the central figure in a story that titillated our yet unknown fascination with violence and infamy. The newly developed press of the day broadcast every detail and created a mythical identity that ultimately allowed Lizzie to walk free. Historical evidence and even recent investigations into the events of August 4th , 1892, strongly indicate that she was guilty. But her curated identity of woman, a spinster, a church-going member of a family of high standing, enabled her to “fly free.”

This musical strips away the Victorian manners and tell one possible version of the truth through the lens of heightened rock-n-roll passions and actions and, hopefully, reminds us that our need for attention does come at a cost. 

On the other hand, its also just a rockin’ kick ass hour and a half of a good time.

Abigail Moon (Lizzie) is a vocalist, actor, and music director in the Willamette Valley, and holds a BA in Music and Performance from OSU. They run a voice studio in Corvallis and sing with the Corvallis Repertory Singers and Eugene Symphony Chorus. Recent credits include Dot in Sunday in the Park with George with OSU Theatre, Katerina in Renaissance Revels with Eugene Vocal arts, and Daphne in The City and The Sea with Theatre 33. Abigail loves to make art with friends, go to concerts, play the guitar, and spend free time cooking and adventuring outside. This is their first collaboration with OCT and they are honored to be a part of this project.

Jocelyn Kerr (Bridget) is excited to join OCT for the first time after making her Eugene Theater debut last spring as She in Stage Kiss. All other previous credits are from long ago and far away, so instead some favorite roles include Marty in Grease, Allison in Live Girls, and Beatrice in Much Ado About Nothing. An Oregonian born and bred, Jocelyn has enjoyed living all over the US before returning to the Willamette Valley nearly a decade ago. So much gratitude for this amazing cast, crew and team, as well as all the love in the world to friends, family, and her husband Michael, without whom she'd never be able to do any of this.

Kathleen Borrelli (Emma) is thrilled to be performing for the first time with OCT! She holds a BFA in musical theatre from the University of the Arts. Favorite credits include; national tours: MAMA MIA (Ali) Cathy Rigby is Peter Pan (lost boy PP understudy) regional: Side Show,Seussical, Peter Pan(3D theatricals) Mary Poppins, (la Miranda)marvelous wanderettes, bloody bloody Andrew Jackson, The Secret Garden (11th hour theatre co) choreography: Milwaukee rep, 11th hour theatre co, University of the Arts, Temple University. Thank you to the Brian’s, cast and crew for the incredible gift of doing this show. All my love and gratitude to uncle Mike, aunt Jen and Matthew for being the best family a gal could ask for. 

Kelly Finch (Alice Russell) is a 4th year student at the University of Oregon, and is extremely excited to be performing in her first show with Oregon Contemporary Theatre. She has previously done 2 amazing shows with the University of Oregon Theater POTUS and 25th Annual Putnam County Spelling Bee. One of her favorite things is singing, and she would love to thank her friends and family for allowing her to follow and express that love. She lastly wants to thank this amazing cast and crew for working so hard to put on a phenomenal show.

Olivia Brand (Alice/Emma Swing) is an actor, playwright, singer, and filmmaker who is excited for her first show at OCT! She is a recent graduate of the University of Wales Trinity Saint David in Carmarthen, Wales through a study abroad program in the UK. Their previous roles include Mistress Openwork/Yeoman Hanger in The Roaring Girl (UWTSD), Nurse in Oh! What a Lovely War (UWTSD), Ava in SEEK (Feature Film), and Heather Duke in Heathers! The Musical (LCC). Special thanks to the director, Brian Haimbach, for being an incredible mentor in her life and for never underestimating what’s she’s capable of.

Otter Justman (Lizzie/Bridget Swing) is thrilled for their first production with Oregon Contemporary Theatre! They were previously seen on stage at North Salem High School, and some of their favorite roles include Velma in Chicago and Lucy in Sense and Sensibility. Special shoutout to their mom, who has been their biggest supporter (and enabler) since day one.

Andrew Yates (Drumset/Percussion) Andrew Yates is a native-born Oregonian who can often be seen holding down the 1’s and 2’s with numerous artists in the PNW music scene, as well as leading and arranging music for his own Afro-Caribbean Jazz fusion group, Yaad & Abroad. He is a graduate of the Jazz Studies program at the University of Oregon and has recently performed sold-out shows at the Hult Center with Eugene’s own Ballet Fantastique in their Parisian Jazz-themed rendition of Pride & Prejudice . He is grateful to work with OCT to present to you this slash-hit, and he would like to thank God, his partner Serena, and his close friends and family for their unending love and support over the years.

Antonio Soltero (Guitarist) is a guitarist, composer, and arranger born and raised in Austin, Texas. Having taken violin lessons from a young age, at around age 10 Antonio switched to learning the guitar. Throughout his High School years he studied with Austin guitarist Glenn Rexach and is currently studying at the University of Oregon. Antonio has studied and performed a wide variety of styles and venues. Antonio is currently pursuing a Master's in Jazz Composition/Arranging and works as a graduate teaching fellow at the University of Oregon.

Cam Whitehead (Bass Guitar) is a bass player based out of Eugene, OR. He is a Jazz Studies graduate from the University of Oregon School of Music and Dance, and he primarily plays with the East 18th Brass Band. When not performing, Cam spends his free time writing music for the brass band, doing yoyo tricks, woodworking, and playing videogames. 

Matt Treder (Keyboard II) played on and co-produced six CDs with vocalist Halie Loren, four of which reached #1 on the Billboard Japan Jazz Albums chart. He majored in music at the University of Oregon, joining the UO Gospel Choir and Jazz Ensemble. Locally he has played for Ballet Fantastique, Satin Love Orchestra, Don Latarski, the Deb Cleveland Band, The Essentials, and the BrewKats. He volunteers with The Shedd Institute’s pathbreaking Unforgettable memory-care initiative and enjoys sharing his love for music through school outreach and Road Scholars presentations. His orchestral arrangements have been performed throughout the country including at the Britt Festival and most recently by the Eugene Symphony. He is currently pianist and music director at Center for Spiritual Living Eugene. This is his first appearance with Oregon Contemporary Theatre and he’s determined not to laugh out loud during any of the performances.

Robert Bohall (Keyboard I) Robert Bohall is a versatile pianist, composer, and educator with a rich background in jazz and choral music. He earned his master’s degree in jazz piano from the University of Oregon, where he also served as a graduate educator. Recognized for his talents, Robert received a Downbeat Award in the 47th Annual Student Music Awards as pianist and composer for Jazzarts Oregon, which won the "Top Graduate Ensemble" award. He has been honored as both Outstanding Undergraduate Performer and Outstanding Graduate Performer in the Jazz Studies department at the University of Oregon.

In addition to his performing and composing career, Robert is the venue manager for The Jazz Station in downtown Eugene. He also teaches privately and at the Lassen Piano Studio. As a choral musician, Robert serves as a section leader for the Eugene Symphony Chorus and has performed in The Bach Festival Chorus for three seasons. His music is available on all major streaming platforms, with his latest album titled "Standards: Vol. 1."

Tomas Estigarribia (Cellist) is originally from Buenos Aires, Argentina and moved to the US to pursuit his collegiate career. Tomas is currently in his final year of his doctorate degree at University of Oregon. Back in Buenos Aires, As part of the Orquesta de Teatro Musical, he took part in several productions such as: The Music Man, Joseph and the Amazing Technicolor Dreamcoat, and Secret Garden. Tomas is currently part of the Ducere String Quartet, based in Eugene.Tomas has been performing with Orchestra Next for the last two years and is excited to be part of a band once again.

Amy Dunn (Scenic Design) graduated from the UO with a BA in Theatre Arts and joined the staff of Oregon Contemporary Theatre shortly thereafter in August 2007 as the Master Carpenter. In 2019, Amy took on the additional role of Production Manager. Select design credits include: Stop Kiss, Mud (University Theatre); The Explorers Club (VLT); King Lear (SPA); and Hello, Dolly! (Lane Summer Musical Theatre). Amy’s OCT design favorites include: Witch, Miss Bennet: Christmas at Pemberley, Buried Child, Venus in Fur, A Bright New Boise, I and You, August: Osage County, boom, The Pillowman, Shipwrecked! and The Clean House. In her spare time, Amy can be found cross stitching, gaming, or gushing over her adorable cats, Oskar and Shadow.

Laura Tuffli (Costume Design) is honored to be working on this wonderful show. They received a Bachelor of Science from the University of Oregon in 2022, majoring in Theatre Arts with a focus in costumes, wigs, and makeup. Costuming credits include; Birds Flying Through, James and The Giant Peach, Wunderkammer, Small Mouth Sounds (LCC); Man and Moon, What The Constitution Means To Me, Every Brilliant Thing, The Play That Goes Wrong, Dorothy’s Dictionary, Our Town (OCT); Rigoletto, Pirates of Penzance (Eugene Opera); Wig styling & makeup application for Hedwig And The Angry Inch and Wig Styling for The Wickhams: Christmas at Pemberley (OCT). Laura also appeared onstage as Jane Doe in Ride The Cyclone, and currently teaches costuming & makeup at Lane Community College. Thank you all for being here!

L'Via Rodriguez (Lighting Design) is ecstatic to work on her first show with Oregon Contemporary Theatre. A Texas native, fae has spent the last few years in Virginia working with Barter Theatre, where she served as Assistant Master Electrician and Lighting Designer for the Barter Players. Favorite past work includes The Flick, The Vagina Monologues, American Idiot, La Cage aux Folles, and Tuck Everlasting. Fae would like to thank faer loving partner, and the cast and crew for their wondrous art.

Riley Allen (Production Stage Manager) graduated from Central Washington University with a BFA in Theatre Design & Production, with the specialization "jack of all trades" (independent fact checkers have rated this statement "3 Pinocchios out of 5"). Riley is excited to start his 4th season of stage managing at OCT off with such a BLOODY fun challenge. The cast has been KILLING it in rehearsal, and he is excited for them to RIP your ears off and TEAR apart your expectations. Text "1892" to our box office and you can buy a ringtone of "Right Thurr" by rap sensation Chingy.

Teiya Beyer (Properties Design) is proud to be working at OCT on this production of Lizzie: The Musical. This is her third time working as Properties Manager in a professional capacity. Previously, she has done props for Rigoletto (EO) and Dark Sisters (EO). She comes from a background in theater, and hopes to pursue lifelong career(s) in stage productions, as well as film and television; both on-stage/in front of the camera, and off-stage/behind the camera. Teiya has thoroughly enjoyed this experience and process; working with the team for L:TM, and she hopes to continue expanding upon her skills and knowledge through productions in the Eugene performing arts community.