Defining Infinity

ACTING ENSEMBLE
Megan Adair (ensemble) is a transplant from Australia via England. Since settling in Louisville 3 years ago, she has been heavily involved in the theatre community. She is delighted to join LFL again for their 15th anniversary festival, and to be involved in this important new work. Love you, Mom and Dad!

Christie Charron (ensemble) After previously working with Looking for Lilith in Orlando, Christie is thrilled to be part of the company’s incredible vision once more. She studied at Interlochen Arts Academy and graduated from U of L with a BA in Music and minors in French and Theatre. She continued her theatre studies at Paul Valéry University in Montpellier, France and Acting Studio Chicago. Past productions include Orlando (Sasha), Le Misanthrope (Alceste) and Something Unspoken (Miss Cornelia Scott).

Sidney Edwards (ensemble) is a graduate student in UofL’s Theatre Department. Originally from North Carolina, she received her BFA from William Peace University. This is her first show with Looking For Lilith. Sidney would like to thank her family and friends for their continued support.

Kristopher Freeman (ensemble) This is Kristopher’s first show with Looking for Lilith, and he is so inspired by the passion and talent that built Defining Infinity. He recently graduated from high school and feels lucky that this show is among one of his first professional opportunities before going to college.

Cameron Murphy (ensemble), a UofL alumnus, has performed with Kentucky Shakespeare, CenterStage, and California State University, Northridge. He has published creative writing in the 2011 “New Voices” Anthology of Actors Theatre, UCLA’s literary journal Westwind, as well as Eclectica and Converge. He thanks Shannon Woolley Allison, and the wonderful devisers of Defining Infinity.

A Note on Casting - LFL has for 15 years explored the convention of having actors represent narrative stories from people whose ages, genders, and ethnicities may differ from their own. It was important to us that this play include both cisgender and transgender actors, and both straight and queer artists. In this piece, you will see transgender folk playing cis-gendered people as well as trans people, and cis-gendered folk representing trans people as well as cis. While honoring our artistic practice, we also remain aware of the problematic habit, particularly in T.V. and film, of favoring cis-gendered over transgender actors as a part of our systemically cis-normative culture. Our intention is to deepen questions surrounding gender identity and presentation, rather than reinforcing norms, while acknowledging that this choice may arouse various reactions. – Shannon Woolley Allison