UC Berkeley's Department of Theater, Dance, and Performance Studies presents:
SHE KILLS MONSTERS
By Qui Nguyen
Directed by Karina Gutiérrez
November 20-23, 2025
Zellerbach Playhouse
Content Advisories
Trigger Warnings: This show features discussions & portrayals of death, grief, and homophobia, as well as mature language, sexual content, staged violence, and the use of a homophobic slur.
Sensitivities: Flashing Lights & Projections
In This Program
- Cast
- Student Cast
- Student Production Team
- Faculty Creative Team
- Staff & Faculty Production Team
- Guest Artists
Director's Note
How do you mourn someone through remnants? Is it possible to slay a monster named grief?
Qui Nguyen's She Kills Monsters tells a story of identity, loss, and the worlds we create when the real one feels too small to hold us. The real world can be a bully. And fifteen-year-old Tilly's final campaign serves as a fortress, illuminating how queerness is joyful, how difference is the ultimate flex, and how the world can be accessible to all. In fact, what Dungeons and Dragons and other RPGs teach us is that character sheets are blueprints for possibility, and the adventures allow us to try on identities, fail safely, rewrite the rules, and imagine better versions of ourselves. To some, this is a method of escapism; to others, it is an act of defiance and a rehearsal to confront the world of the "real."
Truth is, we are all always writing stories. Some authors will try to dictate who gets to exist freely and whose narratives get erased. The monsters we individually and collectively battle are not always of flesh, fear, or grief. Sometimes monsters take the shape of dehumanizing ideologies and policies that seek to target historically marginalized groups. In any case, stories are legacies. Inheritances. They survive us.
What do our loose-leaf stories amount to in the hands of others? As Tilly Evans reminds us, "...isn't that essentially all that life is–a collection of stories?" Not all monsters can be slayed; some are simply kept at bay. She Kills Monsters reminds us that this adventure we call life is truly ours, that grief and love often share the same path, and that sometimes, in order to heal, we must pick up the sword and "roll for initiative."
Welcome, Adventurers, to New Landia! We are so thrilled you are here.
Dramaturg's Note
Historically, Dungeons & Dragons hails from the generic evolution of fantasy literature from fantasy’s fairytale, folkloric, and mythological ancestors, and D&D contributes to the immeasurable impact fantasy literature and media has had on global culture. In the last ten years, D&D has exploded in international popularity, but the heart and soul of this beloved game remains eternal: a place to simultaneously be ourselves while exploring entirely new identities. It’s a place where disabled people, myself included, can simply be our differently-abled and/or neurodivergent selves while likewise enjoying the opportunity to be charmingly charismatic, insanely strong, or dexterously coordinated. In the heart of the American 90s (during which era our play takes place), securing a sanctuary to celebrate one’s disability, “sample” different capabilities, or openly share one’s queer identity was intensely desired and, when found, fiercely protected. Reflecting this, She Kills Monsters intertwines D&D’s iconic fictional elements with very intimate themes—tense social conflict, family bonds, grief and mourning, closeted sexuality, and fun memories made not just with friends but with a found family. D&D continues to offer this safe space to just BE. Naturally, however, not every D&D player is equally welcoming, and we all have our horror stories to share or shudder about; this reality even resonates with Agnes’s acclimation to how this game operates and what she learns about her sister. Nonetheless, every contentious group and negative experience propels us one step closer to finding our found family and embarking on some unforgettable adventures. I am honored to channel my academic pursuits towards this beautiful, collaborative production celebrating a game quite dear to my identity and heart. So, why this show, and why now? Because right now, perhaps more than ever, we could all use a little kick-ass magic and a safe place to just BE.
–Taylor Barnes, Dramaturg & Cultural Consulant
Student Production Team
Please note that bios are not available for all members of the production team. Refer to the printed program for a full list of production credits.
Helen Beyer
Assistant Director
Helen Beyer is a senior Theater & Performance Studies major who is so thankful to be part of bringing the world of New Landia to life as an assistant director. As a long-time “passionate constructionalist” when it comes to D&D, she is so excited for the reflexive potential of TTRPG’s to be brought to a wider audience. Previous directing credits include Much Ado: A Folk Adaptation and Into the Unknown - which you can find at her production company’s instagram; evergreen_productions_.
Sarine Baronian
Assistant Stage Manager
Sarine Baronian (she/her) is a third year double majoring in Rhetoric and Theater & Performance Studies. She is super excited to be working on her first ever TDPS production as an Assistant Stage Manager, and hopes you all enjoy this wild show!
Saul Conde
Hair & Makeup Assistant and Wardrobe Crew
Saul Conde’s experience comes from several years of drag practice and makeup classes. In addition to being a designer, he is also an actor, director and performing drag queen (stage name Heather Ivón). For more credits, upcoming projects and makeup looks, Conde can be found on Instagram at @saul_onstage and @hausofivon.
Faculty Creative Team
Karina Gutiérrez
Director
Karina Gutiérrez (She/Her) is a Bay Area-based director, dramaturg, and scholar. She is passionate about supporting new play development, fostering local artists, and creating welcoming, equitable, and accessible theatre spaces and classrooms. She considers theatre a powerful space for social change and the mending, healing, and restoring of communities.
As a director and dramaturg, Karina has had the pleasure of working with Bay Area Children’s Theatre, BRAVA, Magic Theatre, Crowded Fire, Huntington Theatre, Marin Theatre, PlayGround, Playwright’s Foundation, Shotgun Players, Stanford University, TheatreFirst, Townhall Theatre, UC Berkeley, West Edge Opera, and Word for Word. She is additionally a member of the Latinx Theatre Commons Steering Committee, a board member at Theatre Bay Area and Crowded Fire Theatre.
Karina received her Ph.D. in Theatre and Performance Studies from Stanford University, where she was awarded the Carl Weber Prize for integration of Creative Practice and Scholarly Research. Her scholarship concentrates on the intersection of politics and performance, specifically how digital interventions, institutionalization efforts, and historical narrative affect the development and sustainability of social and politically engaged performance companies and collectives in the Americas.
Arnel Sancianco
Scenic Designer
Arnel Sancianco (Scenic Designer) is an award-winning Scenic Designer with a nationally recognized portfolio. His credits include productions at La Jolla Playhouse, The Old Globe, Oregon Shakespeare Festival, The Muny, The Huntington, Goodman Theatre, Denver Center for the Performing Arts, Steppenwolf Theatre Company, The Kennedy Center, Theatreworks Silicon Valley, Woolly Mammoth, Writers Theatre, Repertory Theatre of St. Louis, Arizona Theatre Company, Court Theatre, American Players Theatre, Milwaukee Rep. For an in-depth look at his work visit ArnelDesigns.com
Dominique Fawn Hill
Costume Designer
Dominique Fawn Hill is a costume designer/fabric-composer that merges an everlasting dance between Faith, Texture, Image, and Purpose. Her belief in Jesus Christ and her hometown Bronx, NY, have over the years instilled in her glam, grit, and the willingness to always look at the world through an empathetic lens. She finds the psychological nature of costume design invigorating and sublime. It is her belief that in order to truly understand design; one has to understand the nature of the imperfect human condition. Her designs include world premieres of plays and musicals produced at major venues such as The Public Theatre, Playwright’s Horizons, Ford’s Theatre in Washington DC, The Geffen Playhouse, and the Chautauqua Theatre Company. Her theatre credits include the Broadway production of Fat Ham (Tony Award and Lucille Lortel nominations) and Off-Broadway productions of Tambo & Bones (Lucille Lortel nomination), Fat Ham (Obie Award), Where the Mountain Meets the Sea (Manhattan Theatre Club), The Dark Girl Chronicles (The Shed), and 125th & FREEdom (National Black Theatre). Dominique obtained her M.F.A. from the University of California, San Diego.
Ray Oppenheimer
Lighting Designer
Ray is a lighting designer, educator, scenographer, technologist, and creator who has been bringing his boundless curiosity, chimerical aesthetic, and Sisyphean perseverance to performance design and education since 2005. Ray graduated with a Master of Fine Arts in Theatre Arts with an emphasis in lighting design from San Francisco State University in the Fall of 2017. He also is an active company member with Mugwumpin and Shotgun Players.
Jessica Berman Hirigoyen
Voice Coach
Jessica Berman Hirigoyen is a Continuing Lecturer at UC Berkeley (Acting, Voice & Speech) and a Dialect, Voice, and Text Coach. Recent coaching credits include Dead Man Walking (San Francisco Opera), Harry Clarke and The Thing about Jellyfish (Berkeley Rep), A Whynot Christmas Carol (A.C.T.), As You Like It (Cal Shakes), and Harry Potter and the Cursed Child (The Curran). MA from the Royal Birmingham Conservatoire, MFA from the Royal Central School of Speech and Drama.
Staff & Faculty Production Team
Please note that bios are not available for all members of the production team. Refer to the printed program for a full list of production credits.
Jamila Cobham
Production Manager
Jamila is a production manager and event producer with experience working in the United States and the Caribbean. Previously, she was the Production Manager for Cal Shakes (California Shakespeare Theater) where she managed numerous classics, as well as new works, that presented a diverse range of perspectives. Jamila was also the Interim Production Manager for Magic Theatre; freelance Stage Manager for FieldTech Staging Solutions Inc; Event Planner for Barbados' National Cultural Foundation; and Interim Theater Manager and Stage Manager for The Errol Barrow Center for Creative Imagination (EBCCI). Jamila holds an MFA in Production Technology and Management from Carnegie Mellon University and a BA in Psychology from The University of the West Indies, Cave Hill Campus.
Rebecca J. Ennals
Stage Management Advisor
Rebecca J. Ennals (she/her) spent 21 seasons on the staff of San Francisco Shakespeare Festival, including 10 seasons as Artistic Director, where she oversaw all aspects of production, education, and artistic programming. She currently works as a producer, Equity stage manager, director, educator, and community engagement facilitator for A.C.T. She is passionate about the role of the stage manager in co-creating collaborative and supportive cultures in which diverse theater-makers can thrive. Her interests include free civic theater, increasing access to the arts, and environmentally responsible theater-making in the time of climate crisis. Ennals holds an M.F.A. from UC Davis and a B.A. from Scripps College and is a graduate of Directors’ Lab West. She was born and raised in the South Bay and now lives in San Francisco with her partner, two young children, and two perfect kittens.
Robin Maegawa
Technical Director
Robin Maegawa (They/Them) is the Technical Director for TDPS. They are a graduate of the USC School of Dramatic Arts, holding a BFA in technical direction. They have previously worked as a freelance carpenter and props artisan at Berkeley Repertory Theatre, and assistant prop shop manager at American Conservatory Theater in San Francisco.
Tim Kopra
Scene Shop Supervisor & Lead Carpenter
Tim Kopra is the Scene Shop Supervisor and Lead Carpenter for TDPS. He is an artist and educator living and working in Oakland, California. Tim received his MFA from San Francisco Art Institute in 2015. Since then he has continued an interdisciplinary art practice investigating, and often collaborating, with the architectural and natural landscapes of the Western United States. Tim has fabricated large scale works and led sculptural immersive experiences throughout California, most notably with MORE Lab, Cathartic Productions, LAME Arts, and Gordon Huether Studio. He has been exhibiting internationally since 2009, notably at Gallerie Califa in the Czech Republic, Fort Mason Center in San Francisco, Aggregate Space Gallery Oakland, Robert Blitzer Gallery Santa Cruz, and Mills College Art Museum.
Zoë Casey
Scenic Artist
Zoë started her theatrical career at a young age, performing and creating for family plays. Her first design work was helping her mother to make props and costumes for her family performance in the Commedia Dell'arte show at the Renaissance Faire. She continued her theater studies at Concordia University’s design and production program in Montreal, where she did her first scenic painting. Creating the sets for her shows in university inspired her to go to grad school at California Institute of the Arts, where she specialized in scenic art. She then worked as a scenic artist in television, film, and theater in Los Angeles before settling in the Bay Area. She has worked on hundreds of productions at theaters all around the Bay, and has learned how to bike with several roller poles and buckets and not crash (well... not often).
Properties Director
Peet Cocke
Peet Cocke is a director, playwright, and designer. His recent directing credits include Adam Esquenazi Douglas’s Pinned Butterfly, Susan Sobeloff’s Jubilee, and Naomi Wallace’s No Such Cold Thing. His original plays include Crush and Hum, Extraordinary Mysteries, Even at A Funeral, a movement piece, Already Done to You, and original adaptation of the novel Voices, by Ursula Le Guin, entitled Through the Glass Darkly. His scenic and lighting design work includes Peter and the Starcatcher, Silent Sky, The Three Musketeers, Fete de la Nuit, Romeo and Juliet, A Midsummer Nights Dream, and Gruesome Playground Injuries. For more information visit peetsbrain.com
Denise Umland
Costume Director
Denise Umland started her career over 30 years ago working as a stitcher in the Maryland/DC area for Theater on the Hill’s summer stock, and costume designed and shop managed at McDaniel and Goucher Colleges. She then started working as an over hire at Olney Theatre Center for the Arts (Olney, MD) and quickly moved up to Assistant Costume Shop Manager, then to Costume Shop Manager, and eventually becoming Costume Shop Manager at Round House Theatre (Bethesda, MD) and Signature Theatre (Arlington, VA). Denise has worked several seasons as Assistant Costume Shop Manager and First Hand at Wolf Trap Opera Company, and First Hand/Stitcher at Sarasota Opera and was Costume Director at Florida Grand Opera (Miami, FL). Denise has also served as Wardrobe Supervisor for two Nutcrackers, the first being Olney Ballet School using the costumes from the Washington National Ballet’s Mary Day’s costumes, and more recently, the Santa Barbara Festival Ballet which employs several principal dancers from the San Francisco Ballet and the Dance Theater of Harlem. In the Baltimore/DC metro area, Denise was a costume designer working at many of the smaller theaters as well as a company member of Faction of Fools, a commedia dell’arte company in residence at Gallaudet University who casts Deaf students with professional actors (some of her favorite designs were for Hamlecchio, Our Town, and A Christmas Carol).
Aurie Stetzel
Lead Costume Shop Technician
Aurie Stetzel holds a Master’s of Fine Arts in Sustainable Fashion Design from UC Davis and a Bachelor’s of Science in Apparel Design and Merchandising with an emphasis in Costume Design from San Francisco State University. Aurie has over eight years of professional experience in costume design, working extensively with theater companies across the Bay Area, though her passion and practice of costume design has been lifelong. Following her work on the feature film Fairyland (released 2023), she took on various stitching and wardrobe roles at the Orpheum, Curran and Golden Gate Theaters for Broadway SF. From 2022-2024, Aurie served as the lead stitcher at the San Francisco Ballet, and continued her costume work at the San Francisco Opera and Broadway San Jose. Aurie designed shows for Playground Theatre and served as lead stitcher for Marin Theatre Company for the 2024-2025 season. Some of the other theatres for which she’s done design, building, stitching and wardrobe from 2017 onward include Aurora Theatre, California Shakespeare Theatre, Crowded Fire Theatre, Lamplighters Theatre, and more. A long-standing member of IATSE Local 784, she has worked extensively as a designer, costume builder, stitcher, and dresser, and has years of custom design experience for independent clients and arthouse projects.
Ethan Schmidt
Production A/V Engineer
Ethan Schmidt is a sound technician and dungeon crawler who has been with Cal Performances since 2021. Before coming to the Bay Area, they were the Audio Department Head for the Morrison Center (Boise, ID), working alongside touring productions of Les Misérables, The Play That Goes Wrong, Waitress, and more. They have worked with Josh Ritter, Kristin Chenoweth, Angélique Kidjo, William Kentridge, and many other artists over the years. She Kills Monsters will be their fifth production with TDPS.
Dio Ramirez
Theater Production Supervisor & Lead Lighting Electrician
Dio Ramirez (they/them) is the Theater Production Supervisor and Lead Lighting Electrician. They began their theater career at Cal (TDPS 2015). They worked as a freelance lighting technician and light board programmer for venues across the Bay Area, including: BerkeleyRep, Calshakes, SF Playhouse, Smuin Ballet, and Marin Theater Company.
Guest Artists
Dave Maier
Fight Director
Dave is an award-winning fight director with over 300 professional credits. He is in residence at SF Opera, Marin Shakespeare Theatre, and Oakland Theatre Project. Recent credits include Private Lives (ACT), The Handmaid’s Tale (SF Opera), The Untime (Marin Shakespeare Theatre), and As You Like It (Cal Shakes). Dave is also an instructor of theatrical combat, who teaches classes at UC Santa Cruz, Studio ACT, Berkeley Rep School of Theatre, SF Conservatory of Music, and Dueling Arts San Francisco.
Jeunée Simon
Intimacy Choreographer
Jeunée is an actor, director, and intimacy choreographer based in the Bay Area. She has worked with Aurora Theatre Company, Berkeley Repertory Theatre, American Conservatory Theater, TheatreFIRST, and more. Simon is a proud recipient of the 2017 RHE Artistic Fellowship. She is a believer the collaborative nature of original plays and has been honored to be part of the new and emerging work being developed in the Bay Area. She is a graduate of Stanford University's drama program and has trained with Intimacy Directors and Coordinators and Intimacy Coordinators of Color.
Carlos-Antonio Aceves
Projections Designer
Carlos-Antonio is a multidisciplinary Designer and Theater Maker whose practice focuses on new plays. Selected projection and scenic design credits include: Dream Hou$e, Shotgun Players; Justice, Marin Theatre Company; Cruzar la Cara de la Luna, West Edge Opera; Where Did We Sit On The Bus?, The Liberty Theatre Company; Carrie: The Musical (Projection Design), American Conservatory Theater Young Conservatory. Selected scenic design credits include: The Boiling, The Magic Theatre; Returning to Haifam, Golden Thread Productions; The Day The Sky Turned Orange, SFBATCO and Z Space; Yaga, Marin Theatre Company; The Displaced, Crowded Fire Theatre; Gary: A Sequel to Titus Andronicus, Oakland Theatre Project; BREAKDOWN, San Francisco Mime Troupe; PrEP Play or Blue Parachute, New Conservatory Theatre Center; Cyrano, Aurora Theatre Company; and Hedwig and the Angry Inch, Shotgun Players. Carlos-Antonio extends his gratitude to the creative and production team of She Kills Monsters, and thanks them for their efforts. Explore more of Carlos-Antonio’s past and upcoming work at: CarlosDesignsSets.myportfolio.com
Fall Choreography Showcase
Directed by Latanya d. Tigner
December 10-12, 2025
Zellerbach Hall • Room 7
This annual showcase features student-created solos and duets representing a diverse range of movement styles, influences, and ideas. Dancers who are cast will work with one or more choreographers to set a new work throughout the semester, culminating in two public performances.

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Please consider giving to TDPS to support the next generation of artists, scholars, and theater technicians. Thank you!
Give to TDPS online or learn more by emailing lsgiving@berkeley.edu
