Thank you Dr. “C”!

After working here for three years, Visiting Assistant Professor of Theatre Arts Dr. “C” Heaps will be leaving Kalamazoo College. Thank you “C” for all you’ve taught us and contributed to our community!

In addition to teaching the only directing course and the only playwriting course at K, “C” developed a new sophomore seminar called Live Media Virtual Performance and taught many theatre history courses including Asian Theatre, Theatre of Illusionism, and Theatre of Revolt.

I’ve really appreciated “C”‘s passion during lectures, and willingness to let students take projects wherever they desire. I especially am indebted to them for pushing me out of my comfort range at the end of last year during Theatre of Revolt, and of course for their guidance on my SIP.​ Their deep well of knowledge will be missed!

Lukia Artemakis ’21

During their three years at K, “C” not only taught several courses, but also directed two productions, The Spitfire Grill and The Compass, and advised the Play Selection Advisory Council. “C” encouraged students to use resources like New Play Exchange, which allowed students to learn about lesser-known plays and support working playwrights.

I had the pleasure of being taught by “C” three times within the past two years. They played a huge part in my transition to college. They have always been helpful, fun and insightful. What I loved about “C” was that they taught things beyond the generic. My mind has expanded more and my perspective have grown because of what “C” had encouraged in the classroom and outside of the class.  And I wanna thank them for being the faculty that have been the voice of the students, especially in PSAC. I always felt comfortable and heard in the presence of Dr. ‘C’ Heaps. They will be truly missed.

Milan Levy ’23

“C” received a PhD in Theatre History, Theory, and Literature from Indiana University. Their thorough and interdisciplinary knowledge of theatre history, translation, dramaturgy, and esports brought a new and enriching perspective to the classroom.

“C” taught me a lot about non-Western theatre, which is a subject that maybe one other theatre educator in my life has ever taught me about. I enjoyed learning about their work in Brazil translating and directing plays, and have always appreciated their support in my pursuit of theatre work that decenters Whiteness and Western-ness.

Ynika Yuag ’21

Thank you for everything “C”! We appreciate all you gave to this community, and we hope we were able to give back to you. Good luck as you continue your career. We’ll be cheering you on from the wings!

“C”, it was really fantastic being a part of your classes as well as having the privilege of being directed by you during your time at K. I learned a lot and really felt my confidence grow – thanks for being such a great professor!

Sedona Coleman ’23

Festival Playhouse presents our 2021-22 Season, Black is Beautiful: An Ode to Black Life, Love, and Strength

Festival Playhouse of Kalamazoo College presents its 58th season, Black is Beautiful: An Ode to Black Life, Love, and Strength. This season will support living Black playwrights by producing their work and support our own community though access to Black narratives that are not tragedy-centric or exploitative of trauma. These upcoming productions use wit, satire and thoughtfully complex storytelling to showcase a variety of intersectional Black experiences.

Our Fall production will be Rachel Lynett’s Well-Intentioned White People, a play that cleverly depicts how the performative activism of predominantly white institutions, like ours, can harm the very community members it attempts to support. In Winter, we will produce Kevin Renn’s BLACKS+PHATS, a vignette-driven satire challenging stereotypes and assumptions about people devalued by society simply because of their bodies. Our season will conclude in Spring with Tarell Alvin McCraney’s Marcus; or the secret of sweet, a Black and queer, heartfelt and humorous, coming-of-age tale.

This season will also include the Senior Performance Series, in which senior Kalamazoo College students write, direct, perform, design, and manage both original and published works. More information coming this June.

Fall 2021

Well-Intentioned White People by Rachel Lynett

November 4-7, 2021

After experiencing an anti-Black hate crime, college professor Cass wants to forget about it and move on with her life. But her white roommate/ex-girlfriend and the dean of the university push her to “do something” about it. Suddenly, Cass is roped into planning an Equality Day/Unity Week while trying to convince her roommate not to plan a sit-in. Well-Intentioned White People explores how liberals attempt to deal with discrimination not directed at them and how sometimes “well intentions” can be just as problematic. The stereotypical white saviors, white liberals, and white allies seem humorously over-exaggerated, but those caricatures aren’t too far, if different at all, from the truth.

Winter 2022

BLACKS+PHATS by Kevin Renn

February 24-27, 2022

Goldilocks and the Three Bears, the Black Panther Party, and Michael Jackson? BLACKS+PHATS is a satirical, vignette play about Black cultural issues, body image, fetishism, and their representation in modern society. This quick-witted comedy is sure to challenge your mind and tickle your comfort zone, touching on various themes like beauty ideals, relationship dynamics, and levels of attraction–all while attempting to find enlightenment in the stereotypes placed on minorities and full-bodied people.

Spring 2022

Marcus; or the Secret of Sweet by Tarell Alvin McCraney

May 12-15, 2022

Marcus is sixteen and “sweet.” Days before Hurricane Katrina strikes the projects of Louisiana, the currents of his life converge, overflowing into his close-knit community and launching the search for his sexual and personal identity in a cultural landscape infused with mysterious family creeds. The provocative, poignant, and fiercely humorous coming-of-age story of a young gay man in the South, Marcus is the stirring conclusion of The Brother/Sister Plays.

Alumnus Spotlight: Hutch Pimentel ’12

This winter, we’re continuing our alumni spotlight series, featuring even more of our favorite Kalamazoo College Theatre Arts Department alumni!

This week, we talked to Hutch Pimentel ’12. While at K, he/they directed two shows: Sarah Kane’s 4.48 Psychosis and Yussef El Guindi’s Back of the Throat. He/they also wrote a Theatre Arts SIP titled Growing Pains: Becoming Queerer.

Since graduation, he/they founded a theatre company called First Floor Theater. There, Hutch serves as Artistic Director.

Read more to learn about what Hutch is up to now!

headshot of hutch pimentel
Hutch Pimentel ’12

What was your experience founding First Floor Theatre like? 

I came to be a part of First Floor in a somewhat unorthodox way. The theater was originally founded by a group of folks I met while interning at About Face Theater (which I wrote my SIP about). They were seniors at the University of Chicago and came to see Back of the Throat (the final show I directed at K) and asked me to join them when I moved to Chicago. I started as the producer and became the Artistic Director after our second season. The mission and aesthetic of the company has shifted significantly since then, largely to focus on new work, specifically by queer and POC writers. 

What has being Artistic Director during the pandemic been like?

Running a storefront theater company is everything and nothing you’d think it’d be. I spend a lot more time figuring out where the money is going to come from than what play we should do. During the pandemic my focus has been on keeping the company financially solvent, and beyond that we’ve dedicated most of our time to working on two commissions from playwrights Terry Guest and Ariel Zetina. Since becoming Artistic Director my goal was to found a commissioning program so The Blueprint Commission has really been a dream come true. 

I’m really impressed that First Floor Theatre has an audience base 70% under-40 and 50% BIPOC! How did you achieve that?

This is probably the most common question I get. I think the easy answer is, I program work that I want to see in the world, and Chicago audiences have begun to look to us for cutting-edge, sexy, funny, weird plays about what people our age are going through. In a regular season we typically program two BIPOC writers and one white writer, so that’s helped diverse audiences identify us as somewhere they’ll feel represented on stage. 

What inspires you to do theatre?

The moments that take your breath away, sitting in the dark, surrounded by a hundred other people, watching something magical happen. Whether it’s visual spectacle, great dialogue, or an unorthodox choice by an actor, that’s why I keep making art. Because I want to share those moments of glory with audiences. 

What plays, TV shows, or movies have been bringing you joy lately?

My favorite pandemic theater piece was Circle Jerk Live by Fake Friends (not porn I promise). The play I’m currently obsessed with is Botticelli in the Fire by Jordan Tannahill. The TV show I’m currently binging is It’s a Sin. And the last great movie I watched was Judas and the Black Messiah

How are you taking care of yourself during the pandemic?

I am trying to relax as much as possible. It’s so easy to COVID-spiral and so whenever I feel that about to happen I go for a walk or do some stretches or eat some soup. 

What’s your favorite memory from theatre at K?

It has to be the first play I ever directed, 4.48 Psychosis by Sarah Kane. Directing that play changed my life forever and I’ll never forget it. 


Thank you so much to Hutch Pimentel ’12 for answering our questions! To learn more about First Floor Theater, check out their website. And if you want to know more about our alumni, see our Notable Alumni page.

Theatre Arts Alumni and Asian-American Representation

Two Kalamazoo College Theatre Arts alumni have recently been involved with projects which are sparking discussion about Asian-American representation in United States media. Joe Tracz ’04 created the Netflix show Dash & Lily, which is an adaptation of the Dash & Lily book series. Steven Yeun ’05, on the other hand, stars in an A24 film titled Minari.

Read on to see how these works, and the societal response to them, has affected the Asian-American community. We’ll start with Tracz’s Dash & Lily then discuss Yeun’s Minari.

Dash & Lily

a smiling actor wears a red jacket. there are book shelves behind her.
Midori Francis in Dash & Lily, image credit: Netflix

The Netflix series Dash & Lily, based off a book series with two white protagonists, features Midori Francis playing a now-biracial white/Japanese-American Lily. Much of the script represents a new cultural perspective: Lily encourages Dash to make mochi (餅); Lily’s grandfather offers her and her brother otoshidama (お年玉) on New Year’s Eve; everyone takes their shoes off in the apartment of Lily’s grandfather. The casting committee also made sure every actor within Lily’s Japanese family, whether monoracial or biracial, was of Japanese descent. 

In an interview with People magazine, Francis said, “This was the first time that I’ve really even been on a set or in any kind of production where they took the time and care to make sure that every single Asian actor on set was of Japanese descent.”

In the same interview, Troy Iwata, who plays Lily’s brother, said, “One thing that our show does such a wonderful job of doing is portraying this mixed family, but not making it so heavy-handedly about the fact that they’re mixed race. It’s two backgrounds coming together, this is just a family. It’s very matter of fact that half of them are Japanese and half of them are white.”

Midori and Troy sitting together on a couch
Francis and Iwata, image credit: Netflix

Not only did Tracz ensure cultural integrity and casting specificity, he also allowed Francis herself to make changes to the script so the show would be more specific to her own experience. In a scene from the episode “Edgar & Sophia,” Lily addresses her white middle school bully, saying “I’m tired of boys pulling our pigtails and getting called cute … I wish I could have stood up to all the bullies who made me feel too weird, too different, too Asian.”

This monologue, as originally scripted by episode writer Lauren Moon, did not include the phrase “too Asian.” As she revealed in an interview with Refinery29, Francis wanted to insert that detail. “For me, a big part of being bullied growing up — because I was. Or teased — was the way I looked. Especially at that time, when there was no representation. If you don’t fit that kind of Eurocentric mold, you’re not attractive. I talked to our showrunner, Joe Tracz, about it. I was like, ‘Hey, what do you think about this speech being the time where we bring it up?’…So that was such a special cap for that speech for me. Because me, as Midori, if I was going to stick up to any of my bullies, that would be a part of it.”

Midori holding a microphone
Francis in “Edgar & Sophia”

Francis also had power to make creative decisions beyond just her own lines. As mentioned in the same interview with Refinery29, “It turns out that Joe was so receptive to everything. He honestly kind of diverted to me whenever he felt he didn’t know [something]. He was able to have talks with the set designer and the directors. Together, we were able to make [my input] a reality.”

Francis also mentioned that she has had opportunities that previous generations were not fortunate enough to receive. “I have an aunt who worked in the industry in the ‘80s and this just couldn’t have happened back then. There were times when I felt a bit of sadness. Like, ‘Why do I get to be the one who gets to have this positive experience? How messed up is it for all these years, people who look like me couldn’t have it?’ And then there was also so much relief and joy and gratitude that I was paired with someone like Joe who really cared.”

This show’s care did not go unnoticed by the Asian-American community. As The Literary Dumpling’s Natasha writes, “2020 has done a lot in terms of furthering diversity and representation, and being able to see a mixed-race family represented on screen as well as [seeing] how Western and Asian culture combines has been really uplifting for me. Whilst there are many ways it could go wrong, the creators of Dash & Lily manage to present Lily’s family in [a] natural way without shoehorning it in. In my opinion, it is never done in a way that requires you to think too much about how the family works, rather you just accept it as it is and overall it’s a great way to demonstrate how Lily’s family works in comparison to Dash’s (which is non-existent), as well as presenting a different kind of family dynamic on the silver screen.”

All that said, judging from the series’ IMDB page, it appears as though there were very few Asian-Americans on the film’s creative team and crew, and even fewer, if any, Japanese-Americans. How much more compelling could the biracial white/Japanese-American representation be if there were more Japanese-Americans in positions of power on the creative team?

Minari

A family of Korean Americans standing among tall grass
Yeun and Minari co-stars, image credit: Josh Ethan Johnson/A24

For the Minari, Yeun not only served as the top-billed actor, but also as an executive producer. Set in rural Arkansas, the film follows the story of a Korean family moving to the United States. 

The specific, accurate representation in this film is so important because as Yeun puts it, “This is not a Korean movie, [and] this is not an American movie—as you understand it. This is such a uniquely American tale. And I think the third culture of it, the Korean Americanness of it, that specific lane that it inhabits, hasn’t necessarily been claimed in wider American society. The narrative of Korean America is this—of pizza and kimchi together at the same table. It’s caught between two worlds…but ultimately, it’s its own thing. That’s what we’re trying to get to.”

Yeun and co-stars standing in an open field
Yeun in a promotional image for Minari, image credit: A24

Even though the film is set in the United States and is specific to an American experience—the Korean-American experience—the Hollywood Foreign Press Association categorized Minari as a foreign language film, supposedly because it features more Korean than English. This barred Minari from competing for Best Motion Picture at the Golden Globes; it has instead been nominated only for Best Motion Picture, Foreign Language. 

As filmmaker Lulu Wang said on Twitter, “I have not seen a more American film than #Minari this year. It’s a story about an immigrant family, IN America, pursuing the American dream. We really need to change these antiquated rules that characterizes American as only English-speaking.”

Author Min Jin Lee also spoke out on Twitter, “#Minari is an American film about new Americans. Everyone in America except for indigenous people came from somewhere else by choice or force. The English language is not an indigenous language. Enough of this nonsense about Asian-Americans being permanently foreign. I’m done.”

Many other Asian actors, directors, and artists criticized the Hollywood Foreign Press Association’s decision. Glee actor Harry Shum Jr pointed out that Inglorious Bastards featured more German, French, and Italian than English and did not receive the same treatment as Minari. Actor Daniel Dae Kim said that this incident is “The film equivalent of being told to go back to your country when that country is actually America.”

In regards to the Hollywood Foreign Press Association’s decision, Yeun suggested that instead of using the phrase “specificity is universal,” artists should adopt the phrase, “humanity is universal.” As Yeun said, “That was the central focus for us in Minari. [The film didn’t say,] ‘Hey, America, this is what Korean Americans are.’ Instead, it focused on being a father or mother or family, or desiring something or striving for something. Or just living. It allowed more people into the narrative to enjoy it, because there wasn’t this wall up of authenticity that people had to scale.”

Yeun with his arm over a young boy
Yeun with co-star Alan S. Kim, image credit: A24

In an interview with Variety, Yeun said, “I think a Korean audience from Korea will watch Minari and say, ‘that is the story of an American family.’ And I think an American audience will watch Minari and say, ‘that’s the story of a Korean family.’ And that’s the void that we’re caught in. We wanted to profess that this is an Asian American story, where it is American.”

Minari and Yeun’s work in it are critical to the future of Asian-American representation in cinema. While Asian-American films are still treated by America’s predominantly white institutions as foreign, an emulation of the “perpetual foreigner” stereotype, the increased visibility of Asian-Americans in media could be the catalyst for more change. 

As Yeun described, “I’d seen John Cho start popping off, and it was really cool to watch him. He hadn’t gotten the shine that he deserved at the time, and it took a little bit for him over time. I watched him, and I was like, ‘Wow!’ Here’s a Korean American actor that I’ve never seen before, and he’s on the screen, and it’s pretty incredible. He was the first one not to be objectified or fetishized. He was a new version of what an Asian man is seen as. He was something new and fresh and gave me a roadmap to emulate. I thought it was possible for me.”

Yeun’s work in films like Minari could inspire the next generation of Korean-American artists, and Asian-American artists more broadly, to continue the work toward better representation and, eventually, liberation from predominantly white institutions. 


Tracz and Yeun have both been doing the important work of platforming Asian artists and humanizing Asian-Americans through compelling storytelling. Here at Festival Playhouse, we are very proud. But as we celebrate, we also have to ask, “How much more work is yet to be done?”

To watch Dash & Lily, go to Netflix. Minari will be available to stream on various platforms starting February 26. To learn more about our Theatre Arts alumni, including Tracz and Yeun, check out our Notable Alumni page.

Alumna Spotlight: Aly Homminga ’20

This winter, we’re continuing our alumni spotlight series, featuring even more of our favorite Kalamazoo College Theatre Arts Department alumni!

This week, we talked to Aly Homminga ’20. At K, she was heavily involved with the Theatre Arts Department, working in the Theatre Arts Office and acting in many shows, such as Fun Home and Silent Sky. She also went to the GLCA New York Arts Program. She directed several productions between New York and Kalamazoo, including Beauty’s Daughter and Wine and Pizza.

Since graduation, she has continued acting and directing. Right now, she directing a virtual production of FantasticLand.

Read more to learn about her time at K and what she’s up to now.

Headshot of alumna Aly Homminga
Aly Homminga ’20

How have you been maintaining your craft during the pandemic?

I have had the privilege to be able to continue doing theatre work throughout the pandemic, usually in a virtual medium. I have directed two virtual shows, FantasticLand at Town Hall Theatre and Waiting for Doggot at Imaginarium Theatre Company. I have also acted in two productions, Care Instructions Not Included at The Grand Theatre (produced by Kate Kriess ’19 and written by Camille Wood ’17) and a short film titled ‘The Prayer’, written and directed by my boyfriend Sean Bogue ’18. For both of the directing positions, I happened upon a call for a director on the internet and decided to apply. I am very lucky that both of the companies put their faith in me and trusted my directing abilities.

Additionally, I have kept my acting skills sharp by taking Method Acting classes online through The Lee Strasberg Theatre & Film Institute. It has been wonderful to continue to develop my craft and get feedback and tips from instructors, even over Zoom. Since April of last year, I have been crocheting for fun and relaxation, which is also a creative medium. I am grateful that I have taken the craft up again, my grandmothers taught me crocheting when I was young. 

Tell us more about directing FantasticLand! What has that been like?

FantasticLand has been SO COOL! I had the idea of presenting it as a theatrical mini-series before I was hired, and Town Hall has encouraged me to take that idea and run. The whole experience has been extremely professional and exciting for my career. The play explores the events that transpired inside an amusement park when a hurricane traps 306 employees in the park. During the 5 weeks they were trapped, the employees, mostly young adults ages 18-25, split into “tribes” and were pushed to fight each other in order to survive. Think ‘The Hunger Games’ meets ‘Lord of the Flies.’ The story is told through interviews from surviving employees. I am working with 28 actors, each with a unique perspective and story to tell. Two of the actors are K grads! Sophie Hill ’20 and Anders Finholt ’20 are both in the production. I am editing the show myself and two episodes will be presented every week beginning March 11th. Information for tickets will be on Town Hall Theatre’s Website and social media soon.

Are there any upcoming projects or life changes that you’re particularly excited about?

Yes! Sean Bogue and I have a very exciting move planned. We are going to be living in Tokyo, Japan for a year beginning in March of 2021. I am really excited to be immersed in Japanese culture and experience Kabuki and Noh Theatre first hand. I am hoping to be involved in English speaking theatre companies while I am there as well to expand my acting and directing career internationally!

Which plays, TV shows, or movies have been bringing you joy lately?

In preparation for our move, we have been watching a lot of Japanese shows to learn more about the culture and language. Most recently, we finished a live-action drama series called Rookies that follows a high school baseball team. Sean and I also often have long movie nights and the most recent one was a comedy marathon including “classics” like Blades of Glory and Clueless

What’s your favorite memory from theatre at K?

I have so many very fond memories of my time at K, it is so hard to choose just one. I really appreciate the time I spent in The Playhouse, The Dungeon, and the office. As nostalgic as it is, my favorite memory has to be the last time I performed live, in Silent Sky, last year in February. There is a tender and emotional moment at the end when my character, Henrietta, wraps the show up with a lovely monologue detailing the ways her astrological discoveries have affected science since her death. She also speaks to her sister, Margret, played by Rose Hannan ’23, from the afterlife. The moment Rose and I locked eyes during the monologue we both choked up every single time.


Thank you so much to Aly Homminga ’20 for answering our questions! To learn more about FantasticLand, follow the production’s Instagram account. And if you want to know more about our alumni, see our Notable Alumni page.

Alumnus Spotlight: Cody Colvin ’18

This winter, we’re continuing our alumni spotlight series, featuring even more of our favorite Kalamazoo College Theatre Arts Department alumni!

This week, we talked to Cody Colvin ’18. At K, he started out playing football, but eventually gravitated toward the arts, singing in various ensembles and becoming a member of the Festival Playhouse family. A business major, he wrote a Senior Individualized Project titled Analysis of Festival Playhouse Fundraising Opportunities, in which he discussed possible ways of developing a sustainable funding structure for Festival Playhouse.

After graduation, he founded Colvin Theatrical, an executive production company for film, theatre, and broadcasting. Here at Festival Playhouse, we were fortunate to work with him on our livestream of Kokoro and multimedia production of K, and we look forward to working with him again throughout this year!

Read more to learn about his time at K and what he’s up to now.

Cody Colvin
Cody Colvin ’18

What has your experience running Colvin Theatrical been like?

Forgive the cliché, but it’s a dream come true. Toward the end of college, I knew I wanted to help people make meaningful art, and I felt in my heart that I could do it on a large scale. At the beginning of quarantine, I reduced my hours at my other business – investment real estate advisory – and just gave myself a chance to really build the company the way I wanted to. To see it blossom, and to continue to receive larger and more complex opportunities to help creative people tell stories, has just reinforced the fact that creative production is a good spot for me.

Are there any upcoming or current projects that you’re particularly excited about?

Yes! I am especially excited to work with the American Association of Community Theatre to help produce their national community theatre festival, AACTFest 2021. My crew and I will be on the road in April and May recording and producing about a dozen theatrical recordings around the country. I had been aware of AACTFest before, so it’s pretty neat to join forces after being in the audience. I am helping coordinate both the tour’s logistics and creative production, which makes for a really fun mix of challenges.

Which plays, TV shows, or movies have been bringing you joy lately?

I recently made my way through 30 Rock, and am now going through Unbreakable Kimmy Schmidt. Tina Fey and Robert Carlock are two folks I’d love to work with – there is so much depth to their comedy, and they maintain an incredible pace throughout each project. Though I gravitate toward darker, grittier work on stage, that’s the kind of television I enjoy watching and – hopefully soon – helping make.

What’s your favorite memory from theatre at K?

Without a doubt – dancing, singing and gyrating as Eddie in The Rocky Horror Show. I quit football the end of my sophomore year and didn’t have a great idea of what I would end up doing with my time… I was fortunate to find my way into the performing arts, and it started with that show. 

I find myself increasingly thankful for the education I received at K; I think it’s a credit to the school that I still use everything I learned there on a daily basis, from accounting and negotiation to technical production. I owe so much of my personal and professional development to the school – especially the theatre department – which is why I’ve so loved coming back and working with the students and faculty this year. It feels like being home.


Thank you so much to Cody Colvin ’18 for answering our questions. To learn more about Colvin Theatrical, check out the company’s website and Colvin’s Facebook page. And if you want to know more about our alumni, see our Notable Alumni page.

Festival Playhouse presents: K

In Spring of 2020, Kalamazoo College welcomed guest artists to work with Kalamazoo College students to create a piece of devised theatre. In Fall of 2020, the show, K, was produced virtually. You can watch the multimedia production here.

What is Devised Theatre?

Devised theatre is a method of creating an original work by an ensemble. Inherent in the creative process is the invitation for participants to share that which is most important to them and collectively tell a story. A story that needs telling. To this community. Now.

Timeline

Winter 2020

In early March, Jens Rasmussen, co-founder of the Bechdel Project, hosted aseries of workshops aimed at generating a student-focused discussion.

What is important to you? What is being said, and how, to whom, where, and when? What is not being said? What issues or concerns do you have that need to be addressed at K? What are your hopes and dreams for yourself? For this community? For the world?


Spring 2020

Director Emilio Rodriguez of The Black and Brown Theatre Company in Detroit, MI, taught a class on Devised Theatre.

Throughout the course, students built upon the themes and issues raised during the Winter term with Jens Rasmussen (above) to develop an original script, titled “K”, that speaks to the ideals, concerns, and hopes of current K-students.


Fall 2020

“K”, the devised script, was virtually produced as part of the 57th Festival Playhouse season, directed by Emilio Rodriguez. View the multimedia production online, for free, here.

Actors with shocked reactions on a Zoom call