Sarah Elger, GAR’13

Thursday, August 3, 2023

Alumni Spotlight on Sarah Elger, GAR’13

Sarah Elger, GAR’13 has a diverse background in the arts. After pursuing sculpture and dance at Bard College, Sarah worked on the set at Sleep No More in NYC. She met Neil Patel, and by his recommendation, Sarah got her Master’s degree in Architecture at Penn in 2013. Despite the challenges of being among peers with Bachelor of Architecture degrees, Sarah embraced the opportunity and learned not only how to design buildings but also how to think strategically. She believes the arts at Penn were “instrumental” as architecture as well as set and lighting design became the foundation of her company today.

After becoming a finalist in Walt Disney Imagineering’s Imaginations contest, Sarah’s career grew as she moved to a position with the company. Bridging her love of theatre and architecture, she describes design for theme parks as “big, permanent theater.” Sarah then transitioned to work on the Wizarding World of Harry Potter and Skull Island: Reign of Kong in Universal before founding her own company, Pseudonym Productions. Collaborating with Nikhil Menezes, C’15, a friend from Penn whom she worked with on her thesis, Sarah took an 18,000 square foot warehouse and transformed it into a “real-life video game,” a fulfilling milestone in her career. 

At the PAC shop at Penn with Nikhil Menezes.
On the set of The Republic in Orlando, FL with Nikhil Menezes.

During her time at Penn, Sarah participated in various collaborations in the arts. She became fast friends with the late, beloved Peter Whinnery, who became her mentor. She took a lighting design class taught by him and pursued several independent studies. Sarah also designed sets and lights for various groups, including iNtuitons and InVersion Theatre, founded by a group of iNtuitons graduates. Sarah’s favorite arts-related memory during her time at Penn is working on her graduate thesis with advisor Annette Fierro: merging video games, architecture, and theater. Working with an exciting brainstorming group, she scattered cryptic papers around campus creating a chasing game and saw who was “open to playing.” She also reminisces fondly on “chaotic, time-consuming” building and story writing in the PAC Shop with Peter Whinnery.

Currently, Sarah is working on her first permanent installation here in Philadelphia. She is designing an experience that will be an immersive venue and hub for creativity. Her goal is to merge something similar to Santa Fe’s Meow Wolf and Sleep No More with her “own unique flavor” from her years of independent creations that empower guests. The experience allows the guests to step into the world of a ride without the use of tracks or vehicles.

Opening night photo of When Shadows Fall in Orlando, Florida.
Working at Universal Creative.

When asked what advice she would give students interested in pursuing a career in the arts, Sarah says: “It’s important to create opportunities for yourself. It’s crucial to stay open-minded and not limit yourself.” Sarah recommends building a strong network of people who can help lead you in the right direction for you when thinking about your future’s path. She also urges you to pick a direction, but don’t lose sight of your goals: “It may be easier to take the office job, but life is about perseverance and resilience.”

Sarah recognizes that at times, the spark of creativity can slow down, and work in the arts industry can be demanding. However, her passion for the arts and the impact they have on her life continue to drive her forward: “I don’t know what life would be without the arts.”

This interview was conducted by Tommy Christaldi, C’23 and drafted by Jordyn Harris, E’25.

Kalyne Coleman, C’14

Wednesday, April 12, 2023

Alumni Spotlight on Kalyne Coleman, C’14


Get to know our Alumni Spotlight: Kalyne Coleman, a Penn alum who was heavily involved in the arts as a student and still is today. Originally from Richmond, VA, Kalyne is very close to her family, including her parents, three siblings, and ten nieces and nephews. She loves being their “Super Auntie.” Even before making her way to Philadelphia, Kalyne always knew that she wanted to act. She got involved with community theatre in Richmond and spent free time reenacting scenes from Sister, Sister; Twitches; and Even Stevens, but was not sure how to pursue acting as a career. Rather than throw herself into an arts school for college, she decided to go to Penn to get a solid educational foundation in the liberal arts. Kalyne kicked off her time at Penn in PennArts, a pre-orientation program that brings together incoming students interested in the arts in school and in Philadelphia. In the overwhelming transition from high school to college and moving to a new state, PennArts showed her from day one that she could find her people. Through this program, she met her best friend to this day, collaborated on a multi-media poetic art piece, and became a student leader and coordinator, helping mentor future peers interested in pursuing their creative passions. 

Before sharing her extracurricular pursuits at Penn, Kalyne first sends well wishes to current students, encouraging all to first, take care of themselves. While at Penn, Kalyne realized that the arts make her “light up inside.” She joined the African American Arts Alliance (4A) and fondly remembers acting as Beneatha Younger in A Raisin in the Sun, her first acting experience in a play written by a Black artist and surrounded by Black creatives. She reminisces on dreading the long hours of load-ins and load-outs, but actually remembering the community, the late night pizzas, and a stage management mishap during which she accidentally brought a set piece on during another student’s solo – a tough moment at the time that all involved laugh about today. Now a proud “5A” alum, Kalyne’s involvement then extended into other parts of campus as well: she minored in Theatre Arts; joined Alpha Kappa Alpha Sorority, Inc., ultimately becoming President; served at the Student Outreach Chair for the Black Student League; participated in the Vagina Monologues, helping her to own her womanhood and sexuality; and was inducted into the Onyx Senior Society. 

Kalyne says her experiences at Penn, particularly those in 4A, PennArts, and as a Theatre Arts minor, were instrumental in helping her find her voice, especially as a Black artist. During her senior year, she also had a great job working with a wonderful supervisor at Gap, Inc., which opened a pathway into a corporate career, but with the support of her parents, and the light inside, Kalyne decided to go all in on acting. She made her way up the east coast, spending some time in New York, and ultimately completed her MFA at Brown in 2020 amidst the backdrop of the pandemic. When thinking back on her experience as a Black woman in the arts at Penn, Kalyne says: “As much joy as there was, there was also challenge. There were a lot of highs; there were a lot of lows. And I learned from it all, and those experiences shaped who I am today. As a Black person, let alone a Black artist, it is important you know who you are, your worth, where you come from, what makes you smile, what makes you find balance. [It is important that] you have a community around you that supports you, so when those challenges come up, you’re able to meet them, you’re able to fight for what you believe in, and you’re able to push through. I think at Penn, there were times that both of those things happened. Always try to live in the joy, but there is a lot of work to be done in educational spaces, in different structures, the theatre community, the tv/film industry, and it takes artists like us to make our imprint and to be authentic, and to fight for what we believe in.”

Three photos of Kalyne with staff and students during a Career Mentorship event in February 2023.

Kalyne at Career Mentorship event hosted by Platt House, Makuu, and UMOJA – February 2023


To those interested in pursuing the arts beyond college, Kalyne shares that although it is challenging, and the journey is long, one must never ever ever give up on oneself: “You are worthy. You are more than enough. Your life, your story, your experiences, your pain, your vulnerability, your heart, the darkness, the light – this is the thing that people want to see, and this is the thing that will make you shine.” She recommends that folks surround themselves with the people who lift them up, who will help you make an audition tape at midnight, who will come to your shows, who will be there both when you get the job and when you do not. She reminds us that artists are emotional creatures, and she advises that we build up our mental, emotional, and spiritual health, in order to stay balanced. 

You can check out Kalyne’s work in her first television show as Grace in Interview with a Vampire (2022) on AMC Plus. You can also catch her in So Help Me Todd and Evil, both on CBS. She says that shooting the show was a wild, beautiful journey. Kalyne has also been participating in a bunch of readings, a great way to get to know artists and playwrights. She recently did a reading of “Good Bones” written by Philadelphia-based playwright James Ijames and another with Harrison David Rivers in conjunction with Roundabout Theatre. Kalyne says that auditioning is the job, and she keeps the faith that the next job is always coming soon. Someone once told her that in considering a role, look at “the art, the part, and the pay.” Kalyne does a lot of research into projects and partnerships, seeing if an opportunity aligns with her values before committing to it. She also reminds us that, as an actor, there is so much out of your control, but you can always offer good work. The grind can be frustrating, but it is also a blessing when you have the opportunity to try. Kalyne says she loves what she does: “If anyone ever doubted the role of the artist, Covid reminds us that we are the lifeblood of society. What we do is so essential. I want to be a part of stories that change minds, that spark conversations, and make people feel seen.” In particular, giving Black people a space of joy, healing, and complicated versions of themselves is a major goal of her work, her calling, and she shows no sign of stopping: “I am in it for life.”

This interview was conducted by Jordyn Harris, ENG’25.

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Daina Troy, W’98

Wednesday, March 16, 2022

Alumni Spotlight on Daina Troy, W’98


Daina Troy is a Penn alum as well as a proud Philly native! When applying to school, she originally wanted to go into Engineering and applied for the M&T program. She was ultimately admitted to the Wharton School and spent the entire summer before matriculating studying the fields of management and marketing. Upon arriving on campus, Daina knew that she wanted to have a good Black experience at Penn. She had a busy extra-curricular schedule after joining the Black Student League, Black Wharton Undergraduate Alliance, and the African American Arts Alliance (4A). For her senior year, she also joined Friars, and she was present for the beginnings of UMOJA, though it had not quite started in its formal capacity while she was a student. While enjoying life at the University, Daina found Wharton challenging, and the arts, specifically theatre, gave her something to dream about. She would wake up in the morning excited to pursue theatre, and she applied the consumer experience skills she learned at Wharton to her passions in the performing arts. 

After graduating, Daina married her interests working in entertainment, management, and marketing in New York City. She spent time working at Bad Boy Records, J Records, and Interscope, and she even spent time working on Tupac Shakur and Biggie Smalls’ posthumous album! After a while, Daina realized that she wanted to pivot out of the entertainment and management industries, and she joined the staff team at Makuu: The Black Cultural Center, right here at Penn. Working at Makuu gave her space to explore the crossover between artistry and student development. This experience also helped her develop a new perspective both about the entertainment industry and about the University. In addition to her work, Daina is also a proud mother of twin sons. Between 2013 and 2019, she took a break to focus on family. She returned to Makuu in 2019 and noted how students’ needs have changed over time. Daina shares that she loves her role of framing the journey for students: “They know what they want to do. I am giving them permission to pursue those dreams.” Daina now works with the Penn Spectrum team in Alumni Relations at Penn, where she continues to help University community members follow their dreams. 

Daina shares her favorite memory of the arts at Penn: she had her first lighting job in the 1996 production of A Soldier’s Play! The play featured a full Black male cast, and Daina fondly recalls everyone really growing into their roles. Today, Daina feels fortunate to work with so many alumni who are leaving their mark on the arts world. She is also a co-lecturer in the Africana Studies department, and she is working on a modern archive of Black art. The arts are important to Daina because they provide a good creative release. To students interested in pursuing the arts beyond college, Daina reminds them to be patient: “Consider your integrity and the sacrifices you’re willing to make. There is net capital in the long run, and you need to be passionate enough about it to be willing to wait. The reward is not immediate. Don’t give up art.” Wise words to lead us all. 

This interview was conducted by Jordyn Harris, ENG’25.

Arnab Mishra, W’96

Monday, October 25, 2021

During his undergraduate experience at Penn, Arnab Mishra spent tons of time flexing his creative muscles in and out of the classroom. He shares that his college experience was a transformative one, especially due to Penn’s cross-disciplinary nature. Arnab majored in finance and used his elective credits to dabble in literature, writing, and music classes, even learning how to play the sitar (the latest in a long line of instruments he grew up playing). When not studying, Arnab worked at the student radio station and served as a columnist for the Wharton journal. He interned at multiple magazines in New York City and realized that his original plan to pursue journalism as a career was not the correct path for him. However, Penn offered him the chance to experiment with multiple career paths, all while forging lasting connections with peers from diverse backgrounds who helped him expand his ability to see the world. Arnab credits these friends with providing him new perspectives even to this day (even on pandemic Zoom calls). 

In school, Arnab realized that his favorite pursuits combined the creative and the analytical. After graduating, he made his way back to New York, working in investment banking and private equity. The firm where he worked had raised a growth capital fund in the midst of the dot-com bubble, and he spent time investing in mid to late stage technology companies. Arnab discovered a love for technology entrepreneurship and building businesses from the ground up. After attending Harvard Business School, he relocated to San Francisco to work on his first of two startups. Both companies were eventually sold to larger public companies, the first to the French-based Alcatel and the second to east coast-based Broadsoft. Arnab still lives in the Bay Area with his wife, originally from Northern Virginia, and their two children. After two decades, he jokes that their family has finally stopped asking when they will move back east. Arnab currently serves as the Chief Product Office at Xactly, where over the last four years he has dramatically expanded the company’s product line, applying a knowledge of market opportunities and user needs. Arnab loves his job, as it once again allows him the room to be analytical and to creatively suss out solutions. 

Arnab has also been a very active alum. In 2013, he joined the James Brister Society. Founded in the early 90s and named after the first African American to graduate from the University, the James Brister Society is the umbrella alumni organization for diversity and inclusion at Penn. Arnab has served as the Co-Chair of multiple committees in the Society, and what he loves most is helping advise the University on initiatives to create a more inclusive space for faculty, staff, and students. When asked to join the Platt House Alumni Advisory Council, Arnab was not sure if he was the best fit, since performing arts was not at the foreground of his college experience, nor his current work. However, Arnab says he was drawn to Platt House’s goal of increasing diversity and inclusion initiatives and Platt House’s ethos of uplifting voices. One of Arnab’s first roles on the Council was supporting a panel discussion on racial and social equity in the arts this past spring. The session was geared toward alumni with a goal of updating them on current trends and goals in the student performing arts spaces. Platt House is so excited that Arnab has joined this team, as we are grateful for his experience with advocacy work and his perspective from the business world. Many of our students have followed in his footsteps as students in the Wharton School, and we have a lot to gain from his insight. 

When asked why the arts are important, Arnab shares: “I dont view art as a thing unto itself. I think the notion of art and the notion of creativity lives in every single discipline out there. It’s universal.” Arnab explains that even when creating software products, there is a level of artistry within them. Arnab also shares that he believes philosophically that “art is a place where the human spirit can be expressed like no other. I think having those outlets for people is really important. [People] can talk frankly about sensitive subjects through art. In the US, the more diverse and progressive and accepting we become as a country, the more we need the arts to create a space for those discussions.” Arnab believes that students can leverage their performing arts experience beyond college because every performance is a team effort. He says it is the team that works together to deliver a unified product, which is business in a nutshell. He continues, stating that the performing arts also demand a kind of rigor and help people learn to be comfortable addressing other people. “Studies show that leaders who are comfortable being vulnerable in front of others are the most effective in leading.” Arnab reminds us that the performing arts help shape new leaders, no matter what discipline they ultimately pursue.

This interview was conducted by Jadel Contreras, C’22.  

Sara Outing, C’13

Monday, October 5, 2020

Sara Outing, C’13 is Platt House’s inimitable Administrative Coordinator! She came to Penn from Chapel Hill, NC and graduated with a degree in Theatre Arts. Since then, her journey has looped through the regional and Fringe theatre scenes of Philadelphia and its suburbs. In her time away from Platt House, she enjoys the gorgeous landscape and history of her neighborhood in the Northeast, practices a clutter of creative hobbies, and continues to freelance as a scenic designer, props fabricator, and puppeteer. As a student, Sara knew she wanted to try her hand at scenic design, so she engaged in design and carpentry gigs with 4A, Players, Singers, Quadramics, Stim, and the Theatre Arts Program. Additionally, Sara was a founding member of Keynotes A Cappella and was briefly a member of PLBD. These formative experiences sparked in her lasting loves for social dance, singing, and music composition.Through living in the Arts House residential program in Harnwell and participating in the performing arts scene on campus, Sara found a space not only for practiced talents, but also for new beginnings. Sara shares: “Despite the stereotype of performative excellence at Penn, within my creative community I felt the invitation to fly or fail at sight-reading a new tune on violin, to show up as a newbie at West Philly Swingers’ Fish Fry, to bumble through my first Noteflight arrrangement, to mix colors fearlessly in the PAC Shop.” During undergrad, Sara learned to enjoy and celebrate the experience of being an amateur just as much she celebrates honing her craft. This willingness has served her well in the freelance arts world. Sara reminisces over some Penn memories including watching friends and strangers shine onstage, specifically citing a Quadramics’ Fling Production of Andrew Lippa’s The Wild Party, which “blew [her] teenage mind.” Sara also fondly recalls her own “rare” moments onstage, stating that she is not truly confident as an actor but is so proud of her past self for giving it her all. [Platt House jumping in to say that Sara is a humble, but truly skilled performer, acting included!]Sara is also the creator of the brand-new Backstage @ Platt House podcast! Sara identifies as a “podcast person,” her interest stemming from Welcome to Night Vale a few years ago and recently landing on Alie Ward’s Ologies. Back in March, Sara was working with a bunch of local arts alumni for an in-person panel. Once Platt House programming moved to the virtual sphere, the podcast format seemed like an obvious and exciting transition. The first season of the podcast features those local arts alumni and a few University staff. Backstage @ Platt House Season 2 will have a student focus, acting as a conduit among performing arts community members.

This summer, Sara was one of six artists awarded with the Black Puppeteer Empowerment Grant from Puppet Showcase Theatre near Boston. As part of her remote Creative Residency, she developed a short original shadow show alongside the other artists. Sara is next looking forward to her upcoming design project for an Alice Childress piece with the Philadelphia Artists Collective. She recently delivered a set of creative props to one of her favorite companies, Bearded Ladies Cabaret, whose projects are always artistically entertaining, emotionally nourishing, and queer as can be. Sara will also be diving into a props/paper/packaging design on an afrofuturist story-by-mail with an incredible company, Tiny Dynamite, and an incredible new collaborator, local playwright Jarrett McCreary. Check out Sara’s website for more!

To those interested in pursuing the arts beyond college, Sara says “The arts industries can sometimes romanticize ‘imposter syndrome’ as a noble trait of humble and hardworking creatives. Don’t fall into the trap of internalizing a value system that hurts you! After many years, I’ve been incredibly fortunate to land among companies, organizations, and collaborators who empower my sense of artistic self and pay attention to my financial health, but that work has to occur within as it does without. If you find imposter syndrome and self-denial, sit with it. Take note of your worth, and hold tight to people around you who do the same.”

Photo Credits: Boaz Kim


Jennifer Weber, C’00

Tuesday, March 31, 2020

Get to know our featured alum, Jennifer Weber, C’00! Jennifer is a choreographer living in New York City. She graduated from Penn in 2000 with a major in Communications, but not before founding Strictly Funk Dance Company. Before Strictly Funk got off the ground, Jennifer was a choreographer and performing member of Bloomers. She says it was amazing, but singing is not her forte, so she wound up playing a mime and a bunch of frat boys. She auditioned for a handful of dance groups on campus, and was not selected, but she really began to miss dancing and decided to take matters into her own hands. Jennifer placed flyers all over campus and drummed up a ton of interest for a new dance group. Funk’s first audition had 20 people. When she came back for her sophomore year, Funk participated in Freshman Performing Arts Night (now rebranded as Student Performing Arts Night). After that showcase, 80 people auditioned for the group! Jennifer reflects fondly on the relationships that were built through that experience. She says that dancing is a “magical way to connect with people [I] wouldn’t have met otherwise.”

Creating Strictly Funk really launched Jennifer onto her future career path. She did not originally think she would be a professional choreographer. After graduating, she landed a job in marketing, but she found herself pulled toward a life in the arts. Jennifer says that seeing Funk succeed made it seem like it would be easy to create a company and succeed in New York. The reality of that goal was much more complicated, but her experiences with Funk absolutely prepared her to face any challenges head-on. And her success has only grown, demonstrated by the many exciting projects she is working on. She choreographed her first movie Z-O-M-B-I-E-S 2, viewable on Disney Channel. One of the videos she made for it, Flesh and Bone has an astounding 23 million views! She also choreographed the musical & Juliet, currently running in London’s West End. It tells the story of a Juliet who leaves Romeo behind and goes on an adventure to discover her own identity. Her choreography for & Juliet was just nominated for an Olivier Award.  And Jennifer’s acclaimed The Hip Hop Nutcracker has been touring in the US for the past five years and was even featured on a PBS special. This show, that she directed and choreographed, is a reimagination of the Tchaikovsky score told through the language of hip hop.

The road has not always been easy. Jennifer shares that working on a project basis necessitates a constant cycle of creation and hustling to find something else to create. She says that each time she takes on a new project, she essentially starts over, working with new people, redefining dynamics, and using her own vision to be a part of the project. It can be difficult for her not to not get frustrated, but she says it is important to focus on the amazing opportunities that await. To students interested in pursuing a career in the arts, Jennifer says “It is important to be honest with your passion.” She advises creating your own path, especially if one is not readily available to you. Jennifer also stresses the importance of building relationships and being authentic, as fostering those connections can lead to other opportunities. Jennifer reminds us that the arts are important because they bring people together, illuminate commonalities, and inspire. “Don’t be afraid to follow your dreams, and dream really big.”

This interview was conducted by Hannah Lottenberg, C’21.

Photo Credit 1: M. Emran

Ben Grinberg, C’11

Monday, November 25, 2019

Ben Grinberg has learned the importance of balance, not only in his schedule, but literally in his work as an artist and educator at the intersection of circus, physical theatre, and dance. Six years ago, the recent Barrymore winner founded Almanac Dance Circus Theater, an organization that creates full-length narratives told through acrobatic dance theater. Their work includes silent stories, stories with words, site-specific pieces, and improvisational work for cultural institutions. Ben also serves as the head of the Performance and Artistic Craft Department & Artistic Coordinator for the Circardium School of Contemporary Circus, the first certificate-granting circus program in the United States! He is currently helping to develop the curriculum and pedagogy for this program. And he is an alum and now adjunct faculty member of Pig Iron School, where he teaches acrobatics. In mid-November, Almanac will reprise their theatre/dance/circus/music show The Fleecing, an audience-integrated immersive performance at a historic mansion in Germantown. Outside of these roles, Ben is in the midst of researching a project inspired by his grandfather, a Holocaust survivor. This acrobatic dance theatre piece will reexamine what it means to be second-generation from Holocaust survivors, epigenetic comma, and why talking about the Holocaust still matters.

During his time at Penn, Ben served on the board for Quadramics Theatre Co., and he acted and directed for Front Row Theatre Co., iNtuitons Experimental Theatre, and the One Acts Festival. He was also involved with film clubs on campus. Ben is grateful for the amount of self-direction the University fosters in the arts. Ben credits the extra-curricular theatre program at Penn with allowing him to direct nine shows and having the chance to try things out without artistic restrictions. He felt encouraged as a student to go, do, and try: “That’s the best way to learn as an artist’”to just make some wild proposal and see if it works and learn from that.” Ben shares some fun memories exploring the performing arts on campus. In his first year, he directed Quadramics’ spring fling musical Reefer Madness. During the show, the group made space for the audience to join them on stage for a dance party, and the whole theatre erupted into dance. Ben says it w
as an amazing moment that encapsulated all the energy and passion that this community at Penn has, “this exchange of energy with audience.” Ben also recounts directing a Commedia dell’arte adaptation of Agatha Christie’s Mousetrap in his senior year. In researching this art form, Ben worked with Platt House to bring Quinn Bardell from Pig Iron to host a workshop on the form. That workshop changed Ben’s life, setting him on the path to explore physical theatre that stems from the body and improvisation, rather than from a script.


For students interested in pursuing a career in the arts, Ben advises going outside the Penn bubble, into Center City and into the suburbs to take in art all around Philadelphia: “Go see everything.” Getting outside of campus can reveal art forms that can truly inspire and broaden the horizons of what is possible. He also says: “Stay friends with people who you may not think share a worldview with you because I think those people can end up becoming your biggest advocates and supporters, and they will challenge you to make better work.” Ben shares that the arts are important to him because they allow for collaboration and true, deep communication with other people. Working artistically together can lead to intimate and profound relationships that are difficult to find in other contexts. “Artistic expression and creativity have a lot to do with what it means to be human and constantly pushing the boundaries of what we can say and what we can do and what’s possible and what we are able to achieve. Arts has always done that, and we need to keep innovating it and keep figuring out what needs to be said next and what needs to be heard.” Ben shares that his motivation to pursue the arts starts with a drive for the personal connections and individual feelings and moves into facing the large-scale societal issues in our world today. Ben views the arts as a great way to face them head-on.

Photo Credit 1: Lauren Johns
Photo Credit 2: Jenna Spitz

Ramita Ravi, C’17

Monday, August 19, 2019
Hailing from a small town near Pittsburgh, PA, Ramita Ravi spent her undergraduate years at Penn studying Health and Societies and dancing up a storm! She served as the Artistic Director and Chair of Arts House Dance Company and as the Chair of the Dance Arts Council (DAC). She danced with Penn Thillana and was a member of Friars, Osiris, and Oracle senior societies. Ramita was a PennArts Pre-Orientation Leader, and she will be returning to Platt House later this month to teach the Dance Masterclass to a whole new group of first year PennArts students! After performing on So You Think You Can Dance on the day of her graduation, Ramita moved to New York City, signed with Clear Talent Group, and now pursues dance as a full-time career. In addition to SYTYCD, Ramita has performed on VicelandGood Morning America, a Fosse/Verdon commercial, and the premiere of I Am the Night, a new TNT show. But that’s not all! Ramita recently performed in Aida at the Engeman Theater, and she has toured with two Bollywood shows: Mystic India and Bollywood Boulevard. Ramita teaches dance at competitions and companies across the country. She recently launched her own dance company, Project Convergence, which unites classical Indian dance and tap. The members of Project Convergence have done events at Buzzfeed, Spotify, and Lincoln Center; they hosted major dance brand Capezio’s first Holi event; and they are artists-in-residence at the American Tap Dance Foundation.


Looking back on her time at Penn, Ramita says: “I don’t know that I would have been a professional dancer if I hadn’t gone to Penn, truly.” As Penn has no academic dance program, Ramita was hesitant when she matriculated. However, her experiences with the dance, performing arts, and Platt House communities provided her the opportunities to not only dance, but also choreograph, develop themes, incorporate videos, run a show, handle administrative duties, and manage a company. She learned the business side of dance, while building her artistic craft. As she grapples with booking dance space in NYC, completing contracts, and developing a company, Ramita credits learning 100% of those skills from her time at Penn. She also treasures the collaborative experiences she gained at the University, working with singing groups, videographers, photographers, and many other dance groups with different cultural backgrounds, goals, and missions. Ramita shares warm memories of the Emily Sachs Dance Benefit, an annual event bringing together every DAC group, strengthening that community and working together for a greater cause. She also remembers working with a group of dancers after her sophomore year to create a summer workshop series, which would become the Penn Summer Dance Series. This program grew to include hundreds of people during Ramita’s time at Penn and continues today. For Ramita, the fond memories live on: “I have so many’”my whole life was performing arts at Penn.”

Ramita’s recent work has had her traveling to Boston, Hershey, Austin, DC, and even Philly! Looking forward, she is getting ready for lots of auditions, and she is incredibly excited about her upcoming plans for Project Convergence, including the collaboration with the American Tap Dance Foundation, the hub for tap dance companies across the country, as this is the first time the Foundation has brought in classical Indian Dance. Ramita shares that the arts are important to her because they are deeply intertwined with her identity: “I grew up in Pittsburgh in a small town, and I had access to American dance from a really young age where no one looked like me. And I also had access to Indian dance where everyone looked like me. Bridging those two worlds and feeling comfortable in both spaces was something I could only do through dance because I was neither all Indian or all American. I’m just both. That’s how it works. That’s what my identity is.” In her work moving forward, Ramita wants to create more spaces that allow people to express their stories and feel comfortable in their own shoes, their own voices, their own skin. For students who are interested in pursuing the arts beyond college, Ramita reminds them to own the multidimensional aspects of themselves: “The more you apply the multidimensional aspects of your personality and what you gained at Penn, the more successful I think you’ll be in this career. I would just say continue to be awesome and well-rounded and multidimensional, and it’ll take you really far.”

Photo Credit 1: Mike Esperanza
Photo Credit 2: Kevin Wang


Interview with InVersion Theatre

Monday, April 1, 2019

Tell us a little about yourselves, your hometowns, and your majors and graduation years.

  • Johnny Lloyd: Asheville, NC; International Relations, 2011. I’m a playwright and producer based in Manhattan, NY. I am Producing Director for InVersion Theatre and currently an MFA Candidate in Playwriting at Columbia University studying under Lynn Nottage and David Henry Hwang.
  • Rebecca LeVine: Longmont, CO; English, 2012. I live in Brooklyn and work in business development for an ebook startup. I also do some freelance graphic and web design work.
  • Will Steinberger: Philadelphia, PA; English, 2011. I’m a theatre director, which means Johnny, Rebecca, and I have a baby together, called InVersion Theatre, that has produced seven full length plays since graduating from Penn, as well as numerous events, short plays, and assorted theatrical happenings. I also work often as an assistant director, dramaturg, and producer/arts administrator, mainly in New York, where I live.

What groups were you involved with during your time at Penn?

  • JL: Counterparts and Mortar Board and a bunch of other TAC-e groups.
  • RL: I dabbled in various activities, but TAC-e was my main thing, mostly acting, some directing, a bit of prop designing (prop designing is the best). I’m proud-slash-frightened to say I did at least one production every semester.
  • WS: PennQuest, Friars.

How do you feel like the arts at Penn shaped or affected your career paths?

  • JL: I really didn’t realize I could go into the arts until I was at Penn. Being able to create relationships with my fellow classmates opened up what theater meant for me and provided connections, friendships, and collaborators that have lasted through today.
  • RL: Doing theater was too magical to ever give up completely.
  • WS: I met Johnny and Rebecca, and I wouldn’t be making theatre the way I am today if it weren’t for the relationships I have with them. Penn also has a phenomenal DIY ethos, which encourages those scrappy enough to make theatre.

What are your favorite arts-related memories from your time at Penn?

  • JL: I’m not allowed to say the parties, right?
  • RL: Does that mean I’m not allowed to say the parties either? In all seriousness though, quite a few of my closest friends today are people I did shows with at Penn. Over the course of six or eight weeks of rehearsals, you spend all this time together, you have all these emotional experiences, you’re collaborating on this unique and beautiful thing. And you laugh endlessly, even (especially?) in rehearsal rooms for very, very dark shows.
  • WS: Definitely the parties.

How did you start InVersion Theatre? What did that process look like?

  • JL: The way I remember it, Will and I were living together and wanted to do a show together after graduating, and because iNtuitons had a relationship with Philly Fringe, we felt very comfortable doing a show in that festival. Rebecca came on soon after (as did another one of our college collaborators, Reni Ellis, who was our company manager for our first show). And after that, we kind of just kept on making plays together. It’s been easy because we’ve had a working relationship for ten years, but also because we would hang out even if we weren’t working together constantly.
  • RL: I was a year behind Johnny and Will at Penn (a fact I remind them of often), so I was a senior when they were getting InVersion off the ground. In the spring of 2012, Will asked me if I had the time/interest to dramaturg their production of Miss Julie. Seeking any excuse to put off writing my thesis, I eagerly signed on. Following graduation, I realized just how little I wanted to give up doing theater with my friends, so at some point in there, I finagled my way into the role of Official InVersion Dramaturg. Seven years later, here we are!
  • WS: It was a lot more like what we did together at Penn then unlike what we did together, which is a credit to how TAC-e and the University as a whole prepared us for art-making.

What is the key to your success as a team?  Do you get on each other’s nerves at all?

  • JL: When we’re at our best, we’re honest with each other about how we feel and what we want to do. You can’t not get on your collaborators’ nerves, but you can be honest about how you’re feeling and learn how to listen instead of trying to bury those feelings or taking feedback personally, and I think a lot of our success is because we’re constantly working to be honest and open in our communications.
  • RL: Weird question. Will Steinberger, Johnny Lloyd, and Rebecca LeVine have never gotten on anyone’s nerves, ever.
  • WS: Cry in public, not private. That’s our rule.

What is InVersion Theatre up to now and do you have individual upcoming projects you’re working on?

  • ALL: We’re gearing up for round 3 of our We Read Books series in partnership with The Tankin which we commission 6 playwrights to create 10-minute plays inspired by a classic text we’ve selected (Beowulf and Shirley Jackson’s “The Lottery” so far). We’re also at work on a new app-play about environmental catastrophe, set in Brooklyn’s Prospect Park. Oh, and we’re writing an original musical adaptation of Dracula, set in Silicon Valley, with music/lyrics by Andrew Underberg, who did not go to Penn.
  • WS: I’m directing a play at Columbia right now and producing an off-Broadway play in the fall.

What is a piece of advice you would give to a student who is interested in pursuing the arts beyond their college career?

  • JL: Penn is small. T
    he world is big. Get ready for rejection, and learn how to welcome it.
  • RL: Creating and presenting art in the real world almost always requires money–for rehearsal and performance spaces, for costumes and sets and my beloved props, for marketing and publicity, for the labor of all the people working alongside you. At Penn, we were incredibly fortunate to have spaces and budgets that appeared as if by magic and the expertise of University employees whose salaries weren’t our responsibility. We got to imagine that money and art-making were unrelated–which, outside a supportive institution like Penn, is not remotely the case. You spend a lot of time fundraising. You have to ask a lot of your supporters. I’d advise someone seeking a career in the arts to be ready for that.
  • WS: Remake the art market; don’t let it remake you. In other words, don’t lose the spark that got you jazzed about your work in the first place.

Why are the arts important to you?

  • JL: When you’re in the arts, you don’t just get to show the human condition–you get to interpret it and take things that you think might just apply to you and find out that they actually apply to so many people. And opening up and finding common ground with others through such a vulnerable process is so inspiring and exciting.
  • RL: We live in dark times. Making and experiencing and thinking about art gets us a little closer to the light.
  • WS: Nothing matters more than meaningful personal encounters. Art sculpts the spaces and experiences in which these encounters happen.

Joan Harrison ’81

Wednesday, October 17, 2018

Hailing from a family of six children in Westbury, New York, as a freshman Harrison felt a bit at sea. But in her first semester she was blown away by a Mask & Wig show. She knew it was open only to men and had the idea of creating Penn’s first performing arts group for women. She stayed on campus that summer to lay the groundwork. That September, with the help of her roommates Amy Albert and Barbara Finklestein, Harrison founded a group she called Bloomers, named for the journalist and suffragette Amelia Bloomer. The group was the first all-female musical sketch comedy troupe in the nation.

At the time, Penn was less than 30% female, and Bloomers was the only creative environment on campus where women could take charge in writing comedy and showcase their comedy talents. The crew and band were also female, and remain so. Harrison directed the first show, “Fruit of the Bloomers,” which debuted in March 1979, and fell in love with the creative process. So she shelved the idea of going to law school, and started interning at television networks in Philadelphia. After graduation, she went on to build a long career in television mostly as a network programmer in Los Angeles.

Founding Bloomers greatly influenced Harrison’s career, and in 2015 she wanted to give back in a meaningful way. She founded the Bloomers Alumnae Association hoping to solidify the Bloomers community–there are more than 500 former Bloomers–and give the the troupe financial support. She and a handful of her Bloomers classmates have come together as if they never stopped being friends. They vacation together and talk constantly.

And the relationship between the alumnae association and the current troupe is also blooming. There is an annual Alumnae Retreat during which alums draw upon their professional expertise and life experience to help younger alumnae learn practical skills to ease into life after Penn. Harrison says that the younger Bloomers give the alumnae “hope for the future in these trying times.” The alumnae especially admire the “fierceness of our students.” She thinks that there is “something to be said about learning to manage fear and instilling confidence when you do comedy on stage…when you write it, when you perform it, when you contribute to producing it.”

As for advice for budding artists, Harrison says “practice, practice, practice” meaning: keep writing, keep performing and keep refining your talents, especially in a competitive field like comedy. Harrison has complete confidence in Penn grads trying to make it in Entertainment. She said that pretty much everyone finds their footing, and praises the LA alumni network in Entertainment for how it supports young grads.