Gina is an award-winning playwright and performer whose work has been seen/developed at The Goodman Theater, MCC Theater, Playwrights Horizons, EST, Page 73, New Georges, The Playwrights Center, CTG, Theater of NOTE, Rivendell Theater, Cape Cod Theater Project, Bag&Baggage, Mirrorbox Theater, among others. Selected honors include The Kilroys List, Leah Ryan Prize, Doric Wilson Award, the Otis Guernsey New Voices Award and the Neukom Award in Playwriting, nominations for Drama League and NYIT. Gina is a former Core Writer with the Playwrights Center, and an Alum of EST Youngblood, Page73's Interstate 73, Pipeline Theatre’s PlayLab, New Georges' Audrey Residency, the Ingram New Play Lab at Nashville Rep and Parsnip Ship's Radio Roots Writer's Group. Gina’s a New Georges Affiliated Artist and has received residencies with Page73, Powerhouse, NTI at the O’Neill, SPACE on Ryder Farm, and Fresh Ground Pepper. As a teacher, Gina has worked with The Playwrights Center, Primary Stages ESPA, among others. Gina's debut YA novel, Alondra was named a Best Book for Teens in 2023 and is a Finalist for a Golden Kite award.

Scott is a theater director known for his collaborative approach in developing new plays and reinventing classics, often highlighting marginalized voices and bringing audiences on unexpected journeys through rich visual storytelling. Recently, he was the Granada Artist in Residence at UC Davis, where he directed The Laramie Project. Scott also developed and directed the Off-Broadway premiere of Max Vernon’s musical The View UpStairs, which received multiple award nominations, including an Audelco Award nomination for Best Director. Other musicals Scott has directed include The Peculiar Tale of the Prince of Bohemia and the Society of Desperate Victorians by Dan Marshall, Julian, and Becca Blackmore (Goodspeed Opera House), Concrete Jungle by Bobby Cronin and Crystal Skillman (DDM Productions), Andrew Lippa’s Wild Party (Post Theatre Company), and The Gifts of the Magi (Tilles Center). His work on plays includes Small Steps by Briandaniel Oglesby (Portland Center Stage), Charles L. Mee’s trilogy Imperial Dreams (Classic Stage Company), The Great Divide by Amy Crossman (Boomerang), Shakespeare’s The Comedy of Errors (Boomerang), Children at Play by Jordan Seavey (Collaboration Town, named one of The Advocate’s “Top 10 Gay Plays of 2009”), Rare Birds by Adam Szymkowicz (Red Fern), Orestes by Anne Carson (Columbia Stages), Miss Julie by August Strindberg (Smith Street Stage), America, You Kill Me by Joshua Conkel, The End of Days by Jeffrey James Keyes, and Edgar and Patrick by Ken Urban.. As artistic director of Packawallop Productions, Scott directed numerous works by Alejandro Morales, including the silent concerto (Outstanding Director Award, FringeNYC) and expat/inferno (Best Overall Production, FringeNYC). He holds an MFA from Columbia University. www.scottebersold.com

Previous Boomerang productions: The Great Divide, Karpovsky Variations, Select other credits: Watcher in the Woods, Between the Lines Jr. (Pilot Production), Urinetown, Matilda Jr. Education: Miami University.

Select credits include previous Boomerang productions: The Karpovsky Variations (ASM) and Rock N' Roles (Stage Manager); Broadway Workshop: Head Over Heels (Production Stage Manager); Invulnerable Nothings - All the Mournful Voices (Stage Manager). Education: UNCSA

Em Grosland (scenic designer) is an artist, an actor, a maker, and an advocate for trans joy. They have designed, propped and/or painted for The Puerto Rican Traveling Theatre, Mile Square Theatre, The Peddie School, The New School of Drama, Molloy University and others. As an actor, they have worked at Steppenwolf, Berkeley Rep, Tuacahn, The Signature, and many others. You can also see them as Nurse Kai Brunstetter in NBC’s New Amsterdam. Em received their BFA from Washington University in St. Louis. www.EmGrosland.com. @EmGrosland.

Previous Boomerang productions: The Karpovsky Variations (2022) and The Great Divide (2023); Indie Theater credits for sound design and/or original composition include: You Got Older by Clare Barron (NYU Tisch graduate production, 2024), Marta Nesspek Presents by Kate Pressman (23.5 Degree Tilt, 2022-present), I Was Unbecoming Then by Lyndsey Bourne (Ars Nova, 2023), The Dog Show by Ivan Faute (The Players' Theater, 2022); Education: B.A. in Music, Princeton University; M.M. in concert composition, NYU Steinhardt; Website: samkaseta.com; Social Media: IG @samkaseta and @mrsambamthankyoumaam

Boomerang debut. “Thirty Million,” Keen Company; “50 Shades the Musical!,” Gramercy Theater; “You/Emma,” The Acting Co. IRT; “Hedda Gabler,” Wandering Bark Theater Co., ; “All Shook Up,” HRT, MI (Wilder award best choreography) ; “Glee on Fox - Thanksgiving episode” (Let’s Have a Kiki) ; “Let’s Have a Kiki”- Scissor Sisters video ; Partners In Crime by @itsnotjohn, music video ; Wagner college; @Bradschoreo

Previous Boomerang production The Great Divide (2023); Other productions: How To Eat an Orange (La MaMa); Millennials are Killing Musicals (Out of the Box); Measure for Measure (Smith Street Stages); Belle Canto, Don Giovanni (Aspen Music Festival and School); MFA NYU; www.brynne-osterbainnson.com

Boomerang Debut; Off-Broadway (select): The Connector (Deck Props, MCC Theater), Here There Are Blueberries (Props Supervisor, NYTW), Ghost of John McCain (Assistant Props, Soho Playhouse), All The Devils Are Here (Stagehand, DR2 Theater). BFA from The Hartt School. @kristenvanderlyn kristenvanderlyn.com

Derek’s designs have been seen in venues large and small; from Jazz At Lincoln Center, The Town Hall, and The Metropolitan Museum of Art, to the kinds of basements, bars, churches, and teeny-tiny rooms where New York theatre is often forged. He is especially drawn to new works, and has contributed to dozens of premiers and workshop productions, including The Great Divide with Boomerang last season. Other notable collaborations include New York City Opera, Doug Varone and Dancers, Pittsburgh Opera, Madison Opera, The Montana Repertory Theatre, Finger Lakes Opera, Syracuse Opera, Red Fern Theatre Company, Palm Beach Opera, Actor’s Studio Drama School, Scandinavian American Theatre, Origin Theatre, and The Civilians. His award-winning designs for Ren Gyo Soh’s Butoh Medea have been seen internationally in Italy, Turkey, Poland, Czechia, and at the Edinburgh Festival Fringe.

Curtis has previously worked with Boomerang as an Associate Producer on Karpovsky Variations and The Great Divide. He’s excited to return to the Gural Theater as the TD for MLRLJ. Curtis is a JOAT in theater, having made costumes, masks, and headdresses for Ringling Bros and built sets all over the city. He’s the Creative Producer for Cole Jazz and the NEW Jack Cole Dancers, House Manager and Tech Director at Theater 555, Facilities Manager at 59E59 Theaters, and Master Baker for his bakery Ringmaster Sourdough. PLUS, he’s working on a one-man show under the guidance of Austin Pendelton called We Are the Reason, premiering in Winter 2024/25. www.Curtis-Howard.com #ringmastersourdough

Boomerang debut; Assoc. Artistic Director of Silambam Phoenix, National Queer Theater Criminal Queerness Festival (Production Manager), SheNYC Festival 2024 (Assoc. Production Manager), Heartbeat Opera (Managing Producer), Drunk Bollywood Live (Core Ensemble Member); MFA NYU Graduation Musical Theater Writing Program; www.vaibumohan.com, Instagram: @vaibumohan

A full service Marketing and Public Relations agency founded by Katie Rosin, offering exceptional and custom campaigns for each client’s unique needs and projects. Rosin was instrumental in the launch of the Broadway musical Brooklyn and the National Tour of Mother Load. She worked on the publicity team for the comedian, Jerry Seinfeld, and his movie Comedian. Some of Kampfire past and present clients include: The Actor's Temple, ArtsRock, Astoria Performing Arts Center, The Bossy Frog Band, Boomerang Theatre Company, The Chain Theater, the cell theatre, Tony Award Winning Double Play Connections, Ensemble Studio Theatre, The League of Professional Theater Women, New York Innovative Theatre Awards, New York Neo-Futurists, Nicu's Spoon, The Performing Arts Center, Purchase College, Queens Theatre, R.Evolución Latina, Singers Forum, TADA! Youth Theater and terraNOVA Collective.

Boomerang: Romeo & Juliet. Public Theater: Elevator Repair Service’s Baldwin and Buckley at Cambridge, Ma-Yi Theater Company’s The Chinese Lady, NAATCO’s Out of Time, 600 Highwaymen’s A Thousand Ways (Part II), #BARS Workshop Volume 5 (Line Producer); Richard III, Suffs, cullud wattah, Merry Wives, Measure for Measure, Public Works' Hercules (Associate/Assistant Line Producer).

Tim founded Boomerang Theatre Company in 1999 with the mission of revolutionizing the theatre producing models of off-off-Broadway. In his 26 years leading the company, he has produced over 60 plays and musicals, as well as readings of over 100 works in development. Tim's focus now is on fundraising, audience development, marketing and artist support. In addition to Boomerang, Tim has been on staff at Lincoln Center Theater and New Dramatists. BA, New College at Hofstra Univ; MFA, Writing for Stage and Screen, Point Park University. @timerrickson

The A.R.T./New York Theatres are a project of the Alliance of Resident Theatres/New York (A.R.T./New York) which provide state-of-the-art, accessible venues and top-line technical equipment at subsidized rates, so that the city’s small and emerging theatre companies can continue to experiment, grow, and produce new works. Founded in 1972, A.R.T./New York assists over 500 member theatres in realizing their rich artistic visions and serving their diverse audiences well. A.R.T./New York accomplishes this through providing progressive services to our members – from shared office and rehearsal spaces to technical assistance programs for emerging theatres. Because of this dedication to serving the needs of the nonprofit theatre community, A.R.T./New York has received numerous honors, including an Obie Award, an Innovative Theatre Award, a New York City Mayor’s Award for Arts

Actors' Equity Association (AEA), founded in 1913, represents more than 50,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org