Lynn King is a native of Kansas City Kansas and has been performing for Kansas City Audiences for over 30 years.  She received her MFA in Acting from the University of Missouri, Kansas City and has regional and national credits in theatre, commercials, and film.  During her career as a theatre instructor, she directed over thirty productions. Lynn is one of the original members of the KC Melting Pot Collective, appearing in their first-ever production of Old School Ghetto Gospel, in 2013. Lynn was last seen in KCMPT's production of STEW. She also stays busy working in other capacities with KCMPT. KCMPT provided Lynn with her directorial debut in 2019 and she was privileged to be one of the all-female directors in the 2021-23. Sincere thanks to Linda, Harvey, Nicole, and Melonnie for their support. Special thanks to Dennis for our partnership on and offstage.

Laura Burt is a stage manager and actor from Kansas City, Missouri. She has worked with several theatres in Kansas City including: OCTA, City Theatre of Independence, The Barn Players, Buffalo Room, Fringe Festival, Tradewind Arts, Relevance Productions, KC Melting Pot, and Theatre Lawrence. She is a licensed counselor in the Kansas City area who works primarily with women. Thank you to KC Melting Pot, the Supers, her family, and her amazing partner Richard.

Briana Van Deusen is a Kansas City native. After taking a theatre hiatus upon receiving her degree, she returned to the stage in 2018 and has since appeared in several works across the city including Taming of the Shrew (Rising Tide Productions), Products of Conception (KC Fringe Festival), Angry, Raucous, and Shamelessly Gorgeous (Black Rep KC), as well as Barbecue and Fairview (KC Melting Pot Theatre). Her screen credits include the 2021 short film Faring Through the Ages (Rising Tide Productions).

Doug Schroeder is a Kansas native. Is God Is is his twelfth design for KCMPT. Schroeder received a B.F.A. in technical theater from Emporia State University. In addition to working as the technical director for KCMPT, Doug also is the production manager for the Kansas City Women’s Chorus. He would like to thank his partner Chris Palmer for his assistance with set construction and Linda, Harvey, Nicole, and Lewis for the opportunity to work on this new play.

Warren's 50+ years of theatre experience includes being the Artistic/Technical Director for Great Bend Community Theatre, Technical Director/Designer for the Bethel College Drama Department and union membership in I.A.T.S.E., Local 190, Wichita, KS. He has directed or designed over 225 plays, musicals and operas. Highlights include Road to Yonder (Dallas Theatre Center), Man of La Mancha, Cosi Fan Tutte, The Pirates of Penzance (Bethel College), Bernice at Bay/The Butterfly Effect, Gidion's Knot, Any Questions? (KC Fringe Festival), The Taste Test, For Colored Girls... (KC Melting Pot Theatre).He is an assistant house manager/volunteer coordinator at KC Repertory Theatre and a technical director/board member for Just Off Broadway Theatre.

Dennis Jackson is a Kansas City native. He has learned the craft of live theater, by working with some of the best actors and directors in K.C. He appeared in Harvey Williams’ “2121” (KC Melting Pot Theater), August Wilson’s “King Hedly”, “Two Trains Running”, and “The Piano Lesson” (KC Melting Pot Theater) and Jacqueline Gafford’s “Grape’s Vine” (InPlay Theater Co.), to name a few. Thanks to director Lynn King for the opportunity to craft the sound design for this production. Special thanks to Harvey and Linda Williams.

Melonnie Walker is a theatre historian, educator, and alum of UMKC’s Master of Arts program in Theatre History.  She is the Assistant Artistic Director for KC Melting Pot Theatre and has served as the resident research and production dramaturg for five seasons so far.  She is an advisory board member of the August Wilson Society and Regional VP for the Literary Managers and Dramaturgs of the Americas. Melonnie is grateful for her theatre family here at KCMPT and she is inspired to do the work that preserves and uplifts black theatre history for future generations.