
CONTENT WARNINGS
This show includes mature language, sexual content, depictions of gun violence, blood, kidnapping/abduction, and misogyny. It also features strobe lighting and other rapid light effects, which may pose a risk to individuals with photosensitive epilepsy or other light sensitivities.
LAND ACKNOWLEDGMENT
The Nitery Theater sits on the ancestral land of the Muwekma Ohlone Tribe. We recognize that the members of the greater Stanford community have, and continue to benefit from, the use and occupation of this land, which was and still is of great significance to the Muwekma nation. No one seems to be giving this land back in the near future. In the meantime, we acknowledge the impact colonization and genocide had on the Muwekma Nation and encourage you to take action. To the extent that you are able, please consider making a donation to help restore sovereignty to the Muwekma Ohlone Tribe here.
CAST
(by order of appearance)
Jacqueline Harding as Natasha
Gustavo Santiago-Reyes as Cedric
Mikey Mendoza as Danny
Angela Vincent as Alice
Pauline Mornet as Robyn
Ezra Melosh as Activist (dancer)
Isabella Terrazas as Activist (dancer)
Ryan Rong as Jonathan
Eddie Chen as Security Guard (dancer)
STAFF
Director and Playwright: César Valenzuela
Co-Producers: Audrey Hunter and César Valenzuela
Co-Stage Managers: Audrey Hunter and Sara Alanis Morales
Co-Choreographers: César Valenzuela, Münir Gür, Pauline Mornet, and Eddie Chen
Set Designer: Anna Zheng
Lighting Designer: Trini Rogando
Sound Designer: Lawrence Tome
Multimedia Design: César Valenzuela
Make-up Artist: Eojin Lee
Puppet Artist: Mike Chin
Graphic Designer: Hibert Castillo
Photographer: Robbie Sweeny
Videographer: Keanu Su’a
Community Coordinator: Angela Vincent
Build: Sydney Jordan
MUSIC CREDITS
“I Love The Way You Hold Me.” Terrence Parker. Intangible Soundworks. Publisher: Seven Grand Publishing (BMI)
“3rd Solar Plexus Chakra Kundalini Breathing.” Performed by 369 (Erik Häusler)
Preshow and transition acts II and III: sound generated from temperature and CO2 data by Chris Chafe. See more here: https://chrischafe.net/the-1200-year-climate-podcast-in-detail/
DIRECTOR’S NOTE
In the face of looming climate disasters and political gridlock, what should we do to avoid the worst scenario? What are the moral limits of our political actions? This latter question, in particular, has haunted me for a long time, mostly because I grew up in an authoritarian regime and now see democracy fading in other countries where dissent is increasingly silenced and citizens feel disoriented about what to do to save their countries. In the case of climate change, the magnitude of the threat and the injustices that sustain it make it particularly hard to determine how we ought to move collectively towards a sustainable future while holding powerful agents accountable.
Political philosophy (and war law) offer one principle, among many, to think about these questions: the "principle of proportionality" is supposed to regulate conflict by establishing that any harm inflicted for a legitimate cause ought not to be "excessive" with respect to the gains obtained. Our show, Proportionality, highlights the paradoxes of this principle. In the cases we care about the most, like climate action or war, the idea of proportionality often faces serious challenges: it is either blatantly violated (powerful agents act mercilessly), impossible to apply (what counts as "excessive"?), or counterproductive, as subsequently proportionate responses lead to endless conflict. Proportionality captures how these shortcomings are heightened when we use the principle to constrain climate activism and political movements more generally. What is proportionate to the harm that Cedric has done as an engineer and as a company executive? What is Danny's responsibility as a chef in the company? Is Robyn justified in what she is doing? Do these questions even matter when we consider the company's immense power?
I do not mean to provide answers in the play. I do hope that our show contributes to pressing conversations about the atrocities that powerful agents in our societies, often corporations, inflict in the name of so-called tech utopias.
César Valenzuela
May 9, 2025
ACKNOWLEDGMENTS
Proportionality is made possible through the support of the Nitery, the Stanford Arts Institute, the McCoy Center for Ethics in Society, the Stanford Humanities Center, and the Environmental Justice Working Group at the Doerr School of Sustainability.
Special thanks to Aleta Hayes, Chantal Bilodeau, Amy Freed and the participants of her playwriting workshop, Miguel Novelo and the students of Moving Images, Christian Mejia, Daniel Cadigan, Nina Ball, Becky Bodurtha, Laxmi Kumaran, Brett Cavanaugh, Daniel Brooks, Kenny McMullen, Stephanie Manno, Kelda Jamison, Connor Wilson, Claire Morton, Siddharth Manne, Bren Bartol, Niza Contreras, Matthew Canlas, Yi Jiang, JoAnna Mendl Shaw, Britta Clark, Timna Naim, Caitlin Brust, Vinny Anderson, the mentors and participants of the Young Choreographers Festival 2025, Jonathon Howell, Ryan Dukes, and the Stanford Shakespeare Company, for their support and feedback throughout the conception, creation, and production of this show.