JENNIFER ARCHIBALD SARA BRIANS ELLENORE SCOTT MALEEK WASHINGTON
Starring
Jennifer Babiak Jaryd Farcon Paul Giarratano Rebecca Hoodwin Fiona Claire Huber
Jolina Javier Jalen Michael Jones Laura Katherine Kaufman Ramona Kelley Colby Marie
Michael Francis McBride Dario Natarelli Nick Nazzaro Hugo Pizano Orozco Constantine Pappas
Katherine Riddle Lauren Rothert Shota Sekiguchi Drew Seigla Anne Fraser Thomas
Scenic / Lighting Designer
JACK MEHLER
Sound Designer SHANNON SLATON
Mask Designer
CARISSA THORLAKSON
Costume Designer
LESLIE BERNSTEIN
Projection Designer JOEY MORO
Puppet Designer
NORVEL HERMANOVSKI
Supervising Choreographer
SARA BRIANS
Music Supervisor / Conductor
BRYAN PERRI
DANIEL C. LEVINE
Production Stage Manager NICK ALTERI
In collaboration with The Ridgefield Symphony Orchestra Director
MUSICAL NUMBERS
The Legend of the Nun of Monna Tessa ........................................................ “Ephemerality” (Choreographed by Sara Brians)
Jane Goodall & David Greybeard:
A Landmark Encounter ............................................................................... “Ambient Words” (Choreographed by Jennifer Archibald)
Don’t Ask, Don’t Tell ..................................................... “Exploration for Guitars and Strings” (Choreographed by Maleek Washington)
The Story of Marta C. González:
The Prima Ballerina with Alzheimer’s Disease .................. “No Words” (Movements I, II, III) (Choreographed by Ellenore Scott)
*All music composed by Bryan Perri
FEW WORDS: A DANCE CYCLE will run approximately 90 minutes with no intermission
Late seating and/or re-entry to the theater will be at the discretion of management.
Please silence your cellphones.
This production includes the use of sound effect gun shots, strobe lights and water based theatrical haze.
COMPANY
Dancers .........................................
JARYD FARCON, PAUL GIARRATANO, FIONA CLAIRE HUBER, JOLINA JAVIER, JALEN MICHAEL JONES, LAURA KATHERINE KAUFMAN, RAMONA KELLEY, COLBY MARIE, MICHAEL FRANCIS MCBRIDE, DARIO NATARELLI, NICK NAZZARO, HUGO PIZANO OROZCO, LAUREN ROTHERT, SHOTA SEKIGUCHI
Singers ................................................................ JENNIFER BABIAK*, CONSTANTINE PAPPAS*, KATHERINE RIDDLE*, DREW SEIGLA*, ANNE FRASER THOMAS*
Older Marta Gonzalez ............................................................................. REBECCA HOODWIN*
Violin 1 ................................................................................................. CLAUDIA HAFER TONDI
Violin 2 ..................................................................................................... LORI MILLER ABBOTT
Violin 3 KRYSTYANA CZEINER
Viola ................................................................... KAITLYN GOLDSTEIN, ELIZABETH HANDMAN
Cello ............................................................... RAVENNA MICHALSEN, CHRISTOPHER SANTOS
Bass KEVIN CALLAGHAN, JOSEPH RUSSO
Personnel Manager .................................................................................................... T.D. ELLIS
*Appearing through an Agreement between this theatre, A.C.T. of Connecticut, and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
THE COMPANY
Jaryd Farcon
Jennifer Babiak
Paul Giarratano
Rebecca Hoodwin
Jolina Javier Fiona Claire Huber
Jalen Michael Jones
Laura Katherine Kaufman
Colby Marie
Ramona Kelley
Michael Francis McBride Dario Natarelli
Hugo Pizano Orozco
Nick Nazzaro Constantine Pappas
Katherine Riddle
Shota Sekiguchi
Lauren Rothert
Drew Seigla
Anne Fraser Thomas
PRODUCTION STAFF
Director ......................................................................................................
DANIEL C. LEVINE
Music Director / Conductor ............................................................................... BRYAN PERRI
Supervising Choreographer / Choreographer (“Monna Tessa”) SARA BRIANS
Choreographer (“Jane Goodall”) ......................................................... JENNIFER ARCHIBALD
Choreographer (“Marta Gonzalez”) ........................................................... ELLENORE SCOTT
Choreographer (“Don’t Ask, Don’t Tell”) MALEEK WASHINGTON
Scenic / Lighting Designer ............................................................................ JACK MEHLER+
Electricians .............................................. SOPHIE BARDOS, EVAN BRENNER, JAKOB KELSEY, JAMES LA JOIE, ALEXIS MACCHIAROLI, JUSTIN WALLACE
Production Photographer .............................................................................. JEFF BUTCHEN
Archival Videographer MATT GURREN
Poster and Artwork Designer ....................................................................... BILLY MITCHELL
Playbill Designer ..................................................................... RYAN JAMES DESIGN STUDIO
Playbill Printing KENO GRAPHICS
The Producers wish to thank Goodspeed Musicals Costume Collection & Rental for its assistance in this production. Additional Costumes provided by TDF Costume Collection Rental and Tutu.com.
Additional Lighting Equipment provided by 4Wall Entertainment
Projection Equipment provided by Moro Media Rehearsed at Pearl Studios, NYC
*Appearing through an Agreement between this theatre, A.C.T. of Connecticut, and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
+ represents a member of
A Note From Artistic Director and Creator
of “Few Words: A Dance Cycle,” Daniel C. Levine
I have always been captivated by the power of dance and the artists who bring it to life. The ability of dancers to communicate profound emotion and tell compelling stories through movement has fascinated me for as long as I can remember. Throughout my career, I have been fortunate to collaborate with some of the most extraordinary choreographers, and among them was the legendary Ann Reinking. A muse and collaborator of Bob Fosse, Ann was a brilliant performer and choreographer whose artistry left an indelible mark on Broadway. I had the great privilege of working with Ann in the Broadway revival of Chicago, an experience that felt like a masterclass in storytelling. Being in the rehearsal room with Ann was a constant reminder that dance is far more than steps and technique—it is a language of its own.
My deep admiration for the art form led me to create several dance productions, including Dancin’ Broadway and American Dance Spectacular, which toured the U.S., as well as Born to Dance, a show I developed for Princess Cruises that continues to run more than eight years later.
When Bryan Perri—A.C.T. of CT’s Resident Music Supervisor and my husband— began composing the music for what would become his newly released album, Few Words, I was immediately struck by its beauty and emotional depth. Each composition felt like it was meant to be danced to, evoking unique moods and telling wordless stories through melody and rhythm. Inspired by Bryan’s work, I set out to create a dance production that would bring these compositions to life in a deeply expressive way.
In creating this piece, I reflected on moments, people, and events that had left a lasting impact on me. Some were personal, others historical or cultural: a poignant story I heard while visiting Tuscany, the groundbreaking work of a primatologist and conservationist I have always admired, a political policy that I had long struggled to understand, and a deeply moving YouTube clip I watched years ago. What connected these disparate stories was a common theme: the need to communicate without spoken language.
The Legend of the Nun of Monna Tessa explores how forbidden love is preserved not through speech but through art. In Jane Goodall and David Greybeard: A Landmark Encounter, the pioneering scientist discovers a way to connect with chimpanzees beyond words. Don’t Ask, Don’t Tell portrays a love that must remain unspoken due to societal constraints. And in The Story of Marta C. González: The Prima Ballerina with Alzheimer’s Disease, music becomes the bridge to memory, allowing Marta to reconnect with a past that words can no longer reach. Each of these stories demonstrates how communication transcends language—just as dance does.
Given the distinct nature of each story, I wanted each of the stories that I wrote to be shaped by a different choreographic voice. I am honored to have collaborated with four of New York City’s most in-demand choreographers— Jennifer Archibald, Sara Brians, Ellenore Scott, and Maleek Washington—each of whom brings a unique style and perspective to the piece. Their artistry has brought this vision to life in ways that are both powerful and deeply moving.
I recognize that Few Words: A Dance Cycle is a departure from what A.C.T. of CT has traditionally presented. As Artistic Director, my goal is to offer audiences a diverse range of theatrical experiences, including new works that challenge and inspire. This production is one such work. My hope is that you are swept away by the choreography, moved by the remarkable dancers, and that these stories resonate with you in a meaningful way.
Dance has the extraordinary ability to transcend language, express the inexpressible, and forge connections across cultures and emotions. Through movement, raw energy is transformed into art, and unspoken emotions find their voice. To help deepen your experience, I have included a written narrative of each piece in this playbill, providing insight into the stories behind the movement.
Thank you for joining us on this journey—I hope Few Words: A Dance Cycle moves you in ways that words cannot.
Daniel C. Levine Artistic Director, A.C.T. of Connecticut
“Ephemerality”
The Legend of the Nun of Monna Tessa
Florence, Italy - present day. A woman enters a dim, ancient room in an old monastery, now a museum. The air is thick with history. She strikes a match, casting a flickering glow that reveals the contours of the space. Boxes, paintings, and various religious artifacts emerge from the darkness, each whispering ghostly secrets from their pasts. The woman holds the match aloft, her eyes scanning the room until they fall upon a large, framed canvas. This painting captures her attention: it is a portrait of a beautiful Italian woman, dressed in 17th-century attire. The elegance and sorrow in the woman’s eyes seem to pull the viewer back in time.
We are transported back in time to Florence in the 17th century, where Tessa, a young woman of noble descent lives. Her beauty and grace attract many suitors, yet her heart belongs to Giovanni, a humble painter. We watch as their love blossoms in secret, hidden from prying eyes and Tessa’s disapproving parents. Their forbidden relationship is powerful. They steal any and every moment that they can, to be together. They are careful not to be discovered. Their stolen moments together are filled with tenderness and longing, the fear of discovery ever present. We are then in Giovanni’s art studio and Tessa’s presence inspires Giovanni with a passion that is evident in every brush stroke. He lovingly paints Tessa. The session is intense and full of passion. He reveals the painting that we saw at the start of the piece.
After a day spent posing for Giovanni, Tessa leaves the studio and returns home. Her parents are waiting for her and are suspicious and disapproving. Despite Tessa’s denials, her parents sense something is amiss. Hoping to continue to secure their fortunes, they arrange her marriage to a wealthy but cruel nobleman. Tessa’s father introduces Tessa to this wealthy nobleman. Tessa refuses to meet with him, but her father insists. In the presence of Tessa’s parents, the nobleman seems upstanding and respectful and wealthy. When the parents leave the pair alone, the nobleman is vulgar and aggressive. He attempts to force himself on Tessa and indicates that this is the life in store for her: to be the wife of a wealthy man who must submit to his every desire. Tessa’s parents return to the room and are unaware of the nobleman’s true nature. They are fooled by his feigned politeness and agree that this will be a marriage, thus sealing Tessa’s fate. Heartbroken, Tessa retreats and weeps. Desperate, she sneaks out to Giovanni’s studio, and together, they decide to elope. As they make their escape, Tessa’s father intercepts them, dragging Tessa away and confining her to a nearby convent to prevent further dishonor.
At the convent, Tessa is taken in by several nuns. Tessa’s father pays the Reverend Mother to keep Tessa. The nuns try to console Tessa as Tessa begs her father not to do this. But he leaves her there. Tessa becomes Sister Teresa. The nuns remove her clothes and dress her as a nun. Her heart aching for Giovanni, Tessa lives in a single small room with a bed and small dresser only. She prays for a miracle, longing to be reunited with her true love.
Alone in his studio, Giovanni continues to paint Tessa, his devotion visible in each canvas. Without his love (and muse) he is unable to continue painting and is truly heartbroken.
While Tessa takes on all the nun “duties” (praying with the nuns and living a pious life), her heart aches for Giovanni. Tessa now has moments of despair and melancholy and even fits of rage. The nuns often console her and force her to pray. The nuns love Tessa but also believe that she needs to commit to a life of prayer and repentance in order to be at peace.
The convent walls cannot contain their love, and one night, Giovanni sneaks into the convent to see Tessa. Their reunion is brief and passionate. A moment of happiness but both are aware that this will not last. Thinking that they have been heard and discovered, they quickly dress and say yet another goodbye to one another, vowing that they will be together again soon. As Giovanni attempts to sneak away, he is discovered by the nuns who call the guards. Giovanni is imprisoned and sentenced to death. Tessa is inconsolable.
As Giovanni sits in his prison cell, Tessa prays alone in her room. As she prays, both Tessa and Giovanni somehow sense one another and are comforted by this. They can feel one anotherthough not physically together, they are able to spiritually connect. Their love is so strong.
On the night of Giovanni’s execution, Tessa falls gravely ill. As Giovanni is brought to be hanged, Tessa is in pain in her bed and dying from heartbreak. As the guards prepare Giovanni to be hung, the nuns comfort Tessa in her bed. The moment that Giovanni is hung, Tessa breathes her last breath, whispering Giovanni’s name. Their souls, bound by love, depart the world together, symbolizing a union that transcends death.
As the nuns pray over Tessa’s body, they discover Giovanni’s hidden painting of Tessa. Now realizing the love and bond the two had, the nuns are deeply moved by this tragedy. They preserve the artwork and the memory of the two lovers, immortalizing their tale. The legend of the Nun of Monna Tessa becomes a symbol of eternal love and devotion, a reminder of the power of the human spirit to overcome even the harshest of fates.
The events are then played out in reverse until, finally, we are back where we started the story- present day, with the woman discovering the painting in the monastery (now a museum). This time however, the previously heard “whispers” now come into life with all the characters. They are all in the room observing the woman discovering the painting. Now that the painting has been re-discovered, this remarkable love story can be remembered, and true love will endure and will never be extinguished.
ACT 2
“Ambient
Words”
Jane Goodall and David Greybeard: A Landmark Encounter
October 1960, Gombe Stream National Park, Tanzania. A 26-year-old Jane Goodall steps into the dense, verdant forest of Gombe, Tanzania, her heart pounding with anticipation. This is her first time alone in the jungle for what will become a life of remarkable research and groundbreaking studies. She carries a bag which includes her journal and a pencil, which she uses to document her observations and findings. The underbrush rustles beneath her boots, and the towering trees form a canopy overhead, filtering the sunlight into delicate, dancing patterns on the forest floor. She pauses for a moment, taking in the symphony of the jungle: the distant calls of birds, the rustle of leaves, and, most thrillingly, the distant hoots and calls of chimpanzees. A quiet excitement bubbles beneath her cautious steps.
She ventures deeper into the forest, each step a careful, deliberate movement through the unfamiliar terrain. Observing the dense vegetation, and taking notes, she begins to hear the calls of the chimpanzees grow louder, but the creatures themselves remain hidden, their wary eyes undoubtedly watching her from the shadows. Jane knows they are there, feeling their presence more than seeing it. The chimpanzees are wary, often fleeing at the sight of her. She catches glimpses of movement in the periphery of her vision—dark shapes slipping through the foliage, curious eyes peeking from behind the leaves, always just out of sight. In a clearing bathed in dappled sunlight, she finally sees them; a group of chimpanzees emerges cautiously, keeping a safe distance from the unfamiliar human in their midst. The chimpanzees, with their agile movements, are even more captivating up close. But they are also cautious, their eyes filled with a mix of curiosity and apprehension. They observe her warily, ready to flee at the slightest hint of danger. Jane does not move. As the chimps move closer to her with curiosity, she slowly and calmy raises a hand to reach toward them as if to say, “I am a friend.” The chimps, having never seen a human this close, quickly scatter. In a few moments, they once again resume their cautious curiosity and move closer to Jane. The chimps and Jane observe one another. Finally, the chimps move on, leaving Jane alone, who begins to write down the remarkable event that just occurred.
Jane has visited the troop several times by this point, and the troop has begun to tolerate her company from a distance, never getting too close. On this day, one chimpanzee behaves differently. Amid the group is a striking figure with a distinctive grey beard. He sits calmly, unbothered by her presence. Jane’s breath catches again. Unlike the others, he moves closer to Jane. Instead, he meets her gaze with an almost human curiosity. This is the beginning of something extraordinary. Jane names him David Greybeard.
December 1960. Jane has been visiting the troop for several weeks straight by this point. The troop keeps their distance but completely accept and tolerate Jane’s presence. They are unbothered by her - though, at times, pull the younger chimps further away from Jane if they should wander too close to her. Different from all other members of the troop, David Greybeard prefers to be closer to Jane. David eats and plays and sleeps near Jane. Jane, always careful to move slowly and to not prolong eye contact, journals about her observations in plain sight of David. On this day, David is
curious about the journaling action and approaches Jane. A nervous Jane drops her head and places her journal and pencil to the ground. She sits there extremely still, head down, to appear submissive. In an extraordinary act, David touches Jane. The two make eye contact. It is an uncomfortably long eye contact (could this trigger David’s aggression?). Finally, Jane drops her head to break the stare off. David has decided that Jane is not a threat. The rest of the troop observe this but keep their distance.
April 1961. Jane has visited the troop nearly every day for seven months. The troop accepts Jane at this point and allows her to get very close to them. David is always first to approach Jane, and other members of the troop follow his lead. On this day, it is David who teaches Jane one of her most groundbreaking lessons: the use of tools. She watches in awe as David carefully selects a stick, inserts it into a termite mound, and extracts the insects to eat. The simplicity and ingenuity of this act shatter the prevailing belief that only humans use tools. Thinking that perhaps it is David’s unique intelligence and not a true behavior of all chimps, Jane begins to journal about her observations of David. As she journals, and to her complete amazement, all other members of the troop arrive with sticks and, like David, begin to “fish” for termites. Carefully inserting sticks into termite mounds, withdrawing the sticks, and eating the termites. This has never been seen before and is a groundbreaking event which will change ethology (the study of animal behavior) as we know it. David allows Jane to also use a stick to search for termites.
November 1961. It has been well over a year that Jane has been visiting. Every visit to the forest becomes an opportunity to deepen their connection. Jane feels a profound sense of privilege as David Greybeard allows her into his world, accepting her as part of his environment. Today, when she arrives at the forest edge, David seeks her out. His presence is a constant, reassuring her that she is welcome in this wild sanctuary. David begins to “groom” Jane (a social behavior that involves one individual cleaning or combing the fur of another). The other members of the troop groom one another, while David and Jane take turns grooming one another. This is a crucial aspect of chimpanzee social life and contributes to the stability and well-being of their social groups and the fact that Jane is allowed to participate in this activity is also groundbreaking and has never been observed.
March 1962. Today, David Greybeard approaches Jane with an unusual excitement. He gently takes her hand and leads her through the forest to a secluded spot. There, nestled in the branches of a tall tree, is a newborn chimpanzee. Jane’s heart swells with emotion as she realizes that David has brought her to meet his mate and new baby. The tiny chimp clings to its mother, eyes wide and curious. Jane feels an overwhelming sense of trust and kinship as she observes this intimate family moment.
Early July 1964. Jane has been visiting the troop for years now. David has aged. On this day, Jane is having difficulties locating David. She does see members of the troop but cannot locate David. Off in the distance, she sees David. Something is different. David is ill. Jane begins to groom David. David allows her to do so. He lies down next to Jane as she continues to groom. David is unwell. As the sun begins to set, Jane and David sit together observing their surroundings. The forest is alive with the sounds of birds settling in for the night and the rustling of leaves in the gentle breeze. David reaches out and touches Jane’s hand, a gesture of quiet companionship. She feels the warmth of his touch, the rough texture of his skin, and a profound sense of connection. As the sky turns to shades of orange and pink, they sit in silence, each lost in their thoughts but comforted by the presence of the other. The bond they share is beyond words, a testament to the deep understanding and respect that can exist between different species. In this tranquil moment, Jane knows that she is exactly where she is meant to be, side by side with her friend, David Greybeard.
Late July 1964. Jane, in the same place we last saw her, is alone. David is no longer there. Off in the distance, we see the troop moving on...leaving the area. David is not with the group. David has isolated himself and gone off to die alone. Jane begins to journal. She reaches in her bag to get her journal, and finds the stick that David used to collect termites with. Jane sits alone with the stick, reflecting on her studies, her years of observations, and her friend David Greybeard.
ACT 3
“Exploration for Guitars and Strings”
Don’t Ask, Don’t Tell
2003, Fort Benning Military Training Base, Georgia. The military training base buzzes with activity. As the war in Afghanistan rages on, American soldiers are training for their inevitable deployment. The atmosphere is one of relentless intensity, marked by the hyper-masculine environment of the military. The training is intense, rigorous, routine, and exhausting. Two of the soldiers, Michael and Collin, navigate this demanding landscape with a connection that runs deeper than mere camaraderie. They exchange glances that linger a moment too long and touch in ways that speak volumes in silence. Under the shadow of the “Don’t Ask, Don’t Tell” policy, they must hide their affection, masking their emotions behind the facade of military toughness. During training, they are always careful to keep their bond hidden from prying eyes. For Michael, the idea of loving a man is completely brand new and nothing that he has ever entertained before. But his feelings for Collin are real and deep.
In the barracks, amidst the rough banter and physical drills, they find small ways to connect—a brief brush of hands, a whispered word of encouragement. While their affection for one another grows, they are always ever so careful not to be discovered. As training continues, their fellow soldiers do not suspect a thing. The two are always discreet. All of the soldiers become a fraternity in a sense; a band of brothers training for what could possibly be a violent and deadly future.
At night, when the camp quiets, Michael and Collin steal moments together in the dark, their whispered conversations filled with shared dreams and fears. These stolen moments are their sanctuary, a respite from the harsh reality of their situation. Collin keeps a journal, pouring his heart into its pages, his love for Michael, his fears, his dreams of a future together. It is his own way of coping, a private sanctuary amidst the turmoil. Collin is always careful to never “name” Michael in the journal for fear of it being discovered. He hides his journal amongst his personal items. He sleeps.
The soldiers are woken the next day by their commanding officer. Deployment orders arrive, and they are sent to the battlefields of Afghanistan. The men pack up, board a plane, and arrive to the U.S. military base in Afghanistan. The conditions there are grueling, with the constant threat of violence hanging over them. The soldiers are sent on potentially deadly missions which involve seeking out the enemy in war-torn villages and to defuse roadside bombs planted by the enemy. Always on edge and always dangerous.
Amidst the chaos, Michael and Collin’s affection for one another is a beacon of hope. They find solace in each other, even as they navigate the horrors of war.
One day, the journal is discovered by their fellow soldiers. The reaction is swift and brutal. Laughter and taunts fill the air, as the soldiers hurl insults and slurs at Collin. Michael watches, his heart breaking, but fear keeps him silent. He cannot afford to be seen defending Collin, lest their secret be exposed. The Commanding Officer learns of the journal, and Collin is court-martialed, his dismissal swift and unforgiving. As he is escorted away, Michael cannot bring himself to say goodbye, the weight of his silence crushing him.
2018. A Ceremony in Washington D.C. Fifteen years have passed, and the war becomes a memory etched in the minds of those who survived. A ceremony is held to honor the soldiers who fought in Afghanistan. The soldiers gather, older now, the scars of battle and time visible in their faces. No longer boys, the soldiers have lived a lot of life. Among them is Michael. He is married now, and his wife is by his side. Collin, who has been extended an invitation to the ceremony as part of the military’s effort to acknowledge and make amends for the injustices of the past “Don’t Ask, Don’t Tell” policy. Michael’s eyes scan the crowd, and he spots Collin. Their eyes meet, and for a moment, time stands still. Michael’s wife is as understanding and open hearted as they come. There are no secrets in this marriage. She knows and understands the history between the two men. She steps away, giving Michael and Collin the space they need to reconnect and to possibly heal old emotional wounds.
The air is thick with tension as they approach each other. Words fail them at first, the weight of their past hanging heavy. For Michael, he has carried the burden and guilt for a decade. Though he has married, his life has been haunted by this tremendous guilt. For Collin, he has moved on and seems to be at peace. In a moment of unspoken understanding, they embrace. The years of pain and regret melt away in that hug. Michael whispers an apology, his voice choked with emotion. Collin holds
him tightly, tears streaming down his face. All is well, as the love that once had to be hidden now finds a small moment of peace. In that embrace, they find closure. The ceremony continues around them, but for Michael and Collin, it is a moment of healing, a chance to acknowledge the love they once shared and the sacrifices they made. The past cannot be changed, but in this moment, they find a measure of forgiveness and understanding. Their story, once silenced by fear and prejudice can now be openly discussed and healing can take place.
ACT 4
“No Words” (Movements I, II, III)
The Story of Marta C. González: The Prima Ballerina with Alzheimer’s Disease
In the serene corridors of a nursing home in Valencia, Spain, in 2019, nurses and aides move with practiced precision, attending to patients engaged in various therapies and feeding routines. Some residents participate in physical therapy, others in cognitive exercises, while a few are gently assisted with nourishment.
Marta C. González, a former prima ballerina in her mid-seventies, is wheeled into the common area. Her once vibrant eyes are now clouded by dementia. Non-verbal and often unresponsive, Marta is a shadow of her former self, trapped within her mind. Her aide, Esteban, a compassionate young man, cherishes his time with her, knowing snippets of her past that fuel his dedication. His mission is to keep her calm and happy, a task he approaches with love and patience. As Esteban tries to feed Marta, she grows visibly annoyed, pushing the food away, unsettling the other residents. Undeterred, Esteban soothes her. Their eyes meet, and in that moment, a connection rekindles. Marta allows him to feed her, a silent testament to their unique bond. Understanding Marta’s deep love for music and dance, Esteban decides to use it as therapy. He gently places headphones over her ears, but Marta resists, fussy and agitated. With a calm demeanor, Esteban reassures her, eventually securing the headphones. As the music begins, Marta’s face contorts. She tears the headphones off, throwing them to the ground. Ever patient, Esteban does not show frustration. Instead, he comforts her, rubbing her hand with a warm smile. Marta, though non-verbal, communicates her readiness to try again. Esteban places the headphones back on, and once more, the music flows. This time, Marta’s face softens. Her arms begin to move, echoing the grace of her youth. For a fleeting moment, Marta is transported back to a time when she danced freely. She moves with grace beyond her years, but then reality returns. Her arms drop, her head bows, the weight of her current state pressing down. Esteban touches her hand again, offering silent support. Marta’s eyes meet his, gratitude shining through.
Marta allows the music to take her once more. Her body sways, arms lifting in a delicate dance that mirrors Swan Lake. The other aides and residents notice, pausing their own actions to watch in awe, their hearts swelling with joy and compassion. As Marta becomes more enraptured, the nursing home transforms. In a magical moment, residents and aides alike begin to dance. Wheelchair-bound individuals and those previously unresponsive move like trained dancers, performing a breathtaking rendition of Swan Lake. The room becomes a grand stage, filled with grace and unity.
A ticking clock echoes through the hall, drawing everyone back in time. Older Marta and her wheelchair vanish, and younger Marta appears. No longer an elderly woman, but a child. It is now 1934, and Marta is 10 years old. It is Christmas in Avila, Spain, Marta’s birthplace. Her parents present her with a wrapped gift. Excited, she opens it to find her first ballet shoes. Her young face lights up, marking the beginning of her passionate affair with dance. She slips on the shoes, her initial attempts unpolished but determined.
Now 1941, Marta is 17 years old and arrives in Madrid, clutching a suitcase, wearing a coat. She has been accepted into the Royal Conservatory of Dance Mariemma. The bustling city overwhelms and elates her. With directions in hand, she navigates the busy streets, heart pounding. This is her dream come true. Marta finds the school, pausing before entering. Awestruck, she takes in the talent around her—dancers, teachers, the rigor of training. Overcome, she questions if she belongs. She leaves the studio, doubting herself. Pilar Lopez, the teacher, sees Marta’s exit and reassures her. Pilar’s words give Marta the confidence to return. Welcomed by fellow students, Marta joins in.
Now 1946, Marta is 22 years old and a cherished member of the dance company. Pilar has become a close friend and mentor. They push each other to new heights. Marta has also found companionship
in Victor Ullate, a fellow dancer. Their flirtatious, fun relationship is admired by all. One day, Marta feels sudden nausea. A doctor confirms she is pregnant. That evening, she shares the news with Victor. Though shocked, he comforts her. They resolve to embrace the baby and their future. As Marta reduces her physical activity, Victor spends more time at the studio. Marta feels jealous but believes his reassurances.
One night, Marta wakes to find Victor gone. Uneasy, she hurries to the studio, where she discovers Victor in a passionate embrace with Pilar. Betrayal and fury consume her. Confrontation erupts. The fight escalates—Victor pushes Marta. She strikes back. He flees, leaving her alone. In agony, Marta collapses, realizing she is losing her unborn child. Blood pools beneath her. Her world shatters.
Now 1950, and Marta is 26 years old. She has built a new life in New York City. She is a company member of the New York City Ballet, far from her painful past. She enjoys a picnic in Central Park with her best friends—fellow dancers Diana Adams, Frank Hobi, and Harold Lang. After a lovely morning, they head to the theater, warming up under the rigorous eye of Ballet Master Lew Christensen. The air is thick with focus.
That evening, Marta is playing a cygnet in Swan Lake but understudying Diana as Odette. During Act 1, Diana lands awkwardly, injuring herself. Chaos erupts backstage. Diana cannot continue with the performance. Lew turns to Marta. Fear grips Marta, but Diana reassures her—she is ready. In the dressing room, Marta dons Odette’s costume, hands shaking. Encouragement from castmates strengthens her resolve. The lights dim and Act 2 begins. At first timid, Marta soon finds her stride. Years of dedication culminate in a dazzling performance.
As the final adagio nears, younger Marta exits, revealing the nursing home. Older Marta, lost in the music, dances. Her arms move gracefully, mirroring her younger self. The song ends. In her mind, older Marta hears the applause of an adoring audience. She bows her head. The stage fades to darkness, leaving the image of Marta—past and present—etched in memory.
THE LEGEND OF THE NUN OF MONNA TESSA
DON’T ASK, DON’T TELL
JANE GOODALL AND DAVID GREYBEARD: A LANDMARK ENCOUNTER
MARTA C. GONZÁLEZ: THE PRIMA BALLERINA WITH ALZHEIMER’S DISEASE
WHO’S WHO
JENNIFER BABIAK (Singer) is thrilled to return to A.C.T. of CT! Jennifer was last seen as Golde in Fiddler on the Roof in Yiddish Off-Broadway directed by Joel Grey. Broadway: Fiddler on the Roof; Off-Broadway: I Can Get it For You Wholesale (Classic Stage Company). Tours: West Side Story (Maria), EVITA (Mistress) Grease (Sandy). Regional: My Fair Lady (Eliza), Jekyll & Hyde (Emma), The Pirates of Penzance (Mabel). NYU Steinhardt graduate. A.C.T. of CT credits: Into the Woods (Cinderella), The Secret Garden and Joseph. Special thanks to Dan, Bryan, Erin, Katie, family, friends, and husband Michael.
JARYD FARCON (Dancer - Don’t Ask / Jane Goodall) is a New York based artist who has graduated from LaGuardia High School and Ailey/Fordham. He is a YoungArts winner in Jazz and has numerous International Latin Ballroom Titles. Jaryd is on faculty at Steps on Broadway and has danced with BHdos and Ailey II. Currently, he is a company member with the New Jack Cole Dancers. Jaryd is thrilled to be performing at A.C.T. of Connecticut. Thank you to MSA and my family. @jaryd_farcon
PAUL GIARRATANO (Dancer - Don’t Ask / Jane Goodall) is a performer based in New York and believes that movement is joy! Credits include: The Radio City Christmas Spectacular, Metropolitan Opera, CATS National Tour, Park Avenue Armory, and others. He is filled with gratitude for the wonderful life he gets to live, and he hopes you know that YOU are a star!!
REBECCA HOODWIN (Older Marta González) launched her career at 21 as ‘mom’ to Harvey Korman in Little Me. She toured in Fiddler on the Roof, with Theodore Bikel and Harvey Fierstein. Stage Favorites: Driving Miss Daisy; Cabaret; a memorable day as Guenevere opposite Rock Hudson; Ouiser in Stomping Ground’s Steel Magnolias, NYC; and Arvide Abernathy in Guys and Dolls at A.C.T. of CT. Camera favorites: “Nurse Jackie;” “ESPN w/David Ortiz;” “As The World Turns;” Dudley Moore’s “Arthur”. http://rebeccahoodwin.com
FIONA CLAIRE HUBER (Dancer - Marta González / Monna Tessa / Jane Goodall) is thrilled to be performing at A.C.T. of Connecti-
cut! She led the second national tour of An American in Paris as Lise Dassin and is currently based in New York City. Fiona grew up training at Atlanta Ballet and later graduated from Butler University with a bachelor’s degree in Dance & Arts Administration. Eternal love to my incredibly supportive family, friends, and agents at Bloc! @fionasfun
JOLINA JAVIER (Dancer - Marta González / Monna Tessa) has recently been seen in Disney’s The Lion King, North American Tour. Broadway/NYC: The Phantom of the Opera, The Light in The Piazza (Young Margaret) & A Chorus Line (Connie Wong) (NYCC), Nixon in China (The Metropolitan Opera), The Radio City Christmas Spectacular. Favorite Regional: Guys and Dolls (PCLO), Nicoline in Susan Stroman’s Little Dancer (The Kennedy Center). Film/TV: “Leave on High,” “Evil,” “Feud.” “The 75th Annual Tony Awards,” “The Tonight Show with Jimmy Fallon,” “The Kelly Clarkson Show”. @jojolinajavier
JALEN MICHAEL JONES (Dancer - Marta González / Monna Tessa / Don’t Ask) is excited to be making his A.C.T. of CT debut! He has performed at regional theaters, with productions including Bye Bye Birdie (The Kennedy Center); Newsies (The Rev Theatre); Kinky Boots (The Fulton Theatre and MSMT); The Prom (Pioneer Theatre Company), A Chorus Line (Cincinnati Playhouse); and Legacy: An Evening with Maria Friedman & Friends (Broadway’s Hudson Theatre). Jalen would like to thank his parents and loved ones for the utmost support! #PonyUP #CESD
LAURA KATHERINE KAUFMAN (DancerMarta González / Monna Tessa) currently dances at the Metropolitan Opera, is Co-director of Woman in Motion, and teaches at Steps on Broadway and BDC. National Tours: CATS, An American in Paris. Concert dance: City Ballet of San Diego, Odyssey Dance Theatre, Sugar Hill Nutcracker. TV: “Etoile”- Amazon Prime. She wants to thank her family for their support, CESD, and Sara Brians for this beautiful opportunity...what an immense gift it is to create and share our art. @yuzzz12
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RAMONA KELLEY (Dancer - Marta González / Jane Goodall / Dance Captain for Jane Goodall) is from Berkeley, CA where she began her training at Berkeley Ballet Theater. She went on to earn a BFA in dance from New York University’s Tisch School of the Arts. Ramona danced the principal role of ‘Betsy’ in the touring production of Twyla Tharp’s Come Fly Away. She went on to tour internationally with the Tharp company performing major roles in repertory works and creating world premiers. Ramona was a principal with Oakland Ballet, a guest principal dancer with Minnesota Dance Theater, and has also performed with Smuin Ballet, Dance Lab New York, Claudia Schreier and Co, Post:Ballet, Sidra Bell, Christopher Wheeldon’s An American in Paris and Phantom of the Opera (25th Anniversary Tour) among many others. Ramona has taught master classes in Twyla Tharp technique across the country, and has taught ballet and contemporary for companies and institutions including New York University, Joffrey Ballet School, Peridance NYC, and Twyla Tharp Dance. She is currently a freelance performer and teacher based in NYC.
COLBY MARIE (Dancer - Marta González / Monna Tessa / Don’t Ask / Jane Goodall) Thrilled to be dancing Few Words at A.C.T. of CT!! N’tl Tour: Anastasia (swing, Odette u/s). Regional: Anastasia (swing). Company dancer with Woman in Motion. TV: “Marvelous Mrs. Maisel.” NYC highlights include performing works for Katie Drablos, Carlos Falú and Daniel Gold. Training/Ballet Companies: Pacific Northwest Ballet, Oregon Ballet Theatre, Pittsburgh Ballet Theatre and Cincinnati Ballet. Biggest gratitude to Sara Brians and CESD Dance!! Love to Emma, Mom, Tyler and Rachel. Shout out to SunChips. @colbymarie93
MICHAEL FRANCIS MCBRIDE (Dancer - Marta González / Don’t Ask) was a member of Alvin Ailey American Dance Theater for 10 seasons. Michael holds his BFA from Fordham University graduating magna cum laude with departmental honors. Mr. McBride has performed in productions for the Metropolitan Opera, Santa Fe Opera, Chicago Lyric Opera, Portland Opera, Bucks County Playhouse, Teatro Lirico di Cagliari, and Cape Playhouse. He
performed with Ariana Grande for the 2024 Met Gala and Alan Cumming for Fire Island Dance Festival. @mickey.mc www.michaelfrancismcbride.com
DARIO NATARELLI (Dancer - Marta González / Monna Tessa / Don’t Ask) Broadway: Illinoise (OBC, Asst. Dance Captain). Off-Broadway: Oliver! (Encores!), Tap Dance Kid (Encores!), Tappin’ Thru Life, Artists At The Center (Ayodele Casel/Michelle Dorrance), Illinoise (Park Armory). Other credits include: “Maestro” (Netflix), “SNL,” “Postmodern Jukebox” (tap soloist), “Vail Dance Festival,” “YoungArts,” “Macy’s Thanksgiving Day Parade,” “Newsies,” “Cabaret,” and more. LaGuardia Arts, PSU MT. Thanks to family, friends, mentors, agents, and everyone involved. Go In Rhythm. IG: @dario_natarelli | @knitarelli
NICK NAZZARO (Dancer - Marta González / Monna Tessa / Don’t Ask / Jane Goodall) is excited to be dancing at A.C.T. of CT with such an amazing group of artists. He has been seen at Paper Mill Playhouse, The Muny, Starlight Theatre, SNL, The Tonight Show with Jimmy Fallon, and many more stages across the world. The opportunity to work on new stories will always remain at the center of Nick’s love for the arts. Thank you for supporting this beautiful new creation. @nick.nazzaro
HUGO PIZANO OROZCO (Dancer - Marta González / Don’t Ask / Jane Goodall) was born in Guanajuato, Mexico and moved to New Mexico at an early age. He graduated from the Juilliard School in 2022. While attending Juilliard, Hugo became a Miranda Family Fellow. He joined and toured with Ballet Hispanico from 2021-2023. Most recently he performed Twyla Tharps new work How Long Blues. He’s super pumped to be performing for the first time at A.C.T. of Connecticut
CONSTANTINE PAPPAS (Singer) Broadway: Harmony. National Tour: The Phantom of the Opera. Off-Broadway: Penelope. Regional: Master Class (MTC), The Secret Garden (A.C.T. of Connecticut), I Hate Hamlet (MTC), Kismet (Granada Theatre), A Christmas Carol (DCPA, WPPAC), First Date (Seven Angels), Into the Woods (GVT), Les Misérables (Fox Theatre). Opera: Il Barbiere di Siviglia (Figaro), La bohème
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(Marcello), The Secret of Luca (Luca). Spokesman for EDGE Sound Research. Represented by Avalon Artists Group. www.constandpappas.com FB, IG - @constandpappas
KATHERINE RIDDLE (Singer) is thrilled to be returning to A.C.T. of CT! Regional credits include: Signature Theatre (Sweeney Todd, She Loves Me), A.C.T. of Connecticut (Guys and Dolls), The Shakespeare Theatre Company (The Matchbox, Magic Flute, The Secret Garden), The Glimmerglass Festival (Sweeney Todd, La bohème) and Weathervane Playhouse (Oklahoma, Les Misérables). Concert appearances include: American Pops Orchestra, Fairfax Symphony, West Virginia Symphony and Vladimir Symphony. Competitions: Lotte Lenya Competition (Marc Blitzstein Award Winner), American Traditions Competition. Training: American University / King’s College London. www.katherineriddle.com
LAUREN ROTHERT (Dancer - Monna Tessa / Jane Goodall) A Dallas, TX native, Lauren trained at Booker T. Washington High School for the Performing and Visual Arts and Dance Industry Performing Arts Center. She earned her BFA in Dance and BA in Psychology from Fordham University and The Ailey School. In 2023, Rothert joined HopeBoykinDance and made her professional debut in States Of Hope at the Joyce Theater. Lauren currently resides in New York, working as a freelance artist and Integrative Health Coach.
SHOTA SEKIGUCHI (Dancer - Marta González / Monna Tessa / Don’t Ask) Gatsby (A.R.T/Dir Rachel Chavkin, Cho Sonya Tayeh and Music Florence + the machine) Capezio, Redken Industrial, Longchamp and The Bail Project commercial (Dancer/Model), “Macy’s Thanksgiving Day Parade,” NBC (Dancer). Education: The Ailey School Certificate Program graduate. Represented by CESD.
DREW SEIGLA (Singer) A Richmond, VA native, is ecstatic to return to A.C.T. of CT under the baton of Bryan Perri. He made his Off-Broadway debut as Matt in The Fantasticks & soon after joined the Off-Broadway cast of Sweeney Todd as the standby for Anthony/Tobias/Beadle at Barrow St. Theatre. He is most known for playing Pertshik in Fiddler on the
Roof in Yiddish, and can be heard singing the role on the Original Cast Album. This critically acclaimed production was directed by Tony and Oscar award winner, Joel Grey. Drew sang the role of Bruno in Ricky Ian Gordon’s world premiere opera The Garden of the Finzi Continis with New York City Opera. He returned to sing with NYCO for their Bryant Park “Picnic Performance” productions of La Traviata as Gastone and Roméo et Juliette as Tybalt. Drew is an alumni from The Juilliard School with a B.A. in Music from the Vocal Arts Division. Thanks to God, Mom & Dad, and his wife, Steph.
ANNE FRASER THOMAS (Singer) is honored to sing the gorgeous music of Bryan Perri! She was last seen as Molly Brown in the off-Broadway hit Titanique. Other credits include Clotho in Disney’s Hercules, Aldonza in Man of La Mancha, and many more roles/shows. Her proudest accomplishment is being mommy to her daughter Violet! She thanks her husband Adam for letting her play this week in CT! :)
DANIEL C. LEVINE (Director / Conceiver / Writer / A.C.T. of CT Artistic Director) is a 2022 Grammy Nominee and thrilled to serve as Artistic Director of A.C.T. of CT. Before co-founding A.C.T. of CT in 2018 (along with Katie Diamond and Bryan Perri), Daniel appeared on Broadway and in the Broadway National Tours of: Mamma Mia!, Little Shop of Horrors, The Rocky Horror Show, Jesus Christ Superstar (Tony Nomination For Best Revival), Chicago, Les Misérables, and The Who’s Tommy. Daniel was nominated for Best Actor in a Musical by The League of American Theaters and Producers, for his role as Cousin Kevin in Tommy. He also originated the role of Mary Sunshine in the Broadway National tour of Chicago. Daniel has worked extensively across the country including: Oklahoma! (5th Avenue, Seattle), Next to Normal (Seven Angels Theater), Guys and Dolls (The Ordway Theater, Minneapolis), Company (5th Avenue, Seattle), Man of La Mancha (Cleveland Playhouse), Sweet Charity (West Virginia Public), Jesus Christ Superstar (North Carolina Theater /Kansas City Starlight), Joseph.....Dreamcoat (North Shore Music Theater, Boston), and Evita (Music Theater of CT). Daniel is the creator/produc-
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er/director of Broadway Backstage!, Dancin’ Broadway, and American Dance Spectacular!–all of which have toured throughout the U.S. He is the creator/director of Born to Dance, a multi-media production performed throughout the fleet of ships on Princess Cruise Lines, in collaboration with Stephen Schwartz. At The Ridgefield Playhouse, Daniel directed Tommy, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, and An Evening With Joel Grey, and also served as the moderator and host for An Evening With The Celebrity Housewives. At A.C.T. of CT, Daniel has directed Mamma Mia!, Evita (2018 Broadway World CT Best Director of a Musical winner), Working (which he re-conceived with Stephen Schwartz), Godspell, Snapshots, Into the Woods, Jesus Christ Superstar, Rent, Guys and Dolls, The Secret Garden (2023 CT Critics Circle Award for Best Direction of a Musical winner), Sunset Boulevard, and Fiddler on the Roof. Daniel returned to his performing roots and played “The Dentist” in A.C.T.’s production of Little Shop of Horrors, and was also thrilled to star alongside Katie Diamond and Bryan Perri in The Last Five Years. Daniel was nominated for a Grammy Award for the cast album recording of A.C.T. of CT’s Snapshots (now available on-demand on BroadwayHD). Daniel’s reconceived version of Working was licensed by Music Theater International and theaters around the country are now producing and presenting A.C.T. ‘s version of the musical. Daniel graduated Brandeis University and attended Tufts University School of Dental Medicine. www.danielclevine.com
BRYAN PERRI (Music Director / Composer / Conductor / A.C.T. of CT Resident Music Supervisor) is an award-winning musician. Perhaps most known as a Music Supervisor, Orchestrator, Arranger, Music Director, and Conductor, he is also an American Composer. His debut album, “Few Words” is available on all streaming platforms. On Broadway, Bryan served as the Music Supervisor and Conductor of Almost Famous. The world premiere at San Diego’s Old Globe earned him the prestigious Craig Noel Award for Best Music Direction. He also served as Music Director and Conductor of Jagged Little Pill, a production that earned
nine Tony nominations. His extensive Broadway credits extend to the hit musical Wicked, where he spent nearly a decade music directing, and the original company of Chaplin, for which he not only served as Music Director, but Dance and Vocal Arranger. He also served as Music Director for the Broadway National Tour of Next to Normal, starring Tony Award winner Alice Ripley. Off-Broadway credits include Superhero, Dogfight, and Vanities all at 2nd Stage Theater. He was Music Supervisor for Disney’s Freaky Friday premiering at the Signature Theater in D.C., Limelight at the La Jolla Playhouse, and Music Supervisor and Co-Orchestrator for the World Premiere of the critically acclaimed new musical, The Lonely Few at the Geffen Playhouse. Bryan music directed Pulitzer Prize-winning composer Anthony Davis’s new musical Shimmer, and also served as Music Supervisor and Co-Orchestrator of Empire Records which premiered at The McCarter Theatre. Bryan is the Music Director and Arranger for notable artists like Aaron Tveit, Lauren Patten, and Jessica Vosk. He’s performed with them in venues across the country, including the American Songbook series at Lincoln Center, House of Blues, Irving Plaza and Webster Hall. Bryan was also nominated (along with Daniel C. Levine and Stephen Schwartz) for a Grammy Award for the world premiere cast recording of Stephen Schwartz’s Snapshots (an A.C.T. of CT production). Furthermore, Bryan has collaborated with his husband, Daniel C. Levine, the Artistic Director of A.C.T. of CT, on several successful productions, including the creation of Born to Dance (in association with Stephen Schwartz), currently running on the Princess Cruise Line fleet. Bryan is proud to be a Founding Member of A.C.T. of CT and is honored to serve as Resident Music Supervisor for past seasons including Mamma Mia!, Evita, Working, Spelling Bee, Little Shop of Horrors, Nickel Mines, Godspell, Into the Woods, The Last Five Years, Rent, Jesus Christ Superstar, Smokey Joe’s Cafe, Guys and Dolls, The Secret Garden, Sunset Boulevard, Kinky Boots, and Jersey Boys. Bryan has also musically directed concert productions of Tommy, Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ Superstar (all directed by Daniel C. Levine). He is the creator
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of A.C.T. of CT’s Broadway Unplugged series, which has become an audience favorite, and servesasAdvisorona$30,000musiciangrant for the Posthumous Prodigy Productions Fellowship Award. Bryan holds a Bachelor of MusicfromNYUinVocalPerformance,aswell asaMaster’sDegreeinMusicfromCincinnati ConservatoryofMusicinOrchestralConducting.Hispassionformusicextendsbeyondthe stage, as he enjoys teaching music in various forms to individuals of all ages, particularly through A.C.T. of CT’s Conservatory Program. Above all, Bryan firmly believes that theater mattersandtheartsareessential!
SARABRIANS (Supervising Choreographer / Choreographer “Ephemerality” / Monna Tessa) is an NYC-based director and choreographer. Recently, Sara was the US Associate Choreog-rapher for The Hills of California (Broadway) directed by Sam Mendes, and choreographed Anything Goes at Gulfshore Playhouse. She is currently the Associate Director of Love Life at New York City Center Encores! and will direct Waitress at A.C.T. of Connecticut this season. Sara has worked on Broadway (42nd Street, Bil-ly Elliot, Matilda, White Christmas, The Terms of My Surrender, and After the Night and the Music) and with prestigious institutions including The Radio City Rockettes, The Kennedy Cen-ter, Goodspeed Opera House, The 5th Avenue Theatre, Asolo Repertory Theatre, Theatre As-pen and many more. www.SaraBrians.com&@brianssarakonig.
JENNIFER ARCHIBALD (Choreographer
“Am-bient Words” / Jane Goodall) is currently an acting lecturer at the David Geffen School of Drama at Yale University. She was appointed as the first female ResidentChoreographerinCincinnatiBallet’s 40-yearhistory.Thisseasonher works will be performed by The National Ballet of Canada, Grand Rapids Ballet, Ballet Smuin, BalletX, Ballet Met, Terminus Contem-porary Ballet Theater and Stockholm’s Balletakademien. She was the acting Movement Director for Michael Kahn’s The Oresteia at theShakespeareTheatreCompany.
ELLENORE SCOTT (Choreographer
“No Words” / Marta Gonzalez) is a BIPOC, NewYork
basedchoreographeranddirector. Broadway: Funny Girl, Mr. Saturday Night, Grey House.Off-Broadway: The Lonely Few, I Can Get It For You Wholesale, Little Shop of Horrors, Titanique (Lucille Lortel Nomination). Other choreogra-phy credits: Titanique (Australian, Canadian and West End productions), Funny Girl (1st NationalTour), “SoYouThinkYouCanDance?”(Season 17), “Single All the Way” (Netflix). Scott’s work has also been seen at McCarter Theatre, The Bushwick Starr, The Old Globe, Hudson Valley Shakespeare Festival, Cherry Lane Theatre, Asolo Repertory Theatre, Cape Fear Regional Theatre and Seattle Repertory Theatre. TV Performances: “Marvelous Mrs. Maisel,”“Smash,”“The Blacklist,”“Glee!,”and FinalistandAll-Staron“SYTYCD”.Scottservesas theVicePresidentoftheSDCFBoard.
@helloellenore
MALEEK WASHINGTON (Choreographer “Ex-ploration for Guitars and Strings” / Don’t Ask, Don’t Tell”) is a performer, choreographer, and teaching artist. A Bronx native, he trained at Harlem School of the Arts, Broadway Dance Center, and LaGuardia High School, later attending The Boston Conservatory. He be-gan his career with CityDance Ensemble before joining Abraham.In.Motion for four seasons. Maleek made history as the first African-American male to perform in Sleep No More (Punch Drunk). He choreographed for rap legend Nas’2022 Big Nas Masterclass, assisted on Spike Lee’s Mont Blanc commercial, and performed with Sia, Phish, Rihanna, and NBC’s “Jesus Christ Superstar LIVE.” A longtime member of Camille A. Brown and Dancers, Maleek was assistant choreographer for Porgy & Bess (Grammy Winner) and Fire Shut Up In My Bones at The Metropolitan Opera. Recognized at The White House, Kennedy Center, Jacob’s Pillow, The Joyce Theater, and The Apollo, Maleek has been commissioned by renowned organizations and is a soughtafter teaching artist. A 2022 Princess Grace Award Winner, 2021 Bessie Nominee, and Co-curator of the 2019 Bronx APAP Dance Festival, Maleek fin-ished starring in the original creative cast of Life & Trust in NYC’s FinancialDistrict.
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JACK MEHLER (Scenic / Lighting Designer) is a proud founding board member of A.C.T. of CT, where he designed scenery and lighting for Mamma Mia!, Evita, Working, Smokey Joe’s Café; scenery for ...Spelling Bee, Jesus Christ Superstar, Guys & Dolls, Jersey Boys; lighting for Little Shop…, Godspell, The Last Five Years He received the 2012 Korean Musical Theatre Award (Korean Tony) for Elisabeth and the 2013 award for Rebecca. He designed the lighting for Daniel C. Levine’s Born to Dance for Princess Cruises/Stephen Schwartz. Other theatre includes North Shore Music Theatre, Riverside Theatre, Paper Mill Playhouse, Seattle Rep, Walnut Street Theatre. Dance work includes Alvin Ailey, Atlanta Ballet, Ballet Met, Ballet West, Donald Byrd/Spectrum, Houston Ballet, Joffrey Ballet, Lar Lubovitch, New York City Ballet, San Francisco Ballet, Washington Ballet. He also consults for organizations, designing and renovating performance spaces. www.jackmehlerdesign.com
LESLIE BERNSTEIN (Costume Designer)
Off-Broadway: Off Peak (59E59), Little Rock (Sheen Center), Wringer (City Center II), Band Of Angels and Wanda’s Monster (Mint Theater), Dory Fantasmagory, Interstellar Cinderella, and This is Sadie (Theater Row) Opera: La bohème (Ash lawn Opera), The Magic Flute (Arizona, Hawaii, Madison, Kentucky and Pittsburgh Opera) Regional: West Side Story and A Little Night Music (Brevard Music Center), The Opposite of Sex (Co Pat Fields, Magic Theatre), The Harlem Nutcracker (Wiltern Theatre), Godspell (Syracuse Stage), Master Harold and The Boys (Portland Stage), Intimate Apparel (Arkansas Rep), 4000 Miles, Stones in His Pockets, The October Storm, Talley’s Folly, and Proof (Hudson Stage Co) Broadway: Associate: Disgraced (Lyceum), Domesticated (LCT), and WIT (MTC). lsbernstein.com
SHANNON SLATON (Sound Designer) on Broadway has designed Melissa Etheridge: My Window and The Illusionists as well as being the Associate Designer for The Humans, Blackbird and several other shows. He has also designed more than fifty national tours including: Shrek, The Producers, Kiss Me Kate, Noise/
Funk, The Full Monty, Contact, A Chorus Line, Tap Dogs, Aeros, Sweeney Todd, The Wizard of Oz, The Drowsy Chaperone, and The Wedding Singer. Shows he mixed on Broadway include: Springsteen on Broadway, Man of La Mancha, Bombay Dreams, A Christmas Carol, Sweet Charity, Jersey Boys, Dirty Rotten Scoundrels, The Drowsy Chaperone, Spring Awakening, Fela!, Anything Goes, Annie, Legally Blonde, and Cabaret
JOEY MORO (Projection Designer) designs lighting, projection, and scenery. Joey has designed over 200 productions in NYC, regionally, and abroad. Recent projection work: True Art (Dorset Theatre Fest), Walk Through Fire (Buglisi Dance Theatre), Thanksgiving Play (Dorset Theatre Fest), The Wanderers (Roundabout Theatre), Good Vibrations (Houston Ballet), Sunken Cities Exhibit (Virginia Museum of Fine Art), 72 Miles to Go… (Roundabout Theatre), A Bright Room Called Day (Juilliard), Orange Julius (Rattlestick Playwrights Theatre). Lortel Award for Wet Brain at Playwrights Horizons. MFA Yale School of Drama. Joey is concurrently a Professor of design at Berklee NYC, of projection design at Yale Drama, and of lighting design at NYU Tisch. www.joeymoro.com www.moro.media
CARISSA THORLAKSON (Mask Designer) is a New Jersey-based wig and makeup designer. Off-Broadway: Grand Hotel at New York City Center and Little Rock. Credits include: Walnut Street Theatre, The Old Globe, A.R.T., McCarter Theatre, Hartford Stage, Lookingglass Theatre Company, Two River Theatre, Bay Street Theatre, Delaware Theatre Company, Hudson Stage Company, Temple University, Olney Theatre Center, the University of Delaware REP, The Princeton Festival, American Repertory Ballet, Santa Fe Opera, Sarasota Opera, The Kennedy Center, Shakespeare Theatre Company, Signature Theatre, and Round House Theatre. Carissa also creates custom medical wigs, cosplay wigs, and teaches classes in wigs and makeup. CThorwigs.com. @wigician
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NORVEL HERMANOVSKI (Puppet Designer) born in 1955 in New York City to Latvian immigrant parents, co-founded Silver Hill Atelier in TriBeCa with his wife, Fay, in 1979. Inspired by fresco painting during his studies in Italy, they created murals for iconic clients like David Bowie, Disney, Planet Hollywood, and Sony. A chance meeting with a designer led to a seven-year collaboration with Ltd. Express, during which they painted hundreds of murals and props for over 300 stores across the U.S. Now dividing their time between Europe and the U.S., Norvel blends classical artistry with contemporary design, showcasing their creative versatility. This is his second foray into set design for Broadway scale productions.
NICK ALTERI (Production Stage Manager) is excited to be continuing the journey here at A.C.T. of Connecticut! Nick graduated from The City College of New York with a masters in Theatre Education. Previous credits: Fiddler on the Roof at A.C.T. of Connecticut, May We All at The REV, A Christmas Carol (Menken) and Ring of Fire at Tuacahn Center for the Arts, The Lost Colony, Loch Lomond (workshop) and In the Light (workshop) through the Broadway Workroom, Arsenic and Old Lace at Delaware REP. Stay Hungry. Stay Foolish. Instagram: @nalteri02
ASHLEIGH DAVID (Assistant Stage Manager) is excited to be returning to A.C.T. of CT after Jersey Boys and Fiddler on the Roof. Favorite credits include Beautiful: The Carole King Musical and Chess (Muny); White Christmas, Ring of Fire, and the 2023 Amphitheater Rep Season (Tuacahn); Masterclass (Arizona Theatre Company); Junie B Jones and Pete the Cat (National Tours, TheaterworksUSA); In the Heights and A Chorus Line (Stages St. Louis); Think of Me Tuesday, Reparations, and Baskerville (Gloucester Stage Company); and Urinetown, Heathers, and Sylvia (Penn Players).
TEAGAN DEGROEN (Assistant Stage Manager) is excited to be returning to A.C.T. of CT for Few Words! Select credits include Jersey Boys, Fiddler on the Roof (A.C.T. of CT), West Side Story, The Color Purple, The Music Man, Seussical (Pittsburgh CLO), Joseph… Dreamcoat, Beauty
and the Beast (New Bedford Festival Theatre), Rent, ≈[Almost Equal To], Ride The Cyclone, The 25th Annual… Spelling Bee (Pittsburgh Playhouse). She is a proud Point Park University alum! With love and gratitude! @teagandegroen
R. ERIN CRAIG (A.C.T. of CT Producing Director) has spent her career to date developing, mentoring, and producing new artists and works through her work as Producer, Executive Producer, General Manager, Production Manager, and Consultant for theatre, film, music, and special events for nearly 30 years. Current commercial projects include: Austen’s Pride (A.C.T. of CT 2019) which will be launching a pre-Broadway tour in St. Louis this summer, and a new play by Ed Schmidt called Mr. Rickey Calls A Meeting. Select past Broadway and Off-Broadway projects include: In the Heights, High Fidelity, The Velocity of Autumn, The Evolution of Mann, Right Before I Go, Himself and Nora, Stalking the Bogeyman, The Jazz Age, Irena’s Vow, How We Got Away With It (feature film), Easter Mysteries (musical film), Chicago, Annie Get Your Gun (with Bernadette Peters and Tom Wopat). Member-Broadway League, Off-Broadway League, Theatre Resources Unlimited (TRU). Educator and Mentor. Houses on the Moon Theater Company, Board Member. Founder & owner of La Vie Productions. www.lavieproductions.com.
RIDGEFIELD SYMPHONY ORCHESTRA is a nonprofit professional symphony orchestra with the mission to enrich the cultural lives of the citizens of Ridgefield and surrounding communities by presenting musical performances of the highest artistic quality. The RSO also strives to increase the appreciation for music through active community involvement and innovative educational and performance outreach programs. Founded in 1964, the 2024/25 season marks the RSO’s 60th anniversary!
ACTORS’ EQUITY ASSOCIATION, founded in 1913, is the U.S. labor union that represents more than 51,000 actors and stage managers. Equity fosters the art of live theatre as an essential component of society and advances
WHO’S WHO
the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. actorsequity.org #EquityWorks
A.C.T. (A CONTEMPORARY THEATRE) OF CONNECTICUT is a nonprofit 501(c)(3) professional theatre located in Ridgefield, CT. Founded in 2018 by Katie Diamond, Daniel C. Levine and Bryan Perri, and along with the more recent addition of R. Erin Craig, A.C.T. of CT presents limited engagement runs of wellknown musicals, as well as world-premiere productions by the next generation of writers and composers. In addition to fully produced mainstage productions, A.C.T. of CT’s programming also includes a New Works Series, a Broadway Unplugged Series, and an extensive theater education program. With its 184 seats and turntable stage, the theater offers an intimate, unique, and immersive theatrical experience for its patrons. Given the proximity to New York City, A.C.T. of CT has access to top theatre talent and professionals. In just six seasons, A.C.T. of CT has become one of the most well-known and highly respected regional theatres in the area and received a Grammy nomination for Best Musical Theater Album for the cast album of their 2021 production of Stephen Schwartz’s Snapshots A.C.T. of CT is dedicated to inspiring, creating and nurturing a culturally diverse and equitable environment for its staff, creative teams, cast, musicians, crew members and audiences, and is committed to achieving a diverse workforce and to maintaining an inclusive, discrimination-free environment.
Information and/or opinions expressed in “Who’s Who” are those of the players, not necessarily those of A.C.T. of CT.
SPECIAL THANKS:
Suzanne Brennan & The Lounsbury House, Brooke Brown, Laurie Kenagy, Michael McNamara, Nutmeg Livery, NCL Ridgefield & Nutmeg, Danille Petrie & Christine Carnicelli & West Lane Inn, Planet Pizza, Queen B Coffee Co, Ridgefield Parks & Recreation, Ridgefield Playhouse, Ridgefield Station, Gerald Roche, Rudy Ruggles & Chris Westman, Daniela Sikora, Steve Zemo & Ridgefield Apartments, and our amazing volunteer ushers!
Historic farmhouse with all the charm of yesteryear, updated for today including 3 car garage addition with magnificent great room above. Stunning 2.09 acres with scenic pond and fountain, rolling lawn, front porch, rear screened porch and deck, electrified cottage/shed, chicken coop, horse barn with one stall, fruit trees, plus former paddock converted to fenced in vegetable garden with automatic sprinkler. Total 3,467 sf with 3 fireplaces and 2 wood burning stoves, exposed beams, and delightful options for gracious living and entertaining including: inviting kitchen with wood stove, exposed beams, and sunny dining area; living room with gas fireplace; den with vaulted timbered ceiling and 2nd wood stove; plus the family room addition with wood burning fireplace. The second floor offers the spacious primary suite with walk-in closets and remodeled bath including claw foot tub; 2 additional bedrooms with Jack & Jill bath; plus walk-up to storage attic. Top location, minutes to historic Main Street or Branchville station; walk to Florida Refuge for hiking; and only 58 miles to Midtown. $1,199,000
Espresso Bar & Gelateria
• The finest specialty coffee made by the most skilled baristas using the freshest locally roasted beans
Yoga Wear, Boho Clothing & Accessories • Spiritual Gifts & Statuary • Decks, Books & Cards The First Shungite Room in the USA
Special events, classes, workshops and retreats in both our Shungite Room and at The Angel Wing (our spiritual center next door).
• Readings • Yoga - All Levels • Massage
• Reiki
• Sound Healing • Acupuncture
• Energy Work • Gong Baths
• Certification Classes
51 & 49 Ethan Allen Hwy (Rt 7), Ridgefield, Connecticut 203-431-2959 • THEANGELCOOP.COM
A.C.T. OF CT STAFF
Artistic Director .................................................................................................................................... DANIEL C. LEVINE
Producing Director ..................................................................................................................................... R. ERIN CRAIG
Resident Music Supervisor ........................................................................................................................ BRYAN PERRI
Director of Education & Outreach .............................................................................................. HEATHER HILLMAN
Director of Development ...................................................................................................................... SHELLEY TERRY
General Manager ............................................................................................................................ TRACEY BRYGGMAN
Company Manager ........................................................................................................................... CHER CALDERONE
Box Office & Outreach Coordinator .............................................................................................. JARED REYNOLDS
Production Assistant ............................................................................................................................ BROOKE GELLER
House Manager ............................................................................................................................. JULIE COHEN SLOMA
Music Coordinator ............................................................................................................................ DENNIS J. ARCANO
Graphic Designer ..................................................................................................................................... PAUL WRONSKI
Parking Attendants ..................................................................................................... ROMAN HOLIAN, RYAN TERRY
Community Outreach / Partnerships .......................................................................... LAUREN CHIARELLO MIKA
Bookkeeper ................................................................................................................................................. MARIAN RIZZO
Rebecca Baglio, Ryan Bailer, Dan Berta, Kristin Beylouni, Betsy Brand, R. Erin Craig, Randy Donaldson, Jenn Hansen, Caroline Kellen, Peggy Marconi, Jack Mehler, Larry Morley, Bryan Perri, Marisa Schafer, Rajal Young
ARTISTIC ADVISORY BOARD
Susan Batten
Al Blackstone
Beowulf Boritt
Christian Borle
Trish Breede
R. Erin Craig
Mike Evariste
Caite Hevner
Peter Hylenski
Tom Kitt
Simon Matthews
Lindsay Mendez
Alan Menken
Christina Millar
Stephen Schwartz
Frank Selvaggi
EDUCATIONAL ADVISORY BOARD
Dennis J. Arcano
Selina Bell
Nancy Caron
Randy Donaldson
Carina Drake
Mike Evariste
Cory Gillette
Jenn Hansen
Mary Joyce
Jennifer Katona
Deborah Penn
Angela Rice
Rachel Ruggeri
Claire Simard
Jennifer Sproule
2023-2024 Donors
$100,000+
Anna-Maria and Stephen Kellen Foundation
Denise and Michael Kellen Foundation
Diamond Properties
Tom Nissley and the GRA Fund
Rudy L. Ruggles, Jr.
$50,000-$99,999
Anne S. Richardson Fund
Anita and Nick Donofrio
$30,000-$49,999
Fairfield County Bank HamletHub
Michele and Tom Quindlen
The West Lane Inn
$10,000-$29,999
Lori and John Berisford
Kristin and Darren Beylouni
Betsy and Michael Brand
Burry Fredrik Foundation
Dianna Colabella
CT Humanities
Gallo Ristorante
Liz and Steven Goldstone
Sheila and Michael Gray
Margaret Hajdarovic
Heather Hillman and Jack Whalen
Karen and Todd Kipnes
George F Landegger
Gerri and Robert Lewis
Joseph Loonan and Linda MacDonald
Tom and Tizzie Mantione
Ocean Mokum Foundation
Ridgefield Thrift Shop
Rodier Flowers
Robert & Diana Borman
Family Foundation
Katy Schermann and Rob Zink
Gary and Susie Singer
$5,000-$9,999
109 Cheese & Wine
Laura Freed Ancona and Joe Ancona
Rebecca and Scott Baglio
Kimberly and Christopher Bishop
BMW of Ridgefield
Kate and Brandon Bogard
Christine and Jeffrey Boris
Ann and Steven Carlson
Colonial Automobile Group
Colonial Cleaners
Deborah’s Ann’s Sweet Shoppe
Katie Diamond
Daniel C. Levine and Bryan Perri
The M&T Charitable Foundation
Lauren and Russ Mika
MLE Foundation
Nature’s Temptations
Catherine and Patrick Neligan
Russ and Holly Neumann
Nissan of Yorktown Heights
Nutmeg Livery Service
Jim and Susie Perakis
The Peter and Jeanne Charitable Fund
The Premier Collection, LLC
Patricia and Stephen Ross
Ian Schermann
Pamela and Ed Simoneau
Southwest Café
Allison and Jon Stockel
TerraSole Ristorante
Joyce and Gary Tomlinson
Cynthia and David Whitehouse
$2,500-$4,999
Adam Broderick Salon & Spa
Barker Welfare Foundation
Bonnie Beylouni
Boeing Matching Gifts
Angela and Magtanggol Caes
Christopher and Audra Cartelli
Ciotta Legal Group, LLC
Connecticut Office of the Arts
Sue and Bruce Cruikshank
JMJ Foundation
Mary and Christopher Joyce
Matt Bartelme and Kelly Moriarty
Kovak Foundation
Kristen and Robert Liesegang
Peggy and Rudy Marconi
Lorraine and Larry Morley
Karla and Greg Murtaugh
Jean and James Prusko
Rotary Club of Ridgefield
Heather and Robert Salaga
Gary and Susie Singer
Arts & Culture Foundation
Allison and Matt Susser
UBS Matching Gifts
Danielle and Philip Van Riper
Elizabeth and Paul Wronski
$1,000 - $2,499
Stephanie and Andy Anderson
David B. Smith and Maria Victor-Smith
Carl and Lauren Bailey
Dayna Beylouni White and Jason White
Heather and Jeff Butchen
Christa and Jeffrey Carone
Aesthetic Plastic Surgery Center
Tammy Conley and Roselinde Torres
Elaine and Kevin Cox
Katherine Daigle
The Dalessio Family
Dimitris Diner
Donna Farber
Kutnick Foundation
Renee and KR Fozouni
Dr. Gregory Brucato
Suni and Woody Harford
Leah and Jonathan Hayner
Mike and Susan Herron
Jana and Sean Hogan
Kristine and Brian Keaveny
Pamela Lancaster
Michael and Eva-Lynn Langan
Trish LaRosa
Barbara Manners
Tom and Eileen McIntyre
John Mendez
Elizabeth Murray Ellis
Terri and Marc Nathanson
The New York Community Trust
Polly O’Brien Morrow
Jennings Oil
Benjamin Oko and Helen Dimos
Ridgefield Pet
Jill and Rob Rae
Linda Reddy
Angela and Jason Rice
Elegant Ridgefield
Lisa Rosenblum and Saar Banin
Evelyn and Jeffrey Sabin
Kirsten Salley and Danny Butler
Marisa and Timothy Schafer
Michael Seelbach and David Stone
Patricia Sherrick
Stephen Shiller
Martha and John Shilstone
Beth Simon
Michael Steinmetz
Jill and Matt Teich
Shelley and Matthew Terry
The Tow Foundation
Rajal and Jordan Young
$500-$999
Beth Aaronson
James Abbott
Robin Albin
2023-2024 Donors continued
Bank of America
Jessica Auerbach
Sue Bellion
Mitch Brand
Kathleen and Thomas Brennan
Tiffany and Randy Carlson
Jeannine Carr
Dr. Martha Rogers and Mr. Dick Cavett
Richard Conway
Linda Costa
Louise and Sam Edelman
Ellen Burns and Darwin Ellis
Lisa and Doug Esneault
Shelly and Ira Joe Fisher
Denise and Bob Fontenelli
Susanne and Stan Galanski
Kerri Glass
Jennifer and Jeff Hansen
Sharon and Darin Hoffner
Laura Holdgrafer
Bob and Beverly Iannucci
Caleres Inc
Randy Donaldson and Michele Isenberg
Maria Klutey
Rick Lawrence
Ridgefield Library
Alexa and Fredrick Marshall
William Haseltine and Maria
Eugenia Maury
Amanda Gabbard and Michael McGuirk
James Andrew Wylie and Suzanne McLaughlin
Marquerite and John Mehler
Stephanie Miller
Ellen Murphy
Natassia Najman
Felicia and Shamon Nowling
Julie Peck
Denise and Brian Qualey
Stephen Reynolds
Carla Silva Setaro and Christopher Setaro
Annette Hasapidis and Brian Sferra
Lonnie Shapiro
Andy Sternlieb
Tina and Don Sturges
Grace Weber
Sarah Whitten
Marguerite and Alan Winsor
David and Victoria Yolen
$250-$499
Jack W Batman
Nancy and Gene Brandon
Cathleen Burns
Katherine Castano
Kam Daughters
Anissa Dematteo
Kerry Anne and Ken Ducey
Actors’ Equity Foundation
Mae Grant
Amy Griffin
Sally and Barclay Griffiths
Rabbi Jon and Jean Haddon
Victoria and Skip Jennings
Judith and Howard Levine
Jonathan Lustig
Carol and Dan Mahlstedt
Thomas Mitchell
Kenneth Ng
Kenneth Olsen
Cynthia and Marshall Rankowitz
Theresa Bearden-Rettger and Michael Rettger
John Riolo
Joseph Savoia
Scott Schwartz
Charles Shaeffer
Karen Fine-Shalett
Monica and Alex Staehely
Martin Wagner
Alexandra Walker
Joan and Michael Wexelbaum
$150-$249
Stephen Bartkus
Richard Burke
Jack Cole
Kathleen and Douglas
Coombs
Carol Dockery
Paul Evanson
Brendan Gaul
Karen and Ira Gerard
Mark Gilliam
Gary Harger
Ann and Steve Harrington
Mary Hoermann
Christine Janssen
Brooks Klimley
Kathryn Kosek
Diane and Richard Larson
Rachel and Marshal Litt
Elizabeth Lyons
Mary Beth and Edward McGarvey
Laura Nisenbaum
Wendee Nussle
John Olson
Mary and James O’Rourke
Sondra Peretz
Valerie Perlman
Richard and Carol Pfeifer
Jerry Ragone
Susan Rho
Andrea Romeo
Jeff Sansone
Susan and Dennis Schmidt
Ed Smith
Business Partners
068 Magazine
AG Beauty
Bareburger - Ridgefield
Bobo Café – Ridgefield
Books on the Common, LLC
Caraluzzi’s Market
The Dapper Den
Eddie’s Pizza & Pasta
Marty Motors
Nod Hill Brewery
The Pilates Barre
Prospector Theater
The Residence Inn – Danbury
Ridgefield Apartments
Ridgefield Station
RPAC Gallery
Steinway & Sons
Tusk & Cup
Vine & Co.
Bravo, Bryan Perri Debuting at Carnegie Hall, April 10th!
celebrates the people places and things that make our community great
Proudly serving CT, NY and NJ for 30 years. Lawns for Distinctive Homes Scan the QR code to learn more.
Board Certified, American Board of Plastic Surgery Fellow, American College of Surgeons Specializing in face, neck, eyelids, breast, and body . Personally performs non-surgical approaches including Botox® and Juvederm®
38-B Grove Street, Ridgefield, CT 06877 203-431 -7644 | www.BrucatoPlasticSurgery.com
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