Matthew Bourne's Cinderella Online Playbill by Blumenthal Performing Arts

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TABLE OF CONTENTS

Board of Trustees

The Show Goes On, Thanks to Local Musicians..................................... 4 Tickets On Sale Now for Cruel Intentions: The ’90s Musical..................12 Opera Xpress Is Buzzing With Excitement With A Busy Bee.................14 Charlotte Ballet Reinvents Shakespeare...............................................16 Charlotte Symphony Celebrates Charlotte at 250................................18

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Richard Battle Reginald Bean, marketing & community relations chair Riaz H. Bhamani Amy Rice Blumenthal Kristin Hills Bradberry Bobby Chesney, compensation chair Brian Cromwell Dena Diorio Bobby Drakeford J. Porter Durham Jr., governance chair Julie Eiselt Charlie Elberson Jonathan Feit Erin Lavely Fisher David M. Goodman Jeffrey Hay, chair Renee Hobart, education chair Jerri Kallam Michelle Lee Barbara Meeks, development chair Gail Sharps Myers George A. Raftelis Matthew Salisbury, secretary Anjali Shah Scott Tozier Kevin White, finance & audit chair

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Photos by Daniel Coston

Above and below, local musicians perform during The Blumey Awards program, a favorite for musician Phil Thompson.

The View From the Pit

The show goes on, thanks to local musicians By Liz Rothaus Bertrand

ver wondered about the musicians who play at Blumenthalâ&#x20AC;&#x2122;s shows? Audience members often lean over the pit after performances to ask musician Phil Thompson questions about how the orchestra comes together. For the last 24 years, the professor emeritus (recently retired from Winthrop University) and longtime performer with the Charlotte Symphony Orchestra has been helping Blumenthal hire local musicians for Broadway tours, concerts and other productions needing band members to supplement their show when they come through Charlotte. The number of performers can range widely from a couple of players to more than 30. Cost and the complexity of a show are big factors in determining the size of an orchestra. If a touring Broadway show has a really difficult trumpet or violin book, for example, the producers may choose to travel with that particular musician, too. Continued on Page 6

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Continued from Page 4

“Believe me this is not a problem in Charlotte, but in some of the cities they go to, there’s just not enough of a really good pool of musicians,” says Thompson. “They can’t afford to go into a smaller town where there’s a mediocre musician – it just ruins the show.” Things come together quickly when a show rolls into town. While local musicians receive their sheet music a week or more in advance to prepare their parts, rehearsal time with the traveling artists is limited to a few hours. Touring musicians typically arrive on Monday – their day off – and spend Tuesday morning at Belk Theater running through the show with the local musicians. That evening, they do a one-hour sound check with the actors to ensure all the mics are working properly and possibly run through a page of music on the big numbers. Then it’s show time. “They’ve got to have the intestinal fortitude to go through it one time and hit it … nail it,” says Thompson. “It’s fun. That’s what I love about it so much!” He says people always want to know what his favorite show is to play. Until recently, he would have chosen West Side Story or Wicked, but since 2012, he says everyone’s favorite show, hands down, is The Blumey Awards. For that one-night event, which highlights the extraordinary talents of area high school musical theater performers, 17 local

professionals play in the pit. Most of the same musicians have come back year after year to play. Blumenthal’s commitment to ensuring the best sounding production on stage and providing Thompson with the flexibility and finances to hire excellent performers are other factors he appreciates. “They are so supportive of local musicians,” he says. “They make my job so enjoyable, and I’m not just blowing smoke. I’ve talked to the contractors in other cities.” LOOKING AHEAD At least half the shows that come through town don’t need to hire local musicians at all. They are self-contained productions for budgetary reasons. On the low end, they typically use synthesizers to fill in the missing sounds or, on the high end, they can afford to bring their own complete orchestra (as was the case with the national tour of Hamilton). Blumenthal has no control over that. But even as many traveling shows have scaled back over the years due to touring costs, Blumenthal continues to be the largest employer of local musicians, next to the symphony. “We all say our prayers about this, that the shows don’t all go self-contained …” says Thompson. “If they do, the musicians will dry up. As long as the work continues and all of the shows don’t go self-contained, we’ll have a great pool of players in Charlotte, and it will only get bigger.”

Photo by Daniel Coston

Local musicians accompany a performance on a Blumenthal stage.

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SY19-CharlottePlaybill-5.375x8.375-WBleed-2.pdf 1 12/7/2018 7:32:40 PM

DISCOVER PROFOUND WISDOM & DIVINE BEAUTY

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GRAND DEBUT

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A NEW ADVENTURES PRODUCTION

Associate Artistic Director Etta Murﬁtt Projection Design Duncan McLean Sound Design Paul Groothuis Lighting Design Neil Austin Set and Costume Design Lez Brotherston Director and Choreographer Matthew Bourne New Adventures Company Stephanie Billers · Cordelia Braithwaite · Madelaine Brennan Ben Brown · João Carolino · Reece Causton · Jackson Fisch · Paris Fitzpatrick Sophia Hurdley · Jack Jones · Daisy May Kemp · Kate Lyons · Anjali Mehra Andrew Monaghan · Stephen Murray · Matt Petty · Edwin Ray Danny Reubens · Mark Samaras · Ashley Shaw · Catrin Thomas Alan Vincent · Joe Walking · Katie Webb · Seren Williams · Daniel Wright

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CAST

Cinderella........................................................CORDELIA BRAITHWAITE OR ASHLEY SHAW Harry, The Pilot.......................................................... ANDREW MONAGHAN OR EDWIN RAY The Angel.................................................................JACKSON FISCH OR PARIS FITZPATRICK Sybil, The Stepmother.......................................MADELAINE BRENNAN OR ANJALI MEHRA Robert, The Father....................... JACK JONES OR DANNY REUBENS OR ALAN VINCENT The Stepsisters Irene...................................................................STEPHANIE BILLERS OR SOPHIA HURDLEY Vivien........................................................................... DAISY MAY KEMP OR ANJALI MEHRA The Stepbrothers Malcolm.......................................................................... JACKSON FISCH OR JOE WALKLING Vernon ................................................................................. JACK JONES OR DANIEL WRIGHT Elliott..........................PARIS FITZPATRICK OR STEPHEN MURRAY OR MARK SAMARAS The Boyfriends Buster .........................................................................JOÃO CAROLINO OR REECE CAUSTON Stan........................................................................... REECE CAUSTON OR DANNY REUBENS The Girlfriends Betty....................................................................CORDELIA BRAITHWAITE OR KATIE WEBB Judy.....................................................................................CATRIN THOMAS OR KATIE WEBB Alphonso, The Bandleader.............JACK JONES OR DANNY REUBENS OR ALAN VINCENT Harry’s Friends Tom......................................................MATT PETTY OR EDWIN RAY OR DANNY REUBENS Dick.................................................. PARIS FITZPATRICK OR MATT PETTY OR EDWIN RAY Guests at The Café de Paris Monty...............................JOÃO CAROLINO OR STEPHEN MURRAY OR MARK SAMARAS Mabel ................................................................ STEPHANIE BILLERS OR SEREN WILLIAMS Wilfred...................................................................................JACKSON FISCH OR JACK JONES Flora.......................................................................... CATRIN THOMAS OR SEREN WILLIAMS Swings..................................................................................... BEN BROWN AND KATE LYONS ARP Wardens, Spivs, Gas Mask Dogs, Airman and Bombers, Prostitutes and Rent Boys, The Salvation Army, Savoy Guests, Thugs, Doctors, Nurses, servicemen and women, and their families, “Brief Encounter” couple and the people of London all played by members of the company. Principal Covers Cinderella................................................................................................................... KATE LYONS Harry, The Pilot...................................................................................................JOÃO CAROLINO Sybil, the Stepmother........................................................................................DAISY MAY KEMP

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers and watches.

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SCENE

The action takes place in London during World War II PROLOGUE A Cinema ACT 1 Scene 1 Scene 2

The Family House The Blackout

Scene 1 Scene 2

The Café de Paris – a dance hall The Pilot’s Lodgings

Scene 1 Scene 2 Scene 3 Scene 4 Scene 5

The Streets of London The London Underground The Thames Embankment A Convalescence Home Paddington Station

ACT 2

ACT 3

There will be two 15–minute intervals following Acts 1 and 2 ACTS 1, 2 AND 3 last approximately 40 Minutes each. 2 Hours 30 Minutes with Intervals I dedicate this piece to my Dad, Jim Bourne (1932 -2010), who was there, and lived to tell the tale. — Matthew Bourne

Matthew Bourne Talks About Cinderella The most striking aspect of this retelling of the Cinderella story is the setting. Why did you choose to set the world’s most famous fairy tale during the London Blitz in 1940? I first fell in love with Prokofiev’s score through watching Frederick Ashton’s version of the ballet for The Royal Ballet. Although composed as a fairy-tale piece in the style of the great Tchaikovsky ballets, such as “The Sleeping Beauty,” it has Prokofiev’s particular 20th century musical personality stamped all over it. True, it has grand waltzes, fairy variations, mazurkas and “national” dances, in the manner of Tchaikovsky’s most famous ballet works, but lurking beneath the fairy-tale magic, there beats a darker heart with real emotions and dramatic longing. These are the features of Prokofiev’s music that keep you coming back for more and which insinuate their way inside you with every listening. Prokofiev’s Cinderella was premiered at the Bolshoi in 1946 and Ashton’s much performed version followed in 1948, but I was intrigued to hear that Prokofiev had actually written the score during the Second World War, and this got me thinking: Was this dark period in our history somehow captured within the music? I felt that it was, and the more I delved into the Cinderella story, it seemed to work so well in the wartime setting. Darkly romantic in tone, it speaks of a period when time was everything, love was found and lost suddenly and the world danced as if there was no tomorrow. Do you use the entire Prokofiev score? When I first created the piece in 1997, I attempted to choreograph the entire three-act score with no reordering or cuts. This was in no small part due to the fact that Prokofiev’s artist son, Oleg, had asked if he could come to rehearsals and sketch the dancers. Although, I was wary of making any changes to his father’s music, whilst he was in the room with us, he, of course, turned out to be a delightful man, full of enthusiasm for what we were doing, even saying how much his father would have loved our interpretation. I have since made a few small cuts and revisions, to help our story, but am proud to say that our Act 3 remains completely intact, full of wonderful music that Ashton had cut from his famous version. 704.372.1000 | BlumenthalArts.org

MATTHEW BOURNE TALKS Your love of classic films is well known. Were there any particular movies that inspired this retelling of the story? My guiding light with this production has always been the incredible Powell and Pressburger classic “A Matter of Life and Death” (1946) starring David Niven and Kim Hunter. Niven’s character, Peter Carter, an RAF Pilot, miraculously survives almost certain death when his plane crashes into the sea. It soon becomes clear that he has cheated death and the Heavenly agents and Angels have made a mistake. He hovers between life and death, but guided by a male guardian Angel and the woman he loves, he is given a second chance. In essence he is saved by the power of love. My Cinderella does not tell this exact story, by any means, but its fanciful and particularly English whimsy and romance is, I hope, captured in our story of wartime love and conflict. Our “Angel” is also male, rather than the usual “Fairy Godmother,” but he is based more on Cary Grant (“The Bishops Wife” 1947) and Fred Astaire, who played a dancing angel on several occasions. Look out also for glimpses of other classic movies in the production, such as Celia Johnson and Trevor Howard from “Brief Encounter” (1945) in our final railway station scene, and the Prostitutes from the Vivien Leigh and Robert Taylor classic “Waterloo Bridge” (1940) in our London Underground sequence. I must also pay tribute to one of my favourite ’40s actresses, Joan Crawford, who inspired Lez Brotherston and myself to create Sybil, our glamorous Stepmother. How historically accurate is your “Blitz” Cinderella. Does it refer to any actual incidents that took place in London at the time? We have tried to be as accurate as possible, and Lez Brotherston, the company and I have spent many hours researching the period and characters through old movies, documentaries and public information films. I will admit here to at least one historical inaccuracy, though. We do have a GI American soldier character called “Buster,” who I couldn’t resist putting in for the sake of variety. The Americans, however, did not enter the war until the beginning of 1942. The crucial incident for us is the famous bombing of the legendary Café de Paris on 8th March 1941. On this particular night, the club received a direct hit, killing or seriously injuring nearly 100 dancing couples, cabaret artists and staff, including the 26-year-old bandleader, Ken “Snake-hips” Johnson. Our magical Act 2 bombed ballroom, with its ghostly dancing couples and the haunting waltzes of Prokofiev, owes much to this tragic night. It represents Cinderella’s dream, as well as her nightmare Your regular collaborator, designer, Lez Brotherston, won an Olivier Award for his original Cinderella designs in 1997. Has the concept changed substantially for this new production? The “war-time” setting has obviously been retained, but our original production has been completely lost, and Lez and I have had a chance to take a fresh look at the piece from every angle. This is essentially a new production created to tour throughout the U.K. and beyond. It is designed very much like a silver screen classic in black and white (and grey!) and the magic and color is added through the lighting designs of Neil Austin. Lez is always very thorough when it comes to period designs, and therefore our costume designs are a mix of the everyday wear of ordinary Londoners and servicemen and women, as well as the more flamboyant designs of 1940s movie stars. It beautifully captures the realism of our “darkest hour” along with the escapism and glamour of Hollywood. Tell us about the innovative idea of presenting this production in “Surround-Sound”? As I have said, my original idea to create this Blitz Cinderella came from the particular power, foreboding and magic of Prokofiev’s score. I was also drawn to its cinematic quality and how this related to the films that were inspiring the project. I wanted both the power of a full orchestra, along with the sounds and feelings of a full cinematic experience. I spoke to our sound designer, Paul Groothius, on how we might achieve this and he suggested that we present the production in surround sound. We both figured that much of our audience are so used to the best where sound is concerned; at home with the new generation of HD TVs, at the Cinema, and even watching musical theater and arena concerts. To create that cinema experience, we felt that Cinderella was the production on which to experiment with this exciting idea. Earlier this year, our regular conductor, the brilliant Brett Morris, guided an 82-piece orchestra, through a beautiful and highly theatrical new interpretation of the score, which will be heard in the theater much like you would hear a great score at the cinema. Add to this the sounds and atmosphere of war-torn London and we have a thrilling aural as well as visual performance. Even though the events depicted in Cinderella happened over 75 years ago, the Blitz experience will still resonate with many audience members as part of their family history. Do you have your own family connections? I dedicated the original production of Cinderella to my grandparents, who kept their families together in London during the Blitz. My parents, living streets away from each other in the East End, survived the nightly onslaught, I’m happy to say, and they both loved to tell me stories from this time; the excitement, the fear and the friendships made. Now they are all gone, but I hope that the spirit and courage of not just my family, but of everyone who made sacrifices, or who found or lost love during this time, are captured in this piece, which has been made in tribute to them. 9C 704.372.1000 | BlumenthalArts.org

WHO’S WHO in the CAST

STEPHANIE BILLERS (Irene, Mabel). Training: Laine Theatre Arts. Joined New Adventures: 2013. Roles and Productions with New Adventures: The Red Shoes (Original Cast – Beryl, Nadia, Irina Boronskaja Cover); Swan Lake (The Queen, Hungarian Princess, German Princess). Other Career Highlights: London Olympics Closing Ceremony - featured dancer (Kim Gavin); The Royal Variety Performance with Take That & Cliff Richard (Kim Gavin); Best of Musicals Gala - Arena Tour Germany (Stage Entertainment); Thursford Christmas Spectacular; Regent Seven Seas World Cruise - dancer, singer, aerialist (JAR Productions); Justice League - Amazonian Warrior (Zack Snyder, Warner Bros. film); Fantastic Beasts and Where To Find Them 1 & 2 (David Yates, Warner Bros. film); Rose Betts – I Can Never Give My Heart (featured artist, music video).

Drew McOnie), Company (Workshop, Marianne Elliott), Sound of Music (Leicester Curve), Ensemble in Bugsy Malone (Workshop, Lyric Hammersmith), Wolfred in Little Red Riding Hood (National Youth Ballet, New Wimbledon Theatre) and Lost boy in Peter Pan.

MADELAINE BRENNAN (Sybil, the Stepmother). Training – The Royal Ballet School. Joined New Adventures – 2003. Roles and Productions with New Adventures – Play Without Words (Glenda and Sheila), Nutcracker! (Mrs. Dross, Queen Candy), Edwards Scissorhands (Tiffany Covitt – Original Cast, Peg Boggs and Joyce Monroe), Swan Lake (Queen and Girlfriend), Cinderella (Sybil Stepmother). Other Career Highlights – soloist Northern Ballet Theatre, Dir Christopher Gable; Oklahoma! RNT/Lyceum Dir Trevor Nunn, Choreographer Susan Strohman; My Fair Lady RNT/Drury Lane, Dir Trevor Nunn, Choreography Matthew Bourne; Cabaret Lyric Theatre, Dir Rufus Norris, Choreographer Javier De Frutos. Assistant Choreographer for the transfer of Nell Gwynn from The Globe to The Apollo Theatre in 2016. Also in 2016 Maddy choreographed a private cabaret at Windsor Castle celebrating her majesty Queen Elizabeth’s 90th Birthday. Maddy also gives New Adventures workshops nationally and internationally.

JACKSON FISCH (Malcolm, Wilfred, The Angel). Training – The Australian Ballet School. Joined New Adventures – 2017. Roles and Productions with New Adventures – The Red Shoes (Serge, Frederic). Other Career Highlights – The Australian Ballet Dancers Company Tour presents Giselle (Hilarion).

CORDELIA BRAITHWAITE (Cinderella, Betty). Training: Laine Theatre Arts. Joined New Adventures: 2013. Roles and productions with New Adventures: Swan Lake (Italian Princess, Spanish Princess and cover Girlfriend); The Car Man (Mercedes, Frankie and cover Lana); Sleeping Beauty (Aurora and Hibernia); The Red Shoes (Vicky Page and Nadia); Cinderella (Cinderella and Betty).

BEN BROWN (Swing). Training: Laine Theatre Arts 2014-17. Joined New Adventures 2017. Other career highlights include: Going on as the Dame in panto at the Cardiff New Theatre and having to pretend to be Pamela Anderson alongside David Hasselhoff.

JOAO CAROLINO (Buster, Monty, cover Harry the Pilot). Training – Arts Educational School, Tring. Joined New Adventures – 2017. Roles and Productions with New Adventures – Early Adventures (U.K. and International). Other Career Highlights – On The Town (Regents Park Open Air Theatre), King Kong The Musical (Workshop, Drew McOnie), The Entire Universe (Arlene Phillips, BBC), Jekyll and Hyde (The McOnie Company at The Old Vic Theatre), Strictly Ballroom (Workshop, 704.372.1000 | BlumenthalArts.org

REECE CAUSTON (Buster, Stan). Training – Footlights Performing Arts (Norfolk), Central School of Ballet (London). Joined New Adventures – 2013. Roles and Productions with New Adventures – Italian and Queen’s Escort in Swan Lake (201314 UK and international tours; Early Adventures (2017 tour); Buster and Stan in Cinderella (201719 national and international tours. Other Career Highlights – Fiddler on the Roof (Grange Park Opera, 2015); Onegin (Grange Park Opera, 2015) Fiddler on the Roof (BBC Proms, 2015); Inspirit, works by Robert Cohan & Sir Kenneth MacMillan (Yorke Dance Project, 2016); The Sergeant in 5 Soldiers (Rosie Kay Dance Company, 2016 and 2017); Derrière on a G-String (Alfred Taylor-Gaunt, 2018 previews); ‘Buster’ in the film of Matthew Bourne’s Cinderella; The Sergeant in the film of Rosie Kay’s 5 Soldiers; radio production of Fiddler on the Roof at the BBC Proms. Instagram and Twitter: @rhdcauston

PARIS FITZPATRICK (Eliot, Dick, The Angel). Training – Paris started professional training at Tring Park School for the Performing Arts in 2008 at age 12. Shortly following graduation in 2015 he spent a year dancing and touring with Northern Ballet. Joined New Adventures – 2017. Roles and Productions with New Adventures – Paris joined New Adventures in 2017 for the Early Adventures tour as part of the Company’s 30th anniversary celebrations. Instagram and Twitter: @parisalexfitz

SOPHIA HURDLEY (Irene). Training –Staples School, Northern Ballet School, York Scholar – Louise Browne. Joined New Adventures – 2002 Roles and Productions with New Adventures include Nutcracker (Marshmallow, Cupid, Sugar), Swan Lake (Girlfriend, French Princess, Moth Maiden), Edward Scissorhand’s (Bunny Munroe, Sandra Grubb – Original Cast), Cinderella (Irene), Sleeping Beauty (Feral, Hibernia –Original Cast), Early Adventures (Cast and Dance Captain). Other Career Highlights: (West-End Highlights) Phantom of the Opera, Apache dancer in Joseph, creating the role of the Swallow in a new musical called The Happy Prince written by Hal Cazalet, Michael Barry and directed by Maria Friedman. Sophia is a workshop leader for New Adventures and enjoys inspiring the next generation. JACK JONES (Vernon; Robert, the Father; Wilfred; Dance Captain). Training – Royal Ballet School and English National Ballet School. Joined New Adventures – 2008. Roles and Productions

WHO’S WHO in the CAST with New Adventures – world tour of Edward Scissorhands in 2008, The Red Shoes, Sleeping Beauty, Swan Lake, Play Without Words and Lord of the Flies. Other Career Highlights – Companhia de Dança Contemporânea Portugal, Companhia de Danca Almada and Companhia Olga Roriz. The Red Balloon by Aletta Collins, Harlequin Dances by Susie Crow, Sheherazade and Jealousy by Morgann Runacre-Temple, Dansense by Enrique Cabrera, Words Worth with Yorke Dance Project, The Ballroom of Joys and Sorrows by Kate Flatt, and I Was a Rat directred by Teresa Ludavico.

DAISY MAY KEMP (Vivien; cover Sybil, the Stepmother). Training – Bird College. Joined New Adventures – 2005. Productions with New Adventures –The Red Shoes, Edward Scissorhands, Sleeping Beauty, Play Without Words, Nutcracker! and Swan Lake. Other Career Highlights – Assistant Choreographer for Robert Carsen’s production of A Midsummer Night’s Dream at English National Opera, the Festival ‘Aix En Provence and Bergen National Opera. Revival Choreographer on Glyndebourne’s touring production of La Traviata, and Assistant to the Tour Director on Lord of the Flies for New Adventures. Dancer in La Traviata for Glyndebourne Festival choreographed by Aletta Collins. Dancer in La Cenerentola for Garsington Opera choreographed by Arthur Pita. Film credits: Matthew Bourne’s Sleeping Beauty, appearing as Miss Maddox and Matthew Bourne’s Swan Lake, appearing as The Hungarian Princess. KATE LYONS (Swing, cover Cinderella). Training – Central School of Ballet, London. Joined New Adventures – 2010. Roles and Productions with New Adventures – Cinderella; Nutcracker!; Early Adventures; Sleeping Beauty (Ardor & Hibernia Fairies, cover Aurora); Swan Lake (French and Spanish Princess); The Car Man (Rita and Gina); The Red Shoes; and Cinderella. Other Career Highlights – Ballet West (Utah, USA); Mainfranken Theater Wurzburg in Germany; English National Ballet (Royal Albert Hall); National Dance Company Wales (Plunge Apprentice); DV8 Physical Theatre (Living Costs at the Tate Modern). Twitter and Instagram: kate_lyons_

ANJALI MEHRA (Vivien; Sybil the Stepmother). Training: Central School of Ballet where she won the Christopher Gable Award. Joined New Adventures/ AMP: 1999. Roles for New Adventures: Irina in The Red Shoes, both Queen and Girlfriend in Swan Lake, Sugar in Nutcracker, Glenda in Play without Words, U.K. and Worldwide. Other Career Highlights: Original cast of Andrew Lloyd Webber’s Bombay Dreams, West End (choreography Anthony Van Laast); Kiss me Kate, Paris (choreography Nick Winston). Dance Captain on Goldfrapp Tours for Alex Reynolds. Danced for Random Dance Company, Wayne McGregor, Will Tuckett, Cathy Marston, Christopher Hampson, Imogen Knight and Peter Darling. Film Credits: World War Z by Marc Forester and Alexander by Oliver Stone, Choreography Credits: ‘Carmen’ and ‘Oreste’ for the Royal Opera House at Wilton Music Hall for director Gerard Jones, ‘This Heaven’ at The Finborough

Theatre, ‘Jakob Lenz’ Sam Brown/English National Opera, ‘Ofeo’ Silent Opera/Daisy Evans and restaged Richard Jones ‘Fanciulla’ at Santa Fe Opera, USA. Twitter: AnjaliMehra_H. Instagram: anjalimehra

ANDREW MONAGHAN (Harry, the Pilot). Training - Elaine Ferry and Central School of Ballet. Joined New Adventures 2013. Roles and Productions with New Adventures: Harry the Pilot, Malcolm in Cinderella; Julian Craster, Serge in The Red Shoes (original cast); Tantrum, Archie, cover Leo in Sleeping Beauty; Vito, Chad, cover Angelo in The Car Man; Ensemble, cover Prince in Swan Lake. Other Career Highlights: London 2012 Olympics; Fritz in Birmingham Royal Ballet’s The Nutcracker; Harry in Matthew Bourne’s Cinderella (BBC); Graduate in Mamma Mia: Here We Go Again (Universal); Vito in Matthew Bourne’s The Car Man (Sky Arts), ‘British Style’ for The Queen’s Coronation Festival Gala (BBC); Anna Karenina (Working Title). Andrew was Dancing Times’ Dancer of the Month in January 2017. Twitter: @_andymonaghan. Instagram: @andy.monaghan STEPHEN MURRAY (Elliott, Monty). Training – Westside Performing Arts Dublin, Irish National Youth Ballet Company, Central School of Ballet. Joined New Adventures – 2016. Roles and Productions with New Adventures – Student Associate and then ensemble for The Red Shoes (U.K. and international tours); Elliott and Monty in Cinderella (U.K. and international tour 201718). Other Career Highlights – Perm State Ballet Romeo and Juliet (Bord Gais Energy Theatre); UCD fashion awards dance (O2 Arena); Ballet Central U.K. Tour (2016-17); appeared in TV version of Matthew Bourne’s Cinderella. Instagram: stephen.murrayy

MATT PETTY (Tom, Dick). Training – First Class BA(Hons) from Bird College in Dance and Theatre Studies. Joined New Adventures – 2014. Roles and Productions with New Adventures – Swan/Quentin Crisp in Matthew Bourne’s Swan Lake (2014). Other Career Highlights – Paris, Romeo and Juliet, Ballet Ireland (2017); Albrect, Giselle, Ballet Ireland (2017); Russian, Peter Schaufuss’s NutcrackerPeter Schaufuss Balletten (2016); Count Herman, Will Tuckett’s Nutcracker, (2016); Frog/Prince, The Princess and the Frog, Let’s All Dance (2016); Ensemble Swan, Mr Wonderful – New Adventures, (Sadler’s Wells 2016); Romeo, Lost and Boundless, Genesis Ballet, (2015); Solider, A Soldier’s Tale, Constella Ballet and Orchestra, (2015). Film credits include: The Nutcracker and the Four Realms, Disney (2018), White Oak, Le Film Production. Ltd. (2017). EDWIN RAY (Harry The Pilot; Tom; Dick) Training: Laine Theatre Arts. Joined New Adventures – 2005. Roles and Productions with New Adventures – Early Adventures 2017, Edward Scissorhands (Brad Covitt & Mayor Upton), Original cast of Sleeping Beauty (creating the role of King Benedict), Nutcracker! (Nutcracker & liquorice man), Cinderella (The Pilot & Dick) and Swan Lake. 704.372.1000 | BlumenthalArts.org

WHO’S WHO in the CAST Other Career Highlights – Mary Poppins (U.K. tour), Saul (Glyndebourne Opera), Cabaret (The MAC Belfast), Happy Days (U.K. Tour), Anything Goes (Kilworth House), The Sound of Music (Bahrain Festival), White Christmas (U.K. tour), We Will Rock You (West End), Chitty Chitty Bang Bang (U.K. Tour), Chicago (U.K. Tour), Footloose (U.K. tour), Crazy For You (U.K. Tour), Fame (West End).

DANNY REUBENS (Stan; Tom; cover Robert, the Father). Training – Rambert School and Central School of Ballet. Joined New Adventures – 2008. Roles and Productions with New Adventures – Edward Scissorhands (London, U.K., Australia, Paris, Athens) and 2014-15 revival (U.K. Tour); Swan Lake (London, U.K., Seoul, Tokyo, Athens, Italy, New York); Lord of the Flies (London and U.K.); Nutcracker! (London, U.K., Italy); Sleeping Beauty (London, U.K., Italy, Moscow, North America); The Carman (London, U.K., Italy) and The Red Shoes (London, U.K. and USA). Other Career Highlights – Icon dance, ROH2, Vienna Festival Ballet, Ballet Central 08. TV/Film credits: World War Z (Paramount), Streetdance 3D (Vertigo), Richard III (BBC), Matthew Bourne’s Christmas. Matthew Bourne’s Swan Lake, Matthew Bourne’s Sleeping Beauty, Matthew Bourne’s The Carman. Twitter and Instagram: dannyreubens

MARK SAMARAS (Elliott, Monty). Training Janice Marshall Stage School, The Dance School of Scotland, Central School of Ballet. Joined New Adventures – 2017. Roles and Productions with New Adventures – Elliott, Wilfred, Monty in Cinderella (U.K. and international tour 2017-18). Other Career Highlights: Fritz in The Nutcracker (Ballet Ireland); Hilarion in the original cast of Ludovic Ondiviela’s Giselle.

ASHLEY SHAW (Cinderella, Dance Captain). Training – Marie Walton-Mahon Dance Academy, Australia and Elmhurst School for Dance, U.K.. Roles and Productions with New Adventures - Swan Lake (2009/10), Cinderella (2010/11) Princess Sugar in Nutcracker! (2011/2012), Aurora in Sleeping Beauty (2012/13 & 2015/16), Kim Boggs in Edward Scissorhands (2014/15) and Lana in The Car Man (2015). Most recently, to great critical acclaim, she originated the role of Vicky Page in the world premiere of The Red Shoes (2016/2017 U.K. and U.S. Tour). Other Career Highlights: Hospital Club 100 Award winner for Theatre and Performance 2017. Winner of The Critics’ Circle National Dance Award for Outstanding Female Performance (Modern) 2018. Dancing Times magazine Dancer of the Month Feb, 2016. Film and TV: Matthew Bourne’s Christmas, Sleeping Beauty and Cinderella. Instagram: @asharella14 Twitter: @ashleyshaw_1 CATRIN THOMAS (Judy, Flora). Training: Harlequin Stage School and Performers College, Essex (Level 6 Diploma). Joined New Adventures: 2019. Other career highlights: Performing in the Thursford Christmas Spectacular, the largest Christmas Show in Europe. Social media: Instagram - catrinthomas22. Twitter - @itstrin 704.372.1000 | BlumenthalArts.org

ALAN VINCENT (Robert, the Father). Training – Lewisham College and London Studio Centre. Joined New Adventures – 1997. Roles and Productions with New Adventures – performed the Swan/Stranger and Private Secretary in Swan Lake, created the role of Luca and performed Dino in The Car Man, created the role of Speight in Play Without Words, the Nutcracker and Doctor Dross in Nutcracker! and has performed in Cinderella and Spitfire. He was tour/resident director of Lord of the Flies in the U.K. and Australia. Other Career Highlights: Alan has worked with a variety of different choreographers and directors as well as running projects in the U.K. and internationally. JOE WALKLING. (Malcolm). Training – London Contemporary Dance School, Palucca Schüle Dresden.. Joined New Adventures – 2008. Roles and Productions with New Adventures – Dorian Gray (original cast), Cinderella (Malcolm, Wilfred), Early Adventures, Sleeping Beauty (Autumnus, Tantrum, Count Lilac—original cast), The Red Shoes (Dimitri— original cast). Other Career Highlights – Joe has also performed with William Forsythe, Wayne McGregor, Ballet de Marseille, Ballet Preljocaj, Kim Brandstrup, Cathy Marston, Tom Morris, Arthur Pita, Mark Bruce and Robert Cohan. He is a founding member of New Movement Collective (newmovement.org. uk, twice nominated for Best Independent Company in the Critics’ Circle National Dance Awards), a consultant tutor at The Architectural Association, School of Architecture for their MA/MFA in Spatial Performance Design and runs his own graphic design studio specialising in branding, print and performance design; joewalkling.com.

KATIE WEBB (Betty, Judy). Training: Royal Ballet Associate program, Arts Educational School, Tring. Roles and Productions with New Adventures: Edward Scissorhands 2014/15, The Car Man (Frankie/Mercedes), Sleeping Beauty (Feral/Ardor fairy, Queen), The Red Shoes (Svetlana, Lady Neston, Cover Vicky). Other career highlights: during training performed with Birmingham Royal Ballet and English National Ballet. Won the prestigious Markova award and Cecchetti Barbara Fewster award in 2009. For Scottish Ballet: Matthew Bourne’s ‘Highland Fling,’ Christopher Bruce’s ‘Shift,’ Jiri Kylian’s 14’20”, Christopher Hampson’s ‘Silhouette,’ ‘A Streetcar Named Desire,’ Ashley Page’s ‘Pennies from heaven,’ Fearful Symmetries, Kenneth MacMillan’s ‘Song of the Earth’ and Krzysztof Pastor’s ‘Romeo and Juliet.’ TV/Film Credits include: Matthew Bourne’s ‘The Car Man’ (2015), ‘Cinderella’ (2017) and Streetdance 3D. Instagram:katiewebb152

SEREN WILLIAMS (Mabel, Flora) Training: Drusilla Duffill Theate School, The Royal Ballet Associates and Central School of Ballet. Joined New Adventures: 2016. Roles and Productions With New Adventures: The Red Shoes (Pamela, Beryl, cover Svetlana in the original cast). Other career highlights:Crystal Pite’s Polaris, Dane Hurst’s Prud’hon: The Moving Body and Exodus, Christopher Marney’s War Letters, Sharon Watson’s Repetition (2) Change in the Ballet Central Tour

WHO’S WHO in the CAST 2016. Seren has also worked with Charlotte Edmonds, Mikaela Polley, Richard Bermange and Leanne King.

DANIEL WRIGHT (Vernon) was born in Scarborough, North Yorkshire. Training: Millennium Performing Arts, Diploma in Musical Theatre. Date joined New Adventures: 2007. Roles and productions with New Adventures: Vernon the stepbrother in Cinderella (2010-11 and 2017-18 tours); Dirk, Hotrod and Dino in The Car Man (Sadler’s Wells and U.K. Tour 2007 and 2015); Roger and Jack in Lord of the Flies (Sadler’s Wells and U.K. tour 2014 and Melbourne 2017); Gabriel Evercreech and Mayor Upton III in Edward Scissorhands (U.K. and International tour 2016-17). Other career highlights: Daniel played the role of The Snowman in The Snowman (Sadler’s Wells Peacock Theatre); film and television includes: “The Car Man,” “Cinderella,” “Showtime at the Stadium (BBC),” “The Royal Variety Performance (Royal Albert Hall); Gulliver’s Travels” (20th Century Fox), “The Magic Flute” (Revolver Entertainment); “World War Z” (Universal); “The Muppets Most Wanted” (Walt Disney Pictures). @DanWrightl MATTHEW BOURNE’S NEW ADVENTURES New Adventures is an iconic and ground-breaking British dance-theatre company, famous for telling stories with a unique theatrical twist. For over 30 years Matthew Bourne and New Adventures have delighted, inspired and nurtured people of all ages and backgrounds: audiences, artists and the next generation. We create world class productions and engaging projects, reaching thousands worldwide every year. New Adventures has received numerous international awards and an incredible 12 Olivier Award nominations, including 6 wins. Over the past 30 years New Adventures has created 11 fulllength productions and a triple-bill of short works. This award-winning repertoire has inspired and thrilled over 6 million people worldwide. In 2019 the company premieres its 12th full-length production, Romeo and Juliet. Investing in the future of dance and theatre, New Adventures engages in inclusive projects with thousands of people of all ages and ability, as well as emerging artists across the U.K. and around the world. SIR MATTHEW BOURNE (Artistic Director, New Adventures) Matthew Bourne is widely hailed as the U.K.’s most popular and successful choreographer and director. He is the creator of the world’s longest running ballet production, a seven-time Olivier Award winner, and the only British director to have won the Tony Award for both Best Choreographer and Best Director of a Musical. Matthew started his dance training at the comparatively late age of 22 and danced professionally for 14 years, creating many roles in his own work. As Artistic Director of his first company, Adventures in Motion Pictures from 1987 until 2002, Matthew created many awardwinning works. Further hit productions were created when New Adventures was launched in 2002, becoming the U.K.’s busiest and most successful dance company and the major exporter of British

dance across the world. Matthew is also a West End and Broadway choreographer; a more than 20-year relationship with producer, Cameron Mackintosh has resulted in the globally successful musicals Mary Poppins, My Fair Lady and Oliver! Since 2008 the company has also delivered projects and workshops for people of all ages and abilities to thousands worldwide, every year, as part of the company’s ambitions to develop and nurture new audiences and the next generation of artists. In 1997 Matthew was made an Honorary Fellow of his former college, The Laban Centre, becoming a Companion of Trinity Laban Conservatoire of Music and Dance in 2012. He has seven Honorary Doctorates from The Open University, the De Montfort, Plymouth, Kingston and Roehampton Universities, as well as the Royal Conservatoire of Scotland. In June 2018 Matthew became the first choreographer to receive an honorary degree of Doctor of Letters from University of Oxford. He is also a Companion of Liverpool Institute of Performing Arts and a proud patron of many organisations, including The Arts Educational School, Laine Theatre Arts, CREATE and National Youth Ballet. In 2015 he became the first dance figure to be given The Stage Award for Outstanding Contribution to British Theatre presented by the U.K. Theatre Awards.In 2016 he was presented with the Critics Circle Distinguished Service to the Arts Award and the Queen Elizabeth II Coronation Award in recognition of his outstanding services to ballet. He was knighted in the Queen’s 2016 New Year Honours for services to dance.

SERGEI PROKOFIEV (Composer), was born in Sontzovka, near Ekaterinoslav, on 23 April 1891 and received his first musical training from his pianist mother. His first composition was written at the age of seven, and for a while he studied privately with Reinhold Glière before entering the St Peterburg Conservatoire at the age of thirteen. His teachers there were Anna Essipova (piano), Anatol Liadov (harmony and counterpoint), Nikolai Rimsky-Korsakov (orchestration) and Nikolai Tcherepnin (conducting). He was outstanding both as a pianist and as a composer, and he graduated from the Conservatoire in 1914 excelling in both capacities, as soloist in his own First Piano Concerto – the modernity of which disconcerted the more conservative of the examiners, although it won him the Rubinstein Prize. That same year Prokofiev travelled to London, where Russian music was very fashionable: Chaliapin and Diaghilev were both active, but initial attempts to persuade Diaghilev to mount Prokofiev’s opera The Gambler were unsuccessful. Prokofiev returned to Russia and wrote two ballets for Diaghilev, Ala and Lolly (which Diaghilev refused) and Chout (intended as a replacement); other works from this period include the perennially popular Classical Symphony, Prokofiev’s First, and Violin Concerto No.1 – he had found his mature style very quickly. The turmoil of the Revolution (on which Prokofiev seems to have looked upon with some favour – though he later admitted he hardly realised what was at stake) drove him from Russia and early in 1918 he made his way to America; his stay in the west was to last for 704.372.1000 | BlumenthalArts.org

WHO’S WHO in the CAST seventeen years. In the early 1920s he married the Spanish-born singer, Lina Llubera, and established himself in Paris, composing between international tours as a pianist. The works that emerged – the operas The Love of Three Oranges (1919) and The Fiery Angel (1919–27), the Second, Third and Fourth Symphonies (1924–25, 1928, 1929–30), the ballets Pas d’Acier (1925–26) and The Prodigal Son (1928–29) – showed that his style could embrace an enormous range of expression: from a childlike lyricism via fantastic whimsy and motoric rhythms to an angular expressionism – and Prokofiev was always an entirely natural melodist. In spite of a hugely successful visit to the Soviet Union in 1927, coinciding with a well-received production of The Love of Three Oranges, Prokofiev returned to the West once more, to his usual round of concertising and composing, writing and playing the last of his cycle of five piano concertos. In 1936 Prokofiev took the fateful decision to return to the Soviet Union – ‘like a chicken to the soup’, in the words of Dmitri Shostakovich. With his initial sympathy for the goals of Soviet society, he felt that the composer ought to offer something directly relevant to the people, and he cast around for suitably Soviet subjects. Although his massive Cantata for the 20th Anniversary of the October Revolution was rejected by a committee of Soviet censors, Prokofiev enjoyed considerable success as a composer of film scores (Stalin’s preferred art-form) and some of his best-known music first appeared for this medium: Lieutenant Kijé (1934) and the cantata Alexander Nevsky (1938–39), refashioned from his score for Eisenstein’s epic. For a few years he found renewed favour – with a 1940 staging of his now-classic ballet Romeo and Juliet, completed four years earlier – but in February 1948 his career came to a crashing halt when the ‘Zhdanovshchina’ that heralded a tightening of state control over cultural affairs condemned him, Shostakovich and several others as ‘formalists’. Prokofiev had suffered severe concussion in a fall in 1945, with permanent effects on his health, and his precarious physical condition combined with political disfavour to make his last years unhappy ones, despite the championship of some courageous young musicians, Mstislav Rostropovich and Sviatoslav Richter among them. Although he continued to compose right up to his death, he was denied one final satisfaction: his death, on 5 March 1953, occurred only hours before that of Stalin. The 125th anniversary of Prokofiev’s birth was in 2016. Sergei Prokofiev is published by Boosey & Hawkes. Reprinted by kind permission of Boosey & Hawkes. LEZ BROTHERSTON (Set and Costume Design). Lez is an Associate Artist of Matthew Bourne’s company, New Adventures. Dance credits include a long collaboration with Matthew Bourne resulting in: The Red Shoes, Sleeping Beauty, Swan Lake, Edward Scissorhands, Cinderella, The Car Man. Seven Deadly Sins (Royal Ballet). He designed, co-wrote and co-directed Les Liaisons Dangereuses with Adam Cooper (Japan and Sadler’s Wells). For the Royal Shakespeare Company: Merry Wives of Windsor, The Rover, The Empress, Much Ado About Nothing. Theatre/Musicals/Opera: Me and My Girl 704.372.1000 | BlumenthalArts.org

(Chichester); Twelfth Night, Romantics Anonymous (Shakespeare’s Globe); Flowers for Mrs Harris, Showboat, Pride and Prejudice (Sheffield Crucible); 946 (Kneehigh/Globe Theatre); Oh What A Lovely War (Stratford East/West End); Seminar, Hysteria (Hampstead Theatre); Long Day’s Journey Into Night, Umbrellas Of Cherbourg, The Rise and Fall of Little Voice, Under The Blue Sky (West End); Sister Act (West End, Worldwide); Women Beware Women, Really Old Like 45 (National Theatre); Hedda Gabler, Design For Living, Dancing at Lughnasa (Old Vic); Duet For One (Almeida and West End); My City, Measure For Measure (Almeida); L’Elisir d’Amore (Glyndebourne) La Colombe/La Princesse Jaune (Buxton Festival). Awards: Swan Lake New York 1999 Tony Award; Cinderella 1998 Olivier Award; Critics’ Circle Ninette de Valois award for outstanding contribution to dance.

NEIL AUSTIN (Lighting Designer). Dance includes: 24 Preludes, As One, Rhapsody (Royal Ballet); Pineapple Poll (Birmingham Royal Ballet); Le Corsaire, The Sleeping Beauty, The Canterville Ghost (English National Ballet). West End includes: Harry Potter and the Cursed Child (Palace); Ink, No Man’s Land (Duke of York’s); Labour of Love, Photograph 51, Shakespeare in Love and Henry V (Coward), The Goat, Great Britain (Haymarket); Travesties, A Life in the Theatre (Apollo); Buried Child, The Hothouse and Dealer’s Choice (Trafalgar Studios); The Weir, Hamlet, Madame de Sade and Twelfth Night (Wyndham’s); The Sunshine Boys (Savoy); South Downs, The Browning Version, Death and the Maiden and The Children’s Hour (Comedy/Pinter); Piaf, The Prisoner of Second Avenue (Vaudeville); Frost/Nixon (Gielgud); King Lear, The Seagull (RSC: New London); Bend it Like Beckham (Phoenix); Betty Blue Eyes and Much Ado About Nothing (Novello). Other theatre includes: Three Days in the Country, Rules for Living, Dara, The Silver Tassie, Liolà, Children of the Sun, Port, She Stoops to Conquer, The Cherry Orchard, Women Beware Women, London Assurance, The White Guard, Oedipus, Philistines, The Man of Mode, Thérèse Raquin (National Theatre); Henry IV, Julius Caesar, The Night Alive, Spelling Bee, King Lear, Passion, The Wild Duck, After Miss Julie, Caligula (Donmar Warehouse); Birdland, The Faith Machine, Tusk Tusk (Royal Court) Albion, Ink, The Treatment, Medea (Almeida); Woyzeck, Electra (Old Vic); The Dazzle (Found 111); Travesties, Assassins, Dealer’s Choice (Chocolate Factory). Broadway includes: Harry Potter and the Cursed Child, Travesties, Hughie, Cat on a Hot Tin Roof, Evita, Red, Hamlet, The Seafarer and Frost/Nixon. Austin was the Recipient of the 2017 Olivier Award for Harry Potter and the Cursed Child, the 2011 Olivier Award for The White Guard, and both the 2010 Tony Award and the 2010 Drama Desk Award for Red on Broadway. PAUL GROOTHUIS  (Sound Designer). Born in Holland, and originally trained as a fine mechanical instrument-maker, Paul studied stage management at Central School of Speech and Drama, leaving in 1981. Having spent six months touring with David

WHO’S WHO in the CAST Wood play called The Ideal Gnome Expedition, Paul spent four years working in a recording studio, working his way up from tape operator to resident engineer. He joined the National Theatre sound department in 1984, where, in the following 17 years, he designed the sound for over 120 productions in its three auditoria. Leaving in 2001 to pursue a freelance career, he has been lucky enough to work in all genres of performing arts, equally enjoying plays, musicals and dance. Credits include: Anything Goes (National Theatre and Theatre Royal Drury Lane); His Dark Materials, Edmond, Henry V, The Coast of Utopia and My Fair Lady (National Theatre and Theatre Royal Drury Lane, U.K. and U.S. Tour); Hamlet (1987); The Oedipus Play, Summerfolk, The Merchant of Venice, The RoseTattoo, Rafta, Rafta…, Candide and Oklahoma! (National Theatre, Lyceum and Gershwin, New York); Oh What a Lovely War, A Little Night Music, Lady in the Dark, and Guys and Dolls (National Theatre); Sunday in the Park With George and Sweeney Todd: the Demon Barber of Fleet Street (National Theatre); The King and I (London Palladium, U.K. Tour); Endgame (Albery); Matthew Bourne’s Nutcracker!, Dorian Gray, The Car Man, Edward Scissorhands, Highland Fling, Cinderella, Sleeping Beauty and Carousel (National Theatre, West End, Tokyo); Oliver! (Palladium, Theatre Royal Drury Lane, U.K. Tour); Mary Poppins (U.K., Holland, Austria and USA Tour); A Funny Thing Happened on the Way to the Forum and Marguerite (West End and Tokyo); The House of Bernarda Alba, Buried Child, Henry IV parts I and II, Acorn Antiques – the Musical! and Hamlet (National Theatre, 2011); All My Sons (National Theatre and West End); The Cherry Orchard (2011); Children’s Hour, Flare Path, Rosencrantz and Guildenstern Are Dead, Kiss Me, Kate and Sweeney Todd: the Demon Barber of Fleet Street (2012, Chichester and West End); Loyalty, 55 Days, Chariots of Fire and Good People (Hampstead Theatre); The Pajama Game (Chichester and West End); Private Lives and Neville’s Island (Chichester); Stephen Ward (London); Dirty Rotten Scoundrels (West End) and Amadeus, Guys and Dolls, and Gypsy (Chichester). Paul is creative associate with Matthew Bourne’s New Adventures Company and associate (sound) for the Chichester Festival Theatre.

ETTA MURFITT (Associate Artistic Director). For New Adventures: The Red Shoes, Swan Lake, Early Adventures, Cinderella, Dorian Gray, Edward Scissorhands, Highland Fling, Nutcracker!, The Car Man, The Infernal Galop, The Percys of Fitzrovia, Deadly Serious and Town and Country. Other credits: Twelfth Night and A Midsummer Night’s Dream (Globe), Tin Drum, Flying Lovers of Vitebsk, 946, Wild Bride, Midnight’s Pumpkin, Steptoe and Son, The Umbrellas of Cherbourg and Dead Dog in a Suitcase (Kneehigh). A Chorus of Disapproval (Harold Pinter Theatre); Rufus Norris’ Sleeping Beauty (Birmingham Rep); Rosencrantz and Guildenstern Are Dead (Chichester and Theatre Royal Haymarket); Le nozze di Figaro (Holland Park Opera); The Way of the World (Wilton’s Music Hall); A Midsummer Night’s Dream (Albery Theatre) and

Cat on a Hot Tin Roof (West Yorkshire Playhouse). Television and film includes: Clara in Nutcracker! (BBC/NVC); Rita in The Car Man (Channel 4); Swan Lake, Late Flowering Lust, Roald Dahl’s Red Riding Hood and Mrs Hartley and the Growth Centre (all BBC); Storm (Aletta Collins/BBC Dance for the Camera) and Matthew Bourne’s Christmas (Channel 4). Etta is an Associate Artist at the Globe and with Kneehigh Theatre Company as well as the Associate Artistic Director of New Adventures and Re:Bourne.

DUNCAN McLEAN (Projection Designer). West End theatre includes: Big Fish (The Other Palace); Labour of Love (Noël Coward); Matthew Bourne’s The Red Shoes (Sadlers Wells/U.K. Tour); Committee... (A New Musical), Saint Joan, Limehouse, One Night in Miami..., Privacy, City of Angels and Phyllida Lloyd’s Shakespeare Trilogy, Julius Ceasar, Henry VI and The Tempest (Donmar Warehouse); Love in Idlesness (Menier Chocolate Factory/Apollo); The Hairy Ape, A Flea in Her Ear, The Tempest, The Real Thing, The Norman Conquests and All About My (Old Vic); The Spoils and Richard III (Trafalgar Studios); The Bodyguard (Adelphi Theatre/Worldwide); Impossible (Noël Coward); Urinetown (Apollo); Shrek The Musical (Drury Lane/U.K. Tour); Derren Brown - Infamous (Palace Theatre/U.K. Tour); Let It Be (Savoy/U.K. Tour/ Worldwide); All New People (Duke of York’s/ U.K. Tour) and Frost/Nixon (Gielgud) New York theatre includes: Matthew Bourne’s The Red Shoes (City Center); Privacy (Public Theater, New York); The Tempest (St Ann’s Warehouse, New York); Let It Be (St James) and The Norman Conquests (Circle in the Square) Other theatre includes: The Christmasaurus (Hammersmith Apollo); Nativity The Musical; One Love: The Bob Marley Musical and The Exorcist (Birmingham Rep); Single Spies and If Only (Chichester Festival Theatre/U.K. Tour); 9 TO 5 – The Musical (U.K. Tour) and Chris Cox – Fatal Distraction (U.K. Tour). International theatre includes: Evita (International Tour) and Ghost the Musical (Germany). Events includes: Freemasons Tercentenary and War Horse Prom (Royal Albert Hall); The Sherlock Holmes Experience and The Game’s Afoot (Madame Tussaud’s); 28 Days Later, Dr. Strangelove and Star Wars – The Empire Strikes Back (Secret Cinema) and Harry Enfield & Paul Whitehouse – Legends! (U.K. Tour). www.duncanmclean.co.uk; @dmprojection

NEIL WESTMORELAND (Resident Director) Neil was Assistant Choreographer for New Adventures’ acclaimed production The Red Shoes in 2016. As a Resident Director, he has worked on many productions for the company, including Cinderella, The Red Shoes, Sleeping Beauty, The Car Man, Swan Lake and Nutcracker! Performance credits for New Adventures include principal roles as ‘Prentice’ in Play Without Words, The Pilot and The Father in Cinderella, The Prince in Swan Lake and the title role in Nutcracker! Neil has taught extensively over his career, including for Laine Theatre Arts, English National Ballet School, Central School of Ballet, Elmhurst School for Dance, Performers College, Phil Winston’s Theatreworks, The Royal Ballet School’s 704.372.1000 | BlumenthalArts.org

WHO’S WHO in the CAST MA/SA Associate Programme and The London Contemporary Dance School’s CAT Scheme. Neil’s classical ballet performance credits include dancing as a principal and Soloist for Northern Ballet Theatre in many productions, including recreating the role of ‘Lieutenant Pinkerton’ in David Nixon’s U.K. Premiere of Madame Butterfly, ‘Romeo’ and ‘Paris’ in Massimo Morricone’s Romeo and Juliet, ‘Pip’ in Stephano Gianetti’s Great Expectations, ‘Mr. Hyde’ in Morricone’s Jekyll and Hyde, ‘Pablo’ in Didy Veldman’s A Streetcar named Desire, ‘Escamillo’ in Didy Veldman’s Carmen, ‘Quincy’ in Michael Pink’s Dracula. For English National Ballet, highlights include: ‘Lord Capulet’ in Derek Deane’s Romeo and Juliet at The Royal Albert Hall, Bigonzetti’s XNTricities, Balanchine’s Who Cares? plus ENB’s extensive classical repertoire at the Royal Albert Hall, Royal Festival Hall and London Coliseum. Training: Skelton/Hooper, Dorothy Stevens MBE, Louise Brown OBE and English National Ballet School.

SHAE VALLEY (Production Supervisor). Broadway: American Son, Saint Joan. How the Grinch... at Madison Square Garden. Off-Broadway: The Low Road, A Parallelogram, That Golden Girls Show! National Tours: A Christmas Story, Charlie Brown..., Guys and Dolls, My Fair Lady. Love to T.

NICOLE GEHRING (Company Manager) also serves as General Management Associate for NETworks Presentations. In addition to the current NETworks tours on the road, Nicole has toured with the companies of Finding Neverland, Dirty Dancing, and A Christmas Story. Off-Broadway Nicole was the Company Manager for PUFFS, Sharon Playhouse’s summer season, and Ken Davenport’s The Awesome 80s Prom. Nicole also had the unique honors of directing Day Old Bagels and Tangled in the Reigns, serving as Production Manager on the recent revival of PAGEANT and was the Project Manager and House Manager for the Davenport Theatre during its Off-Broadway opening season. Lastly, she is a proud alum of Point Park University. STAFF FOR Cinderella U.K. General Management GLF Ltd Jennie Green Kayte Potter Gemma Grieg-Kicks Sara Cormack James Miller Booking enquiries: kayte@greatleapforward.co.uk U.S. General Management Gentry & Associates Gregory Vander Ploeg Nicole Gehring Production Management Don Gilmore for Don Gilmore Productions Tom McEvilly for TALE Production Management U.K. and U.S. Marketing Elaine McGowan for EMG Media & Marketing U.K. Press Simon Raw for RawPR Tour Booking, Management InHouse Booking Tracey Stoock McFarland 704.372.1000 | BlumenthalArts.org

Company Manager Nicole Gehring TOURING CREW U.S. Production Supervisor......................... Shae Valley Resident Director............................. Neil Westmoreland Company Manager..................................... Simon Lacey Company Physiotherapist..........................Joanne Hayes Stage Manager and Show Caller............ Heather Wilson Head Carpenter................................. Christopher Tonini Assistant Carpenter................................ Shelby Damron Flyman....................................................... Ivy Lewellyn Head Electrician/Relighter.......................Natania Tonini Assistant Electrician...............................Patty Strathman Assistant Electrician/Projections.......... Delaney McGowan Head Sound................................................. Brian Rudell Head Props.........................................Kristen Rosengren Assistant Props.................................................Laura Rin Head of Wardrobe....................................Kaitlyn Barrett Asst. Wardrobe ............... Emily Staloch, Melissa Payte Head of Wigs................................................ Katy Lewis Wigs Assistants......... Lela Rosenberg, Barbara McCann HANDOVER CREW Production Carpenters......... Dylan Batdorff, Aaron Nolan Production Electricians....... Richard Mence, Jeremy Duncan Production Sound................................... Andy Meadows Electrician/AV.........................................John Campbell Sound................................................ Matthew Coombes Flyman.......................................................... Liam Walls Wardrobe.............Kevin Kilmister, Lucy Packham-O’Brien Wigs Assistant...........................................Emily Radjen 2017 PRODUCTION Director and Choreographer.................Matthew Bourne Restaged by................................................... Etta Murfitt Resident Director..............................Neil Westmoreland Dance Captains..................Ashley Shaw and Jack Jones Rehearsal assistants..........Kerry Biggin, Glenn Graham, Ashley Shaw

FOR CINDERELLA Scenic Contractors.................................................. Souvenir Drapes................................................................Ken Creasey Scenic Painter......................................................Julie Perren Assistant Scenic Designers........ Colin Falconer, Emma Belli Props Supervisor........................................... Lily Mollgaard Props Makers............... Marsha Saunders, Claire Sanderson Sound hire.............................................Masque Sound LLC Lighting hire................................................ White Light Ltd Projection hire..............................Stage Sound Services Ltd Costume Supervisor.................................................Ed Parry Costume Assistant.......................................Annelies Henny Costumes by................... Angelina Pieroni, David Plunkett, Emily Kingston-Lee and Kirsti Spence, Frances Hill, Kathy Pedersen, Kevin Mathias, Mark Costello, Naomi Isaacs, Phil Reynolds, Robert Allsopp, Sasha Keir and Amanda Hall Ball Gowns....................................................... Jane Johnson Uniforms........................... Taff Gillingham for Khaki Devil Knitwear ........................................................ Trevor Collins Shirts..............................................................Darcy Clothing Shoes .....................................Jeff Churchill at Jitterbugboy, Colin Johnson at Johnson Shoes, Dancestore.com, Freeds, Merlin Shoes of Halesworth, Gamba Hats.................................................................. Simon Dawes Gloves............................................................ Pamela Woods Underwear.....................................................What Katy Did

WHO’S WHO in the CAST School Uniform Suppliers................................Andrew Hall Wigs Supervisor................................................Darren Ware Assistant Wig Supervisor................................Pav Stalmach Wigs by........................................................ The Wig Room International freight...................................Henx Europe Ltd Travel Booking...............................Production Touring Ltd Graphic Design...............................................Feast Creative Image Photography................................. Hugo Glendinning Production Photography.................................Johan Persson Insurance Brokers.......................... Andy Rudge for Integro Production Accountants........................ Nyman Libson Paul MUSIC CREDITS Recorded by the 82-piece Cinderella U.K. Orchestra at Air Studios, 2010 Conductor.....................................................Brett Morris Sound Producer...........................................Terry Davies Studio Engineer........................................ Nick Woolage Mix Engineer.............................................Philip Adams Assistant Engineer.....................................Olga FitzRoy Cinderella, Op. 87 Composed by Sergei Prokofiev Published by G. Schirmer, Inc. in the US CREDITS “Keep Mum, She’s Not So Dumb”, “Let Us Go Forward Together” and “Hello Boyfriend” images © Imperial War Museum used with kind permission. The Underground Roundel Logo © ® Transport for London used with kind permission “What to do in an Air Raid’, ‘London City Fire and Damage’ and ‘London’s Biggest Blitz’ archive content © British Pathé Ltd used with kind permission. The Red Cross emblem is meant to protect military medical services and relief workers during armed conflict, and its use is restricted by law. The producers wish to thank the American Red Cross for their consultation and authorization to use the Red Cross emblem to signify a military hospital during WWII in this production. Sound Equipment provided by Sound Associates; US Lighting Equipment provided by 4-Wall Entertainment; Transformers provided by SBP Industries. Special Thanks to Tom Gabbard and Blumenthal Performing Arts Center. GENTRY & ASSOCIATES Chief Executive Officer................................Ken Gentry President.......................................................... Orin Wolf Chief Financial Officer........................Scott W. Jackson Chief Operating Officer................. Jeni Ardizzone-West Executive Vice President...............................Seth Wenig Senior Director of Finance............................ John Kinna Controller...............................................Jennifer Gifford Director of Tour Accounting...................Laura S. Carey Director of Marketing/PR.......................... Heather Hess Sr. Director, General Management........Gregory Vander Ploeg Office Manager.....................................Buddy Piccolino Office Assistant............................................Carol Jewell

NEW ADVENTURES Artistic Director.............................. Sir Matthew Bourne Group Managing Director.......................... Robert Noble Executive Director.................................Imogen Kinchin Associate Artistic Director.............................. Etta Murfitt Resident Artist............................................Kerry Biggin General Manager Productions.....Jennie Green for GLF Ltd General Manager......................................... Louise Allen Company Production Manager................ Tom McEvilly Company Manager......................................Simon Lacey Project Manager and Resident Practitioner........Paul Smethurst Projects Manager.............................. Alexandra Ringham Digital and Audience Engagement Manager........... Nick Kyprianou Administrator.................................... Radojka Radulovic Digital and Project Assistant..................Damie Lemomu Assistant to Matthew Bourne.............. Suzanne Boguzas Press...............Simon Raw at RawPR +44 (0) 7818 444115 Founder Artistic Associate................ Scott Ambler, 1960-2018 Associate Artists...................................Lez Brotherston, Paule Constable, Terry Davies, Paul Groothuis, Brett Morris Trustees ........ Jeanette Siddall CBE (Chair), Sean Egan, Brenda Emmanus, Helen Protheroe, Arielle Smith, Dr Kaneez Shaid MBE, Kenneth Tharp CBE Patrons............Dame Darcey Bussell DBE, Tom Daley, David Walliams OBE Matthew Bourne would like to thank the original 1997 cast. Supported by the Arts Council England Follow us and buy our merchandise at www.new-adventures.net @mbnewadventures @MBNewAdventures @New_Adventures Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

704.372.1000 | BlumenthalArts.org

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Blumenthal Performing Arts recognizes with gratitude the dedication and generosity of the following supporters.

PRODUCER'S CIRCLE $25,000+ Peg and Jay Adamczyk Gary Bechtel Barbara and David Goodman* Laura and Jeff Hay* Julianne Marley

Kristin and Buck Bradberry George Brooks Nan and Hal Clarke Lorin, Erica, and Lydia Crenshaw Morgan and Brian Cromwell Rose and Bill Cummings Karin and Sean Davies $10,000+ Amy and Alfred Dawson Dr. Milton and Arlene Berkman Jim Donahue Philanthropic Fund Michele Durkin In honor of Katherine Dr. Bryan Edmiston and and Emery Cherok Mr. Felipe G. Edmiston Victoria and Porter Durham Julie and Tom Eiselt Beth and Jonathan Feit Lou Kinard and Charlie Elberson Vickie and Tom Gabbard Michele and Walter Fisher Bob and Jena Gallagher Erin Lavely Fisher Sandra and Stephen Godofsky Karen Griffin and John Galloway Nancy and David Hauser Mrs. Gail Grim Rebecca S. Henderson and Debby and Mike Groenhout J. Michael Booe Robin and Blaine Hawkins Renee and Chris Hobart Patti and Mark Hawley* Michelle Lee Mr. and Mrs. William T. Houser Michael, Jaime and Allie Monday Nora and Thomas Hughes Mr. and Mrs. William B. McGuire, Jr. Susan and David Jamison Jean and Matthew Salisbury Virginia A. Kern Joan Zimmerman Meghan Daigle and Troy Leo Charlotte and Arthur Mott $7,500+ Anna and Tom Nelson Betsy and Alfred Brand Rene and Brian Noonan Robin and Lea Burt Andrew Olah Dorlisa and Peter Flur Kathleen C. Richardson The Hertel Family Carla and Ed Rose Barbara and Josh Meeks Wendy and Frank Rosen Linda and Tony Pace Brenda and Bill Ryan Tracey and Scott Tozier Mr. and Mrs. Jason C. Schmidly Vesime and Marty Schroering $5,000+ Gail Sharps Myers Anonymous Lisa and Glenn Sherrill Cathy and Jim Baily Norma and Rodney Short Mr. William M. Barnhardt and Peggy and Pope Shuford Mrs. Nancy B. Thomas* The Marc and Mattye Kelly and Richard Battle Silverman Foundation Christine and Arthur Becker Dia and Paul Steiger Jeremy and Connie Blaney Patricia and John Stewart The Blumenthal Foundation Jennifer and David Teifer Amy and Philip Blumenthal Carrie and Jeff Teixeira Ben Bourne Jacqueline A. Tucker Hona Childers and Daniel Browne Rita and Bill Vandiver Mrs. Mary Anne Dickson Ellen and Ron Vilas Elizabeth and James Faulkner Ed Weisiger, Jr. and Betsy Fleming Mr. and Mrs. Robert H. Gibbs Dr. Matthew Wheelock and Belinda and Timothy Gunter Dr. Jill Smith-Wheelock Dale Halton and Fred Wagner Mr. and Mrs. Michael L. White Beverly and Jim Hance Karen and Ed Whitener Charles and Diane Harrington Dara and Bob Whiting Janet and Neil Kaplan Lisa and Kenny Wilson Kate and Mike McDermott $1,500+ Courtney and Jared Mobley Anonymous Robert H. Norville, Jr. Keith Alyea and Fidel Montoya Mr. and Mrs. George Raftelis Holly and Jeff Atkins Rose and Tom Sherard Shana and Christopher Shivel Elizabeth Austin Bryan and Kristen Barboza Lori and Eric Sklut Cheryl Barringer and Ann and Michael Tarwater Mike Sherman Anja and David Zimmerman Joanne and Steve Beam $2,500+ Ralph Beck, in memory of Linda Anonymous The Donald H. and Barbara K Becky and Michael Alcione Bernstein Family Foundation Randy and Nancy Baker Julie and Riaz Bhamani Shavonda and Reginald Bean Lakana and Tony Bikhazi Doug and Shelly Bose Mr. and Mrs. Alan Blumenthal Crandall C. Bowles Andrew Blumenthal and Chris and Steve Brace Stephanie Baumann

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Sam Blumenthal Peggy and Ray Bouley Pat and Tim Brier Kathleen Britton Susan and Greg Brouse James Bullock Jesica Bullrich Dr. Chris Burkett Sarah and Bret Busby Joy and Chris Butler Karmen Cassell Delane and Walter Clark Ofelia and Philip Claxton Brent Clevenger Steve and Martha Clifford Dr. Elaine and Steve Coats Edward Cook Lori and Derek Copeland Catherine Cordle Harvey and Muri Corzin Craig and Sara Cummings Gloria De Arcangelis Donna and Al de Molina Dan and Gena DeChant Pamela and Greg Dills Claude Duet Marcia and Bob Dynko Sidney and Andres Echevarria Kelli Enos Windy and Jef Fullagar Kelly and Doug Gardner Michael and Connie George Joseph and Carol Gigler Todd Glenham Jessica and William Griesser Randy Griffin Sharon and Benjamin Hager Kathy R. Hairston Randy P. and Donna Helton Mr. George and Dr. Koh Herlong James Hill Juliet and Brian Hirsch Sarah Hollar and Peter Macon Carol and Chris Horn Larissa and Ken Huber Peggy and Jim Hynes Beth and Hytham Imseis Beth Ipock Jonathan Ishee Kathy and Charlie Izard David S. Jacobson Juanita and Lloyd Johnson Michelle Johnson The Julliard Family Lyndon W. Kennedy Linda and Kerry Kenner Sandy and John Kindbom Mary Jean and Howard L. Kushner Patty and Chris Lambert Eleanor Ehrhart and Dominick Landi Beverly and John Lassiter Margie and Victor Lisciani Joseph Marko Marie-Claire Marroum-Kardous Ashley and Scott Mattei Jill Maxwell Betsy and T. Bragg McLeod Karen and Robert Micklash Ms. Marie Mitchell Anne and William Newcomb Paul Norris Dr. Valerie and Mr. Barton O'Kelley Drs. Elaine and Thomas Pacicco

Jacob Palillo Peggy Peterson Susan and Dale Pond Fidel and Laura Prieto Jim Putnam Mary and Dave Pylipow Nadine and Leif Rauer Sally and Russell Robinson Lisa and Robert Rollins Mikel and Diane Ryan Chryll and Wayne Salow Anne and Steve Schmitt Anjali Shah Emilie and Gene Sharbaugh Deanna and Norman Shue Skinkle Tona Family Judith Smith Dr. Ramada Smith and Mr. Kevin Smith Tom E. Smith Cindy and David Soliday Sheri and Kelly Straub Suzanne and Michael Stritch Dr. and Mrs. Robert Sullivan Joseph and Christine Thomas David Thomason Sandy and Greg Vlahos Abby and James Warren Lisa Whitney Mary Ellen and Reid Wilkerson Teresa and Stick Williams Johnie Willis and Michael Green Elechia Wimbish In loving memory of my Rip Cathey Winfield Jennifer and John Wozniak $1,000+ Anonymous Scott Bengel Bonnie and Jim Blair Laura and Sam Bowles Rachel E. Brackett Susan and Ralph Brackett Mona Brandon Mary and Frank Brown Rich and Beth Buchanan Peter and Cynthia Buck Caroline and Matt Chambers Karen and Kevin Chapman Melissa M. and Howard R. Cohen Linda and Richard Cook William Cooper Brooke and Steve Cornwell Lori and Roger Cuddy Bill Dantos Meg and Jay Dees Tara DellaVecchia and Ryan Zepp Dena R. Diorio Mrs. Roddey Dowd Sr. Christine and James Drost Marcy and Fred Dumas Lorine and Ray Edwards Sandra and Eddie Edwards Elaine and Jeffrey Fagan Kayla Freeman Mr. Michael Garcia Darcy and Steven Garfinkel Glenn and Krissa Gaston John R. Georgius Robin Gershen Robert W. Graf Family Fund Neil and Sharyn Handelsman Continued on next page

Blumenthal Performing Arts recognizes with gratitude the dedication and generosity of the following supporters.

PRODUCER'S CIRCLE (CONTINUED) Fred Handsel and Ben Bellante Eric Hauser and Phillip Butts Leland Helms Jennifer Henry Kathy and Ben Hill Carol Hitselberger Arlene and Randy Hobart Jim and Frankie Honeycutt Michelle and Brian Howell Cathy and Michael Hyzy Katina Cole Jakubowski Lynn Jeffrey Dr. Leslie Y. Johnson Karen and Newmoon Jung Jerri Kallam Charity Kates Edward and Florence Kim Joan Kirschner Tricia and Ryan Knatz David and Amy Kulbok

Janice S. Ladley Zack Lansat Chase and Ron Law Laney and Wood Lay James Ledbetter Tara and Matt Livingston Mollie and Grant Lyman Richard and Anna Marriott Jane and Hugh McColl Laurie and Kevin McCormick Darlyne Menscer Dr. and Mrs. Alden Milam Shelley and Andy Misiaveg James and Koh Morrisey Amy and Jason Murphy Donna Nellis Jill and Ed Newman Keith Oberkfell Wendy Oglesby and David Higbe Jack Page and Robert Myers

James Parker Anne Patefield Donna and Steve Pernotto Brad Platt and Steve Krook Cynthia and Steve Reese Irena and Lee Rimler William R. Rollins Carol and James Salisbury Beth and John Schleck David Senay Dr. Marvin Shapiro and Mrs. Anita Shapiro Chip and Jennifer Shelton Jan and Scott Smith Wayne B. Smith, Jr. and Indun Patrick Wendy and Brian Smith Sara and Morgan Spencer Ken Spielfogel and Richard Withem

Rochelle and Peter Stewart Claire and Jim Talley Mr. and Mrs. Jack H. Thomas Sandi and Ben Thorman Debi and Bill Timmerman Ellen and Jim Wade Pam and Andy Warlick Jacqueline and Rusty Wasco Drs. James and Jackie Wheeler Pat and Bill Williamson Velva and Tom Woollen *Members of The Legacy Society at Blumenthal.

Contributions received from Dec. 1, 2017 - Dec. 1, 2018

CORPORATE PARTNERS $7,500+ Directing Partners Publix Super Markets Charities

$5,000+ Executive Partners Alston & Bird British American Business Council C design Inc.

Collier Law Grove Engineering InterCon Building Corporation Keatley Wealth Management, LLC

KPMG McKenneyâ&#x20AC;&#x2122;s, Inc Moore & Van Allen PLLC Rodgers Builders Inc.

SteelFab, Inc. Troutman Sanders LLP Uncle Maddioâ&#x20AC;&#x2122;s UTC Aerospace Systems

McGuireWoods LLP McIlveen Family Law NARENCO Parker Poe Adams & Bernstein LLP PMMC Premier Golf, Inc. Robinson Bradshaw & Hinson P.A. Rogers Unloading Service

RSM US LLP The Dowd Foundation, Inc. Tippens & Zurosky LLP Walbridge Southeast White Knight Engineered Products, Inc.

Mechanical Contractors, Inc. NC Interiors Contracting, Inc. Odell Associates PAGE Powersystem Piedmont Properties Preferred Electric Co., Inc. Robert E. Mason & Associates, Inc. Savills Studley

Sentinel Risk Advisors Schindler Elevator Corp. Ty Hardee Financial Velligan Medical Services, PC Waterstone Multi-Family Group

$2,500+ Managing Partners Adams Electric Company Adsworth Media Baird Private Wealth Management BDO Bradley LLP Bryan Cave Leighton and Paisner LLP Charlotte Insurance

Charlotte Paint Co. Inc. Chicago Title Insurance Company Deloitte Foundry Commercial Gray Dog Investments, Inc. Hood Hargett & Associates King & Spalding LLP McCracken & Lopez, PA

$1,000+ Associate Partners BB&T Cabarrus Glass Company Inc. Charlotte Labor Source Carousel Capital Charlotte Business Journal Crosland Southeast Curvature Donald Haack Diamonds & Fine Gems

Galvan Industries, Inc. Garmon & Company, Inc. Commercial Flooring High Performance Technologies Hoopaugh Grading Company, LLC Howard Brothers Electric Jenkins Peer Architects Lil and Associates McVeigh & Mangum

Contributions received from Dec. 1, 2017 - Dec. 1, 2018

HOSPITALITY PARTNERS Our Restaurant Partners help make your Blumenthal experience even more special. We gratefully acknowledge their generous support and hope you will patronize them frequently.

704.372.1000 | BlumenthalArts.org

Blumenthal Performing Arts recognizes with gratitude the dedication and generosity of the following supporters.

CATALYST PARTNERS

THE DOCTOR FAMILY FOUNDATION The Arts & Science Council supports Blumenthal Performing Artsâ&#x20AC;&#x2122; 2019 fiscal year budget with operating and programmatic grants.

Blumenthal Performing Arts receives support from the North Carolina Arts Council, a division of the Department of Cultural Resources.

LEADERSHIP PARTNERS

STRATEGIC PARTNERS

SIGNATURE PARTNERS

$15,000+ CEO PARTNERS

$20,000+ CHAIRMAN PARTNER

$10,000+ PRESIDENTIAL PARTNERS

704.372.1000 | BlumenthalArts.org

the arts are the highest form of expression. Inspiring. Thought Provoking. PNC is proud to sponsor PNC Broadway Lights. Because we believe in and support everything the arts can accomplish.

704.372.1000 | BlumenthalArts.org

FOR THE CAROLINAS

Every day, more than 32,000 people choose us for their healthcare. From the region’s most advanced heart program and cancer institute to a nationally ranked children’s hospital, we remain strong in our commitment – not just to delivering better care, but to delivering the best care. For all.

704.372.1000 | BlumenthalArts.org

Pub: Blumenthal Playbill

Client: Atrium Health

Blumenthal Performing Arts

BlumenthalArts.org

For This Tangled Web of a Story, ‘Are You In, or Are You Out?’ Tickets on sale now for Cruel Intentions: The ’90s Musical

aring is a quality for which Bourne is Based on the French novel, Les Liasions Dangereuses, and the classic cult film starring Reese Witherspoon, Ryan Phillipe and Sarah Michelle Geller, Cruel Intentions: The 90s Musical pulls you into the manipulative world of Manhattan’s most dangerous liaisons: Sebastian Valmont and Kathryn Merteuil. The national tour kicks off this spring and heads to McGlohon Theater April 25-27! Seduced by revenge and fueled by passion, the two diabolically charming step-siblings place a bet on whether or not Sebastian can deflower their incoming

headmaster’s daughter, Annette Hargrove. As the two set out to destroy the innocent girl – and anyone who gets in their way – they find themselves entangled in a web of secrets, temptation, and the cruelest game of all: love. “Funny and nostalgia-fueled. The choice lines and inspired soundtrack hits are all there … the best of the ’90s!” raves The New York Times. “Fun, sexy, and seductive. It’s a great time!” adds Huffpost. Featuring your favorite throwback hits by artists like Boyz II Men, Christina Aguilera, REM, *NSYNC and Britney Spears, this intoxicating new musical is the ultimate night out.

Cruel Intentions: The ’90s Musical April 25-27 • McGlohon Theater 704.372.1000 • BlumenthalArts.org 12

704.372.1000 | BlumenthalArts.org

PRIME AGED TO PERFECTION

UPTOWN 227 W. Trade St. 704.333.2602 Mortons.com

Trust Your Gut to the Experts

CHARLOTTE GASTROENTEROLOGY & HEPATOLOGY Ballantyne . Charlotte . Huntersville . Matthews . Mooresville Appointment Line . www.charlottegastro.com . General Information 704.377.4009 704.377.0246 704.372.1000 | BlumenthalArts.org

Opera Carolina

operacarolina.org

Opera Xpress Is Buzzing With Excitement With Its Newest Production, A Busy Bee

inding our place in society can be hard for adults, but it’s especially confusing for kids. Bella, the heroine of the story A Busy Bee by Ruben Piirainen, is a busy bee determined to discover her place in the hive. The season’s Opera Xpress production is based on the story of a honeybee on a quest to find her purpose. At a time when students are feeling the pressure to always have the right answer, Bella and her friends remind us that we learn by trying – even if we don’t always succeed. The 13-week tour runs through April. Close to 30,000 elementary school students from Charlotte-Mecklenburg and other parts of North Carolina, upstate South Carolina and northern Georgia will see the Opera Xpress production. In addition to the in-school performances, there will be five family productions.

A summary straight from the score

“Sometimes you may feel like you’re not good enough.

Sometimes you may feel like you’re not smart enough. But good things will come to you if you keep trying.”

Learn more about Opera Xpress at operacarolina.org or by calling 704.332.7177 ext. 105. 14

704.372.1000 | BlumenthalArts.org

Can’t see the performance clearly? The problem may not be your seat. A checkup by one of Horizon Eye Care’s specialists is sure to sharpen your view. Make an appointment today – because we want you to see everything. 6 convenient Charlotte area locations

horizoneye.com

At Charlotte Prep, talents within come alive.

THE FIRST STEPS TO

EXCELLENCE 704.372.1000 | BlumenthalArts.org

www.charlotteprep.org

Charlotte Ballet

charlotteballet.org

Shakespeare Reinvented

harlotte Ballet’s Innovative Works series is the next step in Artistic Director Hope Muir’s daring vision for the company. This unique experiment brings the works of William Shakespeare to life through a creative collaboration with UNC Charlotte. Together, choreographers and Shakespeare scholars will use the language of dance to embody and reinvent Shakespearean themes. For her Charlotte debut, choreographer Stephanie Martinez is collaborating with playwright, theater and dance historian Dr. Lynne Conner to explore Shakespeare from a woman’s perspective. This challenge “is really unusual – it’s a puzzle,” said Conner. “How do I bring my skills to this other world?” Approaching the creative process as a conversation with Shakespeare himself, Martinez and Conner discovered many parallels between gender issues then and now. “Shakespeare is very male-centric, and I want audiences to see it from a woman’s point of view,” Martinez said. Also collaborating for Innovative Works are Robinson Distinguished Professor of Shakespeare Dr. Andrew Hartley and choreographer Peter Chu, who choreographed a fresh interpretation of Stravinsky’s Rite of Spring for Charlotte Ballet II and Charlotte Ballet’s Reach scholarship program accompanied by the Charlotte Symphony last season. To further Charlotte Ballet’s mission of expanding the audience for ballet and connecting with communities, every performance of Innovative Works features a Photo by Jeff Cravotta

post-performance reception with Charlotte Ballet dancers in the lobby of the Center for Dance for refreshments and conversation about the inventive pieces. Join us to see the culmination of this innovative collaboration and experience Shakespeare’s enduring tales in a fresh, provocative way. Tickets start at just $25.

James Kopecky

Photo by Todd Rosenberg

Innovative Works

Jan. 25-Feb. 16 Patricia McBride & Jean-Pierre Bonnefoux Center for Dance For tickets and information, visit charlotteballet.org 16

704.372.1000 | BlumenthalArts.org

Dance the difference

stepsnmotion.com

TK - Grade 12

Blakeney / Ballantyne (704) 845-1180 Indian Land / fort mill (80 ) 8-0 7 Waxhaw / Wesley Chapel (704) 84-0005

9502 Providence Road Charlotte, NC 28277 CharlotteLatin.org 704.846.7207

CharlotteLatin.org | 704.846.7207

the art of advocacy James, McElroy & Diehl, P.A. 704.372.9870 www.jmdlaw.com 704.372.1000 | BlumenthalArts.org

Charlotte Symphony Orchestra

charlottesymphony.org

Photo by Jeff Rothman

Joseph Young

Charlotte Symphony Celebrates Charlotte at 250

n one of many citywide events as part of Charlotte’s 250th anniversary, the Charlotte Symphony shines a spotlight on its own principal flutist, Victor Wang, next month. Wang presents living composer Michael Daugherty's poignant Native American musical journey, “Trail of Tears,” on the Classical Series stage as part of Tchaikovsky’s Sleeping Beauty. Daugherty’s homage to Cherokees expelled from North Carolina in the 1830s, specifically its third movement, “Sun Dance,” showcases the virtuosity of one of the Symphony’s most recent arrivals. “The first movement, ‘Where the Wind Blew Free,’ has lots of melody and singing lines for me,” Wang told The Charlotte Observer. “The second, ‘Incantation,’ is freeform and lets me improvise; it deals with the death march.” Nearly 4,000 Cherokees died during that march on the way to Oklahoma.

“Then ‘Sun Dance’ is full of pyrotechnics. I’m delighted to play it,” Wang said. NextGen conductor Joseph Young will lead the captivating program featuring a diverse cast of characters. Tchaikovsky at his best, Sleeping Beauty brings fairy-tale colors while Copland’s Billy the Kid Suite depicts a classic American scene.

Photo courtesy of The Charlotte Observer

Victor Wang

Tchaikovsky’s Sleeping Beauty Feb. 22-23 • Knight Theater For information, visit charlottesymphony.org 18

704.372.1000 | BlumenthalArts.org

A long tradition of helping our community perform at its best. At Moore & Van Allen we have a long tradition of supporting the arts. Whether they entertain, inspire or simply add beauty to our community, the arts can have an impact on everyone. There are very few things in life that can achieve that. Which, in our minds, is an uncommon art.

mvalaw.com Charlotte Office 100 North Tryon Street, Suite 4700 Charlotte, NC 28202

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