ADAPTED BY
JEFFREY HATCHER
FROM THE ORIGINAL BY FREDERICK KNOTT
ADAPTED BY
JEFFREY HATCHER
Sept. 19–Oct. 6, 2024
FROM THE ORIGINAL BY FREDERICK KNOTT
DIRECTED BY ELISE SANTORA
A NOTE FROM PRODUCING ARTISTIC DIRECTOR
HELLO AND WELCOME,
As always, I’ll lead with gratitude. Thank you for being with us in this moment and thank you for supporting the Fine Arts Center.
I want to take a moment to shine a light on a few of our many special offerings this season. In keeping with the 2024–25 FAC-wide “Sense of Place” theme, we are producing our first ever world premiere. In Her Bones was written by a woman who grew up in Colorado Springs, took classes at Bemis School of Art, was in Youth Rep, and also performed on this very stage. It’s a story about family ties and long buried secrets, and it also takes place in the San Luis Valley. Bones will be offered in two parts: first as a workshop this fall with staged readings (free to subscribers, members, and the larger CC family), and then in February it will be fully produced right here on the mainstage.
This year will also see our first ever bilingual children’s show. The City Dog and the Prairie Dog allows both Spanish and English speakers to share a theatrical experience together while embracing the valuable lesson that the grass is not always greener on the other side.
Finally, we are proud to continue our Send a Student initiative which helps to defray the cost of attending the FAC theatre for area Title 1 Schools. In its first year, it raised over $10,000. Please consider supporting. fac.coloradocollege.edu/donate/send-a-student
Now, settle in for a nail-biting thriller that will keep you guessing until the final moment. Thank you for being here and thank you for your continued support. See you next time.
Christopher L. Sheley Producing Artistic Director
LAND ACKNOWLEDGEMENT
Colorado College occupies the traditional territories of the Nuchu, known today as the Southern Ute Tribe, the Ute Mountain Ute Tribe, and the Northern Ute People. Other tribes have also lived here including the Apache, Arapaho, Cheyenne, and Comanche — and notably, continue to do so, along with many other Indigenous Peoples. To actively seek social justice, we acknowledge that the land continues to hold the values and traditions of the original inhabitants and caretakers of this land. We pay honor and respect to their ancestors, elders, and youth – past, present, and future.
Adapted by Jeffrey Hatcher
From the Original by Frederick Knott
Directed by Elise Santora
Scenic Design Lex Liang†
Lighting Design
Holly Anne Rawls
Costume Design Harry Nadal†
Sound Design
Travis Joseph Wright
Orignial Music by J. Chang-Tablada
Production Stage Manager
Elizabeth Ann Goodman*
Fight Director
Samantha Egle
Assistant Stage Manager Liz Lee*
Originally commissioned and produced at The Old Globe Barry Edelstein, Erna Finci Viterbi Artistic Director Timothy J. Shields, Managing Director “Dial M for Murder (Hatcher)” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
*The Actor appears through the courtesy of Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States
†The Designer for this production is represented by United Scenic Artists, the international alliance of Theatrical Stage Employees
CAST
IN ORDER OF APPEARANCE
Margot Wendice Maggie Tisdale*
Maxine Hadley Amaya Egusquiza*
Tony Wendice ......................................................................................................Jonas Cohen*
Lesgate ...................................................................................................................... Jeff Ronan*
Inspector Hubbard ................................................................................ Brian Landis Folkins*
SETTING
The living room of the Wendice flat in London, 1952.
ACT ONE
Scene One – A Friday evening in September.
Scene Two – Saturday evening.
Scene Three – Later that night.
Dial M for Murder will have one fifteen-minute intermission.
ACT TWO
Scene One – The next morning.
Scene Two – A few months later. Afternoon.
*The Actor appears through the courtesy of Actors’ Equity Association, The Union of Professional Actors and Stage Managers in the United States
NOTICE
Assisted listening devices are available at no charge from the ushers by request.
The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States copyright law.
If you leave the theatre for any reason during the performance, it will be left to the discretion of house management as to when you can return to your seat.
We reserve the right to ask anyone to leave if their behavior is disruptive to the performance environment.
A NOTE FROM THE DIRECTOR
Growing up as a kid in the Bronx, I was a big fan of shows like Night Gallery where intellect and profound critical thinking were infused with mystery and thrillers in each episode. I also enjoyed watching Million Dollar Movie every Saturday that offered movies, all day long, of different genres spanning the 1940s and 50s. And I gravitated towards mysteries and thrillers, namely Alfred Hitchcock’s films of course. The plot’s twist and turns, the intrigue, his use of camera angles, the use of shadow and light by Hitchcock forced my childlike mind to imagine what was about to happen and deliciously scare myself in the process. The 1954 film adaptation of Dial M for Murder, directed by Alfred Hitchcock, starring Ray Milland and Grace Kelly was one of those landmark thriller films for me.
Jeffrey Hatcher’s adaptation of Frederick Knott’s Dial M for Murder premiered at The Old Globe in San Diego, CA in July 2021. Knott’s original version of the play was first presented on the stage by James P. Sherwood at the Westminster Theatre, London on June 19, 1952. On October 29, 1952, the play premiered on Broadway at the Plymouth Theatre.
Even if you’ve seen Alfred Hitchcock’s 1954 film adaptation of the Frederick Knott teleplay, you’ll experience this smartly updated adaptation that has many surprise twists in a different way. Hatcher has kept the play in its original period — 1950s London — but has trimmed some of the outdated language and tightened up overlong speeches of plot exposition. But his most intriguing changes are the gender of the third character in the story’s love triangle and the central character’s occupation — both of which heighten the stakes for the play’s characters... Dial M lives up to its reputation as midcentury thriller but seen through Hatcher’s fresh eyes. The pace is quicker, and the women are smarter and more complex.
It is a clever design for a thriller to suddenly come unhinged and we watch as the pieces unravel, change course and unravel again. In addition, using the role of Maxine as his mouthpiece, Hatcher takes an opportunity to muse on the enduring popularity of the thriller genre: it elicits dread and suspense; it hinges on a good villain; it privileges the psyche of the murderer over the victim. Hatcher’s discourse dances on the tightrope between tension and relief without losing sight of the grounding, realistic reasons for a person to commit murder. Dial M for Murder offers a kind of modern Saturnalian revelry: pulpy and full of deception, duplicity, and backstabbing. It’s noirish and flirts ever so lightly with camp. A truly excellent thriller, it fulfills the rules of the genre while subverting them.
Enjoy the intrigue!
Elise Santora Director
WHO’S WHO
THE ACTING COMPANY
Jonas Cohen* (Tony Wendice) is based in New York. OffBroadway includes Deadly Stages, Duet for Three, and Strings Attached, as well as two shows for the New York Musical Theater Festival (Best Ensemble Award). Regional Credits include Arkansas Rep, Northern Stage, Riverside Theater, Walnut Street Theatre, Portland Stage Company, Barrington Stage, Stamford Theatreworks, Great Lakes Theater Festival, Idaho Shakespeare Festival, The Hangar Theater, Flat Rock Playhouse, The Arvada, New Harmony Theatre, Capital Repertory Theater, Ivoryton Playhouse, and The Fulton Theater. He has also made appearances on TV’s FBI, The Good Fight, The Equalizer, The Flight Attendant, Mr Robot, The Deuce, Succession, Law & Order SVU, The Tap, Power, Blue Bloods, and All My Children.
Amaya Egusquiza* (Maxine Hadley) caught the theater bug in college and received her Bachelor of Science in Theater Arts from University of Puget Sound in Tacoma, WA with an emphasis in Acting. After graduation she resided in Corvallis, OR where she honed her skills as a theater professional through her work as Education Director for the Majestic Theatre, company member at Willamette Stage Company, and co-founder of Pipe Dream Theater. Favorite roles include Anna in Boston Marriage at Willamette Stage Company, Elaine in Last of the Red Hot Lovers at Stages After Dark, Ligarius in Julius Caesar at Springs Ensemble Theater, and Irina Czarina in Red Herring at the Millibo Art Theater. She is thankful to her family, especially her sister for always pushing her, her mother for holding her up, and her husband Rich for the daily love and support on this journey.
Brian Landis Folkins* (Inspector Hubbard) recently won the 2024 Henry Award for Best Actor in a play for his portrayal of Clov in Endgame at Thunder River Theatre Company. Mr. Folkins was last seen on the FAC stage as Ed in The Curious Incident Of The Dog In The Night-Time and as Charles Whitmore in Church and State where he also won the Best Actor Henry in 2019. Brian is an Artistic Company Member at Curious Theatre in Denver. Some Curious credits include: Hanratty in The Mintues: Poot in Amerikin: Lorrin in Gloria; Lefty in The Happiest Song Plays Last; CW in Dust (Wonderbound Collaboration); Kenny in Detroit; and Philippe Petit in Up. Other credit Highlights include: Peter in Bug at OpenStage Theatre; Brick in Cat On A Hot Tin Roof at The Edge Theatre; Beane in Love Song at Paragon Theatre; Dennis in Mauritius at Boulder Ensemble; Raskolnikovil in Crime and Punishment at Off Square Theatre; Stanley in A Streetcar Named Desire for the Tennessee Williams Festival in Mr. Williams’ birth town of Columbus, Mississippi: and he played both parts in rotation in Edward Albee’s The Zoo Story in Ireland. In late 2020, The BLF received critical acclaim for the lead in the feature film Rent-A-Pal alongside Wil Wheaton. Brian also made his Network Television debut in 2022 with a 3-episode arc on ABC’s Big Sky
THE ACTING COMPANY
Jeff Ronan* (Lesgate) is an actor and writer based in New York City who is thrilled to be making his Colorado Springs FAC debut. Recent stage credits include The Play that Goes Wrong (Cape Fear Regional Theatre), The Weight of Everything We Know (Theatre Raleigh – world premiere), Little Shop of Horrors (Greenbrier Valley Theatre) and The Complete Works of William Shakespeare abridged (Redhouse Arts Center). Favorite roles include Thomas in Venus in Fur, John Buchanan in Summer and Smoke, and Katurian in The Pillowman. As a writer, Jeff’s fiction has been published in over a dozen literary magazines and his one act play, Bunkmates, is published and licensed with Concord Theatricals. Learn more at Jeffronan.com
Maggie Tisdale* (Margot Wendice) holds a BFA in Drama from NYU Tisch/Atlantic Theater Company Acting School. She was last seen at the Fine Arts Center as the Nurse in Shakespeare in Love Other regional credits include The Pavilion, Freaky Friday, and Caroline, or Change (Aurora Fox), Sister Act (Arvada Center), and Bullets Over Broadway (Vintage Theatre). Maggie is a company member with The Catamounts, where she has appeared in Impossible Things, Small Ball, Shockheaded Peter, United Flight 232, You on the Moors Now, and The Rough. TYA credits include Goodnight Moon (Denver Center), Sleeping Beauty and Ramona Quimby (Denver Children’s Theatre), A Year with Frog and Toad, Junie B. Jones, and Charlotte in Charlotte’s Web (Arvada Center). Maggie has also worked as a teaching artist and youth theatre director at the Denver Center, the Arvada Center, the Mizel Arts and Culture Center, Play On! Performing Arts, Colorado Shakespeare Festival, and the Performing Arts Academy.
SHINE A SPOTLIGHT ON THE FUTURE OF THEATRE
Every great performance begins with passion—passion for storytelling, creativity, and the magic of live theatre. At the Fine Arts Center, our theatre program is fueled by that same passion, and with your support, we can continue to create unforgettable moments that entertain, inspire, and connect us all. Whether you're captivated by the drama, thrilled by the suspense, or laughing in the aisles, your donation helps keep the curtain rising on productions that matter.
WAYS TO GIVE
By Check or Cash: Simply send your contribution to the Fine Arts Center at 30 W. Dale Street, Colorado Springs, CO 80903 and write “Theatre” in the memo. Every dollar takes center stage in helping us produce the shows you love.
Online Donations: Prefer to give with a click? Visit fac.coloradocollege.edu/ donate-to-theatre to make your donation online. Your generosity is just a tap away!
HOW YOUR SUPPORT MAKES AN IMPACT
Your donations are the behind-the-scenes heroes of our productions. Every dollar ensures our stage is set with the best talent, costumes, and technical expertise. Your generosity helps us bring stories to life, from the spotlight to the wings. Whether it’s supporting new and local playwrights like the production of In Her Bones coming in Winter 2025, providing educational opportunities for aspiring actors and directors, or helping us maintain our beautiful theatre, your gift plays a leading role in everything we do.
THANK YOU FOR BEING PART OF OUR STORY
As every actor knows, no performance is complete without an audience, and no theatre program can thrive without the support of patrons like you. Your contribution is an investment in the arts, in our community, and in the next generation of theatre lovers and makers. Thank you for standing with us, for cheering us on, and for helping keep the magic of live theatre alive.
Break a leg—and thank you for your support! 200 members across
•
The Fine Arts Center is a Constituent of Theatre Communications Group (TCG), the national organization for the American Theatre
WHO’S WHO
THE CREATIVE TEAM
Elise Santora (Director) is delighted to return to CSFAC as director of Dial M for Murder. Other CSFAC directing ventures included Water by the Spoonful and In The Heights. Her most recent appearance on the CSFAC stage was in the dual role of Deb/Ms. Greenspan in Elf. In prior CSFAC seasons, she starred in Guadalupe in the Guest Room and garnered the Henry Award for Outstanding Actress, Curious Incident of the Dog...(Henry Award nominee), and Ofelia in Anna in the Tropics (Henry Award – Outstanding Actress). Her first stage appearance was in the role of Dorothy in The Wizard of Oz directed by the renowned actor, José Ferrer. Her first television appearance was as one of the first Latina dancers on the syndicated TV show, Soul Train. She traveled globally as background vocalist/dancer for Bowie, Jermaine Jackson, Julio Iglesias, and for Unicef/Africa with ambassador, Danny Kaye. Her regional and touring credits span from principal roles in West Side Story, Man of La Mancha (with John Collum), A Chorus Line (with Bebe Neuwirth), Into the Woods to co-starring in The Red Rose with legendary singer, Danny Rivera at the N.Y. Latino Festival and the People Magazine in Español festival/Central Park. Broadway: In the Heights (Abuela, Daniela), The Capeman (Paul Simon), The Adventures of Tom Sawyer and Man of La Mancha (with Raul Julia). She starred as Abuela Claudia on the First National US/Japan tour of In the Heights as well. Off-Broadway: Yo Soy Latina (Lincoln Center), 365 Days...(The Public Theatre), Ghost Dance Woman (John Houseman) to name a few. TV credits include For Life (ABC), Bull, Tommy, The Code (CBS), NBC’s The Manifest, New Amsterdam, Shades of Blue, Netflix’s Iron Fist, Orange is the New Black, and nominated for the Indie Series Best Comedy Actress Award for her role in FabuLess (webseries). Recent film credits include The Artist’s Wife (starring Lena Olin/Bruce Dern), Swallow, and The White Alligator. Other directing highlights in New York include the hiphop production of The Minotaur (Abrons Arts Center), Fever (New Perspective Theatre), The Life of Me (NY Latino Theatre Festival), and Hopefulness (The Lark Theatre), and resident choreographer for the Stargate Company, a social justice company founded by Manhattan Theatre Club. She has been a teaching artist for MTC, Lincoln Center, TDF and the NY Board of Ed for over two decades, a Ford Foundation grant recipient for her one woman show “A Woman and Her Cigar”, a published poet, and a life-long activist.
Lex Liang† (Scenic Designer) recent productions include: the world premieres of Emma, Tiananmen, Yes, I Can Say That!, Ken Ludwig’s Moriarty, Shane, Mr. Holland’s Opus, The Tattooed Lady, and May We All. Off-Broadway/NYC: 50+ productions. Regional: Actor’s Theatre, Alliance Theatre, Asolo Rep, Cleveland Playhouse, Cincinnati Playhouse, Dallas Theatre, Denver Center, Geva Theatre, Goodspeed, Guthrie, La Jolla Playhouse, Long Wharf, Old Globe, Papermill Playhouse, Pasadena Playhouse, Pioneer Theatre, Portland Stage, Portland Center Stage... Lex is the founder/principal of LDC Design Associates, an experiential event design and production company in NYC. Clients include Absolut, Gucci, Invesco, Johnson&Johnson, The Kardashians, The Tony Awards Gala, NYFW, NYWFF, William Hill Wine, and others. LexLiang.com LDCdesign.com @Lex924
WHO’S WHO
THE CREATIVE TEAM
Harry Nadal† (Costume Designer) is a New York City-based designer, originally from San Juan, Puerto Rico. Colorado Springs Fine Arts Center: Misery. New York: Lincoln Center Institute, Atlantic Theater Company, Brooklyn Academy of Music, Juilliard, WP Theater, Labyrinth Theater Company and Pregones/PRTT among others. Regional: Arena Stage (Washington, DC), Chicago Opera Theater, TheaterWorks Hartford, Des Moines Metro Opera, Zach Theatre (Austin, TX), George Street Playhouse (New Brunswick, NJ), Baltimore Center Stage, Florida Studio Theatre (Sarasota, FL), Fulton Theatre (Lancaster, PA), Boise Contemporary Theater, People’s Light Theater (Malvern, P.) and Danza del Alma (Cuba) among many. Upcoming: Jubilee at Seattle Opera and Laughs in Spanish at Hartford Stage. Faculty member at Pratt Institute’s Film School. MFA: New York University, Tisch School of the Arts. harrynadal.com
Holly Anne Rawls (Resident Lighting Designer/Lighting Director) graduated from CU Boulder a long time ago with a lucrative pair of degrees – Technical Theatre and Anthropology. For last nineteen years at the FAC she has held the positions of master electrician, Lighting Director/Resident Lighting Designer, Interim Director of Production, and has helped build the technical side of the Youth Rep program. In addition, she has designed many, many FAC productions including Misery, The Curious Incident of the Dog in the Nighttime (for which she won the 2020 Henry Award for Lighting Design), Intimate Apparel, Fun Home (for which she won the 2017 Henry Award for Lighting Design), Barnum, Man of La Mancha (for which she won the 2016 Henry Award for Lighting Design), 4000 Miles, The Wizard of Oz (for which she won a joint PPAC award), Gypsy, Other Desert Cities, and Sweeney Todd (for which she won a Denver Post Ovation award). Holly enjoys spending her off hours in the woods with her wonderful husband, amazing stepdaughter, and equally impressive dogs. She would like to thank Chris for everything. hrawls.wixsite.com/website
Travis Joseph Wright (Sound Designer) is a NYC-based sound artist who creates sonic installations for theater and performance art spaces. One of their personal creative projects The Broken Record and The Oddity, an interactive sonic space with live performers, is getting a remount Spring 2025 in NYC. Some of their recent works include: Matilda with Constellation Stage and Screen in Bloomington Indiana (Sound Designer); Rags Parkland Sings The Songs of The Future with Lehigh University (Music Director); and Terce a new opera in HERE Arts Center›s Prototype Festival (Audio Engineer). After Dial M for Murder, they are headed to New Jersey to work on a series of one-person plays with the New American Theater.
Samantha Egle (Fight Director) is a Colorado-based fight and intimacy director. Her work has been seen on the stages of the Denver Center for the Performing Arts, Opera Colorado, Asolo Repertory Theatre, Phamaly Theatre Company, Theatreworks, Colorado Spring Fine Arts Center, Arvada Center, Denver Children’s Theatre, Mizel Center, Athena Project Festival, Lagoon Theme Park, Upstart Crow, New York Fringe Festival, The BiTSY Stage, University of Northern Colorado, University of Denver, among others. She was an apprentice with Intimacy Directors International and Resident Artist at Arena Stage. She is the founder of Humble Warrior Movement Arts and works supporting productions across the front range and facilitating educational experiences. She is a board member of the International Order of the Sword and the Pen, Certified Intimacy Director with Intimacy Directors & Coordinators, and a Certified Teacher with the Society of American Fight Directors.
WHO’S WHO
THE CREATIVE TEAM
J. Chang-Tablada (Composer) is thrilled to be starting his 9th season of music directing and performing at the Fine Arts Center! Chang-Tablada, a mixed-race Asian American artist of Filipino, Korean, and Irish descent, LOVES the FAC’s commitment to representation in live theatre. J. Is honored to be one of Colorado Springs’ most prolific Music Directors, known for his work with the Fine Arts Center at Colorado College, Theatreworks, and Millibo Art Theatre. An accomplished entertainer in his own right, J. frequently takes the stage himself and is so excited to bring his solo cabaret residency, “Songs in the Key of J.” to the Fine Arts Center’s 2024-2025 season. @jchangtablada
Elizabeth Ann Goodman* (Production Stage Manager) is debuting with Colorado Springs Fine Arts Center! Broadway: Misery, Romeo and Juliet, The Testament of Mary. OffBroadway: Hip Hop Cinderella, Romeo and Bernadette (Amas Musical Theatre), Einstein’s Dreams, One Thousand Nights and One Day (Prospect Theater Company), Freddie Falls In Love (The Joyce), About Love, All Our Children, Pushkin (Sheen Center), A Blanket of Dust (Tom Smedes Productions), Hindle Wakes (Mint Theater), The View UpStairs (Invisible Wall Productions), Martin Luther on Trial (FPA), The Total Bent (The Public Theater), A Midsummer Night’s Dream (CSC), At The Table (Fault Line Theatre). Regional Theatre: Annie (Axelrod Performing Arts Center). National Tours: Pippin. Education: MFA Columbia University.
Liz Lee* (Assistant Stage Manager) is excited to work on her second production at the CS Fine Arts Center alongside many talented designers, technicians, and performers. Throughout her career, she has worked in theatre, dance, opera, virtual production, music recitals, and live events. She received her M.F.A. in Design & Technology - Stage Management at UMKC (2024) and B.A. in Theatre & English Writing at Hastings College (2021). Recent credits include CS Fine Arts Center: Mean Girls: High School Version (PSM). UMKC: The Pirates of Penzance (APM & Spot Caller), Big Love (ASM & Deck Chief), Die Zauberflöte (PSM), Spring Dance Concert (PSM), Proving Up (PSM), MotherF***er with a Hat (PSM). Endstation Theatre Company: T-Room: The Musical [World Premiere] (PSM), Treasure Island (ASM), Homegrown Talent (ASM). The Lyric Opera of Kansas-City: Cavalleria Rusticana/ Pagliacci (PA) Kansas City Repertory Theatre: Twelfth Night (PA).
Maia Rychlik (Props Co-Supervisor) has been working at the Fine Arts Center since March 2023. She has had various positions in the theatre including deck crew, spotlight, board op, and scene/paint shop. More recently, she’s been engaged as props associate alongside Rebecca Savage, their first show being Water by the Spoonful (2024). She very much enjoys doing prop work and hopes to continue to do so.
Rebecca Savage (Props Co-Supervisor) has been with The Fine Arts Center since 2017, having worked both backstage and in the shop. Of all the positions she’s worked, props is one of her favorites because it involves so many of her favorite things: thrifting, crafting, and oddly specific Google searches. What did morgue photos from 1952 look like, anyway?
WHO’S WHO
PERFORMING ARTS STAFF
Christopher L. Sheley (Producing Artistic Director) recently received his second regional Henry Award for his work on last season’s production of Misery. Originally from St. Louis, he moved to Chicago to study at The Theatre School at DePaul University. After a decade in Chicago, he moved again to Colorado Springs and shortly thereafter began his tenure with the Fine Arts Center Theatre Company. As a scenic designer, other recent credits include Damn Yankees at the Arvada Center and some of his favorite designs at the FAC include The Curious Incident of the Dog in the Night-Time, Barnum, Annie, Man of La Mancha, 4000 Miles, Floyd & Clea Under The Western Sky, Agnes of God, Other Desert Cities, Gypsy, Colorado College’s 23:59 and All in the Timing, The University of Denver’s Urinetown, and THEATREWORKS’ The Servant of Two Masters. He has been nominated for six regional Henry Awards and won Best Set Design for his work on Man of La Mancha. Additionally, he received the Gazette’s “Best of” award for Sunday in the Park and he also received the Denver Post’s Ovation Award of Best Set Design for his work on The Pirates of Penzance and Sweeney Todd. Other awards include the PPAC award for his set designs of 4000 Miles, Into the Woods, and Sunday in the Park, as well as two True West Awards for his designs of 4000 Miles and The Curious Incident of the Dog in the Night-Time. He wishes to thank his family for their love and support. christopherlsheley.com
Holly Anne Rawls (Resident Lighting Designer/Lighting Director) graduated from CU Boulder a long time ago with a lucrative pair of degrees: Technical Theatre and Anthropology. For last nineteen years at the FAC she has held the positions of master electrician, Lighting Director/ Resident Lighting Designer, Interim Director of Production, and has helped build the technical side of the Youth Rep program. In addition, she has designed many, many FAC productions including Misery, The Curious Incident of the Dog in the Night-Time (for which she won the 2020 Henry Award for Lighting Design), Intimate Apparel, Fun Home (for which she won the 2017 Henry Award for Lighting Design), Barnum, Man of La Mancha (for which she won the 2016 Henry Award for Lighting Design), 4000 Miles, The Wizard of Oz (for which she won a joint PPAC award), Gypsy, Other Desert Cities, and Sweeney Todd (for which she won a Denver Post Ovation award). Holly enjoys spending her off hours in the woods with her wonderful husband, amazing stepdaughter, and equally impressive dogs. She would like to thank Chris for everything. hrawls.wixsite.com/website
Tim Muldrew (Company Manager) has worked in Arts Administration for both the Colorado Springs Fine Arts Center at Colorado College and Theatreworks at UCCS. He has been an Equity Stage Manager for over 25 years ‘calling’ such shows as the Henry Award-winning plays Guadalupe in the Guest Room and The Mountaintop. Tim is a member of Springs Ensemble Theatre (SET) and his SET directing credits include Proof, The Seafarer, and The Boys in the Band. Tim’s FAC directing credits include Crazy for You, 1776, and Knuffle Bunny. As a stage manager, Tim has toured the world with the world-famous Cirque organization. A love of theme parks has allowed him to work at Walt Disney World, Sea World, Circus World, Cypress Gardens, and Cedar Point! Much love to his husband Craig and Atticus, the most ferocious feline of the house!
David A. Cook (Director of Production) has a deep love for the theatrical arts and scenic construction having held the roles of Technical Director, Asst. Technical Director, Stage Manager, and Lead Electrician. He received all of his education through theatrical apprenticeships before attending Pasco-Hernando State College in Florida where he pursued his Associate’s Degree. He has worked for several theme parks, zoos, and museums including, Burch Gardens Tampa, Universal Studios Orlando, Walt Disney World, Sea World, Legoland, The Lowry Park Zoo, and The Museum of Science and Industry in Tampa, FL. David has also worked for several regional theatre companies,
WHO’S WHO
PERFORMING ARTS STAFF
The Florida Studio Theatre, Ruth Eckard Hall in Clearwater Florida, and most recently joined the Colorado Springs Fine Arts Center after serving as Technical Director at the Red Mountain Theatre in Birmingham, AL. Dave is grateful for the opportunity to live closer to the mountains together with his wife Jessica, where they get to create theatre magic and enjoy their love of the outdoors as avid campers, hikers, and rockhounds.
Amaya Egusquiza (Interim Costume Shop Supervisor) is a seamstress, vintage ‘treasure hunter,’ and creative crafter originally from Nampa, ID. Amaya received her Bachelor’s in Theater from the University of Puget Sound in Tacoma, WA. In Corvallis, OR she honed her skills as a theater professional as an active member of the performance and education community and continued to design and direct theater for youth. She is currently the Interim Costume Shop Supervisor and a summer theater instructor at the Fine Arts Center and is honored to be a part of the FAC creative experience.
Colyer Dermody (Technical Director/Scene Shop Supervisor) is a general theatre practitioner and former rancher/hunting outfitter originally from Sonora, TX, and has gone back to his roots in theatre by joining the Fine Arts Center Theatre Company’s staff as the Scene Shop Supervisor. Colyer got his BFA in Theatre Performance with concentrations in Directing, Scenic Design and Scenic Construction from Baylor University in Waco, TX. Then, designed Twelfth Night and The Amish Project as a freelance scenic designer for Baylor. Colyer worked as the Assistant Technical Director for the Savana Summer Theatre Institute in Savana, GA for a season and as a Production Manager at Theatre 3 in Dallas, TX, before changing his career path to ranching and hunting. He is excited to turn his page back to theatre and all the creative opportunities to come, including Scenic Design for the FAC’s production of Don’t Let the Pigeon Drive the Bus!
Sarah Talaba (Scenic Charge Artist/Props Inventory Manager) is a passionate artist, designer, and self-described “mad scientist,” specializing in painting, creature effects, and sculpture for stage and screen. She recently joined the FAC shop staff after years of freelance artist work throughout the Front Range. Sarah holds two degrees from CU Boulder, a BFA in Scenic Design and a BA in Studio Arts. A few accolades include a KCACTF Meritorious Achievement Award in Scenic Design for RENT; and Grand Prize Winner of the Jim Henson Foundation’s Dark Crystal fan film competition. Whether she’s in the scene shop or at home in her own shop, Sarah delights in creating weird stuff and making magic. She is forever grateful for the love and support of family and friends who feel like family.
Bekah Irwin (Theatre Administrative Assistant) is a big nerd with a deep love of the performing arts. This is her first season in this role at the FAC and she’s already loving it. Before she acquired this role, she was Wardrobe Supervisor for the FAC’s 2023-24 season mainstage shows. She has thrived in supporting roles her whole life and has an extensive list of theatre credits including performing in Snowy Tales at the Ent Center, constructing and performing “Milky-White” for Village Arts’ run of Into the Woods, and stage managing Felt Up: An Evening with Sock-sy Puppets at the Ellie Caulkins Opera House in Denver. She performed various crew roles for The Legend of Georgia McBride (FAC), In the Heights (FAC), Sister Act (First Company), and Behind the Façade (Village Arts). Bekah feels so grateful to be able to support so many talented people who have put their heart and soul into this show so that you may be entertained, inspired, and find delight in the arts. She wants to thank her husband Kiffin for his constant love and support and hopes you enjoy the show!
FAC THEATRE COMPANY EQUITY STATEMENT
The power of theatre lies in its ability to bring us together, forge community, and widen our empathic imaginations through stories both within and outside of our own lived experiences. For theatre to truly maximize this potential, it is paramount that everyone feels seen, heard, and represented.
Colorado College (CC) is committed to becoming an antiracist institution and inspire action to create a more just world. The Colorado Springs Fine Arts Center Theater Company, therefore, embraces this commitment wholeheartedly taking intentional action to dismantle visible and invisible structures of oppression so all people feel are seen, heard, and welcome at the FAC. We publicly affirm our commitment to anti-oppressive programming and commit to the iterative and lifelong work of creating a brave space for all of our stories: one where we can empathize, grow, learn, and together co-create a more just and compassionate society.
• We are aligning our creative and production teams with the shows that we produce. We honor the stories that we tell onstage by centering creative artists whose lived experiences and identities align with the content.
• Moreover, we are disrupting the ways in which BIPOC artists can be “cast” only within their race by democratizing artistic opportunities across the board.
• By taking our work outside of the building, producing ancillary events, and investing in long-term relationship-building, we will authentically connect to marginalized communities who may not have felt welcomed here in the past.
• BIPOC2 voices will be the priority of new play commissions for the foreseeable future.
• We have instituted the practice of land acknowledgements to honor the Indigenous Peoples who historically inhabited the lands we currently occupy. Moreover, we are programming Indigenous artists, and supporting new works to build beyond an acknowledgment with tangible action and artistic support.
• To reach new communities, we are continually interrogating and expanding our programming with events like Dia de Muertos and Dragstravaganza.
• We are overhauling our student outreach practices for the FAC Theatre School, so that we can engage students from systemically excluded communities. We are also investigating new tuition structures to ensure that our programs are financially accessible for everyone.
THE WORK CONTINUES
We acknowledge that many of our practices in the past perpetuated systemic inequities, including but certainly not limited to the homogeneity of our programming and the distinct lack of BIPOC artists and stories. We recognize these failures and commit to working towards repairing the harm we’ve caused in the past and creating a more equitable and just future.
To hold ourselves accountable, and so you may do the same, we are sharing our action plan, which will continually evolve and grow.
To truly welcome artists and audiences in our spaces, we are committed to the following:
• The staff of the FAC Theatre Company will continue our work in anti-racism education through ongoing seminars, focus groups, and open dialogue.
• We are committed to colorconscious casting. We are dedicated to creating equitable and inclusive theatre that amplifies voices from every culture. We welcome all and encourage people of every race, ethnicity, age, gender, religion, sexual orientation, gender identity, gender expression, disability, economic status or any other identity or lived experience to audition for our productions.
• By prioritizing the voices of BIPOC2, feminine- identifying, and LGBTQ+ communities, we commit to curating seasons that more accurately represent and reflect our world.
This is just the beginning of our dedication to being an equitable, accessible, and inclusive theatre company. Please know that this is an ever-evolving commitment that will grow and change as we do. Whether you’re a loyal subscriber, a new audience member, or a guest artist, we hope to continue engaging in this dialogue together with open hearts and open minds. We are energized by the work we have done, and continually looking for opportunities to translate it into action. Most importantly, we ask that you hold us accountable. You are an essential component of the work that we do.
We look forward to our continued conversations this season. See you at the theatre.
1Global Majority is a collective term that encourages those of African, Asian, Latin American, and Arab descent to recognize that together they comprise the vast majority (around 80 per cent) of people in the world.
2BIPOC stands for Black, Indigenous and people of color
*We See You, White American Theater
FINE ARTS CENTER WHO’S WHO
FAC LEADERSHIP
Executive Director: Nicole Herden
Deputy Director: Maria Capp
Marketing & Communications Strategist: Jessi Burns
Director of Visual Arts and Museum: Michael Christiano
Director of Development: Cristina Gonzales
Director of Events: Rebecca Rounds
Producing Artistic Director: Christopher L. Sheley
Director Bemis School of Art: Tara Sevanne Thomas
PRODUCTION STAFF
Director: Elise Santora
Scenic Design: Lex Liang†
Lighting & Projection Design: Holly Anne Rawls
Costume Design: Harry Nadal†
Sound Design: Travis Wright
Production Stage Manager: Elizabeth Ann Goodman*
Assistant Stage Manager: Liz Lee*
Fight Director & Intimacy Consultant: Samantha Egle
Sound A2: Ian Andersen
Prop Supervisors: Maia Rychlik, Rebecca Savage
Carpenters: David Cook, Hossein Ferouzandeh, Jacob Hacker, Matt Phillips, Holly Anne Rawls, Maia Rychlik, Rebecca Savage, Ian Andersen
Charge Scenic Artist: Sarah Talaba
Scenic Artist Assistants: Maia Rychlik, Rebecca Savage, Alyssa Talaba
Costume Shop Supervisor: Amaya Egusquiza
Costume Shop Assistants: Lauren Asselin, Mary Jo Farr, Ginny Treu
RUN CREW
Deck Chief: Rebecca Savage
Deck Crew: Maia Rychlik
Wardrobe Crew: Lauren Asselin
Light Board Operator: Alia Belinte
Audio Engineer & Sound Board Operator: Grant Evenson
FAC THEATRE COMPANY
Producing Artistic Director: Christopher L. Sheley
Company Manager: Tim Muldrew
Theatre Administrative Assistant: Bekah Irwin
Director of Production: David Cook
Resident Lighting Designer/Lighting Director: Holly Anne Rawls
Technical Director/Scene Shop Supervisor: Colyer Dermody
Charge Scenic Artist: Sarah Talaba
Costume Shop Supervisor: Amaya Egusquiza
House Manager: Jude Talaba
Assistant House Manager: Nina Koch
FAC STAFF
Patron Services Manager: Frances Huntington
Patron Services Assistant Manager: Matthew Driftmier
Patron Services Staff: Jon Adams, Kari Bell
Administrative Staff: Ashley LaCuesta, Amanda Nusbaum
Development Staff: Kim Sweeney, Jean Truty
Engagement Staff: Blair Huff, Sammie Joe Kinnett
Communications Staff: Sarah Waddell
Assistant Operations Manager: Mark Cannon
Patron Experience Team: Melanie Audet, Megan Brockriede, Cordelia Colt, Rob Estes, Danielle Sanchez, Angie Schwickerath, Tiffany Scott, Darla Slee, Ian Stewart
Museum Staff: Alana Adams, Stormy Burns, Jonathan Dankenbring, Sara Hodge, Katja Rivera, JD Sell, Christian Valvano
Bemis School of Art Assistant Director: Jeremiah Houck
Bemis School of Art Staff: James Howard, Kazzandra Medellin
Curtain Call members are the super fans of the FAC Theatre Company. Their contributions allow us to keep up with the artistic risks and technological needs of modern theatre. With the invitation to gather for dinner before every opening night, members can get behind-the-scenes information about the performance, meet the artists who made it, and are the first to hear about new projects and upcoming seasons. Join online at fac.coloradocollege.edu/curtain-call
2024–2025 MEMBERS
(As of Aug. 20, 2024)
Tim & Tracy Alderson
Ron Brasch and Una Ng-Brasch
Susan Burghart and Rich Tosches
Harley and Joan Ferguson
Erin Hannan
Lyne Hannan
Bart and Cathy Holaday
Daniel League and Joan Donner
Mike and Robin McGrath
Leann Nitschke
Eric and Jane Ridings
Robert Swanson
Alice Thomas
Herman and Tang-Lin Teo-Tiemens
Ms. Eve Tilley-Chavez and Mr. Sol Chavez
