October 12–29, 2023
By William Goldman
based on the novel by Stephen King
Directed by
SaMi Chester
Scenic Design
Christopher L. Sheley
Costume Design
Harry Nadal
Lighting Design
Holly Anne Rawls
Sound Design & Original Music
Lawrence Schober
Fight Director
Samantha Egle
Production Stage Manger
Martinique M. Barthel*
MISERY is presented by special arrangement with Dramatists Play Service, Inc., New York.
Sponsored by Members of the Fine Arts Center and The Tiemens Group at Morgan Stanley
If you’re reading this, please know that I’m grateful. Theatre requires an audience. You are the backbone.
As the new Producing Artistic Director, I bring my gratitude to work every day. I started with this company nearly 20 years ago when there was no table saw in the scene shop, no sewing machines (much less a costume shop), and most of our artists were not paid. I’m humbled when I reflect on how far we have come, and I’m grateful for our audiences taking this journey with us.
So, what’s next? Giving back to our community through local partnerships with organizations like the Colorado School for the Deaf and Blind, and our new initiative Send a Student which helps defray the cost of attending theatre for area Title One Schools. It is my goal to foster the creation of new artists and audiences through radical accessibility and inclusiveness.
This year’s lineup is indicative of our future programming. “Something for everyone,” I like to say. Children’s theatre, one-night performances, holiday spectaculars, and everything in between. I hope you’ll continue to be part of our family for years to come.
Best,
Christopher L. Sheley Producing Artistic Director(in order of appearance)
Paul Sheldon Clark Scott Carmichael*
Annie Wilkes Casey Killoran*
Buster Mike Jankowitz*
1987. The home of Annie Wilkes, just outside of Silver Creek, Colorado
Misery is performed without an Intermission.
If you leave the theatre for any reason during the performance, it will be the discretion of house management as to when you can return to your seat.
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.
Nov. 1 & 2 | 4–8 p.m.
A celebration of life that demonstrates remembrance, love, and respect for those who have gone before us.
Details and reservations: fac.coloradocollege.edu
If we’re being realistic with ourselves. We’d have to admit that the American theatre has been in somewhat of a crisis. After a whirlwind pandemic, strikes, and administrative reboots, many theatres across the country found themselves in freefall. Alas, the theatre community has begun to fight its way back. And as always, it’s the regional theatres that are moving the chains down the field towards artistic victory. In theatres across the country, across the world, we are in the throes of an artistic renaissance. In New York, Chicago and Los Angeles, folks are finding their way back to the theatre, this is in part, I believe, because of the renewed vision of artistic directors, actors, directors, educators, and playwrights, who are reexamining and upgrading their work and renewing their commitment to artistic excellence. This is by no means a small task! It demands that the artist not only question their commitment, but the commitment of the communities we serve. Because after all, you the audience are an integral part of this artistic quilt.
I always tell my students and other artisans that theatre should be dangerous. It should be relevant and irreverent. But most importantly, it must always, ALWAYS… come from a place of love. It should shine a bright light on injustice, applaud diversity, and find ways to whisper magic into the heart. The world today could use some loving magic. Theatre is the touchstone, the heartbeat, the dove in a fisted glove, and to paraphrase just a bit the words of the great Ossie Davis,” A thing of beauty: a joy; a strength; a secret cup of gladness.” Are you ready to take a sip?
I am thrilled and humbled that I was given the honor to direct “Misery,” as the season opener here at Colorado Springs Fine Arts Center at Colorado College. I’ve been watching this space for some time now, and when you think of theatres moving the chains down the field of artistic excellence, CFAC is right there in the thick of it. There are so many moving parts that go into making magic. Parts you don’t see and, in a way, quite frankly, you shouldn’t see. The not-soshiny parts that shine: The box office staff, the ushers who showed you to your seats, the folks who clean the theatre every day, the administrative staff, the creative team, the amazing actors who leave it all on the floor to entertain and educate you. The board…That’s right! And artistic director: Christopher Sheley, who loves this community, loves this space, and will continue to bring challenging works to this community. Happy New You! And thank you for being the fuel of a new and bright season. Now sit back and hold on…I Hope U Dig It!
Peace, SaMi ChesterFor Dad – Monday 09/25/2023
Clark Scott Carmichael (Paul Sheldon) is an actor and director known for his work on stage, voice-over, television, and film. He was last seen onstage this spring in the one man show Harry Clarke at Vivid Stage. Clark has been nominated for several Broadway World regional theater best actor awards and won for Virginia Stage Company in 2019. In the past few months, he played Tom the advertising exec in the fifth season of The Marvelous Mrs. Maisel, the Dad on Pretty Little Liars: Summer School, Seth in the upcoming short Sally, Get the Potatoes, and Senator Palmer on Special Ops: Lioness starring Nicole Kidman and Zoe Saldana on Paramount+. He played Detective Church in the recently released film, Invitation to a Murder. Earlier in the pandemic, Clark played Officer Kensey in the upcoming limited series The Green Veil with John Leguizamo. In the New York area, he’s done over 20 productions at the Shakespeare Theater of New Jersey and is a company member at Vivid Stage. He was a Jumper on Broadway in Tom Stoppard’s, Jumpers. Regional\Off-Broadway credits include Repertory Theatre of St. Louis, Irish Rep, Hartford TheatreWorks, The Acting Company, Red Bull Theater, Two River Theater, KC Rep, New York Fringe Festival, Williamstown Theater Festival, Merry-Go-Round Playhouse, Dorset Theater Festival, Pennsylvania Center Stage, Great Lakes Theater Festival, Connecticut Rep, Kentucky Shakespeare Festival, NJ Rep, Mill Mountain Theater, Hope Summer Rep, Centenary Stage, Hudson Valley Shakespeare Festival, Shakespeare Theatre in Washington DC. Television credits include The Gilded Age, FBI: Most Wanted, Pat Carney in The Politician, Harold on Living With Yourself, Little America, The Plot Against America, Pose, The Blacklist, Connor Riley in Gotham, Forever, Dean Masters on House of Cards, Law & Order, Kidnapped, As The World Turns, Unforgettable, and Boardwalk Empire. Film credits: Martin, in The Porcupine, Ref Chris in Inside Game, The Irishman, The God Committee, The Kindergarten Teacher, Campbell Scott’s Hamlet, Sweet Lorraine and Hard Sell. Clark holds an MFA from University of Missouri-Kansas City and a Bachelor of Science from Northwestern University.
Casey Killoran (Annie Wilkes) is a 7th generation born and raised NYC actress and filmmaker. She has performed in theaters such as Lincoln Center, Metropolitan Playhouse, Berkshire Theatre Group and The Apollo Theatre, and some of her credits include Queen Margaret in Henry VI, Part 3/Richard III directed by Final Fantasy’s Jack Fletcher and originating one of the roles in the world premiere of The Eggs by Pulitzer Prize finalist and Tony award nominee Adam Rapp. She has appeared on television in Shades of Blue opposite Jennifer Lopez, New Amsterdam, and Sex in the City, as well as several independent films. Her most recent film credit is for The Women From Hamburg, a film based on the true story currently in post-production and is set to be shown in film festivals in 2024. As a filmmaker, her award-winning films have been Official Selections at over 25 film festivals including Woods Hole, Soho Int, and DTLA. Her first produced feature film, Viral Beauty, received multiple awards including the Audience Choice Award from Las Cruces Int’ Film Festival. It was released theatrically in 2018 and is currently streaming on Apple TV, Tubi, Vudu, and Google Play. Her next film, the short Motherhood, focused on regret in parenthood and received the Audience Choice Award at HollyShorts Film Festival. Coming up next, she is producing and starring in the feature film 3 Monkeys. Inspired by personal events, this 3-protagonist comedy-drama explores addiction, recovery, and the realization that change comes from within. Casey received her MFA from the NYU Tisch Graduate Acting Program. You can learn more about her at her website at www.caseykilloran.com.
Mike Jankowitz (Buster) trained with famed acting teacher Stella Adler. He has done numerous stage productions in New York and regionally, including The Skin Of Our Teeth, Kaleidoscope, Sly Fox, The Inspector General, Middle Of The Night, Nadjezda, Julius Caesar, Richard III, Chekhov Without Boundaries (adaptations of Chekhov short stories by Aleksey Burago)), Angel Wings (by Murray Schisgal), Slouching Toward The Millennium (Murray Schisgal), Blues For Mister Charlie (James Baldwin), A Gathering Of Eagles (WWII drama), and Time Limit! (Korean War drama by Henry Denker and Ralph Berkey), among others. He also appears periodically in film and television, including The Equalizer, The New Kojak, Lost Dog, Shooting Jackson Roebling, and several others, as well as voice-over work, audio books, and the occasional music video. As a playwright, he has most recently been working on a trilogy of plays revolving around the murder of Canadian prisoners-of-war by the Waffen SS immediately following the D-Day invasion of June 1944. He is the former artistic director of the TheatreQuest Repertory Company, and a cofounder of Times Square Playwrights. Mike is a member of the 42nd Street Workshop, Naked Angels Theatre Company and the film development company ‘We Make Movies’.
SaMi Chester (Director, Actor, Writer and Activist) was born on Chicago’s Westside. He started his artistic journey at the age of 7 years old. and a few years later discovered Chicago politics. Some of his credits include Godspell (Original Chicago Company) Hair (European and US National Tour) Native Speech (Soho Rep.) The Skin Of Our Teeth (Dallas Theater Center) Five on the Black Hand Side (Kuumba Workshop) FAUST (Kingston Mines Theatre Co.) Trojan Women (Phoenix Theatre Ensemble) and a host of others. He has guest starred on numerous television shows; NYPD Blue, Doogie Howser, Bagdad Cafe, Quantum Leap... and was a series regular on his own short-lived series Human Target. He is the founder and artistic director of BeBop Theatre Collective and the CoFounder and artistic director of STUDIO ONE, a multicultural space in New York city’s lower east side. He has directed over 30 theatrical productions. Currently he has two of his own works on the drawing board, one for TV and the other for the stage. Aside from his artistic life, SaMi has always and continues to fight for social justice and the rights of tenants in New York State and beyond. Oh yeah, he loves to cook!!
William Goldman (Playwright) is one of the most influential and successful writers of his generation. Film credits include “Masquerade,” “Harper,” “Butch Cassidy and the Sundance Kid,” “The Stepford Wives,” “All the President’s Men,” “The Princess Bride” (based on his novel of the same name), “Last Action Hero,” “The General’s Daughter,” “Marathon Man” (based on his novel of the same name), and many, many others. He co-wrote two plays with brother James Goldman: BLOOD, SWEAT, AND STANLEY POOLE and A FAMILY AFFAIR. As a novelist, Goldman has penned several American classics including, but not limited to, “Soldier in the Rain” (1960), “Father’s Day” (1971), “Magic” (1976), “The Color of Light” (1984), and “The Silent Gondoliers” (1984). He has also written many articles for acclaimed publications on the topic of screenwriting and several non-fiction books, including “The Season: A Candid Look at Broadway” (1969) and “Adventures in the Screentrade: A Personal View of Hollywood and Screenwriting” (1983). Awards: Academy Award, Writers Guild Award, and British Academy Award, for Butch Cassidy and the Sundance Kid, 1969; Academy Award and Writers Guild Award, for “All the President’s Men,” 1976. Education: Oberlin College, Ohio, B.A. 1952; Columbia University, New York, M.A. 1956.
Christopher L. Sheley (Producing Artistic Director, Scenic Design) is grateful for his new role in the company, which he has been a member of for the last 18 seasons. Originally from St.Louis, he moved first 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, his most recent credit is Damn Yankees at the Arvada Center. His most memorable credits include the FAC productions ofThe 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 & 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 & 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. www.christopherlsheley.com
Holly Anne Rawls (Resident Lighting Designer/Lighting Director, Interim Director of Production) graduated from CU Boulder a long time ago with a lucrative pair of degrees – Technical Theatre and Anthropology. For the past eighteen seasons at the FAC she has held the position of master electrician, Lighting Director, and Resident Lighting Designer, and has helped build the technical side of the Youth Rep program. In addition, she has designed many, many FAC productions including 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). Before joining the FAC, Holly worked for the Lyric Music Theatre and Macky Auditorium at CU Boulder and taught technical theatre at Lewis Palmer High School. Holly enjoys spending her off hours next to the fire pit with her amazing daughter. She would like to thank Chris for everything. https://hrawls.wixsite.com/website
Harry Nadal (Costume Designer): Colorado Springs Fine Arts Center debut. Originally from San Juan, Puerto Rico and based in New York City. New York: Lincoln Center Institute, Atlantic Theater Co., Brooklyn Academy of Music, Juilliard, Labyrinth Theater Co., Intar, WP Theater, 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), UrbanArias (Arlington, VA), Baltimore Center Stage, Boise Contemporary Theater, People’s Light Theatre (Malvern, PA), Open Stage of Harrisburg, Bloomsburg Theatre Ensemble, and Danza del Alma (Cuba) among many. Upcoming: Little Shop of Horrors at Florida Studio Theatre (Sarasota, FL.) and It Happened in Key West at Fulton Theatre (Lancaster, PA.). Faculty member at Pratt Institute’s Film School. MFA: New York University, Tisch School of the Arts. www.harrynadal.com
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.
Lawrence Schober (Sound Design) is a New York-based sound designer for plays and musicals. NYC: Titanique (Daryl Roth Theater), My Onliness (New Ohio Theatre), A Burning Church (The New Ohio Theatre), The Conversationalists (The Bushwick Starr), The Golden Spike (BRIC Arts), On This Side of the World (Access Theatre), American Morning (Prospect Theatre Company). Eh Da? (NYTW Next Door), PharmaBro (Players Theatre). Regional: A Night with Janis Joplin (Le Petit Theatre, New Orleans); Pillowtalk (Victory Gardens Theatre, Chicago); SeaWife (White Heron Theatre, Nantucket). www.lawrenceschober.com
Martinique M. Barthel *(Production Stage Manager) is excited to make her CSFAC debut this season with Misery and Elf. Other Regional credits include: Romeo &Juliet, Sweeney Todd, All’s Well That Ends Well (Utah Shakespeare Festival); Hotter Than Egypt, A Christmas Carol (Denver Center for The Performing Arts); New Age, Toni Stone, The Niceties, The Nativity Variations (Milwaukee Repertory Theatre); Milwaukee Black Theatre Festival (2020 and 2021); Stew, Underneath the Lintel (Milwaukee Chamber Theatre); The Gospel at Colonus (Skylight Music Theatre); BE-longing!, Native Gardens, Sex With Strangers (Renaissance Theaterworks); Black Nativity (Black Arts Milwaukee, 2017 & 2018); A Christmas Carol (Children’s Theatre of Madison); Assassins, A Little Night Music, Spamalot, Big Fish, Guys and Dolls, Man of La Mancha, The Light in The Piazza, Kiss Me, Kate (Four Seasons Theatre); Romeo and Juliet, Lines, Constellations, The Bed (Theatre LILA); The Mojo and The Sayso (Theatre LILA/Bronzeville Arts Ensemble); La Boheme (UW-Madison Opera); Die Fledermaus (Madison Savoyards); Change Your Mind, Change The World (2012) and The World We Make (2016) (panel discussions with His Holiness, the 14th Dalai Lama). Martie is a proud member of Actor’s Equity Association, the professional union of Actor’s and Stage Managers.
Morgan Gatson* (Assistant Stage Manager) is happy to be starting her 9th season with the FAC. She is excited to be back in the ASM role for the season. Morgan would like to thank her wife, Chancie for her support. Some of Morgan’s favorite FAC productions are Fun Home, 9-5, Sound of Music, and Cinderella Morgan would like to dedicate her season to her father David Gatson, and her mentor Brenda Beebe who passed 3 days apart from each other.
Holly Wenger (Props Supervisor) is a 2021 alum of the British American Drama Academy and 2023 alum of Colorado College. She has worked locally with the Colorado Springs Fine Arts Center and at Colorado College as an actor, technician, electrician, and carpenter, at the Millibo Art Theatre as a technician and camp teacher, as well as at the Westcliffe Center for the Performing Arts doing just about anything and everything. She was last seen on stage at the FAC as #11 in The Wolves. In addition to her work with the FAC, she serves as the Assistant Technical Director and Lighting Supervisor for the Colorado College Department of Theatre and Dance.
Madison Dillon (Props Supervisor) is a theater artist based in Colorado Springs. She is mostly seen doing lighting, choreography, stage managing, or building sets. Madison is excited to add Props Master to list of theatrical experiences.
For over 100 years, the Fine Arts Center has been the top cultural attraction of the Pikes Peak region offering world-class art, Broadway-worthy theatre and arts education for all ages and abilities. Visit fac.coloradocollege.edu for events
Christopher L. Sheley (Producing Artistic Director) is grateful for his new role in the company, which he has been a member of for the last 18 seasons. Originally from St. Louis, he moved first 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, his most recent credit includes 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 & 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 & 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. www.christopherlsheley.com
Morgan Gatson (Production Assistant) is starting her 9th season with the Fine Arts Center Theatre Company. Over the summer, Moe was our Education Coordinator for our Youth Rep program and she resume her role as Assistant Stage Manager for our mainstage productions. Moe’s career has been dedicated to uplifting everyone around her. Moe is so proud to be bringing this dynamic show to Colorado Springs. Moe would like to thank the Colorado Springs theatre community for supporting her. “To soar toward what’s possible, you must leave behind what’s comfortable.” — Cicely Tyson
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’s Colorado Springs directing credits include The Boys in the Band for Springs Ensemble Theatre, Crazy for You, 1776 and Knuffle Bunny at the FAC. Coming up, Tim will the directing The Seafarer for Springs Ensemble Theatre opening in November. Orlando directing credits include The Weir, Love! Valour! Compassion, Rosencrantz and Guildenstern are Dead and Six Degrees of Separation to name a few. As a stage manager, Tim has toured the world with the worldfamous 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, who encourages and supports him in his crazy artistic life. Grá.
Holly Anne Rawls (Resident Lighting Designer/Lighting Director, Interim Director of Production) graduated from CU Boulder a long time ago with a lucrative pair of degrees – Technical Theatre and Anthropology. For the past eighteen seasons at the FAC she has held the position of master electrician, Lighting Director, and Resident Lighting Designer, and has helped build the technical side of the Youth Rep program. In addition, she has designed many, many FAC productions including 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). Before joining the FAC, Holly worked for the Lyric Music Theatre and Macky Auditorium at CU Boulder and taught technical theatre at Lewis Palmer High School. Holly enjoys spending her off hours next to the fire pit with her amazing daughter. She would like to thank Chris for everything. https://hrawls.wixsite.com/website
Sarah Beth Parks (Costume Shop Supervisor) has been costume shop supervisor for the Fine Arts Center for 6 years. SB has designed and built costumes all over the country, including Hartford, CT, where she worked on the Tony-winning original productions of A Gentleman’s Guide to Love and Murder and Anastasia. SB holds a BA in Theatre from CU Boulder and an MFA in Dramatic Arts/ Puppet Arts from the University of Connecticut.
Jonathan Finley (Technical Director) started in theater as a scenic carpenter with the University of Texas before moving on to the film industry for over 15 years. He has worked for various production companies such as 13th Floor Productions where he created theatrical shorts and films for Austin City Limits and SXSW. He also worked with the award-winning production company BentoBox Animation and Laika Studios where he and his company won a Golden Globe Award for best animated feature with Missing Link. He also won 3 BAFTA awards with Missing Link, Kubo and the Two Strings and Boxtrolls. He’s currently enrolled at Pikes Peak State College and working towards a Bachelors in multimedia graphic design. He is very thankful for the support and love from his wife Annie and 4 kids Gideon, Jeremiah, Ethan, and Shalom.
Alex Drelich (Head of Sound) joined our theatre company staff in July of 2022 as the Head of Sound. Alex holds a B.A Degree in Theatrical Design/Production from the University of Northern Iowa, class of 2020. He brings experience as a performer, technician, and audio engineer to the team.
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 2 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.
Colyer Dermody (Scene Shop Supervisor) a general theatre practitioner and former rancher/hunting outfitter originally from Sonora, TX, 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 of the creative opportunities to come.
Try Something New!
Art classes for all ages and skill levels. Explore and register online at fac.coloradocollege.edu
Executive Director: Nicole Herden
Deputy Director: Maria Capp
Patron Experience Director: Rebecca Rounds
Producing Artistic Director: Chris Sheley
Director of Visual Arts and Museum: Michael Christiano
Director of Bemis School of Art: Tara Thomas
Director: SaMi Chester
Scenic Design: Christopher L. Sheley
Lighting Design: Holly Anne Rawls
Costume Design: Harry Nadal
Sound Design: Lawrence Schober
Fight Director: Samantha Egle
Assistant Fight Director: Jacob Noon
Production Stage Manager: Martinique M. Barthel*
Assistant Stage Manager: Morgan Gatson*
Sound A2: Rebecca Savage
Props Supervisors: Holly Wegner, Madison Dillon
Carpenters: Elesha Adams-Dent, Molly Gillard, Colyer Dermody, Joe O’Rear
Scenic Artist: Sarah Talaba
Costume Shop Assistant: Amaya Egusquiza
Wardrobe Supervisor: Katherine Hall
Deck Crew: Jacob Hacker, Maia Rychik, Micah Spiers
Wardrobe Crew: Bekka Irwin, Katy McGlaughlin
Head Electrician & Light Board Operator: Madison Dillon
Audio Engineer & Sound Board Operator: Alex Drelich
Producing Artistic Director: Christopher L. Sheley
Company Manager: Tim Muldrew
Resident Lighting Designer/Lighting Director, Interim
Director of Production: Holly Anne Rawls
Technical Director: Jonathan Finley
Costume Shop Supervisor: Sarah Beth Parks
Production Assistant: Morgan Gatson
Head of Sound: Alex Drelich
Scenic Charge: Sarah Talaba
Scene Shop Supervisor: Colyer Dermody
House Manager: Trish Doyle
ASSOCIATE
Patron Services Manager: Frances Huntington
Patron Services Staff: Anna Wermuth, Kari Bell
Marketing & Communications: Jessi Burns
Patron Experience Manager: Luke Cammack
Lead Patron Experience Guide: Mark Cannon
Patron Experience Team: Darla Slee, Ian Stewart, Melanie Audet, Megan Brockriede, Cordelia Colt, Rob Estes, Danielle Sanchez, Angie Schwickerath, Tiffany Scott
Museum Staff: Stormy Burns, Katja Rivera, Sara Hodge, Blair Huff, Christian Valvano, Jonathan Dankenbring, JD Sell, Brittany Hall, Savanah Pennell
Bemis Assistant Director: Jeremiah Houck
Bemis Staff: James Howard, Kazzandra Medellin
Assisted listening devices are available at no charge from the ushers by request.
The use of any and all recording devices during any Fine Arts Center performance is strictly prohibited. This includes, but is not limited to: cameras (still or video, including camera phones), tapes and other other devices. House management reserves the right to delete any and all data that is recorded in violation. We reserve the right to ask anyone to leave if their behavior is disruptive to the performance environment.
The Fine Arts Center is a Constituent of Theatre Communications Group (TCG), the national organization for the American Theatre
The Sound Designer for this production is represented by United Scenic Artists, the international alliance of Theatrical Stage Employees
200 members across the US and aborad
• Supporting collaboration between musical theatre writers and producers, and among theatres nationally
• Nurturing the creation, development and production of new and classic musicals
www.namt.org
Monty Hatch
GRAPHIC DESIGNERS Zk Bradley, Rowdy Tompkins
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 Front Range Fables 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.
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.
• 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 color-conscious 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, feminineidentifying, 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 compa- ny. 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.
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.
