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Jersey Boys’ Michael David

From Detroit Chorister to Broadway Producer W

hat gets Michael David excited after more than four decades as a theater professional? The art of making art, the challenge of getting it right, of connecting with audiences, and, as lead producer of Jersey Boys, employing a thousand people around the world with “a sense of appreciation for this rare thing in their lives.” David sat down with Jersey Boys co-writer, Rick Elice, as one of two national touring companies of the hit show about Frankie Valli and The Four Seasons prepares to blow into town—and blow the roof off the Fisher Theatre December 12 through January 6. Michael David: I grew up on Grayton Road in Grosse Pointe Park, and was there until I went away to school and got married. My brother did the same. My sisters, after being overseas, have returned now to my old stamping grounds, and yes, it’s remained pretty much the way it was. A series of five little villages along Lake St. Clair, quaint and lovely, two high schools, a bastion of Americana, I guess. That’s my hometown. Rick Elice: And did you listen to the radio a lot when you were growing up? MD: All the time. Started out as a boy with Jersey Boys Finale (l to r) Preston Truman Boyd, Joseph Leo Bwarie, John Gardiner, Michael Lomenda and the Company of Jersey Boys. Photo: Joan Marcus

‘The Green Hornet,’ and that was replaced pretty quickly by hockey. I was a huge Red Wing fan, and when I was little, I wasn’t allowed to listen too late, so I’d have the dial set with masking tape so in the dark I could still find the station. And I Michael David listened to doo-wop a lot, and then early rock. “Long, tall, lean and lanky Larry Dean, the skinniest man you ever seen.” For Detroit rock’n’roll in the sixties, Larry Dean and Bill Williams were the source of all things cool. RE: You have any memories of The Four Seasons from that time? MD: Like a lot of people, I remember the songs. But most of them, I had no idea they were by The Four Seasons. The style of the songs kept changing, the instruments they used on the records, the arrangements of the music. Eventually I was old enough to buy the 45s, and that’s when I saw the labels: The Four Seasons, then Frankie Valli and

The Four Seasons. But my music experience growing up was dominated by the fact that I was a boy chorister since I was eight, and sang in the Christ Church Grosse Pointe Choir right through high school to the time I left for college. We rehearsed four times a week, couldn’t play Little League; a serious commitment that. And we sang. A lot. I think that my affection for what I do for a living absolutely grew from my experience in the Episcopal Church since I was a child. RE: In what way? MD: The theatricality, the pageantry, the drama of the language, the music—the music, more than anything else. It moves me. It’s catharsis for me. RE: Did you go to the theater when you were a kid? MD: As boy choristers, we were taken to the symphony now and then. But my exposure to theater began with playing the lead in Davy Crockett— RE: “King of the Wild Frontier!” MD: No, this was before Fess Parker and Disney. I was just a kid. RE: And later, when you were a little older, like in high school? MD: I saw Guys and Dolls in Traverse City; that was pretty much it. But when I was in high school, my uncle knew a wonderful and colorful guy named Max Silk, who ran the Bagley Bar in downtown Detroit, which was next to Local 38 of the Stagehands Union. When I was fifteen, they managed to get me an apprenticeship with the Local. I showed up for work and suddenly I was Florence Henderson’s dresser on The Oldsmobile Show’s version of Wonderful Town. And then some other job on some other show, and some other show, often times at the Fisher. So my summers were spent mostly ogling these gorgeous girls backstage and doing the stuff that the adult stagehands didn’t want to do. And it was great. I even had a little money in my pocket that didn’t jingle when I walked. RE: And here we are, getting ready for a run at the Fisher Theatre all these years later. MD: It’s Detroit’s great theater. Transformed from one of those magnificent old movie palaces into a place for live shows. RE: What else from your stagehand youth? MD: I did a little Gaiety Burlesque; that was

fun. Not going into details. But I never imagined anything like producing Broadway musicals. My exposure to musicals all had cars in them, because that was part of any show you’d do in Detroit. RE: I’m sure folks’ll be glad to hear that the auto industry is represented in Jersey Boys, too. One of my favorites moments in the show has to do with three Cadillacs and the girl group, The Angels. MD: Absolutely. RE: How has the road changed since you started producing? MD: Years ago, it was a very different business, and the shows were presented in a very different, much simpler way. The quality of everything is so much better because the audience expects and deserves the best we can do. When people come to the Fisher to see Jersey Boys, they will have the full Broadway experience. Same number of actors, same number of musicians, and the latest technology—all of which enables us to really deliver—by any Broadway standard. RE: Well, thanks for having the courage and class to do that. MD: How could we not? Especially when Frankie Valli and the guys have the courage to say “Okay, put our story up there onstage, warts and all.” RE: I would never put my story on the stage. MD: Neither would anyone else. It’s not that interesting. RE: That’s true. Happily. So… you, me and Marshall (Brickman, co-writer of Jersey Boys and Oscar-winning screenwriter of Annie Hall)—dinner after the show at Angelina’s? MD: On Broadway Street. RE: I think Frankie booked the table. We’ll raise a glass of Chianti in honor of your coming home to Detroit. Or as they say in Jersey… MD: Salud! Rick Elice RE: Fuggedaboudit. Jersey Boys plays at the Fisher Theatre Dec. 12–Jan. 6. Tickets are on sale now at the Fisher Theatre box office, ticketmaster.com and 800-982-2787. Groups of twelve or more e-mail Groups@BroadwayInDetroit.com (subject line Jersey Boys) or call (313) 871-1132. 5

Working our way

BACK TO YOU! Returning to Detroit for four weeks.

Photo: Chris Callis

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Original Cast Recording On

Universal Pictures Stage Productions, Working Title Films, Old Vic Productions, & NETWORKS PRESENTATIONS present

Based on the Universal Pictures/Studio Canal Film

janet dickinson Rich Hebert

PATTI PERKINS Cullen R. Titmas Introducing

Ben Cook Kylend Hetherington Zach Manske Noah Parets with

Joel Blum • Ethan Major • Sam Poon • Samantha Blaire Cutler Kat Hennessey • Job Christenson • Patrick Wetzel • Craig Bennett Cal Alexander • Madison Barnes • Michael Biren • Damien Brett • Sasha Ely-Judkins • Tim Funnell • Richard Gatta Regan Mason Haley • Christopher M. Howard • Bryan Thomas Hunt • Cara Kjellman • Maria Knasel • Patrick Lavallee Kent M. Lewis • David Light • Rebecca Marlowe • Morgan Martin • Joel Newsome • Yanna Nikitas • Adam Pelty Jeffrey Pew • Jillian Rees-Brown • Alison Solomon • Brionna Trilling • Genai Veal • Lexi Viernes Thad Turner Wilson • Natalie Wisdom • Danielle Victoria Znutas General Management

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Exclusive Tour Direction

Gregory Vander Ploeg DAWN KUSINSKI Gentry & Associates

ALLIED LIVE

THE ROAD COMPANY

Technical Supervision

Production Stage Manager

Company Manager

HECTOR GUIVAS & JASON JUENKER

JOEL ROSEN

WILLIAM FERRY Children’s Casting Director

Supervising Resident Director

Associate Choreographer

Resident Choreographer

Adult Casting Director

steveN minning

ALISON LEVENBERG

ADAM PELTY

Tara Rubin Casting

Creative/Design Supervisor

Nora Brennan

Hair, Wig and Make-Up Designer

Costume Coordinator

Bernie Ardia

Jimm Halliday

Edward Pierce Associate Costume Designer - US

Associate Costume Designer - UK

Associate Lighting Designers

Associate Sound Designer

Rachel Attridge

Claire Murphy

Kristina Kloss/Daniel Walker

Tony Smolenski IV

Associate Director - US

Associate Choreographer

Justin Martin

Kathryn Dunn

Musical Supervision & Orchestrations by

Music Supervision - US

David Chase

Bill Congdon

Costume Design by

Lighting Design by

Sound Design by

Martin Koch

Nicky Gillibrand

Rick Fisher

Music Director

Paul Arditti

Executive Producers

Seth Wenig DANI DAVIS Original Producers

Tim Bevan Eric Fellner Jon Finn Sally Greene Original Executive Producers

David Furnish Angela Morrison Associate Director

Julian Webber Set Design by

Ian MacNeil Choreography by

Peter Darling Directed by

Stephen Daldry Book and Lyrics by

Lee Hall Music by

Elton John 7

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Cast Billy................. BEN COOK, KYLEND HETHERINGTON, ZACH MANSKE, NOAH PARETS Mrs. Wilkinson �� JANET DICKINSON Dad ��RICH HEBERT Grandma ��PATTI PERKINS Tony ��CULLEN R. TITMAS George �� JOEL BLUM Michael (at certain performances) ��ETHAN MAJOR, Sam Poon Debbie........................................................................................... SAMANTHA BLAIRE CUTLER Small Boy �� CAL ALEXANDER Big Davey ��Craig Bennett Lesley �� SASHA ELY-JUDKINS Scab/Posh Dad ��TIM FUNNELL Mum �� KAT HENNESSEY Mr. Braithwaite..........................Job Christenson (9/4–9/9), Patrick Wetzel (9/11–9/16) Tracey Atkinson �� Regan Mason Haley Older Billy/Scottish Dancer ��Christopher Michael Howard Mr. Wilkinson �� JOEL NEWSOME Pit Official ��DAVID LIGHT Postman �� DAMIEN BRETT Tall Boy/Posh Boy (at certain performances)...................................Ethan Major, Sam Poon Accordion Specialty...................Job Christenson (9/4–9/9), Patrick Wetzel (9/11–9/16) Clipboard Woman..............................................................................................Cara Kjellman Audition Panel............................................................SASHA ELY-JUDKINS, Susan Haefner, JILLIAN REES-BROWN, PATRICK WETZEL, BRANCH WOODMAN “Expressing Yourself” Dancers........................................... DAMIEN BRETT, SASHA ELY-JUDKINS, TIM FUNNELL, CHRISTOPHER M. HOWARD, Bryan Thomas Hunt, PATRICK LAVALLEE, DAVID LIGHT, JEFFREY PEW ENSEMBLE Craig Bennett, DAMIEN BRETT, JOB CHRISTENSON, SASHA ELY-JUDKINS, TIM FUNNELL, KAT HENNESSEY, CHRISTOPHER M. HOWARD, Bryan Thomas Hunt, Cara Kjellman, PATRICK LAVALLEE, DAVID LIGHT, JOEL NEWSOME, JEFFREY PEW, JILLIAN REES-BROWN, THAD TURNER WILSON BALLET GIRLS MADISON BARNES, REGAN MASON HALEY, Maria Knasel, MORGAN MARTIN, Yanna Nikitas, BRIONNA TRILLING, GENAI VEAL, LEXI VIERNES, DANIELLE VICTORIA ZNUTAS SWINGS MICHAEL BIREN, RICHARD GATTA, KENT M. LEWIS, REBECCA MARLOWE, ADAM PELTY, ALISON SOLOMON, NATALIE WISDOM UNDERSTUDIES Understudies never substitute for listed players unless a specific announcement for the appearance is made at the time of the performance For Mrs. Wilkinson: SASHA ELY-JUDKINS, Cara Kjellman; for Dad: Craig Bennett, JOEL BLUM; for Grandma: Cara Kjellman, JILLIAN REES-BROWN; for Tony: Tim Funnell, DAVID LIGHT, JEFFREY PEW; for George: Craig Bennett, JOEL NEWSOME; for Michael: KYLEND HETHERINGTON; for Debbie: MADISON BARNES, REBECCA MARLOWE; for Big Davey: JOB CHRISTENSON, KENT M. LEWIS, JOEL NEWSOME; for Scab/Posh Dad: KENT M. LEWIS, JOEL NEWSOME; for Mum: SASHA ELYJUDKINS, NATALIE WISDOM; for Mr. Braithwaite: MICHAEL BIREN, Craig Bennett, DAMIEN BRETT, THAD TURNER WILSON; for Older Billy/Scottish Dancer: CHRISTOPHER M. HOWARD, ADAM PELTY; for Tall Boy/Posh Boy: KYLEND HETHERINGTON, ZACH MANSKE; for Small Boy: BRIONNA TRILLING; for Tracey Atkinson: ALISON SOLOMON; “Expressing Yourself” Dancers: Cara Kjellman, Thad Turner Wilson Dance Captains: MICHAEL BIREN, NATALIE WISDOM; Assistant Dance Captain: ALISON SOLOMON Acro Captain: PATRICK LAVALLEE; Fight Captain: MICHAEL BIREN Resident Choreographer: ADAM PELTY 9

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MUSICAL NUMBERS ACT I “The Stars Look Down” (The Eve of the Miners’ Strike 1984)......................... Full Company “Shine”................................................................................ Mrs. Wilkinson, Ballet Girls, Billy “We’d Go Dancing”.........................................................................Grandma, Men’s Ensemble “Solidarity”.......................................................................................................... Full Company “Expressing Yourself”........................................................................Billy, Michael, Ensemble “Dear Billy” (Mum’s Letter)......................................................... Billy, Mrs. Wilkinson, Mum “Born to Boogie”......................................................... Billy, Mrs. Wilkinson, Mr. Braithwaite “Angry Dance”........................................................................................ Billy, Men’s Ensemble ACT II Six Months Later “Merry Christmas, Maggie Thatcher”................................................................ Full Company “Deep Into the Ground”...............................................................................Dad, Full Company “He Could Go and He Could Shine”........................................................ Dad, Tony, Ensemble “Electricity”.........................................................................................................................Billy “Once We Were Kings”....................................................................................... Full Company “Dear Billy” (Billy’s Reply)......................................................................................Billy, Mum “Company Celebration”....................................................................................... Full Company THERE WILL BE ONE 15-MINUTE INTERMISSION. ORCHESTRA Conductor/Keyboard: Bill Congdon Associate Conductor/Keyboard: Daniel Klintworth Keyboard: Ana Flavia Zuim Electric Guitar/Variax Guitar: Tim Morey Drums: Jeff MacPherson Music Coordinator: Michael Keller The touring musicians welcome five local musicians who will be playing at all performances in Detroit Soprano Sax, Tenor Sax, Flute: Paul McCaffrey Alto Sax, Clarinet: Paul Onachuk French Horn: Dave Denniston Trumpet, Flugel Horn, Cornet: Ric Wolkins Electric Bass: James Simonson Contractor: Alice Sauro One of the unique sounds evoked by the Billy Elliot Orchestra is that of the English brass band. Usually comprised of Cornets, Flugelhorns, Tenor Horns, Euphoniums, and Tubas, these musical ensembles originated as work bands and were sponsored by (and long identified with) various industrial concerns and coal mines. The Easington Colliery Band was founded in 1913. Brass players with band experience were encouraged by management to come from the west of Durham to work at the colliery and play in the band, which, despite the closure of the coal mining operations in 1993, continues to perform to this day. The band is still based in the old colliery pay office. The building is the last remaining evidence of the pit. The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. 11

Billy Elliot • From Screen to Stage W

hen director Stephen Daldry’s film Billy Elliot premiered Cannes Film Festival in 2000, Elton John happened to be in attendance. By the end of the film, John was so moved that had to be helped, sobbing, from the theater. “It touched me so much,” he said. “The story is very similar to mine: Trying to be something out of the ordinary. Having a talent and wanting to break free from what your parents want you to do. Wanting approval from your father, especially when your father doesn’t approve of the profession you’ve chosen.” Billy Elliot is the story of an adolescent who discovers he has a talent and passion for ballet, and pursues it despite the vehement objections of his father and the derision of his community, a coal-mining village in Northern England. Intertwined with Billy’s journey is the unfolding of the 1984 coal miners’ strike in Great Britain, an event so devastating that the repercussions are still felt to this day. John was so moved and so inspired by the movie that he immediately envisioned the piece as a stage musical. Neither Daldry nor screenwriter Lee Hall initially shared his enthusiasm, but John changed their minds. “What Elton felt was very personal to him, and he understood the story from the inside,” Hall said. “One of my big concerns was to keep an emotional core. I also realized there was a tradition of musical theater that completely embraced all the things Billy Elliot is about. Going back as far as Show Boat, musicals have dealt with issues and politics. So I realized that the music from the mining communities—the folk songs, the hymnal singing—could provide a kind of soundtrack for this show.” The musical puts a greater emphasis on the plight of the miners than there is in the film. “What appealed to me most about doing the show was to have the opportunity to delve into the miners’ strike,” Daldry said. “That strike was one of the most important events in my life, as well as in domestic village politics. It’s not possible to exaggerate the cultural flowering that happened during that year in the pit villages. There was a real shift in consciousness for everybody involved in those villages, which is part of the 12

sadness of the whole story. Because something extraordinary happened—and then it was wiped out as they shut down the pits. So we wanted to talk about the community and the family as much as Billy in the musical. The strike bookends the show. The theater lends itself to big, working-class anthems of struggle and loss. You can present that in a much more believable and moving way onstage than on film.” The two strands of the narrative are so thoroughly integrated in the show that, in the end, each story is incomplete without the other. But making the miners more prominent posed a special challenge for choreographer Peter Darling: How could he create dances for characters who were so opposed to dance? “You want to include them in the dances, because a musical can encompass a wider community,” Darling said. “But they make fun of dance, so how was this going to work? I started to think about when men dance. They do social dancing and folk dancing. So that’s where I started. And I believe that all human movement—walking, running, jumping and falling—is dance. If someone corrals it and gives it form, before you know it, it’s dance.” Since opening in London in 2005, Billy Elliot the Musical has become an international phenomenon, the recipient of more than seventy awards. In 2009 the show won ten Tony Awards, including best musical; Daldry won for best direction of a musical, Hall for book of a musical, and Darling for choreography. “You can’t just look at Billy Elliot as a piece of theater,” Hall said, “because it actually transforms the lives of these boys. If there had been no Billy Elliot, if these boys had not been discovered for the role, then they would not have flourished in the way that they do. Their growth is almost a symbol, a metaphor at the heart of the piece. We actually demonstrate that it is possible, if everyone pulls together, to achieve something quite extraordinary.”

n 1984, the British National Union of Mineworkers (the NUM) went on strike to save the coal industry from the threatened closures of Prime Minister Margaret Thatcher, who was politically opposed to state-owned industry and determined to crush the unions.

The strike went on for one year. The miners’ families had to survive on handouts from other working people who supported their stand. But by employing riot police to intimidate their communities and importing coal from Eastern Europe, the Conservative government broke the unions. Over the subsequent 10 years, the entire industry was dismantled. The story of Billy Elliot takes place in the coal fields of Northern England, where mining had been the major employer for hundreds of years. In 1984 more than 300,000 men worked in the mining industry; today there are less than 1,000. More than 98 percent of the coal used for British energy is now imported from abroad. n

WHO’S WHO JANET DICKINSON (Mrs. Wilkinson) is thrilled to be playing the role of Mrs. Wilkinson in this wonderful show. This past year, she originated the roles of Comurtney in Divorce Party The Musical, and most recently, the role of Sandy in the Off-Broadway production of Fat Camp The Musical. Broadway: How The Grinch Stole Christmas. National Tours: Grinch, 9 to 5 The Musical. Off-Broadway: Forbidden Broadway’s Rude Awakening cast recording and 2008 Drama Desk Award. Happiness at Lincoln Center, Secrets Every Smart Traveller Should Know. 2011 NYMF Award for Best Individual Performance in Madame X. I would like to thank my agents at Carson/Kolker. I am proud to say that Bemidji, Minnesota is my hometown! RICH HEBERT (Dad). Vegas: We Will Rock You. Broadway/Tours: The Life, Sunset Boulevard, Les Misérables, Cats, Saturday Night Fever, and Rock and Roll the First 5000 Years. Other: Captains Courageous, Elaborate Lives, Annie. TV: “Brotherhood,” “Law and Order SVU,” “NYPD Blue,” “The Sopranos,” “Deadline,” “Line of Fire,” “The Oldest Rookie,” “21 Jump Street,” “The Young and the Restless,” “Loving.” Rich dedicates this performance and everything he does to his extraordinary daughter Neely. PATTI PERKINS (Grandma). Broadway: Billy Elliot, The Full Monty, Shakespeare’s Cabaret (Tony-nominated for best score), All Over Town (directed by Dustin Hoffman). Lincoln Center: A Man of No Importance. Off Broadway appearances include: Randy Newman’s Maybe I’m Doing It Wrong, (Astor Place), Tuscaloosa’s Calling Me (Westside Arts and The Village Gate), Dr. Knock at The Mint Theatre. Regional theaters include The Guthrie, The Old Globe, The Kennedy

Center, GEVA, Buffalo Studio Arena, Arena Stage in Washington, DC. Ms. Perkins has appeared in many television commercials, “Law and Order” and as the serial killer’s mother on “One Life to Live.” CULLEN R. TITMAS (Tony) is continuing his journey with Billy Elliot after understudying this role and performing in the ensemble of the previous tour. Cullen spent three years in the National Tour and Off-Broadway productions of Avenue Q (Nicky/Trekkie), and previously co-created and performed the role of Marlin in Finding Nemo, the Musical at Disney’s Animal Kingdom. NYC/Regional favorites include John and Jen (John), AIDA (Radames), Footloose (Ren) three times, Forever Plaid (Sparky) twice, and the title role in Adam Guettel’s Floyd Collins. Thanks RR and CMF. BEN COOK (Billy). National Tour: Billy Elliot (Michael). Broadway: Billy Elliot (Tall Boy, u/s Michael); Ragtime (Little Boy). Regional: Ragtime and Golden Age, Kennedy Center; Macbeth, Folger Theatre; Heavens Are Hung in Black and A Christmas Carol, Ford’s Theatre. TV: “30 Rock” (Young Jack). Thanks to Mom, Dad, Emma, Kate, Nick, CESD, Linda Townsend Mgmt. KYLEND HETHERINGTON (Billy, u/s Michael, u/s Tall Boy/Posh Boy) hails from Michigan, at age 4 started dance at Miss Lore’s. Later he studied ballet with Giuseppe Canale and Scott Heinrich and tap with Bruce Bradley. In 2009, he participated in the ABT Young Dancer Summer Workshop under full scholarship. Kylend thanks the army of friends and relatives that helped him get here and hopes to make them proud. ZACH MANSKE (Billy, u/s Tall Boy/Posh Boy) is thirteen years old and comes from Minnesota. Zach started dancing at the age 13

WHO’S WHO of 8 and quickly learned that dance was his passion. After one year, Zach started dancing competitively with Woodbury Dance Center and has gone on to receive numerous top scores and judges’ choice awards. He also received the junior national champion title at Starquest (2010) and Masquerade (2011) National dance competitions. Zach loves to perform and is honored to be a part of the Billy Elliot Cast. Many thanks to Woodbury Dance Center for believing in Zach, his friends and family who have shown him love and support while he pursues his dream, and his sister Rachel who is his biggest fan. NOAH PARETS (Billy), 13, hails from Massachusetts and started dancing at age seven. He studied ballet, tap, jazz, and modern at The Gold School in Brockton, Ma, where he danced with Project Moves Dance Company. Noah has received many accolades including American Dance Awards’ Junior Male Dancer of the Year 2011. Joining Billy Elliot is a dream come true! Love and thanks to Mom, Dad, Joel, Ethan, Jacob, Rennie, all my teachers, family and friends. Forever grateful! JOEL BLUM (George, u/s Dad). Broadway: two-time Tony nominee for Show Boat and Steel Pier. B’way: 42nd Street, Music Man, A Christmas Carol, After the Night and the Music and Stardust. Tours: Chitty Chitty Bang Bang, Doctor Doolittle, …and the World Goes ‘Round. Barrymore award: Tin Pan Alley Rag, Helen Hayes nominee: Meet John Doe. TV: “Law and Order” twice, “Ed,” “The Sopranos,” “Sonny and Cher Show,” “Tonight Show.” ETHAN MAJOR (Michael, Tall Boy/Posh Boy), 10, is a Canadian American born in Texas and currently lives in a suburb of Atlanta, Georgia. He has trained at the Susan Chambers School of Theatre Dance, the Actor’s Scene, and Creative Studios of Atlanta. Previous local theatre credits include The Nutcracker as Fritz, Into the Woods Jr., and The Best Christmas Pageant Ever in Atlanta. Ethan is excited to be part of the National Broadway Tour of Billy Elliot and would like to thank Nora Brennan, Alison Levenberg, and Jennifer Paige Chambers-Rutsche for their support in making a dream come true. SAM POON (Michael, Tall Boy/Posh Boy) National Tour of Les Misérables (Gavroche). Selected credits: Oliver (Oliver) NC Theatre, Jungle Book (Mowgli) STAGES St. Louis, Secret Garden (Colin) APAC, Scrooge in Concert (Tiny Tim) Northeast Tour with NY Stage Originals, 90 Years of MUNY Magic, 14

Disney’s Beauty and the Beast, Camelot, and º (Tam) at The MUNY, Brundibar (Fido) Opera Theatre of St. Louis, Soldier Songs (Boy) Festival of Arts and Ideas, and Pan (Slightly) Project in Development. Thanks to: Nancy Carson, Bob Marks, Janine Molinari, Dirk Lumbard, and Amelia Demayo. Visit SamPoonOnline.com SAMANTHA BLAIRE CUTLER (Debbie) is thrilled to tour with Billy! Regional: Annie (Molly), Seussical (JoJo), White Christmas (Susan Waverly), Beauty and the Beast (Chip), A Wonderful Life (ZuZu). Film: Mystery at Locust Grove (Lydia). Thanks Mom, Dad, family, DDP, MTL, Centerstage, Dancensation, Debbie King, John D’Aquino, Nora Brennan, Station Three. SamanthaBlaireCutler.com KAT HENNESSEY (Mum, Ensemble) has been a Banana Sister in Cirque du Soleil’s Banana Shpeel, Elphaba in Wicked in Japan, and one of Marty Thomas’ Divas in NYC. Originally from Southern California, she has traveled to nearly 50 countries performing. Kat is an internationally published photographer, a proud Equity member, and a Mormon. Gratitude to God, my amazing family, friends and Penny Lane! KatHennessey.com JOB CHRISTENSON (Mr. Braithwaite, Accordion Specialty, Ensemble, u/s Big Davey). Broadway/National Tours: Cats, Ragtime, Billy Elliot. Many thanks to Chris Nichols, Justin, TR Casting, Kate, and my family and friends for all their love and support. Blessings. This one is for mum. CRAIG BENNETT (Big Davey, u/s Dad, u/s George) Broadway: South Pacific, A Tale Of Two Cities, Miss Saigon; National Tours: The Light In The Piazza, Mamma Mia!, Ragtime, Les Misérables; Regional: Goodman Theatre, Cleveland Playhouse, Asolo Rep. Love to Sala and Mako. PATRICK WETZEL (Mr. Braithwaite). Original Broadway companies of All About Me, The Drowsy Chaperone (recording), Thou Shalt Not (recording), Annie Get Your Gun (recording) and Ain’t Broadway Grand. Other Broadway/NY: Spamalot, The Producers, Anyone Can Whistle (Encores!), Golden Boy (Encores!) Sondheim’s Opening Doors (Carnegie Hall). Films: A Christmas Carol (dir. Robert Zemeckis), The Producers (dir. Susan Stroman). Actors’ Equity! CAL ALEXANDER (Small Boy) is thrilled for his first theatrical experience to be with the Billy Elliot tour. Thanks, Mom and Dad for bringing me to Broadway Musicals before I turned four. Also, thanks to my dance and violin teachers. Last, but not least, thanks to Nora Brennan for giving me this great opportunity!

MADISON BARNES (Ballet Girl, u/s Debbie) is thrilled to be continuing with Billy Elliot. National Tour: Billy Elliot Chicago and Toronto (Keeley Gibson, u/s Debbie). Regional: Annie (Annie). She has been singing and dancing since age 2, receiving many regional and national awards. Thanks and love to Mom, Dad, Alex, Jennifer Shide, and all my family, friends and dance teachers for their love and support. MICHAEL BIREN (Swing, u/s Mr. Braithwaite, Fight Captain, Dance Captain) is thrilled to be on tour with Billy Elliot. Tour: Billy Elliot (with Faith Prince), Cinderella (with Lea Salonga). Regional: …Forum (Goodspeed), The Drowsy Chaperone (Maine State), A Chorus Line (Ogunquit). B.A. Theatre, B.S. Biology, Muhlenberg College. Proud Equity Member. Love to DMRSCL. DAMIEN BRETT (Ensemble, Postman, u/s Mr. Braithwaite) is happy to be returning to the national tour of Billy Elliot. Tour: Billy Elliot. Favorite Regional: Les Mis, Guys and Dolls, Gypsy, Miss Saigon, Breakfast at Tiffany’s, …Forum, Grease, Joseph…, Fiddler, Jesus Christ Superstar. Thanks, as always, to his beautiful wife, Briana Valerie. SASHA ELY-JUDKINS (Ensemble, Lesley, u/s Mum). Theatre credits include Mamma Mia—Australian 10th Anniversary Tour (Ensemble/Alternate Donna, Understudy Rosie & Tanya), Billy Elliot The Musical—Melbourne season (Swing/Cover Mrs. Wilkinson), Chicago—U.K Tour and U.S National (Go To Hell Kitty/Cover Velma Kelly), Spirit Of The Dance—World Tour, Paradise Rooms— Blackpool U.K. Sasha would like to thank her family and Steve for their love and support. TIM FUNNELL (Scab, Posh Dad, Ensemble). Trained at The Guildhall School of Music and Drama and from the North East of England, Tim starred in the original London production of Billy Elliot the Musical for six years. He worked extensively in London’s west end before moving to Canada in 2011. RICHARD GATTA (Swing). Nat’l Tours: Fiddler on the Roof w/TOPOL & Harvey Fierstein, The Pajama Game. Asian Tour: Grease and Macau Intl. Music Festival. Regional credits: Peter Pan (ASF), West Side Story (NOOA, ASF), La Cage aux Folles (CMH). Principal dancer, Northeast Ballet Co. in New York. Proud Equity member. richardgatta.com CARA KJELLMAN (Ensemble, Clipboard Lady, u/s Mrs. Wilkinson, u/s Mum, u/s Grandma) Thrilled to be joining BE on the road! Broadway/NY: Billy Elliot (Mrs. Wilkinson u/s); 42nd Street; Of Thee I Sing;

Face the Music; No, No, Nanette and Pipe Dream (Encores!). Regional: White Christmas in Boston, St. Paul, San Francisco (Judy Haynes u/s), MUNY (Rita). Love and thanks to MDKBB! MARIA KNASEL (Ballet Girl) is amazed to be a part of Billy Elliot! National Tours: White Christmas (Susan Waverly). Regional: seven productions at The Muny, favorite roles: Gretl, in The Sound of Music and “The Sad Girl” in Bye Bye Birdie, also seen at St. Louis Rep & The Fox Theatre. Thanks to Nora and Billy Elliot, Nancy, Janine, Thommie, Bob, Amelia, The Muny, Terri, Mark, Lisa and Lara. Love to my parents and 3 brothers! mariaknasel.com REGAN MASON HALEY (Tracey Atkinson). Dancing since age 3, Regan made her professional debut in Billy in 2010. Lots of love to my very supportive family back home. Many thanks to Peter Darling and Nora Brennan for giving me the opportunity to live my dream. Much love and gratitude to Mary Giattino for everything she taught me. CHRISTOPHER M. HOWARD (Ensemble, u/s Older Billy/Scottish Dancer). Billy Elliot marks Christopher’s first US tour, following the international tour of A Chorus Line (Larry) and a season with Dayton Ballet. Prior to his studies as a scholarship student at the Joffrey Ballet School, Christopher completed his BFA at SUNY Buffalo. Other regional credits include Sweeney Todd (Anthony), Aida and Fiddler on the Roof. BRYAN THOMAS HUNT (Ensemble) For Disney’s Beauty and the Beast, Matt received the L.A. Drama-Logue Award along with London’s Olivier, New York’s Drama Desk and Outer Critics’ Circle Award nominations. Other Broadway: Lestat with music and lyrics by Elton John and Bernie Taupin, and Mimi LeDuck starring Eartha Kitt. Matt choreographed the World Premiere of Elton John and Tim Rice’s Elaborate Lives: The Legend of Aida at the Alliance Theatre. Also: Little Shop of Horrors, Buenos Aires; The Wanderer, Tokyo’s Parko Theatre; The Little Mermaid and Peter Pan for Disney Home Video; and The Nutcracker for the Disney Channel. Film: Matt starred as Bobby in A Chorus Line directed by Sir Richard Attenborough. Matt recently directed and choreographed Fantasmic for Tokyo Disney Sea. PATRICK LAVALLEE (Ensemble, Acro Captain). Nat’l tour: Movin’ Out (Sargent O’Leary). Favorites: 42nd Street (Andy Lee), Fiddler on the Roof (TOTS), Chicago, Spamalot (Ogunquit), The Producers, Crazy for You (TBTS), Thoroughly… Millie (MTW), 15

WHO’S WHO WWS (Palace, Arab). BA from OCU. Special thanks to my supportive parents, family, friends and CO. KENT M. LEWIS (Swing, u/s Big Davey, u/s Scab/Posh Dad). 1st Nat’l Tours: Billy Elliot (Swing), Chitty Chitty Bang Bang (Caractacus Potts Understudy, Ensemble). Regional: White Christmas (Bob Wallace), Showboat (Gaylord Ravenal), Bagalicious (The Bagman), The Sound of Music (Capt. Von Trapp). KentMLewis.com DAVID LIGHT (Ensemble, Pit Official, u/s Tony) is a Canadian prairie boy born in Prince Albert, Saskatchewan, currently hailing from Toronto, Ontario. Theatre: Mirvish’s Billy Elliot the Musical (Ensemble/Tony US), Canadian Premiere of High Fidelity the Musical (Rob Gordon), The Rocky Horror Show (Dr. Frank’n’Furter), and Ross Petty’s Robin Hood. Film and TV: CBC’s “Triple Sensation: Season II” (2nd Place Male) and Bravo’s In The Light (Zack). Love to Mom. REBECCA MARLOWE (Swing, u/s Debbie) is thrilled to have made her professional debut in Billy Elliot in 2010! Credits include regional theatre productions, RYDE Nutcracker Ballet, and various musical performances. She would like to thank her family, Amelia DeMayo, Diane Frankel, and Shirley Grant Management. MORGAN MARTIN (Ballet Girl) grew up in Glastonbury, CT. She performed in Radio Girl at Goodspeed Musicals, and Hartford Stage’s A Christmas Carol, and is a member of the Boston Tap Company and Figments Youth Dance Ensemble. JOEL NEWSOME (Ensemble, Mr. Wilkinson, u/s George, u/s Big Davey, u/s Scab/ Posh Dad) joins the tour having been a part of Billy Elliot in both the Chicago and Toronto com panies. Broadway credits: The Producers, 42nd Street. National tours: The Producers, where he played the role of Leo Bloom. Regional: Goodspeed Opera, Paper Mill Playhouse. Arizona Theatre Co. Cincinnati Conservatory of Music Graduate. YANNA NIKITAS (Ballet Girl) has been studying dance for four years and has won several national dance accolades. Yanna has recently filmed her first national commercial. Yanna is so excited to be making her debut on the Billy Elliot (Sharon Percy) national tour! She wants to thank her teachers at DKDS, especially Diane Kelley. Special thanks to Nora Brennan and David Doan. Love and gratitude to Aunt Candyce, Mom and Dad for their love and support. 16

ADAM PELTY (u/s Older Billy/Scottish Dancer, Swing, Resident Choreographer). Most recently directed Tick Tick Boom for Porchlight Music Theatre in Chicago. Broadway: The Scarlet Pimpernel (original choreography/Elton). Cyrano—The Musical (Valvert), Steel Pier, Joseph (Simeon), A Christmas Carol (Fred) and Titanic (Fleet). Chicago: The Drowsy Chaperone (Jeff nomination), Marriott; Spamalot, Drury Lane. Adam has served on the faculties of NYU, Ithaca College and Interlochen Center for the Arts. Founder of Moveable Arts, a Broadway education company. Most notable achievement: 15-year-old son, Noah. JEFFREY PEW (Ensemble, u/s Tony, u/s Scab/Posh Dad). Recent credits: Billy Lawlor in 42nd St (Pioneer Theatre), Springtime Soloist in The Producers (Sacramento Music Circus), Larry in A Chorus Line (Stages St. Louis), singer in the Radio City Christmas Spectacular. Jeffrey is also an accompanist for ABT and The Mark Morris Dance Group. BFA Musical Theatre BYU. Thanks Mom and Dad for believing in me. jeffreypew.com. JILLIAN REES-BROWN (Ensemble, u/s Grandma). Billy Elliot-Toronto; Shirley Valentine (Shirley Valentine); Sexy Laundry (Alice); Potato People (Momma Potato); The Boy Who Could Sing Pictures (Lute); Rocky Horror Show (Magenta) Film: Harlan County (Mrs. Hershel Gaw); The One That Got Away (Billie); Blues Brothers 2000 (Bambi). daughtersoftherock.com ALISON SOLOMON (Swing, u/s Tracey Atkinson, Assistant Dance Captain). National Tours: In the Heights, Swing!. NY: Show Boat (Carnegie Hall), Camelot (Lincoln Center), All Singin’ All Dancin’ (Town Hall), Romance Romance (The Workshop Theatre). Regional: A Man For All Seasons (Kennedy Center), West Side Story, Swing!, Hello Dolly, 42nd Street, Thoroughly Modern Millie. TV: “Boardwalk Empire,” Macy’s Parade. Love & Thanks: bloc NYC, TR Casting, family and friends who’ve always believed! alisolomon.com BRIONNA TRILLING (Ballet Girl, u/s Small Boy). Billy Elliot, Chicago (Allison Summers); Billy Elliot, Toronto (Allison Summers/Small Boy understudy). Brionna is thrilled to join the Billy Elliot Tour Company and for the opportunity to continue doing what she loves. Special thanks to Nora Brennan and Sara Brians. Love and gratitude to Mom & Dad for their support and love. GENAI VEAL (Ballet Girl). Dancing has been a passion since age 2½. Genai has won several dance titles, competitions and scholar-

ships. Love and thanks to my Mom, MaMa, Grandpa, Ms. Nora, Ms. Kelly, FDO Teachers, family and friends for their support. “To God I give the glory.” LEXI VIERNES (Ballet Girl) is excited to make her professional debut with Billy Elliot! Trained with the Shely Pack Dancers and attended UC Irvine as a dance major. Recipient of many titles and awards including the SF Beach Blanket Babylon scholarship for Dance. Thanks to God, Nora Brennan, Shely, Family and friends for their support! THAD TURNER WILSON (Ensemble, u/s Mr. Braithwaite). Birmingham, AL, native. Broadway: Billy Elliot NYC: Radio City Christmas Spectacular. Tour/Regional: The Producers, Jesus Christ Superstar (Peter), A Year with Frog and Toad (Toad), Cats (Munkustrap), Forever Plaid (Francis), Elegies (Christian). BFA: CCM. Proud Uncle to Savannah, Cole, and Micah. Much love to friends and family for constant support. NATALIE WISDOM (Swing, u/s Mum, Dance Captain). Broadway: Billy Elliot. Selected regional credits: 42nd Street (u/s Peggy, North Shore Music Theatre), Dirty Rotten Scoundrels (Maine State Music Theatre), Joseph… (Dance Captain, Stages St. Louis). Natalie holds a BFA in Musical Theatre from Webster University’s Conservatory of Theatre Arts. Thanks to her family, friends, and her husband Jody. DANIELLE VICTORIA ZNUTAS (Ballet Girl). Billy Elliot Nat’l Tour II (Ballet Girl/ Sharon Percy). Excited to be continuing with Billy Elliot and sharing her love for dance/ theater. Thanks to Kelly, Jamie, FDO, Nora Brennan, MSA, BE Tour 2 Family, and all family and friends. Special thanks and love to Mom, Dad, Amanda and Gabby! JOEL ROSEN (Production Stage Manager). Most Recent: Shrek The Musical (National Tour); Tours: In The Heights, Avenue Q, Irving Berlin’s White Christmas; Broadway: How The Grinch Stole Christmas!, The Musical; Avenue Q, Imaginary Friends; Off Broadway: Fat Pig, The Exonerated; Regional: Avenue Q, Las Vegas; The Color Purple (Alliance Theatre, World Premiere); Over 30 shows Old Globe Theatre, San Diego. MELISSA CHACÓN (Stage Manager). National tours: Rent (2001-2004) and Contact (2005). New York Credits include: 1001, Shlomo, Pinkalicious, Jimi & Mr. B, Union Squared, Circle of Friends, The American Girls Revue, Bitty Bear’s Matinee: Family Tree as well as Much Ado About Nothing and The School for Husbands (NY Classical Theatre) and As You Like It, The Tempest and

Much Ado About Nothing (Hamptons Shakespeare Festival). She earned her MFA in Stage Management from Rutgers University’s Mason Gross School of the Arts. BRIAN D. GOLD (Assistant Stage Manager). Broadway: Hair, The Normal Heart, Pal Joey. Off-Broadway: Forbidden Broadway Goes to Rehab, Twelfth Night. Proud Member of AEA. Special thanks to his parents, Dawn, Joel, and Heather for helping make this possible. He dedicates his work to his brother Eric Gold, R.I.P. 1/20/08. JENIFER A. SHENKER (Assistant Stage Manager). National Tours: Altar Boyz, Little Shop of Horrors, The Phantom of the Opera, The Barber of Seville (with New York City Opera), The Who’s Tommy and Ringling Brothers and Barnum & Bailey Circus. Much love to my husband Larry who has helped make all this possible. ELTON JOHN (Music). Singer/songwriter Elton John’s monumental career spans five decades, and his latest album release is “The Union.” He has sold more than 250 million records, including “Candle In The Wind ’97,” the biggest-selling single ever, has won five Grammys and an Academy Award. He composed the music for The Lion King and Aida (both winning Grammys for Best Musical Show Album) and Billy Elliot, winning the Olivier Award for Best Musical and 10 Tony Awards including Best Musical. The Elton John AIDS Foundation is now one of the leading non-profit HIV/AIDS organizations. He was knighted by Queen Elizabeth II—Sir Elton John, CBE. LEE HALL (Book & Lyrics) was nominated for an Oscar for his screenplay of Billy Elliot the movie. His theatre work includes The Pitmen Painters (Live Theatre/Royal National Theatre), he has also worked with the RSC, Young Vic, Almeida, English National Opera and has worked extensively for the BBC in both radio and television. His screenplay for War Horse directed by Stephen Spielberg is due out in 2011. STEPHEN DALDRY (Director). Theatre: Billy Elliot the Musical. Royal Court Theatre: A Number, Far Away (Albery Theatre and New York Theatre Workshop), Via Dolorosa (Duchess Theatre and Broadway), Rat in the Skull, Body Talk, The Kitchen, The Editing Process, and Search and Destroy. National Theatre: An Inspector Calls (West End, Broadway, worldwide); Machinal. Stephen was artistic director of the Royal Court Theatre (1992-98) and the Gate Theatre (1989–92). Film: Billy Elliot won more than 40 awards worldwide and received three 17

WHO’S WHO Oscar nominations, including Best Director. Directed The Hours, winning innumerable international awards, including Best Picture at the Golden Globe’s, 11 BAFTA and nine Oscar nominations, including Best Director. The Reader earned five Oscar nominations also including Best Director and Best Picture. PETER DARLING (Choreographer). Theatre, Billy Elliot (Tony, Drama Desk, Critics Circle, Astaire, Olivier and Outer Critics Circle awards), Lord of the Rings Toronto/ London (Best Choreographer, Dora Award), Our House (Best Choreographer, Olivier Nomination; Best Musical, Olivier Award), Merrily We Roll Along (Olivier nomination, Best Musical, Olivier Award); Candide (Olivier nomination; Best Revival, Olivier Award), Oh! What a Lovely War (RNT). Off-West End: Closer to Heaven (Best Choreographer, Whatsonstage.com Award). Other: Power (NT), A Midsummer Night’s Dream, Sunset Boulevard (UK tour), Matilda, The Tempest (RSC), Edward II, The Country Wife, As You Like It, Twelfth Night. Film: Billy Elliot, The Phantom of the Opera. IAN MacNEIL (Set Design). Shows in New York include Festen, An Inspector Calls, Via Dolorosa (all Broadway) and Far Away (Off-Broadway). Shows in London include Plasticine, A Number (Royal Court); Vernon God Little, Afore Night Comes and Tintin (Young Vic); and Machinal (National Theatre). Awards include Evening Standard (two), Olivier (two), Critics Circle (all London) and Drama Desk (New York). JULIAN WEBBER (Associate Director) was associate director for Stephen Daldry’s award-winning production of An Inspector Calls. He adapted and directed The Three Musketeers at the Young Vic Theatre, which was nominated for a Barclay’s Theatre Award in 2002. More recently: the West End revival of The Shape of Things by Neil LaBute and The Barber of Seville at the Bristol OldVic in a new adaptation by Lee Hall. Julian was artistic director of Soho Rep in New York. NICKY GILLIBRAND (Costume Design). Recent: By the Bog of Cats (Wyndhams Theatre), Lady Macbeth of Mtsensk, Queen of Spades, Paul Bunyan (Royal Opera House), Tales From the Vienna Woods, Powerbook, Mother Clap’s Molly House, Lady in the Dark (Royal National Theatre), Pelleas et Melisande (Bavarian State Opera), The Miserly Knight and Gianni Schicchi (Glyndebourne Festival Opera), La Traviata (Opera North), Jumpers (RNT, West End, Broad18

way), Proverb (Royal Ballet), Wind in the Willows (ROH2), Camille (Lyric Hammersmith Theatre), War and Peace (Paris Opera). RICK FISHER (Lighting Designer). Originally from Philadelphia, Rick has been based in Britain for thirty years. He received the 2009 Tony, Drama Desk, and Outer Critics Circle awards for Billy Elliot. Broadway: The Philanthropist, Matthew Bourne’s Swan Lake, Via Dolorosa, Some American’s Abroad, An Inspector Calls (Tony, Drama Desk Awards), Serious Money. Opera includes eight seasons at Santa Fe Opera. Other awards include two Olivier Awards. PAUL ARDITTI (Sound Design). Paul’s sound design for Billy Elliot The Musical has won him a Tony Award, a Drama Desk Award, an Olivier Award, and a BroadwayWorld.com Theatre Fans’ Choice Award. Other designs in the U.S. include Mary Stuart (Tony Nomination 2009); Les Liaisons Dangereuses; The Year of Magical Thinking; Festen (Evening Standard Award 2005); The Pillowman (Drama Desk Award 2005); Far Away; The Chairs; Four Baboons Adoring the Sun (Drama Desk Award 1993). MARTIN KOCH (Musical Supervision & Orchestrations). Musical supervisor: Les Misérables, Miss Saigon, Mamma Mia! and Billy Elliot. Recordings: more than 30 albums including Les Misérables, Miss Saigon, Oliver!, Les Misérables Symphonic (Grammy winner), Hey Mr. Producer!, Mamma Mia! (Grammy nomination), Jerry Springer the Opera. Orchestrations: Mamma Mia! (Tony nomination), Jerry Springer the Opera, Billy Elliot (winner of the Drama Desk and Tony awards for best orchestrations) and Kombat Opera. With his colleague Nick Gilpin, Martin runs a highly successful music production company and recording studio. DAVID CHASE (Music Supervision—U.S.). Broadway (Music): Pajama Game, Flower Drum Song, The Music Man, Side Show, Little Me, Damn Yankees. Broadway (Dance): Cry-Baby; The Little Mermaid; Curtains; The Wedding Singer; Pajama Game; Thoroughly Modern Millie; Flower Drum Song; Kiss Me, Kate; Seussical; Side Show; and …Forum. London (Dance): Evita, Guys and Dolls. Also: Boston Pops, Radio City. Training: Harvard biology degree. Dedicated to my own Mrs. Wilkinson, Joan Bedinger (1939-2008), Woodson High School teacher and friend. SUSAN DRAUS (Music Director/Conductor). MD for Mamma Mia, Good Vibrations (Broadway) and Jerry Mitchell’s Peepshow (Las Vegas). Susan has arranged for Henry Mancini, orchestrated for the DSO, and

served as an arranging consultant for Walt Disney Imagineering. Her original musical, Vices: A Love Story was recently voted Best Production of 2009. For my girls—Foster, Greyson and Bean. JUSTIN MARTIN (Associate Director— U.S.). Directing credits: Broadway: Billy Elliot (Associate Director). Australia: Skin Tight (45 downstairs); Billie (Sydney Opera House and La Mama); The Dumb Waiter (Melbourne Fringe); Billy Elliot (Resident Director). London: 52 (Canal Cafe and Leicester Square Theatre’s), Scenes of a Massacre (Camden People’s Theatre). Asia: Echarcissus (Natya Mandala Theatre, Bali); Billy Elliot Korea (Associate Director). Resident Dramaturge: Living Room Theatre. Assistantships: Sydney Theatre Company, Company B Belvoir, Bell Shakespeare, Ensemble Theatre. Recipient: Roger Leach Award. KATHRYN DUNN (Associate Choreographer). Dance: London’s Royal Ballet Company, Sydney Dance Company, Chunky Move and Bangarra Dance Theatre. Acting: Anthony Shaffer’s The Thing in the Wheelchair, Water Rats and Wet. Musicals: Contact, On Your Toes and Chicago. Films: The Phantom of the Opera, Beyond the Sea, Null and Void, Black. Choreography: Bruce Beresford’s Paradise Road, I.D. and Strictly Come Dancing. Associate choreographer for Dirty Dancing. ALISON LEVENBERG (Associate Choreographer). Grad. Distinction (Dance, Musical Theatre) Bird College, London. Broadway/NY: Billy Elliot (Dance Captain/ Swing), 42nd St Revival (Ens.), Radio City Rockette. Regional: An American in Paris (Janelle), PCLO (Ens./Dance Captain). Film/ TV: The Producers, “Dancing with the Stars,” “Macy’s Parade.” Love and thanks: Husband Dave, family and everyone who made this journey possible! STEVEN MINNING (Supervising Resident Director). Broadway: (Associate Director) The Lion King, (Resident Diretor) Billy Elliot Chicago and Toronto National tour, (Resident Director) Showboat, (Assistant Director) Legs Diamond, (Choreographic Associate) The Will Rogers Follies and The Best Little Whorehouse Goes Public. International: (Artistic Director) Cirque du Soleil’s Dralion, (Associate Director) The Lion King (seven companies worldwide, including the Sydney and Amsterdam premieres), (Supervising Resident Director), Showboat (Sydney premiere). CHRISTOPHER SCHILDER (Resident Director). Broadway: Impressionism. Off- Broadway: The Milk Train Doesn’t Stop Here

Any More for Roundabout, The Orphan’s Home Cycle at Signature Theatre Company and Hartford Stage Co, Picked at Vineyard Theatre, Farragut North at Atlantic Theatre Co, PTSD at Ensemble Studio Theatre and most recently directed Brecht’s Caucasian Chalk Circle for Sonnet Repertory Theatre. Chris is a graduate of the UNCSA School of Drama. BERNIE ARDIA (Hair and Wig Design) has enjoyed a 30-year career, starting in television. Mr. Ardia has designed over 75 productions including Ragtime at The Kennedy Center, Kiss of the Spider Woman with Chita Rivera, Starlight Express at The Las Vegas Hilton, Cinderella with Eartha Kitt and Deborah Gibson and the recent Wizard of Oz. It has been a thrill working with so many talented performers throughout his career including, Toni Tennille, Anita Gillette, Mary Wilson, Mackenzie Phillips, Melody Thomas Scott and even Judge Judy! He is excited to be a part of this Networks Presentations tour of Billy Elliot! Mr. Ardia is also the author of Barbra Streisand in New York City. TARA RUBIN CASTING (Casting). Promises, Promises, A Little Night Music, Billy Elliot, Shrek, Guys and Dolls, Country Girl, RockN’Roll, Farnsworth Invention, …Young Frankenstein, Little Mermaid, Mary Poppins, My Fair Lady, Pirate Queen, Les Misérables, History Boys, Spamalot, Jersey Boys, …Spelling Bee, Producers, Mamma Mia!, Phantom, Oklahoma!, Happiness, Frogs, Contact, Thou Shalt Not. Yale Rep. NORA BRENNAN (Children’s Casting). Credits include the La Scala Opera House production of West Side Story. Resident casting director—Transport Group Theatre Co.: The Audience, All the Way Home, Dark at the Top of the Stairs, among others. Film/TV including 12 films for RipFest, the BBC series “Time Machine,” a series of TV ads for MoveOn.org, directed by Errol Morris. EDWARD PIERCE (Design Supervisor) operates a NYC-based design studio specializing in the production design of Broadway, touring and international stage productions. With his team of artists, he provides first-class development and management of designs. Notable collaborations: Wicked (including eight productions worldwide); Billy Elliot; 9 To 5—The Musical; The Pirate Queen; Aida; Ragtime; Cabaret; Bring In ‘da Noise/Bring In ‘da Funk; The Gazillion Bubble Show National Tour, and Pope Benedict XVI’s Pastoral Visit to New York— Mass at Yankee Stadium. CLAIRE MURPHY (Associate Costume Designer—U.K.). Work includes Billy Elliot 19

WHO’S WHO (London and Sydney), Vernon God Little for the Young Vic London, The Minotaur, Figaro and Gianni Schicci for the Royal Opera House- Covent Garden, The Reporter for the National Theatre. RACHEL ATTRIDGE (Associate Costume Designer—U.S.). Credits include Catch Me If You Can, Minsky’s, Billy Elliot, Curtains, Tea: A Mirror of Soul Sweet Charity, The Boy From Oz, Never Gonna Dance, Sweet Smell of Success, and The Lion King (Tours). Thanks to Nicky, Claire, John and the crew for all your hard work! KRISTINA KLOSS (Associate Lighting Designer—U.S.). Billy Elliot (Broadway, 1st National, 2nd National), Mary Poppins (Broadway, 1st National), Broadway: August Osage County, Faith Healer, Chitty Chitty Bang Bang, Glass Menagerie, Urban Cowboy. American Ballet Theatre at Metropolitan Opera House, Radio City Christmas Spectacular, Boston Ballet, Elisa Monte Dance Company. Regional: Milwaukee Repertory Theatre, Seaside Music Theatre, Missouri Repertory Theatre, Hartford Stage. Film: Nine the Movie, Sex and the City 2. Member of United Scenic Artists 829. For Pumpkin. DANIEL WALKER (Associate Lighting Designer—U.S.). Broadway Associate/Assistant credits: Brief Encounter, The Philanthropist, Exit the King, Billy Elliot, Rock ‘n’ Roll, Deuce, Frost/Nixon, A Moon for the Misbegotten, Mary Poppins, History Boys, Lennon, Chitty Chitty Bang Bang, Democracy, Jumpers, Urban Cowboy, Flower Drum Song, Sweet Smell of Success, Seussical-The Musical, Uncle Vanya, and Disney’s Beauty and the Beast. TONY SMOLENSKI IV (Associate Sound Designer—U.S.). Selected design credits include: Broadway: Cymbeline. Off Broadway: The Adding Machine (Drama Desk nomination); Dutchman (AUDELCO nomination); Everything Bad and Beautiful; Measure for Pleasure; Almost, Maine; Mr. Marmalade. Regional work includes She Loves Me (Huntington), August Wilson’s 20th Century (Kennedy Center). UNIVERSAL PICTURES STAGE PRODUCTIONS (Producer) is the theatrical production unit of the world-famous motion picture studio. UPSP is currently represented by the record-breaking and Tony Award-winning musicals Wicked and Billy Elliot, the acclaimed revival of The Gershwins’ Porgy and Bess, and the national tour of Bring It On: The Musical. Upcoming films include Battleship, 20

Snow White and the Huntsman, The Bourne Legacy, 47 Ronin, and the big-screen musical adaptation of Les Misérables. WORKING TITLE FILMS (Producer) is a producer of Billy Elliot the Musical worldwide. Co-chaired by Tim Bevan and Eric Fellner, the company has produced more than 95 feature films, won six Academy Awards and has grossed more than $5 billion at the box office worldwide. Films include: Contraband; Tinker Tailor Solider Spy; Senna; Paul; Nanny McPhee Returns; Green Zone; A Serious Man; State Of Play; The Soloist; Frost/Nixon; Billy Elliot; Burn After Reading; Atonement; Pride & Prejudice; United 93; The Interpreter; About A Boy; Notting Hill; Elizabeth; Fargo; Dead Man Walking; Bean; Four Weddings And A Funeral; Bridget Jones’s Diary and Love Actually. Upcoming features include Les Misérables and Anna Karenina. Working Title recently announced the creation of a new television production company, WTTV. Based in LA and London, WTTV is a joint venture between NBC Universal International, Bevan and Fellner. Recent productions include adaptations of Birdsong and The Borrowers, both for BBC One. OLD VIC PRODUCTIONS PLC (Producer). Run by Sally Greene and executive producer Joseph Smith, OVP is a producer of Billy Elliot the Musical worldwide. OVP is an independent commercial producer that has coproduced or partnered in more than 100 productions in the West End and on Broadway, winning numerous awards, most recently: Sweeney Todd, Jerusalem, Clybourne Park, The Prisoner of Second Avenue, Three Days of Rain and Swimming with Sharks. OVP works in association with The Old Vic Theatre Company led by Artistic Director Kevin Spacey. Recent productions include Noises Off (West End transfer and Old Vic), The Duchess of Malfi, The Playboy of the Western World, Cause Célèbre, A Flea in Her Ear, Design For Living, The Real Thing, Inherit the Wind, The Norman Conquests and Speed-the-Plow. Sally is also the chief executive of The Criterion Theatre and Greene Light Films and the proprietor of the renowned Ronnie Scott’s Jazz Club and three restaurants, The Cheyne Walk Brasserie, The Waterloo Bar and Grill and The Phene in Chelsea. NETworks PRESENTATIONS, LLC (Producer). Since 1995, NETworks has produced and managed over 45 touring productions in the US., U.K. and internationally. Current productions include Disney’s Beauty and the Beast, Billy Elliot The Musical, Blue Man Group National Tour, Elf The Musical, Flashdance the Musical, La Cage Aux Folles, The

New 25th Anniversary Production of Les Misérables, Disney and Cameron Mackintosh’s Mary Poppins, Shrek The Musical and National Theatre of Great Britain’s production of War Horse touring the U.S. DANI DAVIS (Executive Producer) is a Broadway producer, director, and lyricist. On Broadway, she produced Little Women—the musical (Tony, Drama Desk nominations) and The Lonesome West (Tony, Drama Desk noms/awards). She won a 2010 Emmy Award for writing Handel’s Messiah Rocks (Sony Classical, PBS—7 Emmy noms), which she also directed. She has directed musicals and symphony performance pieces throughout the US. She is the Managing Director and co-founder of Dance House USA, an international pop up festival. For NETworks, she has been/is the Executive Producer for Little Women, The Wedding Singer, Shrek The Musical, Billy Elliot and Flashdance. She is on the board of Duke University’s Women’s Forum and has been featured in Marie Claire, New York, and More magazines. Her songs are published by Cherry Lane Music/BMG. Member: SDC, BMI. Dani lives in New York City, and is the proud mom of Noah and Nina. SETH WENIG (Executive Producer) has been with NETworks since its inception in 1995. He spearheaded the international tours of Fosse starring Ben Vereen/Ruthie Henshall as well as the U.K. regional tour of Rodgers & Hammerstein’s The King and I. Together with Cameron Mackintosh, Seth served as executive producer of a forty-week UK regional tour of the National Theatre’s My Fair Lady, which also ran in the United States. He is currently serving as Executive Producer on The 25th Anniversary Production of Les Misérables, Disney’s Beauty and the Beast and Rodgers & Hammerstein’s South Pacific. He is most proud of his greatest productions, Marlo and Camden. JON FINN (Original Producer) started in the film industry as a production manager then line producer on several feature films and major television dramas. In 1996 he joined the production department at Working Title Films. A year later he helped David Goldesgeyne set up the Jerwood Film Prize and produced the BAFTA-nominated short film Eight, Stephen Daldry’s film directing debut. In 1999 Jon along with Natascha Wharton set up WT2, Working Title’s low budget film label. In the same year he produced his first film, Billy Elliot and in 2000 won the NOVA award from the Producers’ Guild of America. Jon’s next film was My Little Eye, directed by Marc Evans. Jon also has his own film production company ‘Big Pond Productions’ and is currently producing a feature film, Hunky Dory.

DAVID FURNISH (Original Executive Producer). After an 11-year career in advertising in Toronto and London, directed the BAFTA-nominated documentary Elton John: Tantrums & Tiaras. As a filmmaker, he produced Women Talking Dirty and It’s a Boy Girl Thing and produced the animation feature called Gnomeo & Juliet. David and his partner Elton John recently produced the Tony-nominated play Next Fall on Broadway. David is extremely proud of his association with Billy Elliot the Musical worldwide. ANGELA MORRISON (Original Executive Producer) is the chief operating officer of Working Title Films, responsible for the direction of its commercial activities, including all business affairs, finance and strategic planning in film, theatre and television. A law graduate of University College, London, she has been with Working Title since 1992 and was the executive-in-charge of production of the original film Billy Elliot. Angela has been honoured with the British Women in Film Business Woman of the Year Award. ALLIED LIVE (Tour Marketing and Press) is a full-service marketing & advertising agency representing Broadway shows, tours, performing arts institutions, & experiential entertainment. Clients include: Billy Elliot, Hair, West Side Story, In The Heights, Washington National Opera, Los Angeles Philharmonic, Cirque du Soleil, Madame Tussauds Hollywood, Hollywood & Highland Center. alliedlive.com. ACTORS’ EQUITY ASSOCIATION (AEA), founded in 1913, represents more than 48,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFLCIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. actorsequity.org

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Opening Night: November 2, 2011 FOX THEATRE, ST. LOUIS, MO STAFF FOR BILLY ELLIOT THE MUSICAL GENERAL MANAGEMENT GENTRY & ASSOCIATES SCOTT JACKSON GREGORY VANDER PLOEG DAWN KUSINSKI KIM REITER BOBBY MAGLAUGHLIN COMPANY MANAGER WILLIAM FERRY Associate Company Manager JOSH ZEIGLER Assistant Company Manager WILLIAM ECHOLS TOUR MARKETING AND PUBLICITY ALLIED LIVE Laura Matalon Marya Peters Erik Meath Doug Blemker EXCLUSIVE TOUR DIRECTION THE ROAD COMPANY Stephen Lindsay Brett Sirota 165 West 46th Street, Suite 1101, New York, NY 10036 212.302.5200 voice 212.302.5374 fax www.theroadcompany.com CHILDREN’S CASTING NORA BRENNAN CASTING Nora Brennan CSA Jen Rogers ADULT CASTING TARA RUBIN CASTING Tara Rubin CSA, Eric Woodall CSA Laura Schutzel CSA, Merri Sugarman CSA, Dale Brown CSA Kaitlin Shaw, Lindsay Levine Production Supervisor..........................................................Eric Insko Production Stage Manager................................................. Joel Rosen Stage Manager.............................................................Melissa Chacón Assistant Stage Managers................ Brian D. Gold, Jenifer A. Shenker Rehearsal Asst. Stage Managers...... Trey Gerrald, Christina M. Hagan Supervising Resident Director................................... Steven Minning Resident Director................................................ Christopher Schilder Resident Choreographer....................................................Adam Pelty Associate Choreographer......................................... Alison Levenberg Originating Resident Choreographers..................Sean Maurice Kelly, Allison Levenberg, Matthew Prescott Dance Captains....................................Michael Biren, Natalie Wisdom Assistant Dance Captain..............................................Alison Solomon Fight Director...............................................................Jason Babinsky Fight Captain.................................................................. Michael Biren Acro Captain................................................................Patrick Lavallee Dialect Coach........................................................................ Ben Furey Design Supervisor.........................................................Edward Pierce Associate Set Designer (U.K.).........................................Paul Atkinson Associate Set Designer (U.S.).........................................Nick Francone Assistant Set Designer (U.S.).................................................. Jen Price Associate Costume Designer (U.K.)................................Claire Murphy Associate Costume Designer (U.S.)............................. Rachel Attridge Dancing Dress Maker...................................... Jennifer Love Costumes Associate Wig and Hair Designer...............................Luc Verschueren 22

Associate Lighting Designer (U.K.).................................. Vic Smerdon Associate Lighting Designer (U.S.).................................Daniel Walker Associate Lighting Designer (U.S.)..................................Kristina Kloss Assistant Lighting Designer (U.S.) .................................Justin Partier Light Programmer (U.S.).................................................. Rob Halliday Associate Sound Designer (U.K.).......................................John Owens Associate Sound Designer (U.S.)............................. Tony Smolenski IV Assistant Sound Designer (U.S.)...........................................Drew Levy Costume Shopper (U.K.)....................................................Hannah Bell Prop Shopper (U.K.).........................................................Kathy Anders Head Carpenter........................................................ Christopher Weir Carpenter/Foy.............................................................. Ryan McAlpine Flyman.........................................................................Shelby Damron Production Electrician........................................................ Eric Abbott Head Electrician.................................................................. Eric Briggs Assistant Electrician.....................................................Dirk Van Pernis Assistant Electrician....................................................... Max Marquez Production Props Supervisor......................................Dave Levenberg Head Propmaster........................................................Schuyler Woods Assistant Propmaster.................................................. Dunia Kravchak Production Sound Supervisor...........................................Brian Moore Head Sound................................................................ Joshua Hummel Assistant Sound.....................................................Heather Augustine Head Wardrobe................................................................ Kristina May Assistant Wardrobe.....................................................Kasey Walraven Assistant Costume Coordinator....................................John Saunders Wardrobe..................................................................... Meredith Scott Hair & Makeup Supervisor................................................... Tim Bohle Keyboard Programmers..................................Bryan Crook, Tim Crook Child Guardians...................William Dominguez, Jean Marie Hufford Nicole Sharra, Richard Vollmer Production Assistants......................Jenny Abraham, Kendall Booher, Patrick Egan, Kate Pazakis, Arienne Pelletier, Gabrielle Reid Voice Teacher....................................................................... Ilene Reed Children’s Tutoring..........................................On Location Education/ Alan Simon, Jodi Green Tutors............................................Onsy Elshamy, Bernadette Jusinski Rehearsal Studios................................Chelsea Studios, Pearl Studios, Gibney Dance Center, Roy Arias Studios Acro Instructor..............................................................Hector Salazar Physical Therapy.................................. NEURO TOUR/Carolyn Lawson Company Physical Therapist................................ Ashley Hodges, DPT Production Videographer..........................................HMS Media, Inc. Production Photographer...................Michael Brosilow, Kyle Froman Accounting.............................................NETworks Presentations, LLC Immigration.............................................................TCG Holdings, LLC Legal Counsel................................................... F Richard Pappas, Esq. HR and Payroll Services.....................................Human Resources inc. Travel Agents.....................................Janice Kessler, Carlson Wagonlit Housing ...................................................Lisa Morris, Road Concierge Hauling/Trucking........................................................... Clark Transfer Freight Handling.........................................................Airways Freight Banking....................................................................................... M & T Insurance......................................................................... Chubb Group Merchandising..........................................Encore Merchandising, Inc.

Photo by Smallz & Raskind

Two red-hot stars. One cold-blooded thriller.

The Musical

One Week Only! Fisher Theatre • Nov. 27–Dec. 2 Tickets: Fisher Box Office, ticketmaster.com & 800-982-2787 Info: BroadwayInDetroit.com, 313-872-1000 & JekyllAndHydeMusical.com Groups (12+): Groups@BroadwayInDetroit.com (subject line: Jekyll & Hyde) or 313-871-1132 23

FOR UNIVERSAL PICTURES STAGE PRODUCTIONS President and COO, Universal Studios Inc........................... Ron Meyer Chairman..................................................................... Adam Fogelson Co-Chairman................................................................ Donna Langley Vice-Chairman & COO.................................................. Rick Finkelstein President....................................................................Jimmy Horowitz SVP & CFO Productions, Theater, Music.......................Arturo Barquet Legal Affairs.........................................................................Keith Blau Executive, Live Theatricals........................................ Chris Herzberger FOR WORKING TITLE FILMS Marketing Director........................................................Susan Butterly President of Production (U.S.)........................................... Liza Chasin Executive Vice President of Film (UK)......................... Amelia Granger Head of Production.................................................... Michelle Wright Head of Legal and Business Affairs.................................Sheeraz Shah Finance Director................................................................ Tim Easthill Assistant to Eric Fellner.......................................... Katherine Pomfret Assistant to Tim Bevan...................................................Chloé Dorigan Assistant to Angela Morrison........................................Genette Butler Associate Producer.....................................................Marieke Spencer FOR OLD VIC PRODUCTIONS Chief Executive................................................................. Sally Greene Executive Producer.........................................................Joseph Smith Associate Producer..........................................................Becky Barber Administrator...................................................................Fiona Finlow Finance Director............................................................. Conor Marren Financial Accounting Manager.............................. Michael Matthews Management Accountant...............................................Bina Tankaria Project Advisor to Sally Greene.................................... Emily Blacksell Assistant to Sally Greene....................................................Sara White FOR NETWORKS PRESENTATIONS Chief Executive Officer....................................................... Ken Gentry Chief Operating Officer............................................. Scott W. Jackson Director of Finance..............................................................John Kinna Executive Producers..............Seth Wenig, Kary M. Walker, Dani Davis Associate Producer........................................................Angela Rowles Assistant Producers......................................Jim Lanahan, Mary Witte Assistant to the CEO...........................................................Curt Owens Senior General Manager...................................Gregory Vander Ploeg General Managers...................................... Dawn Kusinski, Kim Reiter Associate General Manager...............................................Curt Owens Assistant General Manager...................................Bobby Maglaughlin Production Manager......................................................Jason Juenker Associate Production Manager......................................Hector Guivas Assistant Production Manager................................Christian Bottorff Marketing/PR..................................................................Heather Hess Music Coordinator.............................................................. John Miller Assistant Controller.....................................................Jennifer Gifford Accounts Payable.............................................................. Laura Carey Office Manager...........................................................Buddy Piccolino Office Assistant..................................................................Carol Jewel SPECIAL THANKS TO BESPOKE THEATRICALS FOR THEIR GUIDANCE AND CONTRIBUTIONS TO THIS TOUR Nina Lannan Devin Keudell CREDITS Scenery constructed and automation equipment provided by Hudson Scenic Studios, Inc. Miners’ banner by Alaister Brotchie. Lighting equipment from PRG Lighting. Sound equipment by Sound Associates. Rigging by Christie Lights. Puppets designed and contracted by the Wright Stuff Theatre of Puppets. Costumes constructed by Mark Costello, London; Tricorne NYC; Jennifer Love Costumes; Baracath Customwear; David Quinn. Custom knitwear by Maria Ficalora. Custom 24

footwear by T.O. Dey and Sam Vasili. Millinery and costume crafts by Rodney Gordon, Inc. Undergarments provided by Bra*Tenders. “Express” dress puppet frames by Small Poppy Productions. Ballet Girls clothing by Wear Moi. Fabric painting and costume distressing by Nicola Killeen Textiles and Jeff Fender. Incidental and small props by the Spoon Group. Soft goods props by Mariah Hale.

Aereographics® Flying by Foy To learn more about the production, please visit www.BillyElliotTour.com To become the next Billy Elliot, please visit www.BeBilly.com SPECIAL THANKS Special thanks to Rick Mills, Darren Sterns, Kat Hauschild; SMG Evansville: The Centre, Evansville, IN. IATSE Local 102, Evansville, IN. Louise Withers and Associates; David Blandon; Diane Dawson; With thanks to the National Coal Mining Museum for England, Wakefield, W. Yorkshire. Working Title Films would like to thank Ron Meyer, Marc Shmuger, David Linde, Jimmy Horowitz, Donna Langley, Rick Finkelstein, Arturo Barquet, Allison Ganz, Stephanie Sperber, Stephanie Testa and Jonathan Treisman at Universal Pictures; Peter Bennett-Jones and Greg Brenman at Tiger Aspect Pictures; David Thompson at the BBC and Tessa Ross; Luke Lloyd Davies; Janine Shalom; all at Working Title Films for their continuing help and support; and especially to all the people who worked on the film Billy Elliot. Old Vic Productions would like to thank Eric Fellner, Tim Bevan, Elton John, David Furnish, Lee Hall, Stephen Daldry, Peter Darling, Angela Morrison, Jon Finn and all at Working Title Films, Arthur Cohen, David Friedlander, Robert Reed, Marieke Spencer, Jimmy Horowitz, John Barlow, Adam Kenwright, Janine Shalom. Elton John would like to thank Lee Hall, Stephen Daldry, David Furnish, Matt Still, Eric Fellner, Tim Bevan, Jon Finn, Sally Greene, Angela Morrison, Frank Presland, Keith Bradley, Clive Banks, Todd Interland, Davey Johnstone, Bob Birch, Guy Babylon, John Mahon, Nigel Olsen. And a special thanks to Liam, James and George for first bringing Billy to life on stage. The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States. All stage work performed by employees represented by IATSE. UNITED SCENIC ARTISTS represents the designers and scenic painters for the American Theatre. The Musicians employed in this production are members of the American Federation of Musicians of the United States and Canada. The Director and Choreographer are members of the Stage Directors and Choreographers Society, an independent national labor union. The Press Agents, Company and House Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers. This production is produced by a member of The Broadway League in collaboration with our professional union-represented employees.

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George Hamilton Lights Up

Interview by the La Cage Aux Folles Tour

In the new production of the hilarious musical La Cage Aux Folles, George Hamilton plays Georges, the owner of a glitzy nightclub in Saint-Tropez, and Christopher Sieber plays his partner Albin, who performs in the club as the glamorous chanteuse Zaza. Question: How are you adapting to life as a nightclub owner in La Cage? George Hamilton: It’s a challenging role for me. In many ways, I’m envious of Chris Sieber playing Zaza because Albin is such a fabulous, flamboyant character. It’s seductive to want to be the farceur. Chris is so good in this: He gets bored with doing the usual, so he will change things around [in a scene]. My job is to be organically anchored to this— I’ve got to direct traffic through this whole story. I’m torn between my son and Albin. If I’ve done my job correctly, the piece takes on a profundity that’s got to be there. Q: How is Christopher Sieber as an on-stage husband? GH: He’s the on-stage wife; I’m the on-stage husband. Every night, I bow to him. I think he’s terrific, and I love working with him. We became fast friends. He’s played both roles [having done Georges on Broadway opposite Harvey Fierstein as Albin]. Initially, I would hear him say things and I’d wonder, “What is he mumbling?” But then I’d realize he was giving me my lines [laughs]. Q: You’ve had a career spanning more than five decades, and you’ve worked in all mediums. What’s your secret? GH: I can’t say that I started out wanting to be an actor. My father once said something that I never got until years later: “Do what you want in life. Do what’s easiest for you, then work at it harder than anybody.” I thought, “What does that really mean?” I was the school clown. I was able to make people laugh at things that others took seriously. The first play I did at school, I did just to get out of a math class. I was playing a young Russian student at Harvard. Well,

I forgot my lines within two minutes, so I started pretending to speak Russian. Before I knew it, the audience was laughing and I got a standing ovation before the play was over. Q: Do you feel you got caught up in the studio machine the way you say Garland and Grant did? GH: It wasn’t much different for me. I came in at the end of that era. The studio said to me, “We want you to go in this direction.” I thought, “This is great—wear an ascot, drive a Rolls, have some money in my pocket and date all the girls at the studio; this sounds good to me.” Q: You’re an icon for what it means to be classy and debonair. What’s the key to being this way? GH: Cary Grant said to me, “It’s all about the shoulders of your suit. If they’re not made right, the rest doesn’t matter.” Q: Nostalgia is really big box office money these days. Would you consider playing Zorro again from Zorro, The Gay Blade? GH: I think I’d probably do Love at First Bite before I do Zorro. I love the character in Love at First Bite. He’s this old man who’s a great gentleman, but he just has this one problem: He’s been in love with one woman for 800 years. He’s the most faithful man on Earth. He has one little need of blood. Otherwise, he’s just an incredibly wonderful man. He’s not of this era. I felt very comfortable playing that. Without the tan, I might add! La Cage Aux Folles plays at the Fisher Theatre Sept. 25–Oct 7. Tickets are on sale now at the Fisher Theatre box office, ticketmaster.com and 800-982-2787. Groups of ten or more e-mail Groups@BroadwayInDetroit.com (subject line La Cage) or call (313) 871-1132. 25

e proudly present Preludes & Encores, our recommendations for a great meal before the show, or a place to close the night’s curtain with a delicious dessert. Please consider these wonderful restaurants—and mention that you heard about them in the Broadway In Detroit program. Thanks!

Bringing the World to Detroit’s Table

Guide: $ = <$10, $$ = $10-$25, $$$ = $25-$50, $$$$ = >$50, Proof: #2; 8/2/12; 11:16AM F=Free Parking, = Groups, P=Prix fixe packages available, R = Reservations, Atlas Global Bistro S = Shuttle Service, V=Valet Parking

Publication: Broadway in Detroit program for

season 24 2012-2013 Grille • spa1924grille.com Downtown Detroit, The Westin Book Cadillac, 1128 Size: 1/4 pg. vert. (2-1/4” x 3-1/4”) Washington Blvd., Detroit MI 48226. (313) 964-3821. Type of cuisine: American, Price: $$$, Amenities: RV. Located on For: Nederlander Detroit Michigan at the Westin Book Cadillac, 24grille features (FisherAveTheatre & others) Executive Chef Christian Borden’s interpretation of classic Design: Frank American dishes. TakeBach, 10% off your entire bill with your theatre Bachticket. & Associates; Phone 313-822-4303; frank@frankbach.com

Brunch • Lunch • Dinner On & Off-Site Catering • Parties 3111 Woodward Avenue at the corner of Charlotte 313-831-2241 atlasglobalbistro.com

restaurant

Complimentary shuttle service to & from the Fisher Scan in to see our list of Cast Parties & other upcoming events… Live Entertainment Fri. & Sat. Evenings 313-832-1616 www.mariosdetroit.com 4222 Second Ave. north of Mack • Detroit 26

Atlas Global Bistro • atlasglobalbistro.com 3111 Woodward Avenue, corner of Charlotte & Woodward, Detroit, MI 48201. (313) 831-2241. Type of Cuisine: International, Price: $$$, Amenities: PRSV. Join us for a wonderful meal prior to the theatre or after for a late dinner. Ticket holders take 10% off entire bill for dinner service excluding tax and gratuity. La Musique • hotelstregisdetroit.com New Center, 3071 W Grand Blvd., Detroit, MI 48202. (313) 873-3000. of Cuisine: American, Price: $$, Amenities: Proof: Type 8/13/12; 12:08PM GPRV. Eat. Play. Stay. Park and dine at La Musique in the Mario’s historic St. Regis Hotel and walk to the Fisher Theatre. Contemporary American Cuisine.

Publication: Broadway in Detroit program for 2012–2013 Majestic Café • majesticdetroit.com Fisher4120 Theatre showsAve., Detroit, MI 48201. Midtown, Woodward (313) 833-9700. Type of cuisine: Price: $$, Size: 1/4 pg. vert. (2-1/4”American, x 3-1/4”) Amenities: GSR. Located in the historic Majestic Theatre For:The Nederlander Theatre Center. menu is rootedDetroit in classic(Fisher American comfort&food withothers) a modern twist. Delicious appetizers, sandwiches, burgers, entrees & desserts are all made fresh daily. Design: Frank Bach, Bach & Associates; Phone 313-822-4303, frank@frankbach.com Mario’s • mariosdetroit.com Midtown, 4222 Second St., Detroit, MI 48201. (313) 832-1616. Type of cuisine: Italian, Price: $$$, Amenities: GPRSV. Complimentary shuttle to & from the Fisher Theatre. Show your tickets and receive 10% off food on your performance date. Afterglow specials too! Party with the people who perform.

☛ continued on page 29

LIVE FULLY

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Receive 10% off your total bill before or after the show.

Enjoy complimentary mini pastries with a beverage purchase to conclude the evening.

Lunch. Dinner. Happy Hour. Sunday Brunch.

FOR MORE INFORMATION OR TO MAKE A RESERVATION, VISIT WESTIN.COM/BOOKCADILLAC OR CALL 313.442.1600.

Show Us Your Theatre Ticket & Receive 15% Off Your Bill! * Midtown Detroit’s Favorite Place for Dining & Cocktails * Located Just Minutes from the Fisher Theatre * Complimentary Shuttle 4120 Woodward Ave. Midtown Detroit 313.833.9700 x207

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©2011–2012 Starwood Hotels & Resorts Worldwide, Inc. All Rights Reserved. Preferred Guest, SPG, Westin and their logos are the trademarks of Starwood Hotels & Resorts Worldwide, Inc., or its affiliates. For full terms & conditions visit westin.com/bookcadillac

If it’s about Michigan theaters, it’s here. • Show Listings • Theater News • Reviews • Interviews • Podcasts • Audition Info • More!

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4145 woodward Avenue Midtown Detroit 313.831.3965 www.unionstreetdetroit.com AlyssA Cohen • acohen@broadwayindetroit.com • (248) 608-1884 sCott Myers • smyers@nederlanderdetroit.com • (313) 872-1177

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Broadway In Detroit TicketExchange: Buy and sell theater tickets online. Buyers: print guaranteed tickets directly from subscribers.

Subscribers: enjoy automatic payment and ticket delivery. Get a My Broadway In Detroit account at BroadwayInDetroit.com or by calling Subscriber Services at 313-872-1180.

Visit BroadwayInDetroit.com

Proof: xxxxxxxxxxxx Title Publication: Broadway in Detroit program for “xxxxxxxxxxx” Run dates: xxxxxxxxxxxx Size: 1/4 pg. vert. (2-1/4” x 3-1/4”) For: Nederlander Detroit Living, Independent (Fisher Theatre & others) Licensed Assisted Living Agency: SMZ andadvertising Memory Care Design: FrankinBach, Locations Sterling Heights, Novi, Bach & Associates; Phone Royal Oak, Canton & 313-822-4303; Rochester Hills frank@frankbach.com Schedule a tour today! 1-866-7-We-Care www.Waltonwood.com

Preludes & Encores from page 26 Motor Bar • bookcadillacwestin.com Downtown Detroit, The Westin Book Cadillac, 1128 Washington Blvd., Detroit MI 48226. (313) 442-1600. Type of cuisine: American, Price: $$, Amenities: V. Located on the second floor of the Westin Book Cadillac, Motor Bar is a comfortable location for a classic late night cocktail, dessert or appetizer after the show. Roast • roastdetroit.com Downtown Detroit, The Westin Book Cadillac, 1128 Washington Blvd., Detroit MI 48226. (313) 961-2500. Type of cuisine: American, Price: $$$, Amenities: RV. Iron Chef Michael Symon’s Roast is located on the street level of the Westin Book Cadillac. The Detroit Free Press recently named Roast Restaurant of theYear. Traffic Jam & Snug • trafficjamdetroit.com 511 W. Canfield St., Detroit MI, 48201. (313) 831-9470. Type of cuisine: American, Price: $$, Amenities: FGR. Featuring an eclectic menu of vegetarian items, burgers, fresh fish, pastas & salads. Decadent house-made desserts. Free, guarded parking. Minutes from the Fisher Theatre. Union Street • unionstreetdetroit.com Midtown, 4145 Woodward Ave, Detroit, MI 48201. (313) 831-3965. Type of Cuisine: American, Price: $$, Amenities: GR. 15% off when you bring in your ticket to this show! Serving lunch, dinner, desserts and Sunday brunch. Kitchen open late. Large group tours welcomed.

Joe Vicari Restaurant Group • As Detroit’s very own “food network,” the Joe Vicari Restaurant Group is home to Metro Detroit’s most frequented and well-known restaurants. Featuring our flagship Italian restaurant—Andiamo (andiamoitalia.com)—we are also the home of the award-winning Joe Muer Seafood (joemuerseafood.com), the new Joe Vicari Andiamo Italian Steakhouse (andiamoitalia.com), Rojo Mexican Bistro (rojomexicanbistro.com), southwest inspired Mesquite Creek in Clarkston (mesquitecreek.com), Brownies on the Lake on Lake St. Clair (browniesonthelake.com), and Macomb County’s best family restaurant, The Country Inn (countryinnrestaurant.net). Whatever your dining pleasure, the Joe Vicari Restaurant Group offers you a wide variety of authentic cuisine—never compromising the quality of food, using only the finest and freshest ingredients. Enjoy a great atmosphere and professional service at each of our locations. Owner and CEO Joe Vicari is a proud supporter of Broadway in Detroit since 2009. The Whitney • thewhitney.com Midtown, 4421 Woodward Ave., Detroit MI 48201. (313) 832-5700. Type of cuisine: American, Price: $$$, Amenities: GPRV. Detroit’s most romantic restaurant. Experience our Prix Fixe Theatre Menu (see page 8) before your next show or join us anytime for dinner or an elegant dessert seven nights a week. Call for reservations during intermission or after tonight’s performance! 29

Spotlight Room At t h e Fi s h e r t h e At r e Experience theatre at an entirely new level.

• An elegant, private environment with comfortable seating and many amenities including food, beverages and private bar service. • Private parties for groups of ten to thirty guests. • Available for pre-show, intermission and post-show events. N e W t h i s FA L L! V i P s P ot L i g h t PAc k Ag es • Pre-show hors d’oeuvres • Dessert at intermission • Private bar • Private restroom • Coat closet For performances and pricing visit BroadwayInDetroit.com and click on Spotlight Room or call (313) 872-1177. Catering provided exclusively by

AGE LIMIT As a courtesy to our patrons, it is the policy of Broadway In Detroit not to admit children under the age of 5. This policy may be altered from time to time based on Shows and Show content. You will be made aware of particular age restrictions during your purchase. Some shows make further age appropriate recommendations and Broadway In Detroit will provide those on its website; however, judgment of the content for each show should be made on an individual basis prior to purchase. When available, Broadway In Detroit provides links to show websites for further information. All patrons, regardless of age, must have a ticket. 30

Broadway In Detroit The Program for the Fisher Theatre Spotlight Room Volume 51, Number 1 September 4–16, 2012 Publication: Fisher Theatre • Fisher Building 3011 W. Blvd., Detroit, MI 48202 Broadway inGrand Detroit program BroadwayInDetroit.com

Run date: 2012-–2013 season Under the Management of Size: 1 col. xNederlander 456 pt. Detroit, LLC Executive Director............................................. Alan N. Lichtenstein Proofto#3; 8/20/12; 10:24AM Assistant Mr. Lichtenstein.......................................... Nancy King

Director, Corporate Sales/Marketing..............................Scott Myers Senior Marketing........................................... Alyssa Cohen For:Director, Nederlander Detroit Advertising Director.....................................Debbie Michelson, SMZ TheatreBrendy & others) Press(Fisher Agent................... Barr, Brendy Barr Communications Program Design................................Frank Bach, Bach & Associates Design: Frank Bach, The Fisher Theatre Bach & Associates; Business Office Staff Phone 313-822-4303, Accounting................................................................. Barbara Jones frank@frankbach.com

House Staff Theatre Manager.....................................................James Manduzzi House Manager............................................................Reuben Perez Box Office Treasurer...................................................... Marc Roland Group Sales Manager........................................................Amy Yokin Subscription Manager..................................................Gwen Harden Lost and Found........................................................... Robin Teachey Production Staff Head Stage Technician............................................ Robert Hayward Head Lighting Technician.................................................. Sam Aluia Head Propman................................................................. Joe Achatz Head Sound Technician..............................................J. B. Ralbovsky Head Scenery Technician................................................Ronald Ivey Wardrobe Supervisor........................................ Kristyn Pinky Mahle Musical Director...............................................................Alice Sauro The photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside the theater without the written permission of the management is prohibited by law. Violations may be punishable by ejection and may render the offender liable for money damages. The musicians employed in this production are members of the Detroit Federation of Musicians, Local 5. Backstage employees are represented by the International Alliance of Theatrical Stage Employees (I.A.T.S.E). Articles found in the theater will be held for 30 days only. Lost article inquiries should be made by phone to (313) 872-l000 between 10:00 a.m. and 4:00 p.m. Fisher Theatre Offices................................................ (313) 872-1000 Broadway In Detroit Season Ticket Office & Subscription Information...........................................(313) 872-1180 Group Sales Information............................................(313) 871-1132 If you expect emergency phone calls please leave your seat location with the ticket taker. For emergencies only during performances.............. (313) 872-1111 New handicap (wheelchair) facilities now located in the main floor lobby near elevators.

Back By PoPular DemanD!

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Fisher Theatre one week only • oct. 23–28 Tickets: Fisher Box Office, ticketmaster.com & 800-982-2787 Groups (12+): Groups@BroadwayInDetroit.com (subject line: Mary Poppins) or 313-871-1132 Info: BroadwayInDetroit.com • 313-872-1000 • MaryPoppins.com

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