Staff for Wicked

STAFF CREDITS for CASTING

THE TELSEY OFFICE Bernard Telsey, CSA Craig Burns, CSA Laura Wade, CSA Ally Kiley

GENERAL MANAGEMENT 321 THEATRICAL MANAGEMENT Alexa Bishop Amy Merlino Coey Theresa Cooper Matt Demetrides Katie Engel Marissa Gonzales Jason Haft Jovan Kala Hannah Antonio Harris Rachel Kaufman Ellise Lesser Stuart Levy Uma McCrosson KeriAnne Murphy Rebecca Peterson Susan Sampliner

TECHNICAL SUPERVISION JAKE BELL PRODUCTION SERVICES LTD.

TOUR PRESS REPRESENTATIVE Phillip Aleman

COMPANY MANAGER Steve Quinn

ENGAGEMENT MANAGER Ken Silverman

PRODUCTION STAGE MANAGER David O’Brien

Stage Manager........................................ Colleen Danaher Assistant Stage Manager.............................. Aaron Elgart Associate Company Manager ........................ Emily Powell Assistant to Mr. Schwartz..............................Michael Cole Assistant Scenic Designer...........................Nick Francone Oz Map Design .........................................Francis Keeping Associate Costume Designer.................Amanda Whidden Associate Hair Designer .............................. J. Jared Janas Assistant Costume Designers................ Tricia Barsamian, Amy C. Bradshaw, Cathy Small, Mary Wilson Associate Lighting Designer..........................Karen Spahn Assoc. Lighting Designer/

Automated Lights.................................. Warren Flynn Assistant Lighting Designer............................... Joel Shier Assoc. Sound Designer/

Prod. Sound Engineer ...............................Kai Harada Assistant Sound Designer ......................Catherine Mardis Projections Programmer...................Demfis Fyssicopolous Associate Projection Designer ....................... Shawn Boyle Assistant Projection Designer.....................Keri Thibodeau Projection Animators................................... Gareth Smith, Ari Sachter-Zeltzer Special Effects Associate................................Aaron Waitz Flying Effects ......................................ZFX Flying Illusions Production Carpenter .................................... Rick Howard Head Carpenter....................................... Matthew Biltgen Automation Carpenter...................................Rick Schadle Assistant Carpenters................................Forrest Hinman, Jay Schenk, Terry Thomas Flyman ............................................................ Don Hill, Jr. Production Electrician............................. Brendan Quigley Scenic Electrics.................................................Mike Ward Head Electrician............................................. Keno Garcia Assistant Electricians ......................Matthew Cadenhead, Katie Ludwig, Jacob Martin Production Properties Supervisor ...................George Wagner Head Properties............................................... Bob Uzabel Assistant Properties............................................ Noel Bell Head Sound Engineer.................................. David Romich Assistant Sound Engineer ............................ James Wilcox Additional Production Staff............................ Henry Baker Production Wardrobe Supervisor.................... Alyce Gilbert Wardrobe Supervisor ............................ Cynthia Lancaster Assistant Wardrobe Supervisors......................Pamela Mattei, Michelle Roussell Hair Supervisor..........................Andrea DiVincenzo Shairs Assistant Hair Supervisor..............................David Bryant Makeup Design........................................ Joseph Dulude II Makeup Supervisor.................................. Joyce McGilberry Masks and Prosthetics.......................W.M. Creations, Inc. Matthew W. Mungle Advance Carpenters................................. David Johnson, Michael Lohrer, Dave Rader, Duke Wilson Advance Electrician.......................................... Eric Rimes Advance Electrics/Sound...........................David Trovarelli Advance Sound............................................... Brian Moore Advance Wardrobe.......................................Laurel Parrish Music Preparation....................Anixter/Rice Music Service Synthesizer Programming.......................... Andrew Barrett Guitar Effects Programming............................ Lou Garrett Production Assistants .................................... Susan Bero, Sarah Koehler, Joshua Pilote, Stuart Shefter, Wendy Stephens Advertising...........................Serino Coyne/Greg Corradetti Caroline Thompson, Kevin Hirst Website .............................................Situation Interactive Merchandise............................................ The Araca Group Banking ......................................................Bank of America Payroll............................................. Checks and Balances Accounting...................................... WithumSmith+Brown Robert Fried, CPA, Karen Kowgios, CPA Anthony Moore, CPA Insurance......................... AON/Albert G. Ruben Insurance Physical Therapy .......................................... NEURO TOUR Kyle Miller, PT, DPT Jeffrey W. Webb, MD Housing and Travel...............................................Road Rebel Wicked COVID-19

Compliance Supervisor ..............................Brian Wanee Wicked Tour COVID-19

Compliance Supervisor............................Kendra*Fisher Wicked Tour COVID-19 Compliance/

Testing Manager ............................................Emily Korn

MARC PLATT PRODUCTIONS Adam Siegel, Greg Lessans, Joey Levy, Jared LeBoff, Ryan Christians, Dan Attanasio, Katie McNicol,Dee Best, Milagros Montalvo

STONE PRODUCTIONS David Stone Aaron Glick Timothy Bloom

UNIVERSAL STAGE PRODUCTIONS

CEO, NBCUniversal............................................. Jeff Shell Chairman, Universal

Filmed Entertainment..........................Donna Langley Vice Chairman...........................................Jimmy Horowitz

NBCU Business Affairs& Operations EVP, CFO Global Productions ......................Arturo Barquet SVP, Universal Theatrical

Group ...............................................Chris Herzberger Vice President, Legal Affairs ............................ Keith Blau

321 THEATRICAL MANAGEMENT Alexa Bishop Amy Merlino Coey Theresa Cooper Matt Demetrides Katie Engel Marissa Gonzales Jason Haft Jovan Kala Hannah Tony Harris Rachel Kaufman Ellise Lesser Stuart Levy Uma McCrosson Keri Anne Murphy Rebecca Peterson Susan Sampliner

EXCLUSIVE TOUR DIRECTION Stephen Lindsay Brett Sirota The Road Company theroadcompany.com

CREDITS

Scenery built by F&D Scene Changes. Scenic motion control featuring Stage Command Systems© by Scenic Technologies, a division of PRG. Lighting equipment from PRG Lighting; Sound equipment from PRG Audio, both divisions of Production Resource Group LLC. Special effects by Sunshine Scenic Studios and Aztec Stage Lighting. Video projection system by Scharff Weisberg Inc. Projections by Vermilion Border Productions. Costumes by Barbara Matera Ltd., ParsonsMeares Ltd., Tricorne, Eric Winterling, Scafati and Cego. Millinery by Rodney Gordon and Lynne Mackey Shoes by T.O. Dey, Frederick Longtin, LaDuca and J.C. Theatrical. Flatheads and monkey wings by Michael Curry Design Inc. Chistery growing wings by Robert Allsop. Life-casts by Todd Kleitsch and Sunday Englis. Fur by Fur & Furgery. Undergarments and hosiery by Bra*Tenders, Inc. Antique jewelry by Ilene Chazanof. Specialty jewelry and tiaras by Larry Vrba. Custom Oz accessories by LouLou Button. Custom screening by Olympus Flag and Banner and Gene Mignola. Certain props by John Creech Designs & Den Design Studio. Graphic props by Proper Decorum, Inc. Confetti by Artistry in Motion. Puppets by Bob Flanagan. Spellbooks by Sascha Kaminski. Bedding by Sew & So. Wigs by Watson Associates. Electronic instruments and equipment from Manny’s Music. Guitar amplifiers by Mesa Boogie. Cymbals by Sabian. Drumheads by Remo. Drumheads from Headhunters. Rehearsed at New 42nd Street Studios.

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.

The musicians employed in this production are members of the American Federation of Musicians.

United Scenic Artists represents the designers and scenic painters for the American Theatre.

Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

The Press Agent and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers. This production is produced by members of The Broadway League in collaboration with our professional union-represented employees.

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A Phoenix from the Ashes In 1964, the Mimi Ohio Theatre lobby and auditorium were destroyed by fire. When the fledgling Playhouse Square organization restored the spaces in 1982, funding and time constraints made it possible only for the auditorium to be fully restored. Thanks to a gift from the George Gund Foundation, the lobby was re-created in its original splendor in 2016. You can watch a documentary about the project, “Restoring the Legacy,” on Playhouse Square’s YouTube channel.

Re-Creating History We call the completed Mimi Ohio Theatre George Gund Foundation Lobby project a “re-creation” rather than a restoration. Why? There was nothing left to restore after a 1964 fire destroyed the space. To reproduce the lobby’s original 1921 splendor, architects, restoration specialists and Playhouse Square staff conducted exhaustive research of the original drawings by architect Thomas Lamb, photo archives and a few remaining bits of ornamental plaster detail to gain a thorough understanding of the space and inform the plans for re-creating the lobby.

Broadway to Buildings Where do the arts and real estate go hand-inhand? At Playhouse Square, of course! As the theaters began to be restored in the early 1980s, it was thought that developers would step in to build and open businesses around them. When that didn’t happen, Playhouse Square began to steward development of the surrounding neighborhood. In 1999, Playhouse Square became the first performing arts center with a real estate services division, which manages the one million square feet of property owned by the organization and another 1.5 million square feet outside the theater district. Other performing arts centers have since looked to our expertise as a model.

YPs Take the Lead Best known as the masterminds behind the annual Jump Back Ball benefit, Playhouse Square’s young professionals group – Partners – was formed in 1991. Since then, hundreds of young professionals engage with Playhouse Square each year to build leadership skills, raise funds and volunteer in support of our not-for-profit mission, enjoy shows together, network and have fun!

Keeping Up the KeyBank State Theatre First restored more than 30 years ago, the KeyBank State Theatre was repainted from the street to the proscenium in 2015. The new, cohesive color palette showcases the beauty and craftsmanship of the nearly 100-year-old theater. It took 25 painters 12,500 hours and 595 gallons of paint in 15 different colors to complete the project, which also included 6000 sheets of new metal leafing in the auditorium dome and the application of a historically accurate wall-covering design. While the theater was dark, its lighting fixtures and restrooms received major upgrades.

What’s in a Logo? The Playhouse Square logo we use today – a tilted burgundy square with a capital P in its center – was introduced in 2008 to capture the enduring spirit of entertainment and excitement. Each of the logo’s graphic elements has meaning: the exclamation point with a star in the “P” symbolizes excitement and innovation; the swirl in the “P” represents creativity and forward motion; the tilted square symbolizes Playhouse Square as a destination; and the burgundy color gives nod to the color scheme of our historic theaters.

Going Green While red is the color most often associated with theaters, Playhouse Square is making efforts to go “green.” You will find receptacles for recycling paper, plastic and cans, along with those designated specifically for the program you’re currently reading, throughout the complex. Lighting fixtures are being switched to LED for increased energy efficiency. And the Playhouse Square administrative office is making strides towards going paperless.

Patterns in Plaster As you walk through the theaters, you may notice various patterns within the plaster decoration. Common are dentil, lamb tongue, rope and

rosettes. Other patterns you may see have been associated with certain meanings since they were first used hundreds or even thousands of years ago, such as the acanthus leaf (immortality), egg and dart (life and death), and the palm leaf, first used in ancient Egypt as a reference to the Nile River. In the KeyBank State Theatre, if you look closely and carefully, you can find ox skulls, which were believed to offer protection from natural elements. And throughout the theaters, you will find griffins, mythical creatures thought of as guardians.

The GE Chandelier Officially the world’s largest outdoor chandelier, the 20-foot tall GE Chandelier is adorned with 4200 crystals. To find out how it was made, visit the Playhouse Square YouTube channel.

A Change in History? One of many fascinating items to be found in the book Playhouse Square: An Entertaining History deals with the infamous John Wilkes Booth. Booth performed locally at the old Academy of Music, which was one of the first drama schools in the country and was located at 1371 W. 6th Street.

It was at that Cleveland Academy where he would play his last role prior to performing at Washington D.C.’s Ford Theatre where he would assassinate President Lincoln. (Might history have been changed if the Academy had held over Booth’s play for an extended run?)

The KeyBank State Theatre Murals The four murals on the walls of the KeyBank State Theatre lobby were painted by American Modernist James Daugherty (1890-1974), whose work hangs in the Museum of Modern Art, the Whitney Museum and the Smithsonian. One of the murals, The Spirit of Cinema, was featured on the cover of Life magazine on February 20, 1970. It was that national attention that became the convincing argument to save the venue from the wrecking ball. Destruction of the State would also have meant the loss of the original historic Daugherty murals, since they are painted directly on the walls. Today they are the only Daugherty works which remain at the original site where they were painted.

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