Applause -- A Little Night Music, September 1-October 8, 2023

Illustration by Kyle Malone

APPLAUSE

Start by savoring a cocktail more aptly described as art.

Explore an exotic appetizer at Monarch Chophouse. Winner of Wine Spectator ’s Award of Excellence, Where you’re drawn to, the sizzle of your favorite steak.

Find a new favorite flavor in the middle of the menu, beyond your imagination. Take the risk, celebrate the adventure, at Open Table’s Diner’s Choice Award-wining Bistro Mariposa.

Whatever your pleasure, We dare you to dine with us.

Dine

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SIGHTLINE

BY HASSAN SALEM

AAs you join us today, it is clear that theatre builds community. It uplifts and illuminates, educates and entertains. And after the applause fades, it lasts in our collective memory.

During the pandemic, we were among the first to close and the last to reopen. Many of our national peers have scaled back, cut programs, or shut down. But there is something special happening here, something fundamental to what our patrons value — a vibrant region rich with opportunities.

With audiences totaling 850,000 this past season, it is clear that the DCPA is more than a night on the town; rather, it is a treasured part of our community’s rich cultural fabric.

As we enter our 45th season, we have announced an ambitious five-year strategic plan with six goals, the first of which is to create one million engagements annually

The plan will require us to increase participation in existing programs, engage in meaningful ways, and explore new approaches to our work. It will require partnerships with colleagues and schools; investment by donors; and collaboration within our team. Most importantly, it will need your active participation.

As Chair, I am delighted to share my own appreciation of theatre and arts education. It is through hard work and communitybuilding that, by our 50th anniversary, we will be a place where everyone feels welcome…a place where everyone has a story to tell and an audience with which to share it.

Warm regards,

Hassan Salem Head of Commercial Banking, U.S. Bank Chair, Denver Center for the Performing Arts

HONORING OUR ELDERS

The Denver Center for the Performing Arts honors and acknowledges that it resides on the traditional and unceded territories of the Ute, Cheyenne, and Arapaho Peoples. We also recognize the 48 contemporary Indigenous Tribes and Nations who have historically called Colorado home.

EDITOR: Suzanne Yoe

DESIGN DIRECTOR: Kyle Malone

DESIGNER THIS ISSUE: Brenda Elliott

CONTRIBUTING DESIGNERS: Paul Koob, Lucas Kreitler

CONTRIBUTING WRITERS:

Lisa Bornstein, Emma Hunt, Joanne Ostrow

Applause is published six times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

Applause magazine is funded in part by

Angie Flachman, Publisher For advertising 303.428.9529 or sales@pub-house.com coloradoartspubs.com

Denver Center for the Performing Arts is a non-profit organization that engages and inspires through the transformative power of live theatre.

BOARD OF TRUSTEES

Hassan Salem, Chair

Ruth Krebs, Vice Chair

Robert C. Newman, Secretary/Treasurer

Nicole Ament

Dr. Patricia Baca

Brisa Carleton

Fred Churbuck

Jerome Davis

Navin Dimond

David Jacques Farahi

Kevin Kilstrom

Susan Fox Pinkowitz

Manny Rodriguez

Alan Salazar

Richard M. Sapkin

Martin Semple

William Dean Singleton

Robert Slosky

Ken Tuchman

Tina Walls

Dr. Reginald L. Washington

Judi Wolf

Sylvia Young

HONORARY TRUSTEES

Margot Gilbert Frank

Jeannie Fuller

Daniel L. Ritchie

Cleo Parker Robinson

HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES

Martin Semple President

William Dean Singleton, Vice President

Dr. Reginald L. Washington

Secretar y/Treasurer

Kevin Kilstrom

Ruth Krebs

Robert C. Newman

Susan Fox Pinkowitz

Hassan Salem

Robert Slosky

Judi Wolf

EXECUTIVE MANAGEMENT

Janice Sinden, President & CEO

Jamie Clements, Vice President, Development

Chris Coleman, Artistic Director, Theatre Company

John Ekeberg, Executive Director, Broadway & Cabaret

Lydia Garcia, Executive Director, Equity & Organization Culture

Gretchen Hollrah, Chief Operating Officer

Angela Lakin, Vice President, Marketing & Sales

Laura Maresca, Vice President, Human Resources

Charlie Miller, Executive Director & Curator, Off-Center

Lisa Roebuck, Vice President, Information Technology

Charles Varin, Managing Director, Theatre Company

Allison Watrous, Executive Director, Education & Community Engagement

Jane Williams, Chief Financial Officer

You know what sounds good? A day crafted to fit your palate. Hey, you’ve got great taste—why not indulge it? You so deserve it.

LIFE IS SWEET

LEGACY MONTH

HONORING OUR HISTORY AND THE LEGACIES THAT ENSURE OUR FUTURE

What has the legacy of the DCPA meant to your life?

“From regrettably asking my parents to see Spring Awakening with me as a kid, to convincing my husband to buy me season tickets for every birthday, DCPA has given me the opportunity over the past two decades to share what I love with the people I love.”

– Laura Leonard & Danny Anderson

“As a little girl in Minnesota, I grew up performing in backyard plays. Moving to Denver over 30 years ago, I found the DCPA and immediately made it a priority. It has been a big part of my family’s life. Joining the Encore Society is our way of continuing our legacy and support. For us, it was the next logical step.”

– Ruth Krebs

“We’ve been going to the DCPA since it opened! We support the DCPA as a way to make certain that live theater is always around. It is important to leave a legacy for future generations, for there is nothing better or more immediate than live performance.”

– Jenene & Jim Stookesberry

The DCPA is pleased to announce our inaugural Legacy Month, September 2023! All month long, we’ll be taking time to share DCPA stories, honor our history, and thank patrons who have made the pledge to include the DCPA in their estate plans. These individuals have chosen to make a long-term impact on the theatre — and we couldn’t be more grateful for their support.

By making the pledge to include us in your estate plan, you can make your legacy part of ours. And, as an Encore Society member, you'll receive special event invitation, ticket offers and members-only perks.

The Broadway season is just getting started! Subscribe now to secure your seats to seven sensational shows AND unlock DCPA subscriber perks, including pre-sale access to newly announced Added Attractions. It’s never been easier to experience the thrill of live theatre with subscriptions starting at eight payments of $61.37.

28 YEARS AFTER ITS RELEASE, REMAINS RELEVANT

BY LISA BORNSTEIN

TThe call is coming from inside the closet.

It’s where Oscar-winning screenwriter Diablo Cody has sought some privacy in a house currently filled with her parents, her husband’s parents, her three kids and their dogs. This scene of abundant domesticity isn’t one often found in her work, which has included Juno, the story of an outspoken teen confronting an unwanted pregnancy; Young Adult, in which Charlize Theron plays an unhappy 30-something who hasn’t left her irresponsible youth behind, and now the musical Jagged Little Pill, in which Cody has married her own iconoclastic sensibility to that of another boundary-breaker, Alanis Morissette.

Morissette was not the only woman in the 1990s shattering the expectations for feminine behavior with her music. So what made her music so indelible? Cody says it lies in Morissette’s very essence.

“There was an embarrassment of riches in the ’90s with confessional female singer-songwriters — you had Liz Phair, you had Courtney Love. The thing that set her apart is she had this extreme vulnerability and sincerity. She was not afraid to howl and bear her soul and just show her pain to the world. And then she could be so gentle and sincere in other songs. And she’s still like that. She’s still just such an angelic person. She’s a true empath, and she was so suited to this medium of theater. No one understands feelings like Alanis.”

Jagged Little Pill was Morissette’s third album, and its combination of sensitivity and rage spoke to an entire generation of young women who helped it become one of

the best-selling albums of all time. Cody was one of those young women, still a teen in the Chicago suburbs when the album came out.

“I’m sure that when her label released that album, they were like, OK, a 16-year-old Catholic girl in Middle America is going to go bonkers for this,” Cody says. Cody, then known as Brook Busey, related to the pressures of trying to be the “golden child,” she says, “which I was – until I went o the rails. To hear a song like ‘Forgiven,’ I was like, this woman understands what I was going through.”

”Forgiven” is now the Act I closer of a show that began when Cody was approached to write the book for an original musical using Morissette’s songs. The only requirement Morissette imposed was that the show not be her own life story.

“It was actually a very unusual process,” Cody says. “Usually when you’re approached to develop something like this, as the writer, you’re one of the first people to be summoned. There was already a producing team, a director, there was an opening date in Massachusetts. I was the last piece of the puzzle, and it was kind of a high pressure situation. There was a ticking clock. We were about a year away from opening, and there was no story to speak of.”

The story Cody developed was one of a family muddling its way through the 21st century: a mother, Mary Jane, addicted to opioids and trying to present a perfect family to the world; a father addicted to pornography; a son expected to excel at all times, and a daughter

Dillon Klena and company of the North American Tour of Jagged Little Pill

Photo by Matthew Murphy, Evan Zimmerman for MurphyMade,

struggling with love and sexuality that do not conform to her mother’s expectations. For Cody, the story and the characters sprung from the songs themselves.

“I obviously was a big fan of the album to begin with, otherwise I don’t think I would have said yes. I was an old school Alanis superfan, and I had to reacquaint myself with the album. I very quickly realized that the story was right there in the song. Alanis had created these characters.”

Their stories were written nearly a decade ago, but the issues they face feel breathtakingly of the moment. “I thought, there are some voices that are not being heard in modern theater, and there are some issues that are not being heard. I don’t think all of us predicted that the world would lunge into chaos, but we had a show that didn’t shy away from racism and environmental destruction, and those problems are only getting bigger,” Cody says. “I wish I could say our show wasn’t relevant, that everything was perfect now, but sadly, that’s not the case.”

COMING UP FROM BROADWAY

TINA – The Tina Turner Musical

Tina Turner’s story is currently rolling across North America and TINA – The Tina Turner Musical will be stopping in Denver at the Buell Theatre on October 18 – 29. The musical and powerful comeback story feature’s Tina’s most beloved hits and chronicles her journey as she becomes the Queen of Rock ’n’ Roll.

Tina Turner’s contribution as an iconic music artists and performer, her influence on fellow artists and her inspiration to generations who followed her, is legendary. Through her life story and her music, Tina Turner inspired and taught so many people around the world to find the strength from within.

Tina was deeply involved in the crafting of this musical, and TINA – The Tina Turner Musical is a true celebration of this exceptional woman. At every performance, we celebrate her life, her talent and her joy, and bring every ounce of energy, enthusiasm and artistry that she shared with us. Her legacy lives on in so many beautiful ways.

Jagged Little Pill opened on Broadway on December 5, 2019. It was inauspicious timing, with all of Broadway shuttered just three months later due to COVID. “It had been a multi-year, grueling development and rehearsal process. There was a brief moment of triumph. The show was on Broadway, the show was doing well, our company hit their stride, and then suddenly everything comes to a screeching halt,” Cody recalls.

The musical received 15 nominations for the 2020 Tony Awards with Cody winning the Tony for Best Book of a Musical. The next month, Jagged Little Pill reopened on Broadway, but by December, the cast was hammered by COVID, ultimately forcing the show to close.

“Financially, it would have been irresponsible to continue…. It was sudden, it was traumatic. That’s why I think this tour has been so healing for us.”

For Cody, becoming a Broadway creator was a surprising, but fulfilling, twist in her career. “I always loved the theater, and I always specifically loved musical theater,” she says. “I was the kid who would watch Frank Oz’s Little Shop of Horrors every single day. I never thought I would write the book of a musical, and it has been one of the most delightful surprises of my career, because I never saw it coming and I didn’t see where it would go.”

Written by Pulitzer Prize-winning playwright Katori Hall and directed by the internationally acclaimed Phyllida Lloyd, TINA – The Tina Turner Musical delivers with powerhouse vocals, glittering sets, and show-stopping choreography. Beyond the electrifying music, listen to Tina’s triumphant story as she overcomes obstacles – against all odds.

The thing that set [Alanis Morissette] apart is she had this extreme vulnerability and sincerity. She was not afraid to howl and bear her soul and just show her pain to the world.

— DIABLO CODY, BOOK WRITER

Naomi Rodgers as ‘Tina Turner’ in the North American touring production of TINA –The Tina Turner Musical.

Photo by Matthew Murphy for MurphyMade, 2022.

ROMANCE IS RICH IN SONDHEIM’S A LITTLE NIGHT MUSIC

BY JOANNE OSTROW

SStephen Sondheim’s A Little Night Music, a musical adaptation of Ingmar Bergman’s 1955 film Smiles of a Summer Night, was nominated for a dozen Tony Awards, winning six including Best Musical, when it debuted a half-century ago. Set in 1900 Sweden, it remains a sharp commentary on romantic relationships — part witty rom-com, part melancholy sex farce, all framed in angst about the passage of time.

Angst is a Sondheim trademark. The composer’s theme in Company is the loneliness of modern urban living; he contrasted illusion and reality in Follies, and revealed a dark view of an eat-or-be-eaten world in Sweeney Todd. A Little Night Music may be his most obviously romantic show, yet his focus is the ways in which age and social position test and skew romantic relationships. A Little Night Music is a beautiful operetta with a tough undercurrent. The musical’s first producer, Hal Prince in 1973, characterized it as “whipped cream with knives.”

With music and lyrics by Sondheim and a book by Hugh Wheeler, it remains a delicious if challenging concoction, as melodically complex as it is emotionally ambivalent. As the song says, “Isn’t it rich?”

“The push-me, pull-you that is always present in Sondheim is very present here,” the Denver Center’s Artistic Director Chris Coleman said. “The joy is always right next to the anguish.”

Coleman finds it interesting that Sondheim’s first mentor was Oscar Hammerstein, who famously brought “an inherent sense of possibility and hope” to his classic musicals. (Think Oklahoma! and South Pacific.) By contrast, he said, “Sondheim doesn’t live there.”

As Coleman explained to the design team of A Little Night Music, this play is about “the relief of authenticity.” That is, “the characters spend much of the action doing what they think they’re supposed to do, when the thing that would bring them happiness is different and sitting next to them the whole time.”

Nothing goes right, yet everyone ends up getting what they want.

“I should never have flirted with rescue when I had no intention of being saved,” the character Fredrik Egerman says sadly, toward the play’s climax. He’s the widowed middle-aged lawyer whose 18-year-old trophy wife is repulsed by his touch. Their marriage remains unconsummated.

Fredrik recalls his past with Desiree Armfeldt, the formerly glamorous actress now living in rather shabby circumstances. Fredrik had wanted to marry Desiree when they were younger but she refused. She still yearns for the romantic connection they shared some 14 years ago, and they sneak a reunion in Act I. She rejected him all those years ago, but now Fredrik is the one who rejects Desiree’s invitation to marriage, saying he is dedicated to his young wife.

The contradictions in this tale of seductions and poignant remembrances beam through in the lyrics. “Sondheim is like Chekov,” Coleman said, “It’s never one thing; it’s this and that.”

by Kyle Malone

“Send in the Clowns,” the ballad that became a pop hit — covered by Judy Collins and endless others — is a mournful expression of regret sung by Desiree. She longs for what she and Fredrik might have had and is angry at her own misspent years.

In Coleman’s view, the song must be seen as helping Desiree hold it together. “The drama of the scene is being fulfilled by this song. It’s [Sondheim] at his very best.”

In his view, the beauty of such moments requires less, not more from the cast.

“In auditions, I found myself often asking actors to simplify, let the words and music do more of the work,” Coleman said. “The lyrics have intensity but what you need to do is lean back away from it. It’s tricky! So tricky, but so fun.”

The trickiness of the emotions is mirrored in the melodies, a sophisticated operetta in waltz-time. There’s a way Sondheim almost dares the vocalists to find their first notes, Coleman said. “The accompaniment often has nothing to do with the melody. It’s deliciously satisfying when it finally resolves.”

While A Little Night Music is in some ways about propriety, it’s also brimming with sexiness.

“There is more sexiness here than in any musical I’ve worked on except Cabaret,” Coleman said.

Where Cabaret offers in-your-face sexiness, A Little Night Music is all repressed lust befitting the period and the clothes. Still, the undercurrent of desire in this weekend in the Swedish country is as apparent as the nightclub raunch of Cabaret ’s 1930 Berlin.

“There’s a reason it’s set in Sweden in the middle of the summer when the sun won’t set,” Coleman said. “People go crazy, drink too much, fall in love with the wrong people…. Everybody’s libido is working at full steam.”

It’s a “grown-up” musical with a “grown-up” cast, Coleman said. “For it to resonate at all it has to be played by people with some miles on them, seasoned, mature folks who still have the musculature to sing it.”

So, did he cast singers who can act, or actors who can sing?

“Yes,” Coleman said, “a combination thereof.”

Some members of the cast have opera on their resumes, notably Zachary James in the role of Count Carl-Magnus Malcolm, who sings with The Metropolitan Opera and Los Angeles Opera, and Annie Sherman in the role of Mrs. Nordstrom.

This is difficult material with special requirements, Coleman said. “It’s a unique beast.” A LITTLE NIGHT MUSIC

SEP 1 – OCT 8

• WOLF THEATRE

ASL interpreted, Audio-described and Open Captioned performance: Sep 24 at 1:30pm

Performances take place throughout the community Sep – Oct.

…the characters spend much of the action doing what they think they’re supposed to do, when the thing that would bring them happiness is di erent and sitting next to them the whole time.

— CHRIS COLEMAN, DIRECTOR

Photo by McLeod9 Creative

TALKBACKS: An Insider’s Look at a Play

S

Since the mid-1980s, the DCPA Theatre Company has offered a series of free post-show discussions called “Talkbacks.” In fact, nearly 320,000 students and patrons have participated in these conversations…yet they remain relatively unknown to our audiences.

As we work to engage our community in a variety of ways, we feel it’s time to draw Talkbacks out of the wings and into the spotlight. These efforts will also contribute to the DCPA’s recently announced goal to have 1 million engagements per year.

Each season as the Theatre Company is considering its lineup of locally produced plays and musicals, the DCPA’s Community Engagement team develops a schedule of Community Talkback discussions. While there are generally one or two scheduled Talkbacks for each show, there are some productions that address thought-provoking topics and themes prompting organizers to offer additional community discussions.

EXTEND YOUR STAY AFTER THE PLAY

DCPA Theatre Company invites ticketholder to enjoy a free post-show discussion with the cast. Talkbacks immediately follow these evening performances:

Talkbacks are always professionally moderated and generally include members of the cast and/or artistic team, so audiences can ask questions about their performance, the staging, costumes, plot, etc.

Those Talkbacks that are planned for plays that warrant a deeper conversation may also include area subject matter experts who can delve into topics such as race, religion, gender identification or the environment.

Discussions are just that — a two-way dialogue in which the audience poses questions and offers opinions as they engage with the Company and experts. These conversations often last 30 minutes and are an excellent opportunity to explore a play firsthand.

We invite you to join us for a Talkback following select DCPA Theatre Company discussions. A full schedule is found in the ad below.

Neither rankings and/or recognitions by unaffiliated rating services, publications, media, or other organizations, nor the achievement of any professional designation, certification, degree, or license, membership in any professional organization, or any amount of prior experience or success, should be construed by a client or prospective client as a guarantee that he/she will experience a certain level of results if Janiczek is engaged, or continues to be engaged, to provide investment advisory services.

Rankings published by magazines, and others, generally base their selections exclusively on information prepared and/or submitted by the recognized adviser. Rankings are generally limited to participating advisors (see participation criteria/methodology). Unless expressly indicated to the contrary, Janiczek did not pay a fee to be included on any such ranking. No ranking or recognition should be construed as a current or past endorsement of Janiczek by any of its clients. See our ADV disclosure document and important disclosures at Janiczek.com for more details. Award Disclosures

Neither rankings and/or recognitions by unaffiliated rating services, publications, media, or other organizations, nor the achievement of any professional designation, certification, degree, or license, membership in any professional organization, or any amount of prior experience or success, should be construed by a client or prospective client as a guarantee that he/she will experience a certain level of results if Janiczek is engaged, or continues to be engaged, to provide investment advisory services. Rankings published by magazines, and others, generally base their selections exclusively on information prepared and/or submitted by the recognized adviser. Rankings are generally limited to participating advisors (see participation criteria/methodology). Unless expressly indicated to the contrary, Janiczek did not pay a fee to be included on any such ranking. No ranking or recognition should be construed as a current or past endorsement of Janiczek by any of its clients. See our ADV disclosure document and important disclosures at Janiczek.com for more details. Award Disclosures

Direct: 303-339-4480

Chris Coleman, Artistic Director

Charles Varin, Managing Director

present

A LITTLE NIGHT MUSIC

MUSIC & LYRICS BY STEPHEN SONDHEIM

BOOK BY HUGH WHEELER

ORCHESTRATIONS BY Jonathan Tunick

SUGGESTED BY A FILM BY Ingmar Bergman

ORGINALLY PRODUCED & DIRECTED ON BROADWAY BY Harold Prince

With

Leslie Alexander*, Colin Anderson*, Sydney Chow*, Sydney D’Angelo, Jennifer DeDominici*, Sophia Dotson, Alexis Gordon*, Cate Hayman*, Jenny Kay Hoffman*, Victoria Huston-Elem*, Zachary James*, Sam Primack*, Steven C. Rich*, Marco Alberto Robinson*, Soara-Joye Ross*, Annie Sherman*, Edward Staudenmayer* Stage Managers: Corin Davidson*, Sage Hughes*, Michael G. Morales*

SCENIC DESIGN BY Robert Mark Morgan

SOUND DESIGN BY Ken Travis

DRAMATURGY

Leean Kim Torske

COSTUME DESIGN BY Kevin Copenhaver

LIGHTING DESIGN BY Pablo Santiago

FIGHT and INTIMACY CHOREOGRAPHY BY Samantha Egle

FIGHT DIRECTION and INTIMACY CHOREOGRAPHY BY Samantha Egle

PSYCHODRAMATURGY BY Barbara Hort, Ph.D.

VOICE and DIALECT BY Jeffrey Parker

CASTING BY Grady Soapes, CSA and Murnane Casting

Chad Eric Murnane, CSA

PRODUCTION MANAGEMENT BY Jeff Gifford

MUSIC DIRECTION/CONDUCTING and ADDITIONAL ARRANGEMENTS BY Angela Steiner

CHOREOGRAPHY BY Candy Brown

DIRECTED BY Chris Coleman

The video and/or audio recording of this performance by any means whatsoever is strictly prohibited.

THE WOLF THEATRE • SEP 1 – OCT 8, 2023

A LITTLE NIGHT MUSIC is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com

CAST

(In order of appearance)

Mrs. Nordstrom ....................................................................................................................................................... Annie Sherman*

Mr. Erlanson Colin Anderson*

Mrs. Anderssen Jennifer DeDominici*

Mr. Lindquist Steven C. Rich*

Mrs. Segstrom Victoria Huston-Elem*

Fredrika Armfeldt (Alternate) Sydney D’Angelo, Sophia Dotson

Madame Armfeldt Leslie Alexander*

Frid Colin Anderson*

Anne Egerman Sydney Chow*

Henrik Egerman........................................................................................................................................................... Sam Primack*

Petra Cate Hayman*

Desiree Armfeldt Soara-Joye Ross*

Countess Charlotte Malcolm Alexis Gordon*

Fredrik Egerman .................................................................................................................................... Edward Staudenmayer*

Count Carl-Magnus Malcolm Zachary James*

SWINGS

Jenny Kay Hoffman*, Marco Alberto Robinson*

UNDERSTUDIES

Colin Anderson (Henrik Egerman), Jennifer DeDominici (Countess Charlotte Malcolm), Alexis Gordon (Desiree Armfeldt), Jenny Kay Hoffman (Mrs. Nordstrom/Mrs. Anderssen/ Mrs. Segstrom/Petra), Victoria Huston-Elem (Madame Armfeldt), Steven C. Rich (Fredrik Egerman), Marco Alberto Robinson (Mr. Linquist/Mr. Erlanson/Count Carl-Magnus Malcolm), Annie Sherman (Anne Egerman)

SETTING

Sweden, Turn of the Century

A LITTLE NIGHT MUSIC will be performed with one 15-minute intermission.

Associate Music Director Dan Graeber

Assistant Director ....................................................................................................................................................... Diana Dresser

Dance Captain Marco Alberto Robinson*

Youth Performer Supervisor Evangeline Read

Stage Manager Michael G. Morales*

Assistant Stage Manager...................................................................................................Corin Davidson*, Sage Hughes*

Stage Management Apprentice Georgia Wood, Rain Young

THE ORCHESTRA

Conductor/Keyboard Angela Steiner

Woodwind 1 Michael Rosen

Woodwind 2 ...................................................................................................................................................................... Anna Rosen

Violin Naomi Sue Smith

Viola/Violin Summer Rhodes

Cello Jeff Watson

Bass Brian Knott

Harp Janet Harriman

Music Contractor. Jim Harvey

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Orchestra musicians are represented by the Denver Musicians Association AFM Local 20-623

MUSICAL NUMBERS

ACT ONE

“Night Waltz” Company

“Now” Fredrik Egerman

“Later” Henrik Egerman

“Soon” Anne Egerman, Henrik Egerman Fredrik Egerman

“The Glamorous Life” Fredrika Armfeldt, Desiree Armfeldt, Madame Armfeldt, Mrs. Nordstrom, Mrs. Segstrom, Mrs. Anderssen, Mr. Linquist, Mr. Erlanson

“You Must Meet My Wife” Desiree Armfeldt, Fredrik Egerman

“Liasons” Madame Armfeldt

“In Praise of Woman” Count Carl-Magnus Malcolm

“Every Day A Little Death” Countess Charlotte Malcolm, Anne Egerman

“A Weekend in the Country” ..........................................................................................................................................Company

ACT TWO

“The Sun Won’t Set” Mrs. Anderssen, Mrs. Segstrom, Mrs. Nordstrom, Mr. Lindquist, Mr. Erlanson

“It Would Have Been Wonderful” Fredrik Egerman, Count Carl-Magnus Malcolm

“Perpetual Anticipation” Mrs. Nordstrom, Mrs. Segstrom, Mrs. Anderssen

“Send in the Clowns” Desiree Armfeldt

“The Miller’s Son” Petra

“Finale” .......................................................................................................................................................................................Company

WHO’S WHO

ACTING COMPANY

LESLIE ALEXANDER (Madame Armfeldt).

Broadway: The Boy From Oz (w/ Hugh Jackman), MAMMA

MIA!. National Tours: My Fair Lady and Fiddler on the Roof

DCPA: The Taming of the Shrew, A Christmas Carol, Rattlesnake Kate (Colorado New Play Summit). Off-

Broadway: The Audience (Transport Group). Selected Regional: The Music Man (Arizona Theatre Co), Sister Act (Arts Center of Carolina); Hello, Dolly! and Memphis (Gateway Playhouse).

Film/TV: Hallmark’s Mystic Christmas (Hallmark), “The Leftovers” (HBO), “One Life to Live,” The One O’Clock Video Games: “Red Dead Redemption II,” “Grand Theft Auto V.” leslie-alexander.com

COLIN ANDERSON (Mr. Erlanson/Frid) (He/Him). Broadway: Carousel. Off Broadway: Sweeney Todd. Lincoln Center: My Fair Lady ( National Tour), Sweeney Todd (Live from Lincoln Center). Tour: The Book of Mormon. Regional: The Hunchback of Notre Dame, Carousel, Sweeney Todd, Rocky Horror Picture Show, Spring Awakening. TV/Film: “FBI,” “The Gray Man.” BA, Oklahoma City University.

SYDNEY CHOW (Anne Egerman) (She/Her) is happy to make her DCPA debut in one of her favorite shows! She was most recently seen in Chess at The Muny. Other favorite credits include: Camelot (The Muny), Man of La Mancha (Asolo Rep), Oliver (Maltz Jupiter Theatre), White Christmas (Engeman Theatre), Hair (Forestburgh Playhouse), and Spamalot (Northern Stage). She is a 2021 theatre and dance graduate of

Wagner College. Rep: Pantera/ Murphy the Agency. Follow her @sydchow! sydney-chow.com

SYDNEY D’ANGELO (Fredrika Armfeldt) (she/her) is a 7th grader at the Logan School. She is thrilled to be back at the DCPA after recently performing in A Christmas Carol!

Syd is a passionate actor, vocalist, guitarist and ukulele player and is grateful to be a part of this amazing community!

www.sydneydangelo.com

JENNIFER DEDOMINICI (Mrs. Anderssen) (She/Her). Regional credits include: The Light in the Piazza, Carousel and Amahl and the Night Visitors (Central City Opera); The Bridges of Madison County, Rodgers and Hammerstein’s Cinderella, 9 to 5, and Mary Poppins (Colorado Springs Fine Arts Center at Colorado College); Ragtime, A Little Night Music, and South Pacific

(Piedmont Opera); Nine, Do I Hear A Waltz? and A Christmas Carol (Arvada Center); Camelot (Intermountain Opera); and many others. Special Awards/Training: BME and MM, Santa Fe Opera Apprentice Artist Program, Metropolitan Opera Regional Finalist. Voice Faculty at CU Boulder and Colorado College.

SOPHIA DOTSON (Fredrika Armfeldt) (She/Her) is thrilled to be making her DCPA debut! Other credits include: Fun Home (Miners Alley Playhouse; Henry Award), Sunday in the Park with George (Arvada Center), Caroline or Change (Aurora Fox), Tuck Everlasting (Vintage Theatre). Instagram: @sophia.dotson Website: sophiadotson.com. Sophia is represented by Whole Artist Management (WAM) and Stewart Talent.

ALEXIS GORDON (Countess Charlotte Malcolm) (She/Her/ Hers). Selected theatre: 2022 Dora Award Winner for Outstanding Performance in a Leading Role for Ma in North American premiere of Room (Grand Theatre/Mirvish Productions); four seasons at The Shaw Festival including White Christmas, The Doctor’s Dilemma, and Brigadoon; four seasons at The Stratford Festival including Coriolanus, Guys & Dolls, A Little Night Music, Passion, Carousel; Mary Poppins, A Christmas Carol (Grand Theatre); world premiere of The Gravitational Pull of Bernice Trimble (Obsidian/Factory Theatre).

CATE HAYMAN (Petra) (She/Her) is stoked to be making her DCPA debut as Petra! A Bay Area gal living in New York City, she has been dreaming of playing this role since she was 12. Some credits include: Cabaret (San Francisco Playhouse) and Into the Woods (Carnegie Mellon University). She is a recipient of an SF Bay Area Theatre Critics Circle Award as well as a Theatre Bay Area Award, both for Best Leading Actress in a Musical. Outside of performing, she also enjoys dogs, jazz, and spicy food!

Cate is a graduate of Carnegie Mellon University.

JENNY KAY

HOFFMAN (Swing) (She/Her) is excited to be joining the DCPA family for the first time! National Tours: Rudolph the Red Nosed Reindeer Cruise Lines: Aida Cruises. Regional: 42nd Street (The Rev Theatre Company); Mary Poppins, Carousel, and White Christmas (Musical Theatre West); 42nd Street (San Diego Music Theatre); Children of Eden, Damn Yankees, The Little Mermaid (Five Star Theatricals). Jenny received a BFA in Musical Theatre from AMDA. www.jennykayhoffman.com @jennykayhoffman

VICTORIA HUSTON-ELEM (Mrs. Segstrom) (She/Her) was most recently seen wearing light-up skivvies in Goodspeed’s production of Gypsy Tours: Finding Neverland and The Addams Family. Off-Broadway: Goldie, Max & Milk, Himself and Nora, and Golden Boy of the Blue Ridge. Regional: The Music Man and The Circus in Winter (Goodspeed Musicals); Ragtime (Bay Street Theater); Sunset Boulevard and Sister Act (NSMT); Into The Woods (Flint Repertory Theatre); Les Misérables (Lyric Theatre). Victoria has also enjoyed two seasons as Mrs. Claus in the Radio City Christmas Spectacular Recordings: Artists in Residence, Future Demons, Golden Boy of the Blue Ridge, and the new “Whisper Darkly” concept album. www.victoriahustonelem.com

ZACHARY JAMES (Count Carl-Magnus Malcolm). Broadway credits include: The Addams Family, South Pacific, and Coram Boy. Other New York credits include: Akhnaten (The Metropolitan Opera); The Most Happy Fella and Irma La Douce (Encores!). He has been seen globally in starring roles at the world’s top opera houses and symphony halls and has appeared regionally with opera companies and theatres around the US. TV/Film: “Law & Order:

Organized Crime,” “Murphy Brown,” “30 Rock,” “Succession” and “SNL.” 2022 Grammy Award Winner, 20102020 BroadwayWorld Vocalist of the Decade. Solo albums and cast recordings available on all streaming platforms. @theofficialzacharyjames SAM PRIMACK (Henrik Egerman) (He/Him). At 17, Sam Primack made his Broadway debut in Dear Evan Hansen and recently returned to the Tony Awardwinning musical at 21 to star in the title role for its closing. An Arizona native, Sam has appeared in productions at Phoenix Theatre Co, Chaparral Theatre, Arizona Broadway Theatre, and Stagedoor Manor. He made his professional debut as in the second national tour of The Addams Family and was a finalist at The Jimmy Awards. He is incredibly grateful for the endless support from amazing family, friends, and teachers.

@samprimack

STEVEN C. RICH (Mr. Linquist). DCPA: The Color Purple National Tours: CATS and Miss Saigon. Regional credits include: Sweeney Todd, Les Misérables, Parade (White Plains PAC); Smokey Joe’s Café and Sweeney Todd (Connecticut Repertory), Around the World in 80 Days (Fulton Theatre), Ragtime (Cohoes Music Hall); Ain’t Misbehavin’ (Strauss Theatre), Phantom (Westchester Broadway), Five Guys Named Moe and All Night Strut (Cortland Repertory), Big River (O’Donnell Auditorium).

MARCO ALBERTO

ROBINSON (Swing/ Dance Captain) is a Denver-based actor. At the DCPA: The 39 Steps, Rattlesnake Kate, Wild Fire, Xanadu, A Christmas Carol, Goodnight Moon, This is Modern Art, and The Wild Party. Arvada Center: I Do! I Do!. Colorado Shakespeare Festival: Romeo & Juliet, Twelfth Night, Cyrano de Bergerac, Loves Labours Lost, King John, and Edward III. Miners Alley Playhouse: Fun Home Theatre Aspen: The Museum of Broken Relationships. Colorado Springs Fine Arts Center: Sweeney

Todd, Assassins, Hairspray. Little Theatre of the Rockies: Dogfight, Aida, and The Fantasticks

SOARA-JOYE ROSS (Desiree Armfeldt). Broadway: Hadestown, Les Misérables, Dance of the Vampires. OffBroadway: Carmen Jones, Promenade, The First Noel, Disenchanted (Cast Album), Jerry Springer the Opera, Dessa Rose (Cast Album), Single Black Female. National

Tours: The Gershwin’s Porgy and Bess, Smokey Joe’s Café w/ Gladys Knight. Favorites Regionally: Legally Blonde (Kansas City Starlight), Anything Goes (Arena Stage), Young Frankenstein (Ogunquit Playhouse), 42ND Street (The Rev), The Call, Sister Act (Arkansas Rep), From the Mississippi Delta (Triad Stage), AIDA (Arvada Center). Film/TV: “Garden State,” “Flight Attendant,” “Crashing.”

Awards: “Best Featured Actress in a Musical” - Lucille Lortel Winner, Drama Desk, Audelco & Henry Award Nominee. @Lyricalsoulj

ANNIE SHERMAN (Mrs. Nordstrom) (She/Her). DCPA debut! National/ International Tour credits include: The Sound of Music and The King and I and A Christmas Carol NY and Regional credits: Ragtime, Macbeth (Los Angeles Opera), and many more. Annie’s solo show, Piaf Lives, premiered at the Greenroom 42 in New York and features her original translations of Edith Piaf’s greatest hits. Annie received a B.A. in Music from Stanford University and M.M. in Vocal Performance from UCLA.

EDWARD

STAUDENMAYER

(Fredrik Egerman)

(He/Him). Broadway: Wonderland, Girl from the North Country, Martin Short: Fame

Becomes Me.

Tours: Anastasia, Phantom of the Opera, Anything Goes, Beauty and the Beast, The Scarlet Pimpernel, Joseph…

Other: 28 years with Forbidden Broadway (3 Cast Recordings) South Pacific (Guthrie), Spamalot (Vegas), Spamilton, Man of La Mancha, Addams Family, Something Rotten, 9 to 5, Mamma Mia, Pageant, Children

of Eden, 1776, On The 20th Century, Exactly Like You, Breaking Up Is Hard To Do, The Producers, Jane Eyre, Noises Off, A Room With A View, Cats (Hamburg) Ed was recently in the Focus Feature A Thousand and One, and provided voices for Celebrity Deathmatch. Nominations: Helen Hayes, Barrymore, National Theater Award, Music Center Spotlight Award Finalist, and Carol Burnett Award recipient at UCLA.

PLAYWRIGHT

STEPHEN SONDHEIM (Music and Lyrics) wrote the music and lyrics for Saturday Night (1954), A Funny Thing Happened on The Way To The Forum (1962), Anyone Can Whistle (1964), Company (1970), Follies (1971), A Little Night Music (1973), The Frogs (1974), Pacific Overtures (1976), Sweeney Todd (1979), Merrily We Roll Along (1981), Sunday In The Park With George (1984), Into The Woods (1987), Assassins (1991), Passion (1994) and Road Show (2008) as well as lyrics for West Side Story (1957), Gypsy (1959) and Do I Hear A Waltz? (1965) and additional lyrics for Candide (1973). Anthologies of his work include Side by Side by Sondheim (1976), Marry Me A Little (1981), You’re Gonna Love Tomorrow (1983), Putting It Together (1993/99) and Sondheim On Sondheim (2010). He composed the scores of the films Stavisky (1974) and Reds (1981) and songs for “Dick Tracy” (1990) and the television production “Evening Primrose” (1966). His collected lyrics with attendant essays have been published in two volumes: “Finishing the Hat” (2010) and “Look, I Made A Hat” (2011). In 2010 Broadway’s Henry Miller’s Theatre was renamed The Stephen Sondheim Theatre in his honor; in 2019, London’s Queens Theatre was also renamed the Sondheim.

HUGH WHEELER (Book) was a novelist, playwright and screen writer. He wrote more than thirty mystery novels under the pseudonyms Q. Patrick and Patrick Quentin, and four of his novels were transformed into films: Black Widow, Man in the Net, The Green-Eyed Monster and The Man with Two Wives. For films he wrote the screenplays for Travels with My Aunt, Something for Everyone, A Little Night Music, and Nijinsky. His plays include Big Fish, Little Fish (1961), Look: We’ve Come Through (1961) and We Have Always Lived in the Castle (1966, adapted from the Shirley Jackson novel), he

co-authored with Joseph Stein the book for a new production of the 1919 musical Irene (1973), wrote the books for A Little Night Music (1973), a new production of Candide (1973), Sweeney Todd, the Demon Barber of Fleet Street (1979, based on a version of the play by Christopher Bond), and Meet Me in St. Louis (adapted from the 1949 M-G-M musical), contributed additional material for the musical Pacific Overtures (1976), and wrote a new adaptation of the Kurt Weill opera Silverlake, which was directed by Harold Prince at the New York Opera. He received Tony and Drama Desk Awards for A Little Night Music, Candide and Sweeney Todd. Prior to his death in 1987 Mr. Wheeler was working on two new musicals, Bodo and Fu Manchu, and a new adaptation of The Merry Widow.

DIRECTOR

CHRIS COLEMAN is passionate about the connection between stories and community. He joined the DCPA Theatre Company as Artistic Director in November of 2017 and has directed Hotter Than Egypt, Much Ado About Nothing, Rattlesnake Kate, Twelfth Night, A Doll’s House, Anna Karenina, and Oklahoma!. Previously, Chris served as Artistic Director for Portland Center Stage in Oregon for 18 years. Under his leadership, PCS renovated the city’s historic Armory into a new home, saw annual attendance nearly double, workshopped 52 new plays that went on to productions at over 100 theaters around the US and UK, and became a national leader in how theaters engage with their community.

In 1988, Chris founded Actor’s Express in Atlanta (in the basement of an old church), a company that continues to be a cultural force in the Southeast today. He has directed at major theaters across the country, including Oregon Shakespeare Festival, the Alliance Theater, Dallas Theater Center, Baltimore Center Stage, Actors Theatre of Louisville, ACT/Seattle, the Asolo, Pittsburgh Public, 59E59, and New York Theater Workshop. He and his husband, actor/writer Rodney Hicks, live in Reunion with their 100 lb. English blockhead yellow lab and their 18 lb. terrier mix. Since moving to Colorado, he has hiked Dominguez Canyon, wandered the Cliff Dwellings of Mesa Verde, explored a working mine in Creede, and rafted down the Arkansas River.

CREATIVE TEAM

CANDY BROWN (Choreographer) holds a BA in Performing Arts from St Mary’s College of California. Ms. Brown began her professional career in musical theatre on Broadway stages under the tutelage of legendary Broadway directors, choreographers and performers who include mentors Bob Fosse and Hal Prince (Pippin, Chicago, Grind, A Chorus Line, etc). She has been seen in numerous television commercials, episodics and films as well as regional theaters as actor, director and choreographer. Most recently, Ms. Brown received a Legacy Award in New York City for her contribution to dance.

KEVIN COPENHAVER (Costume Designer) At the DCPA (31 seasons): Much Ado About Nothing, Wild Fire, Twelfth Night, Goodnight Moon, Sweat, Corduroy, The Who’s Tommy, The Snowy Day, Sweeney Todd, Frankenstein, The Christians, Lord of the Flies, Animal Crackers, Just Like Us, Ring of Fire: The Music of Johnny Cash, The Whale, Dracula, Mama Hated Diesels, A Christmas Carol, Tantalus and many others. Other Theatres: Hair (Geva Theatre Center); Sylvia, The Explorer’s Club, Passing Strange, Hairspray, Young Frankenstein, Smokey Joe’s Cafe, Hedwig and the Angry Inch, The Divine Sister, Tommy, Dream a Little Dream, 12th Night, Titus Andronicus, regional premiere of Peter and the Starcatcher and Love, Janis (USF). Training: BA in Theatre Design, University of Cincinnati College Conservatory of Music, Centro Maschere e Strutture Gestuali, Padua, Italy.

SAMANTHA EGLE (Fight Director and Intimacy Choreographer) (she/ her). Her work has been seen on the stages of the Denver Center for the Performing Arts, Opera Colorado, Phamaly Theatre Company, Theatreworks, Colorado Spring Fine Arts Center, Arvada Center, Denver Children’s Theatre, Mizel Center, Athena Project Festival, Lagoon Theme Park, Upstart Crow, New York Fringe Festival, The BiTSY Stage, University of Northern Colorado, University of Denver, among others. She was an apprentice with Intimacy Directors International and Resident Artist at Arena Stage. She is a board member of the IOSP, Certified Teacher with the Society of American Fight Directors, and a Certified

Intimacy Director with Intimacy Directors & Coordinators.

JEFF GIFFORD (Director of Production) is entering his eleventh season at the DCPA and oversees everything you see on the stage except the actors. Working with this amazing team of artists and artisans is the highlight of his career. Guiding world premieres to their first opening night is especially gratifying and Jeff has worked on more than 50 of them. Among his favorites are The Book of Will, Dinner with Friends, The Violet Hour, The Beard of Avon, and the new musical Rattlesnake Kate. Jeff holds an MFA from California Institute of the Arts.

BARBARA HORT, PH.D. (Psychodramaturg) has maintained a private practice in Portland, Oregon for 35 years, working from the approach developed by the Swiss psychoanalyst Carl Jung. At the invitation of Chris Coleman, Dr. Hort has served as the psychodramaturg on over twenty of his productions, providing material on the psychological dynamics of the play that can be used by the artists creating the performance. Dr. Hort is the author of “Unholy Hungers: Encountering the Psychic Vampire in Ourselves and Others” and the upcoming “Hollow Crown of Fire: A Discovery of Meaning in the Coronavirus Pandemic and Its Predecessors.”

ROBERT MARK MORGAN (Scenic Designer). Twelfth Night, Two Degrees, The Giver, House of the Spirits, Diary of Anne Frank, Jesus Hates Me, Lobby Hero, Copenhagen, Bernice & Butterfly, Almost Heaven (DCPA). He has designed at major regional theatres including: Old Globe, Repertory Theatre of St. Louis, Asolo Rep, Indiana Repertory Theatre, Cincinnati Playhouse in the Park, Studio Arena, Cleveland Play House, San Jose Repertory Theatre, Alliance Theatre (Atlanta), Barrington Stage, Marin Theatre Company, Magic Theatre, and American Conservatory Theatre in San Francisco. Mr Morgan is a Teaching Professor at Washington University in St. Louis. www.morgansetdesign.com

CHAD ERIC MURNANE (Casting) (He/Him) is a New York-based creative professional and the founder of Murnane Casting. Previously, Chad enjoyed six years as a casting director at Binder Casting, a renowned office within the theatre industry, where

he collaborated on dozens of highprofile projects. Career highlights include casting Into the Woods (Hollywood Bowl), Emojiland (OffBroadway at The Duke), along with national/international tours of Lincoln Center Theater’s My Fair Lady, The Sound of Music, Tootsie, and the Tony Award-winning revival of The Color Purple. On film, Chad worked on Teenage Mutant Ninja Turtles: Out of the Shadows and the reboot of Friday the 13th (Paramount).

JEFFREY PARKER (Voice and Dialect Coach) (He/Him) is a voice, text, dialect coach based primarily in Colorado and the West. At the DCPA, he has coached A Christmas Carol and The 39 Steps. Jeffrey also serves as the Director of Voice and Text for the Colorado Shakespeare Festival and is a regular coach at the Arvada Center. By day he is a tenured Professor of Theatre at MSU Denver. His book, “Experiencing Speech: A Skills-Based Panlingual Approach to Actor Training” is taught at numerous acting training programs all over the world. Training: MFA, UC Irvine. BA, UCLA.

PABLO SANTIAGO (Lighting Designer) (He/Him). DCPA, Kennedy Center, The Geffen Playhouse, Oregon Shakespeare Festival, Goodman Theater, Arena Stage DC, BAM- Harvey Theater, Mark Taper Forum, Los Angeles Theater Center, South Coast Repertory Company, Playhouse in the Park Cincinnati, Broad Museum, Kirk Douglas Theater, Ensemble Theater Company Santa Barbara, South Coast Repertory, Hollywood Bowl. Santa Fe Opera, LA Opera, Opera Omaha, Teatro Municipal São Paulo Brazil, Boston Lyric Opera, Detroit Opera, Opera Philadelphia, Long Beach Opera, Prototype Festival, the Industry, Opera Columbus, Los Angeles Philharmonic, San Francisco Symphony, Los Angeles Chamber Orchestra, Cincinnati Symphony Orchestra, Music Academy of the West, Opera Santa Barbara

GRADY SOAPES, CSA (Casting) (He/Him) is the Director of Casting and Artistic Producer with the Denver Center for the Performing Arts. Grady has cast over 40 DCPA productions including Rattlesnake Kate, Theater of the Mind, The Chinese Lady, Who’s Tommy, and The Wild Party. Choreography credits include A Christmas Carol, Twelfth Night, Goodnight Moon, Anna Karenina, As

You Like It, Drag Machine, Lord of the Butterflies, DragON (Denver Center); Into the Woods, The Liar (Arvada Center); Comedy of Errors (Colorado Shakespeare Festival. Grady also works as a Casting Director for Sylvia Gregory Casting where he has cast multiple commercials, TV, film and video game projects.

ANGELA STEINER (Music Director/ Conductor). Select regional theater music director and/or conductor credits include: Cabaret (Barrington Stage Company), Cabaret and Sweeney Todd (Asolo Repertory), Hair! (The Old Globe), Rodger and Hammerstein’s Cinderella (Alabama Shakespeare Festival), Rattlesnake Kate, The Who’s Tommy, Oklahoma!, Indecent, Twelfth Night (DCPA). Angela holds a bachelor’s degree in piano from Wichita State University and a masters in collaborative piano from the University of Northern Colorado. She specializes in creating and collaborating on new musicals. angelasteiner.com

LEEAN KIM TORSKE (Dramaturg) is the Director of Literary Programs for the DCPA Theatre Company. In the past, she’s served as the Literary Manager and Casting Associate at Northlight Theatre, Director of the Russ Tutterow Fellowship at Chicago Dramatists, and a publicist and discussion facilitator at Steppenwolf Theatre Company. As a freelance dramaturg and theatre artist, she worked with theatres throughout the Chicagoland area including A Red Orchid Theatre, Congo Square Theatre, Definition Theatre, Victory Gardens Theater, and more. Her play Pity Party is featured in Smith & Kraus’s 105 Five-Minute Plays for Study and Performance. Most recently, her play And the Wind Howls was commissioned and produced by Relative Theatrics with support from the Wyoming Arts Council.

KEN TRAVIS (Sound Designer). At the DCPA: American Mariachi, The Who’s Tommy, Rattlesnake Kate, The Color Purple. Broadway: Aladdin, In Transit, Jekyll and Hyde, A Christmas Story the Musical, Scandalous, Newsies, Memphis, The ThreePenny Opera, Barefoot in the Park, Steel Magnolias. Numerous New York and regional theaters and companies including: Asolo Rep, The Old Globe, The 5th Avenue Theater, McCarter Theater, Seattle Rep, La Jolla

Playhouse, LA Center Theater Group, ACT Seattle, Guthrie Theater, KC Rep, Dallas Theater Center, Playwrights Horizons, The New Group, NYSF Public Theater, CSC, Signature Theater NYC, SoHo Rep, Vineyard Theater, The Civilians, Mabou Mines, and national and international festivals and tours.

STAGE MANAGEMENT

CORIN DAVIDSON (Assistant Stage Manager) (She/Her). Over 15 productions at the DCPA including: The Color Purple, Theater of the Mind, Choir Boy, Who’s Afraid of Virginia Woolf?, Wildfire, twenty50, Indecent, Corduroy, The Who’s Tommy, The Secret Garden, Sweeney Todd, Lookingglass Alice. At DCPA Cabaret: An Act of God. Other Theatres: Colorado Shakespeare Festival, Seven Devils Playwrights Conference, Milwaukee Chamber Theatre, Skylight Music Theatre, Renaissance Theatre Works, Milwaukee Repertory Theatre. Training: BFA Stage Management, University of Wisconsin at Milwaukee.

SAGE HUGHES (Assistant Stage Manager) (She/Her) Previously at the DCPA: Theater of the Mind, Colorado New Play Summit, Choir Boy, Rattlesnake Kate, and A Christmas Carol. Other regional credits include UNDONE: The Lady M Project and Local Lab 12 (Local Theater Company), Kinky Boots, The Revolutionists, and The Phantom Tollbooth (Hangar Theatre Company), and Shoes for the Santo Niño (Santa Fe Opera) Production management credits: Sweeney Todd, Queens Girl in the World, Lost Girl, and The Sun Serpent (Hangar) Sage holds a BA in Theatre and English from the University of New Mexico.

MICHAEL G. MORALES (Stage Manager) (He/Him) is the Production Stage Manager for the DCPA Theatre Company. National Tours: Hamilton, The Lion King, Phantom of the Opera, Mary Poppins, Rock of Ages (first national tour), Jesus Christ Superstar, Chicago and Movin’ Out Pre-Broadway: Wonderland and Miss Abigail’s Guide. At the DCPA: Laughs in Spanish, Much Ado About Nothing, Quixote Nuevo, Wild Fire, You Lost Me, Indecent, Sweat, The Constant Wife, The Who’s Tommy, A Christmas Carol. Other Regional: My Fair Lady (The Asolo); West Side Story (The Fulton).

THEATRE COMPANY LEADERSHIP TEAM

CHRIS COLEMAN (Artistic Director) see Director.

CHARLES VARIN (Managing Director) and his team are responsible for the administrative, financial, and business operations for Theatre Company and Off-Center productions and other artistic initiatives. Since joining the Theatre Company in 2006, he has played a major role in executing the artistic vision of the organization and facilitating the production of shows such as Theater of the Mind, Sweet & Lucky, The Unsinkable Molly Brown, Sense & Sensibility the Musical, The 12, Sweeney Todd with DeVotchKa and many more. Charles is passionate about artistic innovation and firmly believes in DCPA’s long-standing commitment to new plays and new voices.

MUSIC THEATRE INTERNATIONAL (MTI) is one of the world’s leading theatrical licensing agencies, granting theatres from around the world the rights to perform the greatest selection of musicals from Broadway and beyond. Founded in 1952 by composer Frank Loesser and orchestrator Don Walker, MTI is a driving force in advancing musical theatre as a vibrant and engaging art form.

MTI works directly with the composers, lyricists and book writers of these musicals to provide official scripts, musical materials and dynamic theatrical resources to over 100,000 professional, community and school theatres in the US and in over 150 countries worldwide.

MTI is particularly dedicated to educational theatre, and has created special collections to meet the needs of various types of performers and audiences. MTI’s Broadway Junior™ shows are 30- and 60-minute musicals for performance by elementary and middle schoolaged performers, while MTI’s School Editions are musicals annotated for performance by high school students.

In addition to DCPA staff, the following crew worked on this production: Andy Bruening, Jason Bushey, Shirleen DiFonzo, Lisa Ehrle, Katarina Kosmopoulis, Loren Martin, Nikki Mayer, Lela Radostis, Sarah Steen, Lori Worthman/ Sullivan

Murnane Casting

Chad Eric Murnane, CSA Rayshaun Sandlin

The Director and Fight Director are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.

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.

Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.)

The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.

PLEASE BE ADVISED

• LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

• CHILDREN 4+ are welcome in our theatres and must be ticketed.

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you.

• BRAILLE PROGRAMS are available with 2 weeks’ notice to accessibility@dcpa.org

The Denver Center for the Performing Arts (DCPA) is one of the largest non-profit theatre organizations in the nation, presenting Broadway tours and producing theatre, cabaret, musicals, and innovative immersive plays. In its 2021/22 season, the DCPA engaged with more than 703,000 visitors, generating a $203 million economic impact in ticket sales alone.

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals. The Theatre Company is a division of the Denver Center for the Performing Arts, a non-profit organization serving the public through the performing arts.

The Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The Theatre Company also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. The Theatre Company is constituent of Theatre Communications Group (TCG), the national organization for not-for-profit resident theatre companies.

The costumes, wigs, lighting, props, furniture,scenic construction, scenic painting, sound and special effects used in connection with this production were constructed and coordinated by the Theatre Company’s Production Staff.

TAKING PHOTOS AT THE THEATRE

We welcome you to take photos in the theatre before and after the performance. If you post on social media, please credit, and tag the DCPA and the design team: @denvercenter #DCPATheatreCompany

Director: Chris Coleman

Choreographer: Candy Brown

Scenic Designer: Robert Mark Morgan @morgansetdesign

Costume Designer: Kevin Copenhaver

Lighting Designer: Pablo Santiago @pablosdesign

Sound Designer: Ken Travis

Music Director/Conductor: Angela Steiner @ivory_tickler89

Voice and Dialect: Jeffrey Parker @notatallquiet

Fight Director and Intimacy Choreographer: Samantha Egle @humblewarriormovement

Casting: Grady Soapes and Murnane Casting, Chad Eric Murnane, CSA

Photos and the video and/or audio recording during any part of the performance by any means whatsoever are strictly prohibited

EXPLORE BEHIND-THE-SCENES

BOOK ONLINE

Tickets only $12 90-minute guided tours

BEETLEJUICE ILLUSIONIST MICHAEL WEBER

PUTS THE “SUPER” IN SUPERNATURAL

BY LISA BORNSTEIN

BBringing Beetlejuice to the stage was never going to be a simple task. Fans of Tim Burton’s 1988 comedy-horror film are legion and devoted to the work of the visionary artist and director. So when director Alex Timbers assembled his design team for the Broadway musical, he brought in some heavy hitters, including six-time Tony Award-winner William Ivey Long for costume design; Michael Curry, who had created the puppets for The Lion King with Julie Taymor, and Jeremy Chernick, who had created special effects for Frozen and Harry Potter and the Cursed Child.

Beetlejuice, however, was going to take more than the usual visual splendor of a Broadway stage. It was going to require magic. For that, Timbers turned to Michael Weber, an illusionist with deep roots in the magic community. It would fall to Weber to make characters appear and disappear, bringing to the stage the transitions between life and death, real and unreal.

“One of the things I tried to do was that the illusion components would always have some kind of Tim Burton hat tip without mirroring anything that happened in the film,” Weber says. “The show is full of illusions top to bottom. There are remarkable projection effects and those create amazing visual illusions. The lighting also has illusory components.”

Weber came to magic early. As a teen in Southern California, he joined the Long Beach Mystics, a club created

by young magicians. “Most of the magic clubs were run by adults, so there were lots of politics and people with money or power or control, or who wanted power or control,” he says. “But the great thing about the Long Beach Mystics was it was by young people who were serious about magic by and for us. We would meet every other Thursday at a high school auditorium, and the rule was, you had to perform at every meeting. There were people who performed the same thing over and over again and people who weren’t as smart, like me, who tried something different every time.”

By the time he was 14, Weber had auditioned and been accepted by the Junior Society of the Magic Castle, the famed and exclusive Los Angeles magicians’ clubhouse. There, he honed his craft and was taken under the mentorship of the great sleight-of-hand artist, Charlie Miller. Miller introduced Weber to another of his proteges, Ricky Jay. Together, the two formed a business, Deceptive Practice, and Weber by his twenties was making Gary Sinise’s legs disappear in Forrest Gump and creating a ladder of light for the original Broadway production of Angels in America.” That mentorship relationship, shared by Weber and Jay with Miller, is one of the many traditions that the world of magic still maintains.

“I think [it works] when both parties are very fortunate and open to that vulnerability, because the mentor has to

Justin Collette (Beetlejuice) and Tour Company of Beetlejuice

Photo by Matthew Murphy, 2022.

be willing to share, and the mentee, the apprentice, has to be willing to listen,” Weber says. “The internet gives you access to everything. Now that you have access to everything, what are you going to do with it? When you had to earn a secret, you had to think about what you were willing to do to gain access to those secrets.”

The secrets to Beetlejuice, however, cannot be found on the internet, Weber emphasizes. “I’m one of those kind of old-school, hard-and-fast rule magicians who think secrets still work. I think the only magic is what appears live in the room. It’s filled with illusion not to fool you, but to create a convincing alternative reality.”

Going from film to stage required a number of fresh creations, all retaining Burton’s original aesthetic. “When incorporating illusions into a show, all the departments kind of have the same job: to drive the story. Maybe there’s a puff of smoke, or a bolt of lightning, or something that catches on fire. That magic serves a story purpose. So one of the really interesting things about designing bigger illusions — and lots of people appear and disappear onstage in Beetlejuice — is that there’s no stopping the traffic there.”

It’s a bit different from working as a solo magician with an audience. “What makes an illusion for a Broadway show different from a show with one person on stage who is the titular magician, is the person onstage is an actor playing the part of someone who has these powers. There’s ordinarily not a bigger story around it,” Weber says.

For example, the Maitlands, who have died at the beginning of the action, are living in the attic, trying to figure out how to survive as the dead, and how to preserve their beloved home. “Part of their journey is discovering what their powers are in this new state,” Weber says. “How can they use them to get what they want? And it takes them a little while to figure out what they want.

“So what one has to do in terms of the design elements is [determine], where is this character coming from? What are their powers, what is the magic of their character? Can it be quick? Do we have to do it in the middle of nothing? There are one or two moments where characters have to levitate, and that just happens in the middle of everything, there’s no room for wires or anything.”

At its core, though, Beetlejuice is about more than sleight of hand and flash pots. “It’s a show about family,” Weber explains. “It’s a show about the families that we have, the families that we get, the families we wish we had and the secondary families that we build.”

One of the things I tried to do was that the illusion components would always have some kind of Tim Burton hat tip without mirroring anything that happened in the film.

— MICHAEL WEBER, ILLUSIONIST

Photo by McLeod9 Creative

2023 / 24 THEATRE COMPANY SEASON

Join us for a theatrical thrill ride celebrating the very best of American theatre! Witness every heart-pounding moment of our sevenshow season with a subscription and start enjoying exceptional live theatre on your terms.

Subscribers also unlock serious perks including:

• Save up to 21% on tickets

• Free, flexible ticket exchanges

• Exclusive pre-sale access for most shows

Be sure to keep your hands and feet inside the vehicle: we’re in for one heck of a ride!

A beloved musical from the writing team behind Sweeney Todd

A LITTLE NIGHT MUSIC

What if the path to redemption starts with a sandwich?

CLYDE’S CEBOLLAS

Three sisters, one dead body, and a 10-hour road trip

by Kyle Malone

Illustrations

DOUBLE THE PLEASURE

For the first time, the DCPA’s Saturday Night Alive gala offered an insider’s look at how its Theatre Company productions are created. Held on March 11, the 42nd annual fundraiser welcomed more than 500 guests and netted $642,000 benefiting theatre and education programs, now totaling $23 million since its inception.

The impact of the community’s investment in the DCPA was on display with costumes, sets, and props from past productions. Following dinner, guests chose between two Theatre Company productions: Hotter Than Egypt and Laughs in Spanish followed by a silent disco afterparty.

During the celebration, former Denver Mayor Michael B. Hancock was honored with the Daniel L. Ritchie Spotlight Award for his administration’s support of arts and culture, which allowed the DCPA to renovate its theatres.

Saturday Night Alive was led by Trustee Co-Chairs

Ruth Krebs & Peter Mannetti, and Community Co-Chairs

Elaine Torres & Phil Workman.

SNA 2023 SPONSOR LIST

AFTER PARTY SPONSOR

Genesee Mountain Foundation

GOLD SPONSORS

Bedrock Landscaping Materials

Brisa & Mark Carleton

Chevron

Keith & Kathie Finger

Genesee Mountain Foundation

Dorota & Kevin Kilstrom

Ruth Krebs & Peter Mannetti

MDC/Richmond American Homes Foundation

Total Wine & More

U.S. Bank

Westin Denver Downtown

SILVER SPONSORS

Amazon

Evergreen Natural Resources

UCHealth

BRONZE SPONSORS

Alpine Bank

Barbara Bridges & Gerald Hammond

Brownstein Hyatt Farber Schreck

Mollie Hale Carter

CBS4

CIBC

CU-Denver

DaVita

Delta Dental of Colorado

HealthONE

Milender White

Morgan Stanley Morgridge Family Foundation

Oakwood Homes

Polsinelli

Spencer Ross Semple, Farrington, Everall & Case Stonebridge Companies

Taloma Partners

Turner Construction

Xcel Energy

A TIP OF THE HAT TO

The DCPA’s 16th annual Women with Hattitude welcomed 500 ladies and gentlemen to a delightful luncheon and networking event in the Seawell Ballroom on May 4.

With entertainment by Ne’Lashee’ of Theatre Company’s The Color Purple and the audience-favorite fashion show of spectacular hats, the gross proceeds were $65,000 in support of the Women’s Voices Fund.

The Women’s Voices Fund, an endowment fund established in 2005 by the DCPA, creates dedicated opportunities for women artists and leaders in theatre, enabling our Theatre Company to commission, workshop and produce new plays by women.

Special thanks to Jennifer Dechtman and the Denver Center Alliance Hattitude Committee, as well as the event partners: Event Rents, Serendipity Catering, Kendra Scott and Janice Sinden, DCPA President & CEO.

Photos by Amanda Tipton

SPECTACULAR EVENTS. SIMPLIFIED.

DCPA Event Services

The Denver Center’s Event Services team is here to partner with you for every aspect of your next big event. We can create an experience for the record books with immaculate catering, dramatic lighting design, our theatre-quality A/V system, professional staffing — the works!

We’ll meet with you for a behind-the-scenes tour of our rental spaces, contribute to the creative process (if desired), and, on the day of the event, help you hit every cue with flawless precision. All you need to do is dream up your perfect event and let our theatrically trained staff make it a reality.

photo credit: Denver International Airport

The only limit is your imagination. Get in touch with us today!

PPNC aims to strengthen and enrich the lives of our neighbors in the communities where we live and work, and, with funding from PNC Foundation, we are pleased to once again support the Denver Center for the Performing Arts (DCPA) in this season’s Book Stars program. Since 2004, PNC Grow Up Great, our $500 million, bilingual early childhood education initiative, has helped prepare children from birth to age 5 for success in school and life by supporting programs, resources and experiences that plant the seeds for a lifetime of opportunities. DCPA Book Stars likewise supports early childhood educators to enhance early literacy in pre-K by working with Title I schools throughout metro Denver.

This innovative program encourages children to become characters and solve problems through creative play and theater-based learning, with teaching artists building relationships with students and teachers over time. By offering Book Stars to schools at no cost, in English and Spanish, we can increase accessibility and help eliminate achievement gaps before they start.

By focusing our support on high-quality early childhood education, we aim to positively impact school readiness, setting children on a path for success. We’re proud to help DCPA continue to grow this program and build more relationships with teachers, students, and families in our region.

Thank you for your continued support for the arts, and enjoy the show!

PROUD SPONSOR OF DCPA EDUCATION’S BOOK STARS

PNC is firmly committed to early education in Colorado. Investing and advocating for high-quality early education is a logical extension of our commitment as a national main street bank to supporting our communities, and Book Stars is a unique and creative way to develop critical literacy skills in our youngest learners.

— RYAN BEISER, REGIONAL PRESIDENT

FOR

PNC BANK IN COLORADO

DCPA

Janice Sinden President & CEO

Gretchen Hollrah COO

Lydia Garcia Executive Director, Equity & Organization Culture

Seán Kroll Coordinator, Equity & Organization Culture

Donna Hendricks President & CEO Executive Assistant

Julie Schumaker Manager, Board Relations & COO Executive Assistant

BROADWAY & CABARET

John Ekeberg Executive Director

Administration

Ashley Brown Business Manager

Alicia Bruce General Manager

Lisa Prater Operations Manager

Garner Galleria Theatre

Abel Becerra Technical Director

Jason Begin+, Anna Hookana+ Core Stagehands

DEVELOPMENT

Jamie Clements Vice President

Connor Carlin Associate Director, Major & Planned Gifts

Caroline Eppers Manager, Corporate Partnerships

Kara Erickson-Stiemke Coordinator

Amanda Gomez Manager, Annual Fund

Kaylie Gro Manager, Grants & Reports

Marc Ravenhill Associate Director, Donor Relations

Megan Stewart Manager, Events

Erin Walker Senior Director

EDUCATION & COMMUNITY ENGAGEMENT

Allison Watrous Executive Director

Stuart Barr Technical Director

Leslie Channell Director, Business Operations

Lyndsay Corbett Teaching Artist & Manager, Playwriting & Bobby G

Rachel Ducat Executive Assistant & Business Manager

Rya Dyes Registrar & On Site Class Manager

Patrick Elkins-Zeglarski Director, Education & Curriculum Management

Gavin Juckette Teaching Artist & Theatre for Young Audiences Program Manager

Emma Kimball Assistant Registrar & O ce Coordinator

Jesús Quintana Martínez Director, Community Engagement

Timothy McCracken Head of Acting

David Saphier Teaching Artist & Manager, In-School Programming

Charlotte Talbert Librarian

Rachel Taylor Teaching Artist & Manager, Literary Engagement & Resiliency

Justin Walvoord Teaching Artist & Manager, Shakespeare in the Parking Lot

Samuel Wood Teaching Artist & District Liaison

FACILITIES

Glen Lucero Director

Dwight Barela, Mark Dill, John Howard, Zak Merten, Bryon Willingham Engineers

Jodi Benavides,

Bryan Faciane Lead Security O cers

Calum Abeywickrema, Brian Adams, Mayte Armendariz, David Bright, Tyler Edwards, Gabe McNally-Nakamura, Isabella Samaniego, Shayne Thullen Security Specialists

Judy Briggs Front Desk

Quentin Crump Manager, Security & Guest Relations

Merry Davis Financial Manager

Jane Deegan Administrator

Michael Kimbrough Manager, Engineering

Brian McClain Manager, Custodial

Jerad Ayala, Steven Bilbao, Abraham Cervantes, Lindsey Cervantes, Carmen Molina, Judith Primero Molina, Juan Loya Molina Custodians

EVENT SERVICES

Daniel Davidek, Arias Goldanloo, Jacob Sorling, Drake Watkins Event Technicians

Samantha Egle, Cody Gocio Senior Sales & Event Managers

Stori Heleen-O’Foley Lighting, Team Lead

Shane Hotle Audio Engineer

David Mandlowitz, Benjamin Peitzer, Will Stowe, Ian Wells Video Engineers

Tara Miller Event Sales & Operations Director

Brook Nichols Event Technical Director

Kate Olsen Event Sales Coordinator

Viktoria Padilla Lighting

Phil Rohrbach, Alex Skaar Event Managers

Brooke Wyatt Event Logistics Manager

MARKETING, SALES & PATRON SERVICES

Angela Lakin Vice President

Marketing

Giorgio Ausenda Media Producer

Heidi Bosk Associate Director, Press & Promotions, Broadway & Cabaret

Erin Bunyard Senior Digital Strategist

Sofia Contreras Graphic Designer

Brenda Elliott, Paul Koob Senior Graphic Designers

TJ Forlenza Copywriter

Michael Garcia Manager, Web Content

Claire Graves Director, Produced Programs

Brittany Gutierrez Manager, Communications

Linda Horan Project Manager

Je Hovorka Director, Sales & Marketing, Broadway & Cabaret

Emma Hunt Coordinator, Communications & PR

Emily Kent Director, Insights & Strategy

Lucas Kreitler Junior Graphic Designer

Michael Ryan Leuthner Director, Digital Marketing

Emily Lozow Assoc. Director, Sales & Marketing, Broadway & Cabaret

Kyle Malone Director, Design

Dan McNulty Marketing Analyst

Hannah Selwyn Manager, Email Marketing

Whitney Testa Executive Assistant, Marketing & Broadway

Kong Vang Coordinator, Social Media

Julie Whelan Associate, Produced Programs

Mikayla Woods Coordinator, Produced Programs

Suzanne Yoe Director, Content & Communications

Ticketing & Audience Services

Jennifer Lopez Director

Christina Adamoli*, D.J. Dennis*,

Edmund Gurule*, Chris Leech*, Elias Lopez*, Hayley Solano*, Sam Stump* Counter/Show Leads

Kirsten Anderson*, Scott Lix*,

Liz Sieroslawski*,

Greg Swan* Subscription Agents

Tamika Cox*, Mekenzie Dalton*, Elliot Davis*, Zeah Edmonds*, Jen Gray*, Natalie Jaramillo*,

Phi Johnson-Grimes*, Noah Jungferman*,

Michael Mathey*, Alison Orthel*,

Lane Randall*, Holly Stigen*,

Andrew Sullivan*, Robert Warner*,

Joseph Williams* Ticket Agents

Jon Collins Manager, Subscription

Katie Davis Manager, VIP Ticketing

Marisa Dominguez Coordinator, VIP Ticketing

Billy Dutton Associate Director, Operations

Danielle Freeman Manager, Customer Service

Claire Hayes, Ella Mann, Rocco Williams Managers, Box O ce

Katie Spanos Associate Director, Subscriber Services

Group Sales

Jessica Bergin Associate Director

Blythe Kamin Manager, Audience Development

Brad Steinmeyer Coordinator

Maddie Young Associate, Education & Group Sales

Theatre Services

Evan Gendreau Associate Director

Elliot Shields Manager

Kaylyn Kriaski, Leilani Lynch, Aaron McMullen, Stacy Norwood, Valerie Schaefer Assistant Managers

Nora Caley, Teresa Gould, Robin Lander, Myrisa Martin, Selin Ozcelik, Barbara Pooler, Wendy Quintana House Managers

ACCOUNTING & FINANCE

Jane Williams CFO

Sara Brandenburg Director, Accounting Services

Michaele Davidson Accountant, Treasury

Jennifer Je rey Director, Financial Planning & Analysis

Kristina Monge Specialist, Accounts Payable

Jennifer Siemers Director, Accounting

HUMAN RESOURCES

Laura Maresca Vice President

Brian Carter Director

Paul Johnson Payroll Specialist

Monica Robles Supervisor, Mailroom

Kinsey Scholl Operations Specialist

INFORMATION TECHNOLOGY

Lisa Roebuck Vice President

For security purposes, the IT team has been omitted.

OPERATIONS

Vincent Bridgers Senior Analyst

Adam Busch Junior Analyst

Aaron Chavez Lead

Ruben Cruz, Jordan Latouche Engineers

Simone Gordon Associate Director

Kyle Greufe, Tara Perticone Analysts

Brandon LeMarr Manager

Sarah Martinez Administrator

Jacob Parker Associate Director

Joseph Reecher Senior Engineer

Cordelia Taylor Coordinator

OFF-CENTER

Charlie Miller Executive Director & Curator

THEATRE COMPANY

Administration

Charles Varin Managing Director

Madysen Hunter Business Admin/ Assistant Company Manager

Alex Koszewski Company Manager

Ann Marshall General Manager

Artistic

Chris Coleman Artistic Director

Grady Soapes Artistic Producer & Casting Director

Jessica Eckenrod Artistic Associate

Leean Kim Torske Director, Literary Programs

Production Je Gi ord Director

Julie Brou Administrative Assistant/ O ce Manager

Matthew Campbell Production Manager

Peggy Carey Associate Production Manager

Scenic Design

Lisa Orzolek Director

Kevin Nelson, Nicholas Renaud Assistants

Lighting Design

Charles MacLeod Director

Lily Bradford Assistant

Joseph Price+ Production Electrician

Sound Design

Alex Billman Sound & Technology Supervisor

Meagan Holdeman+, Timothy Schoeberl+, Dimitri Soto+ Technicians

Stage Management

Michael Morales Production Stage Manager

Corin Davidson, Wendy Blackburn

Eastland, Harper Hadley, Sage Hughes, Anne Jude, Rick Mireles, Nick Nyquist, Malia Stoner, Kristin Sutter Stage Managers

Claire Dommert, Nia Pitts, Georgia Wood, Rain Young Stage Management Apprentices

Scene Shop

Eric Moore Technical Director

Albert “Stub” Allison, Robert L. Orzolek, Josh Prues Associate Technical Directors

Jeremy Altho , Tyler D. Clark, Amy Wynn Pastor, Kyle Scoggins Scenic Technicians

Louis Fernandez III Lead Scenic Technician

Brian “Marco” Markiewicz Lead Carpenter

Prop Shop

Meghan Markiewicz Supervisor

Sara Puch Associate Supervisor

Georgina Kayes,

Ashley Lawler Artisans

Andrew McGlothen Prop Carpenter

Paint Shop

Jana Mitchell Charge Scenic Artist

Kristin Hamer MacFarlane, Melanie Rentschler Scenic Artists

Costume Shop

Janet Macleod Director/Design Associate

Meghan Anderson Doyle Design Associate

Stephanie Cooper, Amoreena Knabb, Ingrid Ludeke, Carolyn Plemitscher Draper

Costume Crafts

Kevin Copenhaver Director

Chris Campbell Assistant

Wigs

Diana Ben-Kiki Supervisor

Abby Schmidt, Marisa Sorce^ Wig Assistants

House Crew

Douglas Taylor+ Supervisor

James Berman+, Forest Fowler+, William Loving+, Dave Mazzeno+, Kyle Moore+, Matt Wagner+ Stagehands Calli Lavarnway+, Kelley Reznik+ Assistants

Wardrobe

Heidi Echtenkamp Supervisor

Robin Appleton^, Amber Krimbel^, David La Beaux^, Lauren LaCasse^, Lisa Parsons Wagner^, Kami Williams^ Dressers