Applause -- Hamilton -- Feb 16-27, 2022 by The Publishing House

APPLAUSE VOLUME XXXII NUMBER 3 FEB – MAR 2022

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APPLAUSE

SIGHTLINE

BY JANICE SINDEN

Rattlesnake Kate ...................... pg 12 Hamilton ...................................... pg 20 4

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In the Upper Room.................... pg 6

EDITOR: Suzanne Yoe DESIGN DIRECTOR: Kyle Malone DESIGNER THIS ISSUE: Brenda Elliott CONTRIBUTING DESIGNERS: Paul Koob, Lucas Kreitler CONTRIBUTING WRITERS: Leo Adam Biga, Brittany Gutierrez, John Moore, Janice C. Simpson

Welcome to the Denver Center for the Performing Arts! This issue of Applause is a celebration of storytellers. From our Middle and High School Playwriting Competition to one of the most successful Broadway musicals of all time, great theatre relies on a good plot that grabs your attention and doesn’t let go. The DCPA celebrates playwriting at all levels. In January, our Education Department was in the ﬁnal stages of its annual Middle and High School Playwriting program, complete with in-school workshops, a selection of both middle and high school ﬁnalists, and the announcement of three winners whose works are read as part of the Colorado New Play Summit. The Summit is a presentation of four scripts in development — each of which is rehearsed and given public readings at which the playwrights observe audience reaction. Did the punchline land? Was there a dry eye in the house? What was unexpected and caught the audience’s attention? These reactions inform rewrites in preparation for a future production. After readings and workshops, a play might be fortunate to receive a full production. Such is the case with two of our current plays: Rattlesnake Kate and In the Upper Room, both of which were originally read as part of the 2019 Colorado New Play Summit. The former was inspired by a little known yet highly colorful character from Colorado’s history — Kate Slaughterback — who saved her son, killing 140 rattlesnakes in one courageous battle and becoming a global sensation. The latter recounts the Berry’s, a multi-generational African American family in the 1970’s whose lives orbit around a strong-willed matriarch whose secrets drive her relatives nuts. Once a play receives its debut, the hope is that it will be produced by other regional theatres or even on Broadway. Ron Chernow’s biography about Alexander Hamilton inspired Lin-Manuel Miranda to write one song. It received such an enthusiastic response that he developed it into a full musical, which was workshopped and produced at The Public Theatre before transferring to Broadway’s Richard Rodgers Theatre. And the rest, as they say, is history. The success of any play is a two-way street. It’s the playwright and a director. Then it’s a director and a cast. Finally, it’s a cast and an audience. We each have an important part to play in the evolution of the script. So listen carefully, lean in, laugh or cry, let the experience transport you…to a front porch, to the Wild West or way back to 1776. Enjoy!

IN THIS ISSUE

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PLAYWRIGHT BEAUFIELD BERRY DRAWS ON HER OWN FAMILY FOR

IN THE UPPER ROOM BY L E O A DA M B I G A

Generations live strong in the memory and imagination of Omaha-based playwright Beauﬁeld Berry. Her original family drama In the Upper Room, a 2019 Colorado New Play Summit selection, gets a world premiere production by the DCPA Theatre Company this winter. Set in 1974 Omaha, this Black American family drama draws closely on her own multicultural clan’s gumbo of Southern, Midwest, Afro-Puerto Rican and American Indian heritage. Her biracial background adds another lens on this complex household. Dominated by matriarch Rose, keeper of family secrets, characters navigate mysteries, lies and love in that Black is Beautiful era. Their intertwined lives brim with socialcultural touchstones, rituals and traditions. In this emotional hothouse, spirits have their say, too. It’s a sweet, sad, funny mosaic of American gothic meets magic realism told from a Black feminist perspective. Berry’s examination of family only happened after years spent searching for herself. Writing short stories and performing in plays since childhood, her self-taught craft remained the one constant as she led a scattered life in Atlantic City and Las Vegas. Her gypsy life intersected with Colorado when she worked at a Telluride ski lodge and ranch. “I wasn’t settled with anything. I was kind of discovering where I belonged in the world of performance and theater,” she said. During her vagabond period a short play of hers got accepted by the Great Plains Theatre Conference (now Great Plains Theatre Commons, GPTC) in Omaha. In fact, Dramaturg Heather Helinsky was exposed to In the Upper Room at the GPTC, where it was workshopped

and read in 2017 and was later a ﬁnalist in the Eugene O’Neil Theater’s National Playwrights Conference. Unbeknownst to Berry, Helinsky submitted the piece to the Colorado New Play Summit. “Our New Play Development Director at the time, the late Doug Langworthy, read it and he said this is something we should think about,” Theatre Company Artistic Director Chris Coleman said. Coleman agreed, calling it “a big, human-centered American family drama.”

PROCESS INFORMS PRODUCTION

Dramaturg Jacqueline Lawton and director Gregg Daniel worked with Berry through the New Play Summit readings. A strong reception earned the play a season spot that the pandemic pushed back to this winter. “I didn’t know it was going to be something we produced, but Beauﬁeld did such great work in the two weeks of that workshop, really digging deep into the script and the story so that when it performed for audiences they just kind of went nuts for it,” Coleman said. “It was one of the most successful workshops we had that year.” Daniel, who’s directing the production, found in Berry a willing collaborator. “She listened very carefully, she respected my ideas,” he said. “I knew she’d be a terriﬁc partner to go into mining this text and really uncovering this story. She wasn’t holding onto her words as some playwrights do. She wanted to improve upon the play, she wanted to make it as tight, as lean, as potent as it could be. In Daniel, she found an ideal interpreter of her work. “I think every playwright wants to be taken care of by their director. That’s what I need, a director who respects me

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and listens and who I can give that back to. That is Gregg Daniel in a nutshell. He’s decisive. He also refers to me and puts me ﬁrst, so I trust him to make great decisions for our show.” Workshopping has led her to more fully embrace theatre’s collective practice. “As a younger writer I thought writing was a lonely machine fueled by heartbreak, whiskey and cigarettes. But like so many other truths in life, it takes a village.” A play, she said, “passes through hands and hearts, and everyone leaves their mark, and it lives, breathes and grows with every incarnation.”

PULL OF FAMILY

Not one to shy away from the mystical, Berry found her ancestors, speciﬁcally grandma Rose, actively serving as her muses. “As a child I had what I call now spiritual visitings. I asked the universe not to have one again for a very long time and I guess Rose just decided the rules didn’t apply to her and so she broke on through.” The spectral visits by Rose were vivid. “Her voice was so strong and loud in my ear that it was very real to me.” Other ancestors weighed in as well. Feeling inspired and guided, Berry wrote 100 pages in three days. Most of what she wrote “under the inﬂuence” has remained intact. “They ended up giving me a marvelous gift.”

BIGGER-THAN-LIFE MATRIARCH

It’s fitting that Rose, the bossy fulcrum on which the play revolves, should have “dictated” her own story. In death, as in life, she’s a tyrant and enigma who defies easy analysis. “The secrets, the relationships, the dynamics – those things are so universal to American families regardless of race and generation and whatever,” she said. “But it is exciting to me that this is specifically a Black family. They are unapologetically themselves. It’s a fly on the wall of Black family life but also showing that Black family life is the same as any other family life.”

FIRST IN A CYCLE

She projects Upper Room as the ﬁrst in a seven-play cycle. She’s developing new works in the cycle that deal with various issues: Branch and Bone (growing up biracial), Ivory (Black mental health), Spectrophobe (life in the deep South), and Mulatto (identity). Coleman won’t be surprised if a new play by Berry ﬁnds its way to DCPA. “She is fearless, she is hilarious. I just really enjoy her personally as well as the quality of her writing.”

HONORING OUR ELDERS We invite our audiences to join the DCPA as we honor our Elders for the care of the land on which we perform with an oﬃcial land acknowledgement. These words are shared at company meetings, ﬁrst rehearsals, public forums and in the pages of Applause to recognize and respect Indigenous Peoples, their traditional territories and the care they have shown to all who reside here. 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. We pay our respects to Elders past, present, and future, and to all those who have stewarded the land and water for generations. May this acknowledgment express the DCPA’s commitment to grow and deepen its relationships with the vibrant Indigenous communities who continue to thrive and uphold their sacred relation to this land.

(l-r) Director Gregg T. Daniel, Playwright Beaufield Berry and Dramaturg Regina Victor

IN THE UPPER ROOM FEB 11 – MAR 13, 2022 DOROTA AND KEVIN KILSTROM THEATRE

ASL Interpreted, Audio-Described performance: Mar 6 at 1:30pm

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MUSIC Coming soon to the Denver Center, two music-ﬁlled plays that celebrate new voices in the theatre.

MAGIC

Apr 22 - May 29 | Kilstrom Theatre

May 13 - Jun 12 | Wolf Theatre

Pharus doesn’t ﬁt in at The Charles R. Drew Prep School for Boys. But this year, his talent and perseverance have paid oﬀ with a chance to lead the school’s choir. With its uplifting gospel music and electrifying dance, Choir Boy will inspire you to raise your voice and cheer.

In the ﬁctional modern-day Texas border town of La Plancha, Quixote and Sancho embark on a fantastical quest in search of long-lost love. Infused with imagination, comedy, and Tejano music, Quixote Nuevo reveals the joys and perils of facing down Death and becoming the hero of your own story.

Created by Oscar-winning screenwriter Tarell Alvin McCraney (Moonlight)

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Feb 26–27 + Mar 4–5 • See the world premiere productions of Neyla Pekarek (of The Lumineers) and Karen Hartman’s Rattlesnake Kate and Beauﬁeld Berry’s In the Upper Room. • Hear readings of fresh scripts from Kimber Lee, Leonard Madrid, and Kirsten Potter.

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February 6–May 8, 2022 Explore the enduring legacy of Mexico’s La Malinche—one of history’s most enigmatic and fascinating figures. Image: Alfredo Ramos Martínez, La Malinche (Young Girl of Yalala, Oaxaca), 1940. Oil paint on canvas; 50 x 401⁄2 in. Phoenix Art Museum: Museum purchase with funds provided by the Friends of Mexican Art, 1979.86. ©The Alfredo Ramos Martínez Research Project, reproduced by permission. Traitor, Survivor, Icon: The Legacy of La Malinche is organized by the Denver Art Museum. This exhibition has been made possible in part by a major grant from the National Endowment for the Humanities: Democracy demands wisdom. Additional funding is provided by Furthermore: a program of the J. M. Kaplan Fund, University of Denver: College of Arts, Humanities & Social Sciences, the donors to the Annual Fund Leadership Campaign, and the residents who support the Scientific and Cultural Facilities District (SCFD). Promotional support is provided by 5280 Magazine and CBS4. Special thanks to the National Institute of Anthropology and History and Mexico’s Secretary of Culture. Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.

REVIVING A LEGEND:

RATTLESNAKE KATE

It’s been three years since Colorado New Play Summit audiences got a sneak peek at Rattlesnake Kate, which back then wasn’t much more than a promising idea in the imagination of Neyla Pekarek. Simply put: “The Rattlesnake Kate world premiere musical that you will see today is dramatically different from the concert version you may have seen in 2019,” DCPA Theatre Company Artistic Director Chris Coleman said. There are at least a dozen new songs, Pekarek said, and only one that remains unchanged. The cast has been expanded from six actors to 14. There is now a fully developed script and a score that’s been expanded threefold. “It’s a completely different show,” said Pekarek. The Aurora native, cellist and composer began developing the largely unknown story of Colorado frontierswoman Kate Slaughterback into a concept album back in 2015. The hook: Back in 1925, the self-reliant single mother came upon a migration of rattlesnakes near her farm in Hudson while on horseback with her 3-year-old adopted son. So, naturally, she proceeded to wipe out all 140 of them. “At first she killed them with her rifle, but she ran out of bullets,” Pekarek said. “So then she plucked a ‘No Hunting’ sign from the ground and just started bludgeoning those snakes to death.” Pekarek had recently left the Grammy-nominated band The Lumineers and was pursuing her own artistic identity

when she discovered a kindred spirit in Slaughterback. Born near Longmont in 1894, she was a nurse during World War II who held a variety of jobs, including taxidermist, midwife and bootlegger. She was divorced six times and made her way farming her own land. Pekarek wove Slaughterback’s biography into a 2018 concept album called Rattlesnake. Coleman then commissioned Pekarek, with the help of Brooklyn playwright Karen Hartman, to transform the album into a fully fleshed stage musical. Hartman, playing big-time catch-up, came to the Summit with 40 pages of script in hand – “and we immediately threw 30 of them away,” she said with a laugh. But Coleman was so taken by the songs and the theatrical potential of this uniquely Colorado story that he immediately slated Rattlesnake Kate for a full production in January 2021. Then came COVID. “The delay gave us time to expand the story and integrate some of the deeper conversations that we are having about America right now,” Hartman said. The story is now framed as a group of contemporary storytellers who come in all shapes, genders, ages, colors and clothes, inviting us to gather around a campfire to hear a story of the past. “The very first line of the show is Neyla singing: ‘This is a tale about the West,’ ” Hartman said. And

APPLAUSE • FEB – MAR 2022 • 303.893.4100 • DENVERCENTER.ORG

even though Kate’s story took place 100 years ago, Pekarek added: “This is really the universal story of anyone who has been invisible.” To underscore that point: Kate is being played by three different actors of differing ages and races. “After our last workshop, we talked a lot about diversifying the cast so that storytellers look like the Colorado that we see today,” Pekarek said. One of those lock-opening creative conversations came when African American choreographer Dominique Kelley (DCPA Theatre Company’s Oklahoma!) read Hartman’s script and discovered this White woman from the early part of the 20th century who was fiercely authentic in a way that rubbed up against the system of the day. “And when I finished reading it, I thought, ‘Well, that’s my story. I’m Kate,’ ” said Kelley. That’s when Coleman knew the story his team had to tell was larger than just one snake-killing loner. “The hope is that lots of people can see themselves in Kate,” he said. Slaughterback experienced a fleeting taste of international celebrity when word of the snake attack started to spread in 1925. Hartman says that’s one thing Slaughterback and Pekarek have in common: “Both of them had this ‘shot-out-of-a-cannon’ experience with fame as a young person, and then they had to reinvent themselves,” said Hartman. After the glory comes the question: “What now?” The rattlesnake attack happened when Kate was just 32, and her life didn’t end there. She had 44 more years of “What now?” to go.

“This is really the universal story of anyone who has been invisible.” — NEYLA PEKAREK, COMPOSER

That’s why one of the writers’ biggest creative challenges was deciding how and when to stage the rattlesnake attack in the musical. The solution came from Broadway orchestra arranger Christopher Jahnke (Dear Evan Hansen), who suggested they tease the incident early in the musical, and revisit it later. Like a classic musical reprise. “The second time you see it, you see it in all its glory, and Kate is reliving the experience for a contemporary, younger person to hear and understand,” Hartman said. “When you see it again, you see it in the larger context of her entire life, and it is much more meaningful.” The overriding question that has driven Hartman and Pekarek: “Why now? Why do we need to see this story today?” Hartman said. She hopes they have produced “a powerful and previously untold story that a lot of people can relate to.” Pekarek counts herself among the many who have emerged from the quarantine wanting to approach their lives differently. “I am the kind of person who is a people-pleaser,” she said. “I really do not like to ruffle feathers. It’s really hard for me to advocate for myself. And here’s Rattlesnake Kate, a woman who lived completely authentically to who she was all the time, regardless of cost or consequences. I know that’s more of who I want to be. “She was kind of a misfit, and I think this is a story for misfits.”

RATTLESNAKE KATE FEB 4 – MAR 13, 2022 • MARVIN & JUDI WOLF THEATRE ASL Interpreted & Audio Described performance: Feb 20, 2pm

COMING UP FROM BROADWAY

TOOTSIE

Get ready for the official love letter to the theatre that will have you laughing out of your seat. Based on the 1982 film, the Tony Award-winning Tootsie tells the story of an actor whose reputation for being difficult catches up to him, which prompts him to adopt a new identity as Dorothy Michaels to land the role of a lifetime on Broadway. What changes will fans of the film notice on stage? In the film, Michael Dorsey (as Dorothy Michaels) auditions for a role in a lead soap opera and the musical centers around a role on Broadway. Tootsie Book Writer Robert Horn shared with the Chicago Tribune during the pre-Broadway engagement, “by moving the show to Broadway, we get the chance both to pay tribute to the theater and make fun of it.” What else can audiences expect? Tootsie Composer David Yazbek (The Full Monty and The Band’s Visit) tells the Chicago Tribune to not expect to see recreations of the ‘80s music from the film and to expect the exact opposite with a more upbeat and funky sound. See the hilarious comedy Tootsie at The Buell Theatre, Mar 29 – Apr 10, 2022.

The cast of the National Tour of Tootsie. Photo by Evan Zimmerman for MurphyMade.

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BOOK, MUSIC AND LYRICS BY

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Darnell Abraham Brandon Louis Armstrong Ashley De La Rosa Marja Harmon Rick Negron Paris Nix Victoria Ann Scovens Julius Thomas III Andy Tofa Donald Webber, Jr. AND

Jacob Burns Milika Cherée Amanda Clement Eean S. Cochran Rebecca E. Covington Ixchel Cuellar Ellis C. Dawson III Hayley Dorling Alex Dreschke Francesca Granell Jordana Grolnick Alex Larson Tiffany Mellard Kevin Murakami Chloé Nadon-Enriquez Elijah Reyes Manuel Stark Santos Justin Showell Willie Smith III Alex Swift Emily Tate Brion Marquis Watson Charlotte Mary Wen DeAundre’ Woods Christopher Henry Young SCENIC DESIGN

COSTUME DESIGN

David Korins

Paul Tazewell

HAIR & WIG DESIGN

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ARRANGEMENTS

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Alex Lacamoire Michael Keller Matt Gallagher Lin-Manuel Miranda Michael Aarons

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CASTING

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J. Philip Bassett Amber White

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Maggie Brohn

Stephanie Klemons GENERAL MANAGEMENT

Baseline Theatrical Andy Jones & Nick Lugo

MUSIC SUPERVISION AND ORCHESTRATIONS BY

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Thomas Kail THE WORLD PREMIERE OF HAMILTON WAS PRESENTED IN NEW YORK IN FEBRUARY 2015 BY THE PUBLIC THEATER OSKAR EUSTIS, ARTISTIC DIRECTOR PATRICK WILLINGHAM, EXECUTIVE DIRECTOR

HAMILTON

CAST Alexander Hamilton........................................................................................................................... JULIUS THOMAS III Eliza Hamilton........................................................................................................................ VICTORIA ANN SCOVENS Aaron Burr......................................................................................................................................DONALD WEBBER, JR. Angelica Schuyler...................................................................................................................................MARJA HARMON George Washington...................................................................................................................... DARNELL ABRAHAM Marquis de Lafayette/Thomas Jefferson.................................................................................................... PARIS NIX Hercules Mulligan/James Madison...................................................................BRANDON LOUIS ARMSTRONG John Laurens/Philip Hamilton......................................................................................................................ANDY TOFA Peggy Schuyler/Maria Reynolds............................................................................................ ASHLEY DE LA ROSA King George.....................................................................................................................................................RICK NEGRON Philip Schuyler/James Reynolds/Doctor.................................................................... MANUEL STARK SANTOS Samuel Seabury............................................................................................................................................ JACOB BURNS Charles Lee...................................................................................................................................................... ALEX LARSON George Eacker....................................................................................................................................... KEVIN MURAKAMI Ensemble..................................................................JACOB BURNS, AMANDA CLEMENT, HAYLEY DORLING, ALEX LARSON, TIFFANY MELLARD, KEVIN MURAKAMI, ELIJAH REYES, MANUEL STARK SANTOS, EMILY TATE, BRION MARQUIS WATSON, CHARLOTTE MARY WEN THERE WILL BE ONE 15-MINUTE INTERMISSION. UNDERSTUDIES Alternates, understudies and standbys never substitute for listed players unless a specific announcement is made at the time of appearance. For Alexander Hamilton—MANUEL STARK SANTOS, DeAUNDRE’ WOODS; for Eliza Hamilton—MILIKA CHERÉE, REBECCA E. COVINGTON, CHARLOTTE MARY WEN; for Aaron Burr—ELLIS C. DAWSON III, MANUEL STARK SANTOS, DeAUNDRE’ WOODS; for Angelica Schuyler—MILIKA CHERÉE, REBECCA E. COVINGTON, CHARLOTTE MARY WEN; for George Washington—ELLIS C. DAWSON III, ELIJAH REYES; for Marquis de Lafayette/ Thomas Jefferson—ELLIS C. DAWSON III, MANUEL STARK SANTOS, JUSTIN SHOWELL; for Hercules Mulligan/James Madison—ELIJAH REYES, JUSTIN SHOWELL, DeAUNDRE’ WOODS; for John Laurens/Philip Hamilton—EEAN S. COCHRAN, JUSTIN SHOWELL, DeAUNDRE’ WOODS; for Peggy Schuyler/Maria Reynolds— MILIKA CHERÉE, REBECCA E. COVINGTON, CHARLOTTE MARY WEN; for King George—EEAN S. COCHRAN, ALEX LARSON STANDBYS REBECCA E. COVINGTON, ELLIS C. DAWSON III, DeAUNDRE’ WOODS SWINGS IXCHEL CUELLAR, MILIKA CHERÉE, EEAN S. COCHRAN, ALEX DRESCHKE, JORDANA GROLNICK, CHLOÉ NADON-ENRIQUEZ, JUSTIN SHOWELL, ALEX SWIFT, CHRISTOPHER HENRY YOUNG UNIVERSAL SWINGS FRANCESCA GRANELL, WILLIE SMITH III CO-DANCE CAPTAINS EEAN S. COCHRAN, JORDANA GROLNICK RESIDENT DIRECTOR SHERRI EDEN BARBER

ASSOCIATE SUPERVISING CHOREOGRAPHER MICHAEL BALDERRAMA

DANCE SUPERVISOR RYAN KASPRZAK

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, pagers and watches.

HAMILTON

CAST

HAMILTON

MUSICAL NUMBERS ACT ONE “Alexander Hamilton” “My Shot” “The Story of Tonight” “The Schuyler Sisters” “Farmer Refuted” “You’ll Be Back” “Right Hand Man” “Helpless” “Satisfied” “Wait for It” “Stay Alive” “Ten Duel Commandments” “That Would Be Enough” “History Has Its Eyes on You” “Yorktown” “Dear Theodosia” “Non-Stop” ACT TWO “What’d I Miss” “Take a Break” “Say No to This” “The Room Where It Happens” “Schuyler Defeated” “Washington on Your Side” “One Last Time” “The Adams Administration” “Hurricane” “The Reynolds Pamphlet” “Burn” “Blow Us All Away” “It’s Quiet Uptown” “The Election of 1800” “Your Obedient Servant” “The World Was Wide Enough” “Finale” ORCHESTRA Conductor/Keyboard 1—LILY LING Associate Music Director/Keyboard 2—VICTOR RUDOLPH SIMONSON Drums—JAKE WOOD Percussion—JOHN DOING Bass—DAVID WHITE Guitar—EMILY ROSENFIELD Concertmaster/Violin 1—A. GÖKÇE EREM Violin 2—SAGE WEST Violin/Viola—MICHIKO ACERET Cello—AUDREY SNYDER Music Associate—JAMES DAVIS JR. Associate Music Supervisor—MATT GALLAGHER Synthesizer and Drum Programming—RANDY COHEN Ableton Programming—SCOTT WASSERMAN

DA R N E L L A B R A H A M ( G e o r g e Washington). Film/TV: Series regular (Deacon) in upcoming streaming series, “Buffalo Rangers.” The true story of the first and only all-Black 2nd Ranger Company in the Korean War. Tours: Hamilton (Aaron Burr, George Washington), The Color Purple revival (1st nat’l Broadway tour). Thanks to God, my wife, family, fans, Hamilton creatives, The Telsey Office, Gotham Talent Agency! Website: darnellabraham.com/. Insta: darnellabrahamofficial. BRANDON LOUIS ARMSTRONG (Hercules Mulligan/James Madison). Follow Brandon @louiecinema on Instagram. Much love to my wonderful family and friends. This past year plus has been tough for us all, and I couldn’t be happier to share this moment, and this show with every one of you tonight. Big ups to the brilliant creatives, cast and crew that help us all remember how lucky we are to be alive right now. ASHLEY DE LA ROSA (Peggy Schuyler/Maria Reynolds). Broadway: Mean Girls (standby, Regina George, Gretchen Weiners), Beautiful: The Carole King Musical (Janelle Woods). National tours: Beautiful: The Carole King Musical (Swing), Rent (Swing u/s Mimi, Joanne). TV: NBC’s “The Voice,” “The Marvelous Mrs. Maisel.” Love you Mom, Dad and Carmen. This was a three-year dream in the making; thank you Lac and Lin. Instagram: ashdelarosa. Twitter: @ashleydelarosa. MARJA HARMON (Angelica Schuyler). Broadway: Book of Mormon, Cat on a Hot Tin Roof (Maggie u/s), Tours: The Lion King (Nala), Aida (Aida). TV: “God Friended Me,” “Murphy Brown,” “Jessica Jones.” University of Southern California: B.A. theater/B.S. music. Thank you to the HamFam Creative! Love and gratitude to my beautiful family, friends and CGF. @missmarjaharmony. marjaharmon.me. RICK NEGRON (King George) was born and raised in Puerto Rico. Broadway credits: Leader of the Pack, Drood, Legs Diamond, Man of La Mancha, The Goodbye Girl, Ragtime (L.A.), Mamma Mia! (Sam Carmichael/ Las Vegas), In the Heights (Kevin Rosario). National tours: West Side Story (Action, Riff, Bernardo), Man

of La Mancha. Danced in Michael Jackson’s Bad video and Chicago the movie. Thank you, Leslie! ricknegron. com. Instagram: @1stpuertoricanking; Twitter: @RickNegron3. PARIS NIX (Marquis de Lafayette/ Thomas Jefferson) TV: “Empire,” “America’s Got Talent,” “Good Morning America,” “WGN Midday News.” Broadway: Beautiful: The Carole King Musical, “Broadway’s Rising Stars.” National tours: Hamilton Chicago company (Lafayette/Jefferson), Beautiful…, Seussical…. Regional: The Wiz, Once on This Island, Les Misérables, Shrek, Ragtime, Five Guys Named Moe. International stage: “R&B Jukebox” at Universal Studios Japan. Violinist featured in “Harlem Gospel Singers” European tour. Recordings: singles “Love Letter”, “No One But You”. IG: @parisgnix. VICTORIA ANN SCOVENS (Eliza Hamilton). Eliza debut with the And Peggy Company! Dedicated to my Mom, Matt, Luke, Grandma, Dad & Shelly. Shoutout to Deric Rosenblatt at Vocal Power LLC and Rachel, Ellen, and Tim at Paradigm Talent Agency and Bethany Knox at Telsey! Well done, my girl. Instagram: @victoriaannscovens. Twitter: OfficialVAnn13. JULIUS THOMAS III (Alexander Hamilton). NAACP Theatre Awardnominee from Gary, Indiana. TV: “Modern Family,” “Odd Mom Out,” “Sesame Street,” GMA, Capitol Fourth Celebration, Macy’s Parade, “Today Show,” plus others. Broadway/tours: Hamilton, The Scottsboro Boys, Motown: The Musical, Porgy and Bess, Shrek, Xanadu, The 25th…Spelling Bee and more. Love to MDTJJJJ&W. Insta: @juliusthomas3. Wichita State grad! ANDY TOFA (John Laurens/Philip Hamilton) is proud and humbled to make his touring debut with Hamilton. He thanks God, his family and Maryella for their resilient love and support. Grandma, this is for you. DONALD WEBBER, JR. (Aaron Burr). Broadway: Hamilton: An American Musical (Alexander Hamilton/Aaron Burr), Motown: The Musical (OBC), Holler If Ya Hear Me (OBC). OffBroadway/tour: Hamilton Puerto Rico (Aaron Burr), Born For This, Renascence, Whorl Inside a Loop,

Jersey Boys. TV: “The Punisher” (Netflix), “Severance” (Apple+), “The Wiz Live!,” (NBC), “American Idol.” University of Southern California, B.F.A. acting. Rebecca Covington, for you always, thank you and I’m so proud of you. We love you so much, D3! Catch me post show on IG/Twitter: @donaldwebber. JACOB BURNS (Ensemble). Touring debut! Detroit native. Recent: Riff in Rua’s West Side Story (Milwaukee Rep); Hairspray (Dallas Theater Center); Phish at MSG. Training: B.F.A. Texas State. Rise up for your community: votesaveamerica.com. @jacob__burns. MILIKA CHERÉE (Swing). A New Jersey native, Rider University: B.F.A. in musical theater. Credits: The Color Purple (Nettie), Ragtime (Ensemble). Love and Gratitude to Mommy, BLOC, and The Telsey Office! Remain Resilient. AMANDA CLEMENT (Ensemble). Deep feeler and thinker. Hoping to inspire you to do the same from your seat. Rockford, IL native. Hamilton Chicago + Angelica tour alum. All my love to the ones who keep me grounded and sane. Follow along @amandaclement. EEAN S. COCHRAN (Swing, Co-Dance Captain). Previously Hamilton Philip Co. (Swing). Abilene Christian Univ. ’15. Beyond grateful to God, family, CESD and creatives. eeancochran.com. @eeeeeanc. Black Trans Lives Matter. <3 John15:12-13. REBECCA E. COVINGTON (Standby). Thankful to God for the journey! Broadway/tour: Motown: The Muscial (OBC), Beautiful: The Carole King Musical, Ain’t Misbehavin’, Mamma Mia! Love to Donald Jr, our beautiful son Donald III, and our incredible family. IXCHEL CUELLAR (Swing). Credits: Mean Girls (Broadway & national tour), Finding Neverland (Broadway & national tour), Fulton Theatre, Sacramento Music Circus and PCLO. SF native! B.F.A. from Penn State. Endless gratitude to DGRW, my teachers, my friends and my parents. This one is dedicated to Tata, Margaret, Frank and Jose Sr. @itsixchel. ELLIS C. DAWSON III (Standby). Broadway tour: Aladdin (Genie/Babkak standby). Regional: Moby Dick at A.R.T. (swing). Alum of Baldwin Wallace

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WHO’S WHO

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University. Many thanks to God, Mama, Pops and Elijah! Look, Mama, WE DID IT! HAYLEY DORLING (Ensemble). Southern California native with over 20 years of dance under her belt. Credits include: Wicked national tour, Shania Twain NOW World Tour and Trans Siberian Orchestra, to name a few. Humbled to be a part of the Hamilton family. This is a dream come true. Thank you to my incredible partner Elijah for being my biggest fan, to my loved ones for always believing in me, BLOC and Telsey. ALEX DRESCHKE (Swing), a California native, is thrilled to be a part of Hamilton. Broadway: A Bronx Tale. National tour: Kinky Boots, Charlie and the Chocolate Factory. Endless thanks to Telsey, Bloc, teachers, family and friends. Instagram: @dreschcode. FRANCESCA GRANELL (Universal Swing). Broadway: Cats (OBC revival), Finding Neverland. National tour: American Idiot, Shrek. B.A. English Lit, FSU. Love and gratitude to Andy, CGF and Mom for opening the doors for me. J O R DA N A G R O L N I C K ( Sw i n g , Co-Dance Captain). National tour: Cinderella. Regional: Goodspeed, Sacramento Music Circus, The Muny, Ogunquit Playhouse, Arvada Center. B.F.A. University of Michigan. Gratitude and love to Boals, Winnett, and Associates, and her family—biological and chosen. ALEX LARSON (Ensemble). Broadway: Hamilton. B.F.A. The Juilliard School. ABT Studio Company. Thanks to Andy B, and to Mom and Dad for everything. Grateful to share this stage with my rock, Emily. TIFFANY MELLARD (Ensemble). Bronx, N.Y. native. International tour: West Side Story. National tour: Chicago The Musical; Regional: Memphis (Gateway); Ed.M. in arts in education from Harvard University, B.F.A in dance from Florida State University. Endless love and gratitude for my parents, family and friends, my HamFam and CESD. KEVIN MURAKAMI (Ensemble). Miss Saigon (national tour), Radio City Christmas Spectacular, Newsies, Grease and Guys and Dolls (MSMT). Kevin would like to thank his family, friends and Pace community for all their support!

CHLOÉ NADON-ENRIQUEZ (Swing). Thrilled to be joining Hamilton! Regional: In the Heights (MTWichita), A Chorus Line (Porchlight MT). P ro u d N o r t hwe ste r n g ra d u ate (theater and neuroscience). Thank you to my family, TKO and Telsey! @chloealexandrine.

CHARLOTTE MARY WEN (Ensemble) Off-Bway: One Day, Regional: Mamma Mia! (Hollywood Bowl), Life After (Old Globe). TV/film: “Magnum P.I.,” “Can You Ever Forgive Me?,” “Just Add Magic,” “Young and the Restless.” USC alum. Thank you God, family and friends. @charmarywen.

ELIJAH REYES (Ensemble). Credits: West Coast premiere of Spamilton (Center Theatre Group), Sister Act (Musical Theatre West), In the Heights (Performance Riverside), Radio City Christmas Spectacular (tour). Proud member of this revolution! Thanks to KMR and my family/friends. God’s good!

D e AUNDRE’ WOODS (Standby) attended Louisiana State University where he earned a B.M. in vocal performance. Motown: The Musical (u/s Berry Gordy, Smokey Robinson). Glory to God! Thank you family and friends for your continued support! @dre_woods.

MANUEL STARK SANTOS (Ensemble) TV: “Smash” (14 episodes). Broadway: Aladdin (Kassim, New Amsterdam Theatre); On the Town (S. Uperman, Lyric Theatre); Gigi (Bonfils, Neil Simon Theatre); West Side Story (Chino, Palace Theatre). Insta: @manuelstarksantos.

CHRISTOPHER HENRY YOUNG (Swing). Broadway: A Bronx Tale. Regional: The Wiz, Guys and Dolls (Oregon Shakespeare Festival). NYC workshops: Ain’t Too Proud: The Temptations Musical. Thank you to my husband Cory and HCKR. IG/Twitter/ Tiktok: CyoungOnstage.

JUSTIN SHOWELL (Swing) is blessed to be telling this story with this troupe! A graduate of the University of Michigan ’19—B.F.A. musical theater. Profound thanks to my friends, mentors and the divine Higher Being. IG: @justinbshow. Website: justinshowell.com.

LIN-MANUEL MIRANDA (Book, Music and Lyrics). Pulitzer Prize, Grammy, Emmy and Tony Award-winning songwriter, actor, producer and director. Creator and original star of Broadway’s Tony-winning Hamilton and In the Heights. Additional Broadway: Freestyle Love Supreme (2020 Special Tony Award, co-creator/producer/ guest performer), Bring It On: The Musical (co-composer/co-lyricist, Tony nomination for Best Musical) and West Side Story (2009 revival, Spanish translations). Recipient of the 2015 MacArthur Foundation Award, the 2018 Kennedy Center Honors and the 2019 Portrait of a Nation Prize. Emmy Award-winner with Tom Kitt for their song “Bigger” from the 67th Annual Tony Awards. Mr. Miranda, and the Miranda Family, actively support initiatives that increase the representation of people of color throughout the arts and government, ensure access to women’s reproductive health, and promote resilience in Puerto Rico. TV/film: Vivo; In the Heights; Hamilton; “His Dark Materials”; “Fosse/ Verdon”; “Curb Your Enthusiasm” (2018 Emmy nomination); “Saturday Night Live” (2017 Emmy nomination); “We Are Freestyle Love Supreme”; Siempre, Luis; “Sesame Street;” “The Electric Company”; “House”; “DuckTales”; 200 Cartas; The Odd Life of Timothy Green; Moana (Grammy Award for Best Original Song) and Mary Poppins Returns. Fall 2021 releases: Disney’s

WILLIE SMITH III (Universal Swing). Native of Charlotte, N.C. University of the Arts alumni. Credits: Cabin in the Sky (City Center Encores), Dreamgirls (DTC), Camille A. Brown & Dancers, Complexions Contemporary Ballet. Thank You CESD and family! ALEX SWIFT (Swing) Tour: The Wizard of Oz. Regional: Barrington, NYTW, North Shore, Geva, Fulton, Opera North, Theatre by The Sea. B.F.A. Boston Conservatory. Endless thanks to his Grandmother for her love and guidance. EMILY TATE (Ensemble) Broadway: Cats (original revival cast). B.F.A. from The Juilliard School. Thanks to Andy B. for the gift of this experience, my Tate/ Larson families and Alex Larson. With you, always. BRION MARQUIS WAT S O N (Ensemble) is grateful for another chance to perform. He has studied at the Alvin Ailey American Dance Theater and University of Cincinnati (CCM). Regional: The Muny. TV: “Pose.” Thanks to God, Family and Friends, and CESD! Hebrews 11:1.

THOMAS KAIL (Director). Broadway directing credits include Hamilton, In the Heights, Freestyle Love Supreme, Lombardi and Magic/Bird. OffBroadway selected directing credits include the world premiere of Hamilton, Dry Powder, Tiny Beautiful Things and Kings at The Public Theater; the world premiere of The Wrong Man at MCC Theater; the world premiere of In the Heights; Broke-ology and the world premiere of When I Come to Die at Lincoln Center Theater; and the world premiere of Daphne’s Dive at Signature Theatre. Broadway producing credits include Derren Brown: Secret and Freestyle Love Supreme. Television directing and producing credits include “Fosse/Verdon” on FX and “Grease: Live” on Fox. He is a recipient of a Kennedy Center Honor and is a graduate of Wesleyan University.

work on Dear Evan Hansen, Hamilton, In the Heights, and FX’s miniseries “Fosse/Verdon.” His credits as music director, arranger and/or orchestrator include: Message In A Bottle (London), The Wrong Man (Off-Broadway), Annie (2011 Broadway revival), Bring It On, The People in the Picture, 9 to 5 (Drama Desk and Grammy noms), Legally Blonde, High Fidelity, Wicked, Bat Boy and Godspell (2001 national tour). He also serves as the Executive Music Producer for many films, including The Greatest Showman (20th Century Fox), In the Heights (Warner Brothers), and the upcoming animation Vivo (Netflix), Dear Evan Hansen (Universal Pictures), and Tick, Tick...Boom! (Netflix). Love to Mom, Dad, Little Sis, and to his wife, Ileana. RON CHERNOW (Author of the book Alexander Hamilton) is the prizewinning, best-selling author of seven volumes and the recipient of the 2015 National Humanities Medal. His first book, The House of Morgan, won the National Book Award; Washington: A Life won the Pulitzer Prize for biography; and Alexander Hamilton— the inspiration for the musical—won the George Washington Book Prize. He is one of only three living biographers to have received the Gold Medal in Biography of the American Academy of Arts and Letters. A past president of PEN America, Chernow has received eight honorary doctorates. He resides in Brooklyn, New York.

A N DY BLANKENBUEHLER (Choreographer) is three-time Tony Award winner for his choreography in the Broadway productions of Bandstand, In the Heights and Hamilton, for which he also received London’s Olivier Award. Other Broadway credits include Bring It On, 9 to 5, The People in the Picture, The Apple Tree, Annie and the revival of Cats. Upcoming theater projects include the new musical Only Gold with British singer/songwriter Kate Nash and the musical Five Points. Recently, Mr. Blankenbuehler’s work has been seen on the Emmy Award-winning FX series “Fosse/Verdon,” as well as the Universal Studio film of the musical Cats. He made his concert debut with a piece entitled “Remember Our Song” for the Tulsa Ballet Company. As a performer, Mr. Blankenbuehler has danced on Broadway in Fosse, Contact, Man of La Mancha, Saturday Night Fever, Steel Pier, Big and Guys and Dolls. Originally from Cincinnati, Ohio, Mr. Blankenbuehler resides in New York City with his wife Elly and two children, Luca and Sofia. Mr Blankenbuehler has received Dance Magazine and Drama Desk awards for his achievement in the theater and the 2018 Kennedy Center Honors for his work on the musical Hamilton.

DAVID KORINS (Scenic Design). Broadway: Hamilton (Tony nomination), Beetlejuice (Tony nomination), Dear Evan Hansen, War Paint (Tony nomination), Bandstand, Misery, The Great Society, Motown: The Musical, Vanya and Sonia and Masha and Spike, Annie, Bring It On, Magic/Bird, An Evening with Patti LuPone and Mandy Patinkin, Godspell, Chinglish, The Pee-wee Herman Show, Lombardi, Passing Strange and Bridge and Tunnel. Creative director/designer of Immersive Van Gogh. TV: “Grease: Live!” (Emmy Award). 91st Academy Awards (Emmy nomination). Concert: Lady Gaga, Kanye West, Bruno Mars, Mariah Carey, Andrea Bocelli, Elton John. Extensive Off-Broadway/regional theater, hospitality, event and experience design. For S & V.

ALEX LACAMOIRE (Orchestrations/CoArranger) is a four-time Grammy, threetime Tony and Emmy winner for his

PAUL TAZEWELL (Costume Design). Received an Emmy Award for costume design of “The Wiz Live!” and a Tony

Award for costume design of Hamilton. Film: West Side Story directed by Steven Spielberg upcoming release (20th Century Studios); Hamilton (Disney+); Harriet (Focus Features); The Immortal Life of Henrietta Lacks starring Oprah Winfrey (Cine Mosaic/ HBO). Broadway: In the Heights (Tony nomination); The Color Purple (Tony nomination); Memphis (Tony nomination); Bring in ’da Noise, Bring in ’da Funk (Tony nomination); Side Show; A Streetcar Named Desire (Tony nomination); Caroline, or Change; Elaine Stritch at Liberty; Doctor Zhivago. TV: “Jesus Christ Superstar Live in Concert” for NBC starring John Legend. HOWELL BINKLEY (Lighting Design). Broadway: Ain’t Too Proud—The Life and Times of The Temptations (2019 Tony nomination), Come From Away (2017 Tony nomination), Hamilton (Tony winner), Allegiance, After Midnight (2014 Tony nomination), How to Succeed in Business Without Really Trying (2011 Tony nomination), West Side Story (2009 Tony nomination), In the Heights (2008 Tony nomination), Jersey Boys (2008 Tony winner), Avenue Q, The Full Monty, Parade, Kiss of the Spider Woman (1993 Tony nomination/Olivier and Dora winner). Co-founder/resident lighting designer: Parsons Dance. NEVIN STEINBERG (Sound Design). Broadway: Tina: The Tina Turner Musical, Hadestown (Tony Award), Hamilton, Dear Evan Hansen, Freestyle Love Supreme, The Cher Show, Bandstand, Bright Star, It Shoulda Been You, Mothers and Sons, Rodgers & Hammerstein’s Cinderella (Tony nomination), The Performers, Magic/ Bird. Over thirty Broadway productions with Acme Sound Partners and five additional Tony nominations: The Gershwins’ Porgy and Bess, Bengal Tiger at the Baghdad Zoo, Fences, Hair, In the Heights. CHARLES G. LAPOINTE (Hair and Wig Design). is an award-winning Wig and Hair Designer. Theater: Numerous Broadway, touring, regional theater, West End and international productions, including Hamilton (Make-Up Artists & Hair Stylist Guild Award), Ain’t Too Proud, Beautiful: The Carole King Musical, Beetlejuice, The Cher Show (Drama Desk Award), The Band’s Visit, Anastasia, SpongeBob SquarePants (Drama Desk Award),

HAMILTON

Encanto and Netflix’s Tick, Tick…BOOM! (film directorial debut). For Vanessa, best of wives and best of women.

HAMILTON

Jersey Boys, A Gentleman’s Guide to Love and Murder, The Color Purple, Newsies, In the Heights. Television: “The Wiz Live!” (Emmy nomination); “Jesus Christ Superstar Live!” (Emmy nomination and Make-Up Artists & Hair Stylist Guild Award); “Bluebloods,” “A m e r i c a n C r i m e,” “ M a d d o f f,” “Hairspray.” MICHAEL KELLER and MICHAEL AARONS (Music Coordinators). Broadway: Pretty Woman, Head Over Heels, Frozen, Anastasia, Dear Evan Hansen, Hamilton, School of Rock. Upcoming Broadway: Moulin Rouge, Be More Chill, Half-Time. Tours: Hamilton (Chicago, national tours), Anastasia, Dear Evan Hansen. RANDY COHEN (Synthesizer and Drum Programmer) has programmed more than 70 Broadway shows, including Hamilton, The Book of Mormon, Dear Evan Hansen, Frozen, Anastasia, Pretty Woman, Kinky Boots, A Bronx Tale, Once On This Island (revival), Bring It On, Grey Gardens, Peter and the Starcatcher and In the Heights. Keyboardist for TV’s “Sesame Street.” MATT GALLAGHER (Associate Music Supervisor). Broadway, Associate Conductor: Doctor Zhivago, Hands on a Hardbody, Jesus Christ Superstar (2012), 9 to 5, Legally Blonde, High Fidelity. Off-Broadway, Music Director: Cymbeline (The Public), Tick, Tick… Boom! (Encores!), The Last Five Years (Second Stage). Training: Leite Music Studios, Adelphi University, Merce Cunningham. LILY LING (Music Director/Conductor). International: The Lion King (Shanghai, Chinese premiere), A Gentleman’s Guide to Love and Murder (Shanghai, Chinese premiere), Kinky Boots (Toronto). National tour: Hamilton (Philip company). Off-Broadway: John & Jen. Graduate of Penn State (M.F.A. music directing) and University of Toronto (B.M. piano performance). Love and thanks to Lac, Matt, the Philip HamFam, and family and friends from far and wide. RS, wouldn’t be here without you. HUDSON THEATRICAL ASSOCIATES (Technical Supervisor). Over 95 Broadway productions and tours. Recent: Hadestown, Ain’t Too Proud, Be More Chill, The Cher Show, American Son, The Lifespan of a Fact, Summer: The Donna Summer Musical, Aladdin. HTA is a member of Neil A. Mazzella’s Hudson family, which includes Hudson

Scenic Studio. Joining Neil on the HTA team are Sam Ellis, Franklin Swann and Irene Wang. PATRICK VASSEL (Associate and Supervising Director). Broadway: Hamilton, Freestyle Love Supreme (Associate Director), Magic/Bird (AD). Off-Broadway: Freestyle Love Supreme (Greenwich House), Hamilton (The Public Theater), Working (Prospect). Credits include: In a Little Room (Ten Bones), Sorin, Six Characters… (Notre Dame), Welcome to the Gun Show (ANTFest), Nothing Left to Burn (O’Neill semi-finalist, Ars Nova ANTFest). SHERI EDEN BARBER (Resident Director). Sherri Eden Barber is a director and Artistic Director of Ricochet Collective. Recent: To Let Go and Fall (Theater Latté Da), Tiny Beautiful Things with Nia Vardalos (Pasadena Playhouse), Happily After Ever (59E59/Edinburgh Fringe Festival), Esperanza Spalding’s Emily’s D+Evolution (DevelopmentE u ro p e a n To u r ) . S h e r r i i s a recipient of The National Directors’ Fellowship, Drama League Directing Fellowship, and the US/UK Exchange Award. RicochetCollective.com | SherriEdenBarber.com. STEPHANIE KLEMONS (Associate and Supervising Choreographer). Broadway: Hamilton, If/Then, In the Heights, Bring It On. Off-Broadway and first national tours: Bombay Dreams, In the Heights (Drama Desk Award), Bring It On (Alexis). Other: Fly, Carmencita Jones, Only Gold. Other Choreography: Victoria’s Secret, Brooklynettes and Macy’s Thanksgiving Day Parade. MICHAEL BALDERRAMA (Associate Supervising Choreographer). Broadway credits include Ghost, In the Heights, Hot Feet, Movin’ Out, Urban Cowboy and Saturday Night Fever. Film: Rock of Ages, Across the Universe and Michael Jackson’s Ghost. Choreography and/ or performance with Gloria Estefan, Bruno Mars, Michael Jackson, Sutton Foster, Vanessa Williams, Brian Adams, Mariah Carey and Jay Sean. silvertowersproductions.com. RYAN KASPRZAK (Dance Supervisor). Broadway: Bandstand (Chita Rivera Award nomination). Nat’l tours: Billy Elliot, Fosse. Choreography: Southern Comfort (Public Theater). NBC’s “Smash” (Asst. Choreographer), Fox’s “So You Think You Can Dance,” David Blaine’s “Real or Magic.” Creator with

Parallel Exit: Physical Comedy Theatre. M.F.A. Wilson, B.F.A. Marymount. Thanks Andy, LDC. Love to Fam, LL, SGK, WJK. ryankasprzak.com. J. PHILIP BASSETT (Production Supervisor). Broadway: Hamilton, The Last Ship, A Night with Janis Joplin, Breakfast at Tiffany’s, Magic/Bird, The Miracle Worker, In the Heights, Grey Gardens, Lestat, The Glass Menagerie, Bombay Dreams, Hairspray, Neil Simon’s 45 Seconds from Broadway, Footloose, The Scarlet Pimpernel and others. AMBER WHITE (Associate Production Supervisor). Broadway: The Last Ship, A Night with Janis Joplin, Scandalous, In the Heights, Miracle Worker, Avenue Q. Off-Broadway includes Murder For Two, Carrie. National tours: Wicked, White Christmas, Burn the Floor, Dinner with Friends. This one’s for Olive. KIMBERLY FISK (Production Stage Manager). National tours include Hamilton (Angelica tour), The Book of Mormon, Wicked, Billy Elliot, Mamma Mia!, Dirty Rotten Scoundrels, Hairspray, The Full Monty (both national tours), Ragtime, Titanic, Victor/Victoria, and How to Succeed in Business Without Really Trying. Broadway credits include How to Succeed…, Titanic, Chicago, and Disney’s Aida. Favorite credits include Bubba, Jezebel, and Charlie. STEVE HENRY (Stage Manager). Broadway: On a Clear Day You Can See Forever. National tours: The Book of Mormon, Billy Elliot, Mamma Mia!. OffBroadway: Fat Camp, From Up Here, Tryst, It Goes Without Saying. TRAVIS BLACKWELL (Assistant Stage Manager). Hamilton (San Francisco, Puerto Rico, Angelica tour); The Bodyguard (national tour); The Color Purple (national tour); Oklahoma! (St. Ann’s Warehouse); the loser, Road Trip (Bang on a Can/BAM); FLEXN Evolution, Circle Map (Park Avenue Armory); The Slow Room (Annie Dorsen). Regional: Weston Playhouse, The Glimmerglass Festival, Orpheum Memphis. TV: “The Tonight Show” Puerto Rico Special. B.F.A. University of Memphis. Love to J and the fam. travisblackwellsm.com/. ROEYA BANUAZIZI (Company Manager). Broadway: Sister Act, Ragtime (2009), Shrek The Musical. National tours: Hamilton (Angelica tour), An Act of God starring Sean Hayes, Avenue Q, Doubt starring

THE TELSEY OFFICE (Casting). With offices in both New York and Los Angeles, The Telsey Office casts for theater, film, television and commercials. The Telsey Office is dedicated to creating safe, equitable and anti-racist spaces through collaboration, artistry, heart, accountability and advocacy. ACTORS’ EQUITY ASSOCIATION (AEA), founded in 1913, represents more than 50,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theater as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. actorsequity.org. BASELINE THEATRICAL (General Management). Founded by Andy Jones in 2014 and joined by Nick Lugo, Baseline’s Broadway credits include Hamilton, freestyle love supreme, Derren Brown: Secret, The Cher Show, The Great Comet, The Last Ship, Pass Over. Off-Broadway: Audible Theatre at Minetta Lane, The Enigmatist. National tours: Hamilton. Recently established Beyond the Stage Door, a no-cost educational i n te n s i ve c re ate d to p re p a re underrepresented undergraduates for theater management careers. baselinetheatrical.com. JEFFREY SELLER (Producer) is the winner of four Tony Awards for Best Musical: Hamilton (2016) and Rent (1996), both of which won the Pulitzer Prize for Drama; Avenue Q (2004) and In the Heights (2008). He also produced De La Guarda (1998), Andrew Lippa’s The Wild Party (2000), Baz Luhrmann’s direction of Puccini’s La Bohème (2002), High Fidelity (2006), the 2009 revival of West Side Story, The Last Ship (2014), The Cher

Show (2018) and Derren Brown: Secret (2019). Jeffrey was executive producer of the NBC drama “Rise” (2018) and HBO’s “Coastal Elites” (2020). He is a graduate of The University of Michigan. SANDER JACOBS (Producer) Received the Tony and Oliver Awards for Best Musical for Hamilton (Pulitzer Prize winner) and a Tony Award for In the Heights. He recently served as executive producer of the Hamilton film and received an Emmy Award. He is a producer and /or investor for numerous Broadway, national, and international productions. Les Misérables, The Phantom of the Opera, Grand Hotel, Follies, West Side Story, Bengal Tiger and The Last Ship are among his many productions. JILL FURMAN (Producer). Broadway: Freestyle Love Supreme (Special Tony Award), Hamilton (Tony Award), In the Heights (Tony Award), Rodgers & Hammerstein’s Cinderella, The Heiress, Seminar, West Side Story, The Drowsy Chaperone, Sly Fox, and Fortune’s Fool. Jill is an Executive Producer of In the Heights and the Hamilton movie on Disney+, as well as a producer of the Hulu documentary “We are Freestyle Love Supreme.” In 2011, Furman received the Robert Whitehead Award for Outstanding Achievement in Commercial Theater Producing. Furman is on the board of the Freestyle Love Supreme Academy, the Lung Cancer Research Foundation, the Corporation of Brown University and the President’s Advisory Council for the Arts at Brown. THE PUBLIC THEATER premiered Hamilton on January 20, 2015, on the same stage where A Chorus Line premiered 40 years earlier. New York’s Public Theater continues the work of founder Joe Papp as an advocate for theater as an essential cultural force, leading and framing the important issues of our day. Programming includes new work, Shakespeare in the Park, Public Forum, Mobile Unit, Under the Radar, Public Studio, Public Works, Joe’s Pub. Recipient of 59 Tonys, 169 Obies, 53 Drama Desk Awards, 54 Lortel Awards, 32 OCC Awards, six Pulitzer Prizes. publictheater.org.

For more information about Sally Hemings, visit gilderlehrman.org/sally-hemings STAFF FOR HAMILTON ADVENTURELAND Jeffrey Seller Maggie Brohn Carl Aloi Jason Arnold Michael Maier GENERAL MANAGEMENT BASELINE THEATRICAL Andy Jones Nick Lugo Cameron Foltz James Hickey Dylan Pager Emanuel Azenberg General Management Associate........ Beth Renoni Assistant General Manager.......................Dana Li COMPANY MANAGEMENT Roeya Banuazizi Assistant Company Manager......... Crystal Clayton MARKETING AND COMMUNICATIONS Laura Matalon John Gilmour Gabriella Godínez PEOPLE & CULTURE CORNERSTONE CONSULTING HR LLC Colette Luckie Dr. Heather R. Sanders Leland Barnecut Elijah I. Wilson ORGANIZATIONAL DEVELOPMENT STRATEGISTS THE HEWLIN GROUP, LLC Jay A. Hewlin, Esq. Dr. Patricia F. Hewlin Dr. Sandra Cha TOUR BOOKING AGENCY THE BOOKING GROUP Meredith Blair Kara Gebhart Laura Kolarik Stephanie Ditman thebookinggroup.com CASTING THE TELSEY OFFICE Bethany Knox, CSA Lauren Harris Meghan Ryan Peter William Dunn Alexis Brown LEGAL COUNSEL LEVINE PLOTKIN & MENIN, LLP Loren Plotkin Conrad Rippy Susan Mindell Daniel Watkins Emily Erstling Kevin Hess Production Supervisor......................J. Philip Bassett Associate Production Supervisor.......... Amber White Production Stage Manager...................Kimberly Fisk Stage Manager..................................... Steve Henry Assistant Stage Manager.................Travis Blackwell Associate Music Director.... Victor Rudolph Simonson Music Associate.............................. James Davis Jr. Dance Captains... Eean S Cochran, Jordana Grolnick Associate Scenic Designer................ Rod Lemmond Associate Costume Designer......... Angela M. Kahler Assistant Costume Designers............... Jen Raskopf, Kim Sorenson, Kara Branch, Antonio Consuegra Costume Production Assistant..................Liza Alexis Associate Lighting Designer..................Ryan O’Gara Light Programmer.................................. David Arch Associate Sound Designer.................. Jason Crystal Assistant Sound Designer..............Alexander Swann Associate Wig & Hair Designer............Rachael Geier Casting Associate........................Peter William Dunn Casting Assistant................................. Alexis Brown Production Manager......................... Franklin Swann Production Carpenter....................... Andrew Sullivan

HAMILTON

Cherry Jones, Thoroughly Modern Mille, The Tale of the Allergist’s Wife starring Valerie Harper, Proof, Rent. Las Vegas: Rock of Ages, Hairspray starring Harvey Fierstein, We Will Rock You. Regional: La Jolla Playhouse (1992– 1997). San Diego State University alumna. Gratitude and love to LoCoCoDo. Namaste.

HAMILTON

Advance Carpenters.............................Jeff Sharrat, Randy Anetsky, Stephanie “Otis” Renegar, Dave Edington, Jill Johnson, Gerald Frentz, Chris Osborn, Sara Ramone, Steven Ball, Nate Fulmer, Jamie Allspaugh, Emily Kloos, Tommy Seawright, Tara Gaige Head Carpenter...................................Noah M Kern Automation/Assistant Carpenter......... Nick Christiani Crew Swing........................................... Dani Taylor Production Electrician................... James J. Fedigan Associate Production Electrician.......................... Christopher Robinson Advance Electricians.........................Sean Hamilton, Joe Bradford, Apon Nichols, Jody Durham, Kimberly Glenn, Mark Davidson Head Electrician...................... Jeffrey “Swing” Holtz Lead Spot...................................Rachel Juozapaitis Assistant Electrician......................... Trevor Maynard Moving Light Programmers................ Jonah Camiel, Jackson Miller Production Props Supervisor............. Denise J. Grillo Head Props................................ Michael Eickmeyer Assistant Props................................ Garrett Crooks Production Sound................................Nick Borisjuk Advance Sound............................... Gregory Bober, Josh Davis, Dave Hunter, Chad Parsley Head Sound........................................ Kevin McCoy Assistant Sound............................ Adrianna Brannon Production Wardrobe Supervisor.....Scott Westervelt Advanced Wardrobe....................... Elizabeth Hirons, Angela Simpson Wardrobe Supervisor............................. Eva Maciek Assistant Wardrobe.......................Jeffrey McGovney Stitcher.................................................Pam Raines Production Stitchers..................... Casandera Lollar, Amy Micallef, Gayle Palmieri, Antonio Villarreal Production Hair Supervisor..................Rachael Geier Hair Supervisor.................................Marcelo Donari Assistant Hair.................................. Brandon Bolton Healer & Certified Yoga Instructor.... Karine Plantadit Assistant to Ms. Furman.................Morgan Steward Rehearsal Sound Assistant...................David Samba Production Assistants.........................Fatimah Amill, Michael Medina SF Production Assistant.........................Reed Jones Banking............... Signature Bank/Margaret Monigan Payroll.................. Checks and Balances Payroll, Inc. Accountant............................ WithumSmith+Brown/ Robert Fried, CPA, Karen Kowgios, CPA, Anthony W. Moore, CPA Comptrollers......................... Galbraith & Company/ Kenny Noth, Hannah Goldstein Insurance........................... D.R. Reiff & Associates/ Regina Newsom Chief Marketing Officer...................... Laura Matalon Tour Press Agent.................................John Gilmour Press/Marketing Assistant............ Gabriella Godínez Marketing Intern.................................... Sarah Bruni Director of Ticketing.............................. Tony Lance Ticketing Manager................................ Parker Krug Social Responsibility Manager..............Andy Morgan Advertising.......................................................RPM Social Media..................................Marathon Digital/ Mike Karns, Melanie Pateiro Physical Therapy..........Neuro Tour Physical Therapy Therapist........................................ Melissa Hayman Synthesizer and Drum Programmer......Randy Cohen Associate Synth Programmer.............. Sam Starobin Assistant Synth Programmers............... Juan Matos, Taylor Williams, Jeremy King Guitar Programming........................... Dillon Kondor Original Guitar Programming........Robin Macatangay Ableton Programmer/ Beatmaster..............................Scott Wasserman Rehearsal Musicians......................Ming Aldrich-Gan, Peter Van Reseema, Matt Smart, Giancarlo de Trizio, Scott Wasserman Music Assistant......................................Chris Rayis

Music Copying......Emily Grishman Music Preparation Production Photographer..................... Joan Marcus Merchandising...............Creative Goods/Pete Milano Travel Services................ The A Team at Tzell Travel Tour Housing Services...... DebCo/Debbie Greenfield New York Housing Services.......ABA/Elizabeth Helke Security for Hamilton.................... The Patriot Group COVID Compliance.............................MODI Safe Set COVID Safety Manager.................... LaShonda Dixon COVID Safety Supervisors..................Katie Girardot, Chris Newton DEDICATION Howell Binkley (1956–2020) The Hamilton team celebrates the incredible life and contributions of Theatrical Lighting Designer, Howell Binkley. His 52 Broadway shows included Hamilton, Jersey Boys, Come From Away, In the Heights, Kiss of the Spider Woman and so many more. His work on the Disney+ release of Hamilton, filmed at the Richard Rodgers Theatre, immortalises his masterful artistry. Howell was adored by many and will be missed by all. “Thank you for sculpting in light and elevating every moment you touched.” Lin-Manuel Miranda American Express is the official card of Hamilton. CREDITS Scenery and automation by Hudson Scenic Studio. Lighting and sound equipment from PRG. Special thanks to Bra*Tenders for hosiery and undergarments. Costume construction by Jennifer Love Costumes, Parsons-Meares Ltd., Tricorne New York, Donna Langman, Artur and Tailors Inc., Colin Davis Jones, T.O. Dey Shoes, Worldtone Dance, Lynne Mackey Studios, Rodney Gordon Inc., Roberta Hamelin. Additional costumes by Larry Vrba, Euroco Costumes and Bobby Tilley. Custom furniture and specialty props built by Jerard Studio, Daedalus Scenic and Zoe Morsette. The score of Hamilton contains references to the following classics: “Going Back to Cali,” written by Christopher Wallace, Osten Harvey, Jr. and Roger Troutman. Published by EMI April Music Inc., Big Poppa Music, Justin Combs Publishing Company Inc. All rights administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219; R2M Music (BMI); all rights administered by BMG Rights Management (U.S.) LLC; Rubber Band Music (BMI). Worldwide rights administered by Grow Your Own Music (BMI), a division of “A” Side Music, LLC d/b/a Modern Works Music Publishing. ©1997 Songs of Lastrada (BMI). All rights reserved. Used by permission. “Juicy (It’s All Good),” written by Christopher Wallace, Jean-Claude Olivier, Sean Combs and James Mtume. Published by EMI April Music Inc., Big Poppa Music, Justin Combs Publishing Company Inc. All rights administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219; Jumping Bean Songs, LLC, courtesy of Jumping Bean Songs, LLC (BMI); and Mtume Music (BMI). All rights reserved. Used by permission. “Nobody Needs to Know,” from The Last Five Years. Music and lyrics by Jason Robert Brown. ©2001 Semolina Farfalle Music Co. (ASCAP). Used by permission. “Party Up (Up in Here),” written by Earl Simmons and Kasseem Dean. Published by Dead Game Publishing (ASCAP). All rights on behalf of Dead Game Publishing administered by WB Music Corp., Universal Music Corp. on behalf of itself, Boomer X Publishing, Inc. and Swizz Beatz (ASCAP). “Shook Ones Pt. II,” written by Kejuan Waliek Muchita and Albert Johnson. Published by Universal Music-MGB Songs on behalf of itself and Juvenile Hell (ASCAP) and Universal Music—Careers

on behalf of itself and P. Noid Publishing (BMI). “Ten Crack Commandments,” written by Christopher E. Martin (ASCAP) and Khary Kimani Turner (ASCAP). Published by EMI April Music Inc., Hertzrentatune and Weblife Music. All rights administered by Sony/ ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219; and Gifted Pearl Music, Inc. (ASCAP). Administered by Kobalt Music Publishing America, Inc. All rights reserved. Used by permission. “The Message,” written by Melvin Glover, Sylvia Robinson, Clifton Nathaniel Chase and Edward G. Fletcher. Published by Songs of Universal, Inc. on behalf of Twenty Nine Black Music and Sugar Hill Music Publishing Ltd. (BMI). “The Modern Major General” from The Pirates of Penzance, written by W.S. Gilbert and Arthur Sullivan. Original production premiered at Opéra Comique, London, in April, 1880. “You’ve Got to Be Carefully Taught” from South Pacific. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. This selection is used by special arrangement with Rodgers & Hammerstein: an Imagem Company, rnh.com. All rights reserved. Used by permission. Music Clearances by Deborah Mannis-Gardner/DMG Clearances, Inc. SPECIAL THANKS Jason Robert Brown, Rodgers & Hammerstein: A Concord Music Company, the Public Costume Shop, Tudor Place. Hamilton rehearsed at the 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 Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.). United Scenic Artists represents the designers and scenic painters for the American Theatre. The Press Agents and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers. The musicians employed in this production are members of the American Federation of Musicians.

This production is produced by a member of The Broadway League in collaboration with our professional union-represented employees.

• LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas. • PHOTOS, RECORDING & CELL PHONE USE are prohibited. • CHILDREN 6+ are welcome in our theatres and must be ticketed. • DRINKS are allowed in provided containers. • 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 amcmullen@dcpa.org or 303.446.4836.

Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719 Linda Ackerschott Robin Appleton Julie Bassignani Carrie Breidenbach Vonnie Clough Craig Cory Cyndie Cory Laura Cotugno Steve Davies Anne Davis Amber Donner Carolyn Dore Deborah Guess AnnSue Gunter Judy Holabird Amoreena Knabb

Leslie Lambert Taylor Malott Anthony Mattivi Sharon Millikan-Hale Callie Morrow Tim Nelson Lisa Parson Laura Payne Yolanda Pollock Dave Poole Alen Richardson Liz Spadi Amy Tepel Marybeth Tscherpel Eliza Vlasova Barb Wilson

DPAC House Crew Perry Elliot James R. Gralian Allen Olmstead EJ Posselius

Albert Sainz, Sr Derek Tovar David A. Wilson

THE BUELL THEATRE is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Arts and Venues. CITY & COUNTY OF DENVER Michael Hancock, Mayor ARTS AND VENUES Ginger White-Brunetti, Executive Director For information call: 720.865.4220

LET ’S GET ON WITH THE SHOW

• FACIAL COVERINGS are required for everyone 2+ at all times.

WELCOME BACK

PLEASE BE ADVISED

HAMILTON

DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2022/23 BROADWAY SEASON

UPCOMING 2022

ADDED ATTRACTIONS

NOW - MAY 1

APR 15 - 17

MAY 24 - 29

OCT 4 - 9

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Our new exhibition is really striking a chord.

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Visit DMNS.ORG/GUITARS for more information.

“GUITAR: The Instrument That Rocked The World” is a Touring Exhibition of The National GUITAR Museum.

DCPA DCPATEAM TEAM

DCPA Janice Sinden..........................President & CEO Gretchen Hollrah..............................................COO Lydia Garcia .........................Executive Director, 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 Garner Galleria Theatre Abel Becerra......................... Technical Director Anna Hookana+ ...................Core Stagehands DEVELOPMENT Jamie Clements...........................Vice President Megan Fevurly..........................................Manager, Grants & Reports Amanda Gomez.......Manager, Annual Fund Kaylie Groff..........................................Coordinator Marc Ravenhill ....................Associate Director, Donor Relations Whitney Staloch................Associate Director, Major Gifts Megan Stewart........................Manager, Events Erin Walker ...................................Senior Director EDUCATION & COMMUNITY ENGAGEMENT Allison Watrous ................. Executive Director Stuart Barr ............................. Technical Director Claudia Carson.......................Teaching Artist & Manager, Playwriting & Bobby G Leslie Channell .......................................... Director, Business Operations Emily Doherty.... Teaching Artist & Manager, Theatre for Young Audiences Programming Rya Dyes ................................Assistant Registrar Patrick Elkins-Zeglarski........................ Director, Education & Curriculum Management Linda Eller.....................................................Librarian Jesús Quintana Martínez ....................... Director, Community Engagement Timothy McCracken................Head of Acting David Saphier .... Teaching Artist & Manager, In-School Programming Elizabeth Schmit......................Office Manager Melissa Sumner........................................Registrar 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

Michael Kimbrough....Manager, Engineering Brian McClain .....................Manager, Custodial Casey Meschievitz ...................................Manager, Environmental Health & Safety Steven Bilbao, Ken Long, Carmen Molina, Judith Primero Molina, Juan Loya Molina, Jermaine Parker .................................Custodians

Lane Randall, Liz Sieroslawski*, Sam Stump, Andrew Sullivan*, Emmalaine Wright*....................Ticket Agents Adam Bush...................Subscription Manager Billy Dutton...........................Associate Director, Operations Roger Haak .................VIP Ticketing Manager Danielle Freeman, Kassandra Lopez, Ella Mann..........................Box Office Managers EVENT SERVICES Kirk Petersen .......................Associate Director, Savanna Campbell, Patron Relations Samantha Egle........................Event Managers Colin Dieck, Anne Fitzgerald, Group Sales Hunter Premschak, Jessica Bergin........................................... Manager Seth Miller..............................................Technicians Maddie Young ...................................Coordinator Thomas Duffin .........................................Manager, Event Technology Theatre Services Cody Gocio .......................... Event Coordinator Carol Krueger............................................ Manager Stori Heleen-O’Foley ....Lighting, Team Lead Aaron McMullen ........................Interim Theatre Services Manager John Hess.............Manager, Sales & Business Shane Hotle.................................Audio Engineer Bryan Faciane.........................Interim Assistant Theatre Services Manager Tara Miller........... Manager, Event Operations Brook Nichols ...................... Technical Director Nora Caley, Jacob Foster, Will Stowe ....................Audio/Video Engineer Teresa Gould, Kaylyn Kriaski, Robin Lander, Myrisa Martin, Ian Wells ........................................Video Engineer Margaret Ohlander ..............House Managers Brooke Wyatt........Manager, Event Logistics Aaron McMullen, MARKETING, SALES & PATRON SERVICES Lisa Mallory.....................................Vice President Marketing Heidi Bosk ...........Associate Director, Press & Promotions, Broadway & Cabaret Emmy Cook.......................................Coordinator, Broadway & Cabaret Brenda Elliott, Paul Koob..............Senior Graphic Designers TJ Forlenza ............................................Copywriter Claire Graves............................................... Director, Produced Programs Brittany Gutierrez...................................Manager, Communications Jeff Hovorka .... Director, Sales & Marketing, Broadway & Cabaret Emma Hunt........................................Coordinator, Communications & PR Emily Kent........Director, Insights & Strategy Lucas Kreitler .........Junior Graphic Designer Linda Lang.................................Project Manager David Lenk.......................................Videographer Michael Ryan Leuthner ........................ Director, Digital Marketing Emily Lozow ..............................................Manager, Broadway & Cabaret Kyle Malone................................Director, Design Katie Mount..........Manager, Email Marketing Whitney Testa..................Executive Assistant, Marketing & Broadway Janelle Vargas...........Manager, Web Content Austin Walker............................................Manager, Growth & Acquisition Juliana Whelan.................................Coordinator, Produced Programs Suzanne Yoe.......................Director, Content & Communications

Production Jeff Gifford ...................................................Director Julie Brou................Administrative Assistant/ Office Manager Matthew Campbell......Production Manager Scenic Design Lisa Orzolek .................................................Director Kevin Nelson, Nicholas Renaud..................................Assistants Lighting Design Charles MacLeod......................................Director Lily Bradford..............................................Assistant Reid Tennis+.................Production Electrician Sound Design Alexander Billman..............................Supervisor Wesley Halloran+, Meagan Holdeman+, Timothy Schoeberl..........................Technicians

Stage Management Michael Morales ..................................Production Stage Manager Corin Davidson, Heidi Echtenkamp, Anne Jude, Maggie Kayes, Rick Mireles, Kristen Mun, Malia Stoner, Kristen Sutter ...........................Stage Managers Leilani Lynch, Stacy Norwood, Andie Burns, Katy Gentry, Valerie Schaefer, Elliott Shields, Mathew Strika...................Assistant Managers Harper Hadley, Sage Hughes....................Stage Management Apprentices ACCOUNTING & FINANCE Jane Williams......................................................CFO Scene Shop Sara Brandenburg................................... Director, Eric Moore.............................. Technical Director Accounting Services Albert “Stub” Allison, Robert L. Orzolek, Michaele Davidson .....Treasury Accountant Josh Prues ....Associate Technical Directors Jennifer Jeffrey....................Director, Financial Tyler Clark, Amy Wynn Pastor, Planning & Analysis Kyle Scoggins .....................Scenic Technicians Valerie Lingbloom...................General Ledger Louis Fernandez III ... Lead Scenic Technician Accountant Brian “Marco” Markiewicz ....Lead Carpenter Jennifer Siemers ...........Director, Accounting Prop Shop Robin Lu Payne .........................................Director HUMAN RESOURCES Jamie Curl, Tory Fink, Elvira Morales................................Vice President Georgina Kayes, Ashley Lawler.......Artisans Brian Carter, Lizette Collazos..........Directors Meghan Markiewicz ..Associate Supervisor Kaitlyn Faust...................................Administrator Paint Shop Paul Johnson...........................Payroll Specialist Jana Mitchell....................Charge Scenic Artist Monica Robles...............Supervisor, Mailroom Kristin Hamer MacFarlane, INFORMATION TECHNOLOGY Lisa Roebuck.................................Vice President Vincent Bridgers .....................Senior Ticketing System Analyst Jacquelyne Glover ........Software Developer Simone Gordon ..................Program Manager Brandon LeMarr ....................... Senior Systems Administrator Sarah Martinez, Allyssa Welker ..................Help Desk Analysts Jacob Parker ............................Manager, Data & Applications Joseph Reecher ........................Junior Systems Administrator

Melanie Rentschler .....................Scenic Artists

Costume Shop Janet Macleod... Director/Design Associate Meghan Anderson Doyle ....Design Associate Catherine Gagnon ..............................First Hand Carolyn Plemitscher ..................................Draper Costume Crafts Kevin Copenhaver....................................Director Chris Campbell.........................................Assistant Wigs Diana Ben-Kiki......................................Supervisor

House Crew Douglas Taylor+...................................Supervisor James Berman+, William Loving+, THEATRE COMPANY Stephen Mazzeno+, Kyle Moore+, FACILITIES Administration Viktoria Padilla+, Glen Lucero..................................................Director Ticketing & Audience Services Charles Varin .......................Managing Director Matt Wagner+ ...................................Stagehands Jennifer Lopez ...........................................Director Ann Marshall........................... General Manager Dwight Barela, Mark Dill, Joseph Price+ ...........................................Assistant Colton Ebersole, Clint Flinchpaugh, Christina Adamoli*, Jon Collins*, Sabina Rivera .................... Company Manager John Howard.......................................... Engineers D.J. Dennis*, Edmund Gurule*, Wardrobe Elias Lopez*, Jodi Benavides, David Bright, Artistic Anthony Mattivi^.................................Supervisor Hayley Solano* .............Counter/Show Leads Christopher Coleman........... Artistic Director Robin Appleton^, Andy Bruening, Benjamin Koenig, Anthony Saavedra.........Security Specialists Kirsten Anderson*, Scott Lix*, Melissa Cashion .....................Artistic Producer Amber Donner^, David La Beaux^, Judy Briggs...........................................Front Desk Brad Steinmeyer*, Charlie Miller .......Associate Artistic Director Lauren LaCasse, Lisa Parsons^........Dressers Greg Swan* ..................... Subscription Agents Quentin Crump........................................Manager, Grady Soapes ....................Artistic Producer & Jerome Horng, Security & Guest Relations Luis Bordoy, Eli Davis*, Shay Goddard, Director of Casting Marisa Sorce ................................Wig Assistants Merry Davis ..........................Financial Manager Jen Gray*, Chantel Healy, * Member, I.A.T.S.E. Local B-7 + Member, I.A.T.S.E. Local 7 Jane Deegan ..................................Administrator Natalie Jaramillo, Noah Jungferman*, Michael Mathey*, Jonce Palmer, ^ Member, I.A.T.S.E. Local 719 Staff list current through Jan 21, 2022

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THE MAN WHO FIRST BROUGHT US

HAMILTON — RON CHERNOW ON SERVING AS LIN-MANUEL MIRANDA’S

“RIGHT HAND MAN” BY JANICE C. SIMPSON

Before Miranda wrote the show, Chernow wrote the best-selling biography on the once-forgotten Founding Father. How involved was Chernow in the making of the musical? What does he think of Hamilton as hip-hop? And what would Hamilton, himself, think?

The story has already become Broadway lore: Lin-Manuel Miranda was on vacation from his Tonywinning musical In the Heights when he picked up a biography of Alexander Hamilton. Before Miranda finished the second chapter of the 800-page book, he began to think of Hamilton’s life as a series of hip-hop songs, performed by people of color. Mutual friends introduced him to the book’s author, Ron Chernow, and the rest, as they say, is history-making. Chernow reveals what it was like for him — a musical newbie — to collaborate on the show that is now a phenomenon. What did you think when you first heard the idea of turning your book into a musical? Ron Chernow: The book had been optioned for a movie in Hollywood three times and, as so often happens, disappeared into a black hole. Lin started by telling me that Hamilton’s story was a classic hip-hop narrative. Needless to say, I had no idea what he was talking about. I know now. But I didn’t know then. I’m a little more hip now than I was at that point. I think Hamilton worked for hip-hop because there was something so driven about him. He’s constantly talking and writing and reading and doing things, and so the pulsating hip-hop music and lyrics really match the tempo of his life. And [Lin] asked me on the spot to be the historical advisor. He said “I want the historians to take this seriously.” Can you explain your involvement as the advisor? RC: First order of business was simply my pointing out errors. As time went on, I commented about the portraits of the different characters, motivations, the dynamics of the different relationships, the dramatic arc.

How often were you in touch? RC: I kept reentering this process — I would say at about two- or three-month intervals, when there was a first rehearsal, a first workshop, a first theatre festival, a first sing-through of the whole show, the sitzprobe. And then earlier when it was still at the Public Theater, I was seeing the show about every third or fourth night because Lin was still making changes. How did the two of you work? RC: Lin was a strong enough personality with a sense of integrity that allowed him to really have the biographer deeply involved in this way. Whenever there was a new version of the show, I had the opportunity to sit down with Lin for an hour or two and give him my reactions and he would sit there with his laptop. If I said to him something that was ridiculous, he would just stare at me. If I said something that — to him — made sense, he 20

APPLAUSE • FEB – MAR 2022

COLORADO NATIVE JORDANA GROLNICK COMES HOME IN

Do you remember how you felt the first time you saw the whole show? RC: The ﬁrst preview at the Public in January [2015] was indescribably emotional for me. I was just on the verge of tears through the whole performance. It was rather magical and dreamlike that these ﬁgures that I had written about were suddenly dancing and singing on this stage.

HAMILTON

What have you been listening to? RC: Everything from Evita to Follies to A Chorus Line to Jesus Christ Superstar. It’s been a very nice education for me. No 1776 [the musical]? RC: I think that the image of 1776 [a bunch of late middle-aged white males] was in the back of my mind the first time that Lin invited me to a rehearsal with actors. I opened the door of this studio and I peeked in … and my first thought was, “Oh my God, they’re all Black and Latino.” I’m embarrassed to say, I hadn’t thought about the casting at all, but I just assumed that the Founding Fathers, you know…. And I sat down and I said to myself, “Oh boy, I’d better talk to Lin about this when this rehearsal is over.” Number one: Within seconds you forget what racial or ethnic group they belong to. But then I also felt within a matter of minutes…this is an inspired idea because these young Black and Latino performers are not only bringing extraordinary talent, but freshness and passion and energy that I had never seen. Even in this early rehearsal, they were already getting closer to the spirit of the American Revolution than anything I had seen either on stage or screen. Why do you think the show has become such a phenomenon? RC: There are a lot of different reasons. I think that it has revolutionized musical theatre by taking three things that had never been fused together — hip-hop, Broadway show tunes and American history — in this brilliant mix. I think the show really captures the changing demographics of the country. People go into the theatre and as they are watching 18th-century America, they’re simultaneously seeing 21st-century America. Suddenly, the 18th century seems very immediate and very accessible in a way that it has never been before. The show is reacquainting Americans with their own origins. What do you think Hamilton would think of all this? RC: He would love it. You know Hamilton was not a bashful boy.

Had you been a fan of musicals before? RC: I’d always preferred straight drama as opposed to musicals. But I must say, having been involved with this show has given me enormous respect for musicals and how diﬃcult they are to do. I’ve actually spent the last few months listening to a lot of cast albums from earlier decades because I’ve just gotten interested in musicals.

When Hamilton returns to Denver, it’s a homecoming for Colorado native Jordana Grolnick, swing and co-dance captain. We talked with her about the show, COVID and coming home: DCPA: Why do so many Coloradans make it to Broadway? Is it the altitude? Grolnick: Oh, for sure! People live here because they love it here, and that passion and conviction translates into following one’s dreams. DCPA: A photo on your website shows you as a young child in a tutu. Did you dance from a young age? Grolnick: My mom put me in dance class at age three (thank you, Mom!!). I was obsessed with it and never stopped. DCPA: How long was your Corona pandemic “hiatus”? How bad was it? Grolnick: [Hamilton] got shut down for two weeks at first, so I traveled back to Colorado. Two weeks turned into two months, turned into “until further notice,” so I moved semipermanently back to Boulder. DCPA: Can you feel a difference in audiences now? Grolnick: I think people have been truly aching for communal experience. I’ll never forget the first time I sang “Yorktown” after the pandemic — “The world turned upside down” brought me to tears because I finally knew exactly what it meant. We had lived it and been given the chance to come back and tell the tale.

HAMILTON

FEB 16 – MAR 27, 2022 • BUELL THEATRE ASL Interpreted, Audio-described and Open Captioned performance: Mar 26, 2pm ASL Interpreted performance: Mar 18, 7:30pm

READ THE FULL Q&A

Jordana Grolnick Matthew Murphy Photography

wouldn’t say anything, he would just start typing furiously. He was absolutely unerring in terms of knowing when to respond to what I had said and when not to respond.

PROUD CORPORATE MEMBER OF THE DENVER CENTER FOR THE PERFORMING ARTS

T Through its community outreach program, Ameristar Cares, team members help those who need it most by volunteering time and making financial contributions.

This year, Ameristar Casino Resort Spa again joins the Denver Center for the Performing Arts as a proud sponsor. Through its world class productions, the DCPA has been entertaining audiences in the Denver community for decades. Also being in the business to entertain, it’s only natural that Ameristar would find a partner in DCPA. This mission to thrill and to create memorable moments for their guests is one that Ameristar takes seriously. “Beyond fostering great entertainment,” said Sean Demeule, General Manager of Ameristar Casino Resort Spa, “Ameristar recognizes that all responsible organizations have an obligation to make a meaningful difference in their communities. Through our community outreach program, Ameristar Cares, team members help those who need it most by volunteering time and making financial contributions. Whether it is serving at a food bank or financially supporting one of many community health organizations, our team members have a passion to give back to Denver.” It’s for this reason that Ameristar has continued year after year to partner with DCPA. It’s about having a passion not only to entertain, but also to change lives. To foster a vibrant community of giving and to contribute to causes which seek to create a better tomorrow. When the curtain falls, Ameristar will be standing with DCPA.

— SEAN DEMEULE, GENERAL MANAGER OF AMERISTAR CASINO RESORT SPA

“ 22

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MOULIN ROUGE! THE MUSICAL WINNER OF 10 TONY AWARDS® INCLUDING BEST MUSICAL

Join the DCPA for a night of world-class entertainment! Transport yourself to a spectacular soiree in Montmartre, home of the Moulin Rouge, at the Saturday Night Alive gala, supporting DCPA theatre and education programs. Romantic passion, unbridled glamour and bohemian extravagance await you at the biggest social event of the year. Cocktail Hour Three-Course Dinner Luxury Online Auction Moulin Rouge! The Musical at the Buell Theatre

Purchase tickets at DENVERCENTER.ORG/SNA Can’t make it this year? Participate in the luxury online auction, which will be open for public bidding.

FOSTERING TOMORROW’S

PLAYWRIGHTS

BY S U Z A N N E YO E

There’s an expression: Good writers are born not made. Maybe…but good writers can become great when their talents are guided. In 2013, DCPA Education set out to meet a growing need. High schools were asking for support for aspiring young writers, so the team offered in-school playwriting workshops and an annual one-act competition. Once the program took off, it was no surprise that middle schools also expressed interest, so last year, the program expanded to encompass grades 6-8. To date, more than 25,000 students have participated in the program. “It is so exciting to see the enthusiasm, creativity and talent of these young playwrights,” said Claudia Carson, DCPA Education Playwriting Manager. “Whether inspired by personal accounts, social issues or science fiction, the submissions are always highly entertaining, well written and engaging. We are so proud of our students!” This year, DCPA Teaching Artists have offered 89 workshops to 1,680 students in 21 schools. Of those participants, the DCPA received 135 submissions to its annual playwriting competition. All submissions are reviewed by DCPA artistic, literary and education professionals. In January, the team announced 10 high school finalists and three winners. The winning high schoolers’ scripts will have a professional staged reading during the annual Colorado New Play Summit in March. The high school winners, along with the three middle school scripts, are then published in a theatre anthology. “We invite our theatre family to read about the winning scripts on our website at denvercenter.org/write-a-play,” said Carson. “Who knows? You might be reading the work of the future Lin-Manuel Miranda.” The DCPA’s High School Playwriting Competition is made possible by the generous support of Chevron, The Robert and Judi Newman Family Foundation and Transamerica.

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LEARN MORE ABOUT THE DCPA’S HIGH SCHOOL PLAYWRITING COMPETITION