Applause -- 1776, March 21 - April 2, 2023

APPLAUSE

HUGE SELECTION OF BRANDS LIKE MICHAEL AMINI, BERNHARDT, CENTURY AND SO MUCH MORE!

Non metallic Pantone 4515 + Black (C-40%, M-50%, Y-50%, K-100%)

White + Black (C-40%, M-50%, Y-50%, K-100%)

SIGHTLINE

BY JOHN EKEBERG

DDear Broadway friends,

What an exciting time to be a fan of live theatre! New Broadway shows continue to come into New York as dozens of touring shows make their way around the country to play before appreciative audiences such as yourselves. There are so many upcoming productions on our season that I am eagerly anticipating – many coming to Denver for the first time as well as a selection of returning favorites. You’ll find more information on all our upcoming productions in the pages of this magazine.

In other Broadway news, I recently had the good fortune of taking on a leadership role with the Independent Presenters Network (IPN) as its president. IPN is a consortium of 40 preeminent Broadway presenters, theaters, and performing arts centers. A leader in the industry, IPN is monumental in influencing the shows that make it to Broadway and national tour. Its members bring Broadway productions to more than 110 cities in North America, the United Kingdom, Japan, and China. Recent productions the IPN has invested in include Hadestown, Company, and this season’s Some Like It Hot We at the DCPA are proud to be members of this organization that plays such a significant role in shaping our industry.

Most of my IPN colleagues are Tony Awards voters, as am I, and this year the Tony Awards will be presented at the United Palace Theatre in New York on June 11. Tony nominations will be announced later this spring, and this year’s shows will in part inform touring Broadway for the 2024/25 season. You’re invited to tune in.

Even after 30 years (!) with the DCPA, I still find every season full of joy and expectation, and I hope that you will join us in the year ahead as we bring the magic of Broadway to Denver. We can’t do it without you!

See you at the theatre,

John Ekeberg, Executive Director of DCPA Broadway & Cabaret

HONORING OUR ELDERS

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

EDITOR: Suzanne Yoe

DESIGN DIRECTOR: Kyle Malone

DESIGNER THIS ISSUE: Brenda Elliott

CONTRIBUTING DESIGNERS: Paul Koob, Lucas Kreitler

CONTRIBUTING WRITERS:

Genevieve Miller Holt, Emma Hunt, John Moore

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

Applause magazine is funded in part by

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

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

BOARD OF TRUSTEES

Hassan Salem, Chair

Martin Semple, Immediate Past Chair

Ruth Krebs, Vice Chair

Robert C. Newman, Secretary/Treasurer

Dr. Patricia Baca

Brisa Carleton

Fred Churbuck

Navin Dimond

David Jacques Farahi

Kevin Kilstrom

Susan Fox Pinkowitz

Manny Rodriguez

Alan Salazar

Richard M. Sapkin

William Dean Singleton

Robert Slosky

June Travis

Ken Tuchman

Tina Walls

Dr. Reginald L. Washington

Judi Wolf

Sylvia Young

HONORARY TRUSTEES

Margot Gilbert Frank

Jeannie Fuller

Daniel L. Ritchie

Cleo Parker Robinson

HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES

William Dean Singleton, President

Martin Semple Vice President

Dr. Reginald Washington, Secretar y/Treasurer

Ruth Krebs

David Miller

Robert C. Newman

Hassan Salem

Robert Slosky

June Travis

Judi Wolf

EXECUTIVE MANAGEMENT

Janice Sinden, President & CEO

Jamie Clements, Vice President, Development

Chris Coleman, Artistic Director, Theatre Company

John Ekeberg, Executive Director, Broadway & Cabaret

Lydia Garcia, Executive Director, Equity & Organization Culture

Gretchen Hollrah, Chief Operating Officer

Laura Maresca, Vice President, Human Resources

Charlie Miller, Executive Director & Curator, Off-Center

Lisa Roebuck, Vice President, Information Technology

Charles Varin, Managing Director, Theatre Company

Allison Watrous, Executive Director, Education & Community Engagement

Jane Williams, Chief Financial Officer

PELLÉAS

Claudio Monteverdi World Premiere Orchestration by Nico Muhly

Tosca Illustration by Benedetto Cristofani

BE A G.E.M.

GIVE EVERY MONTH

THE IDEA IS SIMPLE THE IMPACT IS EXPONENTIAL

Make a monthly donation (in any amount) to the DCPA to join our Sustainer Society! Your consistent contributions will lay the foundation for even more ambitious shows and experiences in the future. Customize your donation amount at any time and support the DCPA on your terms.

THE SUSTAINER SOCIETY PROVIDES:

• AFFORDABILITY: Spread your contribution throughout the year.

• FLEXIBILITY: Opt in or out on your terms.

• CONVENIENCE: Automated payments make giving easy.

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HATTITUDE LUNCHEON

Join us for one of our signature fundraising events and support women in theatre! Our Hattitude luncheon, held in May to benefit the DCPA’s Women’s Voices Fund, combines the sophistication of a garden party with the exuberant atmosphere of brunch with friends.

LEARN MORE

MAY 4, 2023

Photo by Amanda Tipton

ASPIRING PLAYWRIGHTS

A TAKE THE STAGE

BY EMMA HUNT

As a part of its mission to connect with students in the Colorado community, DCPA Education initiated the Middle School & High School Playwriting Workshops in 2013. This season, 120 of these workshops were taught across 22 counties, serving over 2,600 students. This program is free to all educators and is offered both in-person and virtually, making the workshop accessible to all communities across Colorado.

Born from these workshops is the Middle School & High School Playwriting Competition. Students can submit a one-act play (high school) or 10-minute play (middle school) for professional review. Students don’t need to participate in a workshop to be eligible for the competition, but the workshops set them up for success.

This year, 179 submissions were received for the competition. A panel of artistic, literary, and theatre education professionals evaluated the submissions and selected ten high school finalists. Three winners in each age group were then determined.

The top three plays by each age group are included in the annual Playwriting Anthology and the three winning high school plays receive a public staged reading as part of the Colorado New Play Summit. Additionally, each winner receives a $250 prize and each of the playwrights’ teachers receives $250 toward the purchase of books or tools for their classrooms.

The three plays staged at the 2023 Colorado New Play Summit were A Curious Couple by Elliet Johnson, From the Beginning to the Edge by Hayden Ferrandino, and Players, Staged by Penelope Letter.

Prior to their staged readings, the young playwrights received guidance from the DCPA Education team to hone their craft with individual mentorship. Plus, they worked with directors to see their plays come to life. For many of these students, it’s a once-in-alifetime opportunity to witness and participate in the professional development of their work.

The Playwriting Competition is a vital resource for aspiring playwrights and the community. For these student playwrights, seeing their work performed onstage in front of an audience for the first time can be truly life changing.

•

START HERE...

Whether you’re looking to brush up on a topic with a one-day workshop, upskill yourself with a 16-credit certi cate, or change careers and earn a full master’s degree, the Daniels College of Business at the University of Denver has an o ering to t your needs. We have in-person and online courses for those who have recently graduated all the way up to C-suite executives.

BARTLETT SHER ON DIRECTING THE BROADWAY REVIVAL OF FIDDLER IN 2015

What are the differences between directing this show and other past projects?

Bartlett Sher: Talking about Fiddler on the Roof is actually a pretty great challenge when it comes to being a director, because the show is deeply beloved, and it has a very strong and rich history. It has been revived several times, and it lives within a tradition of literature that is much beloved with very strong opinions about it. It’s a challenge in the sense that you want to summon the experience it evokes, and particularly now in history it’s a particularly interesting story to be coming back to. Fiddler takes on a series of these Tevye tales, and it follows the family through it. Our concentration is evoking the spirit of two things: One, of the pogroms and the intense world of where they grew up, and at the same time, the color and light and beauty and humor that’s in the actual spirit of the telling. So, it’s trying to marry those two things into making something fresh.

Your family has a close connection to the people depicted in the musical.

My father was born in a shtetl in Lithuania, and when he was three years old my grandmother put him on a train and came up through Canada and all the way across to Southern California. My grandfather came through Ellis Island. So, I’ve always had a sort of connection to the tale, but it’s only an imaginary one. I don’t actually know what that was like. My grandparents spoke Yiddish, but I don’t have much of a memory of what that meant to me. In a way, I think that’s similar to a lot of people who read these

tales. They think they should understand them better than they sometimes do. The stories are very powerful, but you can’t really explain why. It’s more in the spirit of them—the spirit of going forward, the spirit of enduring, the spirit of holding on, the spirit of living by your faith, the spirit of living by your family. This piece allows audiences to—in the same way as it did in South Pacific—discover their own past all over again, in the same way as I’m using the show to discover my past. There is a lot of joy in the journey, even though the journey is marked by suffering.

What do you hope modern audiences will take away?

Audiences will come to Fiddler and experience a full orchestra and the world and the village of Anatevka coming to life. In that exploration, they get to enjoy the thing that musical theatre does best, which is creating vivid, bold life within the community and lives of the family. I want to honor as deeply and magnify the work of Bock, Harnick, Stein, and Robbins. I think they’re greatgrandfathers of my work, and I would like to create a production that lets people see how good their work is.

Ali Arian Molaei (Villager), Scott Willits (Villager), Brayden Singley (Villager), James Jude Johnson (Villager) and Max Derderian (Villager) in the North American Tour of Fiddler On The Roof .

Photo by Joan Marcus.

MUSIC MAYHEM

The 2022/23 DCPA Theatre Company season culminates with a pair of treasured works by Alice Walker and Alfred Hitchcock.

THE COLOR PURPLE

“A glory to behold!”

The New York Times

SPOTLIGHT SPONSORS:

Singleton Family Foundation

Sustainer Society

Mar 31 – May 7

Wolf Theatre

THE 39 ST EPS

— The Denver Post

PREMIERE SPONSORS:

Robert & Judi Newman

June Travis

SPOTLIGHT SPONSORS: Martin & Jo Semple

Sustainer Society

SHOW SPONSOR:

Acoya Cherry Creek

Apr 14 – Jun 18

Singleton Theatre

GET TICKETS

GET TICKETS

Illustrations by Kyle Malone

“A silly yet delightfully faithful spoof of Alfred Hitchcock’s 1935 spy thriller.”

1776: REDEFINING A MOMENT IN HISTORY

BY JOHN MOORE

AAcclaimed director Diane Paulus’ personal mantra as an artist is to always expand the boundaries of theater – or why even bother?

She did that when she reimagined the classic Broadway musicals Hair, Porgy & Bess and Pippin; the films Finding Neverland and Waitress, and even Alanis Morissette’s platinum-selling album Jagged Little Pill. And she’s done it again with a revolutionary new version of the Revolutionary War musical 1776

Instead of telling the story of the founding fathers with a cast of mostly white men, as first conceived in 1969, Paulus and co-director Jeffrey L. Page’s more representative modern ensemble is made up entirely of multi-racial actors who are female, nonbinary and trans.

None of whom would have been allowed to audition for the show’s Broadway premiere 54 years ago. More meaningfully, none of whom were given the slightest consideration by the crafters of the Declaration of Independence 247 years ago.

Furthermore, what Paulus and Page did not know before taking on 1776 is that in an early draft of the Declaration, Thomas Jefferson condemned slavery as “one of the many evils foisted upon the colonies by the British crown.” He called it “piratical warfare” and an “assemblage of horrors.” (Yes, the same Jefferson who owned more than 600 enslaved people in his lifetime.)

As the fledgling republic teetered on the brink of collapse, the Declaration’s authors caved to the Southern states on slavery, and Jefferson’s passage was cut for political expediency.

Discovering Peter Stone and Sherman Edwards’ timecapsule musical was an opportunity for Paulus to reflect on her own journey with learning American history.

“Certainly we all studied the Declaration of Independence in high school, but the slavery aspect is one piece of the history I was not familiar with before I sat down and read 1776,” she said. “When I read that in the play, I thought, ‘Wait, did this really happen?’”

Paulus now looks at the Declaration as a deeply aspirational divorce decree and its authors as heroic radicals who were attempting to found a country on a noble idea.

And yet …

“Part of the study for me was not only to understand the stakes for these historical figures, but also to understand how we reckon with the compromises that were made, and who was left out,” said Paulus.

She believes today’s 1776 audiences will see a production that reflects the change that we seem to be collectively aspiring to, both in America and inside the American theater. “You will be looking at a cast of humans who would have had no voice in the history-making that this musical depicts,” said Paulus. And yet, in its three-month run in New York last year, 1776 was responsible for nearly 30 Broadway debuts between its actors, musicians and backstage crew. “We’re making change,” Paulus said, “one production at a time.”

But 1776 does not make change simply by taking its many nontraditional actors and placing them in the roles of their white revolutionary forebears.

(from L) Sushma Saha, Sara Porkalob, Mehry Eslaminia, Gisela Adisa, Crystal Lucas-Perry, Elizabeth A. Davis, Becca Ayers, Brooke Simpson, and Oneika Phillips in 1776 Credit: Evan Zimmerman for MurphyMade.

“Jeffrey and I were really clear that we were not interested in presenting an illusion that we’re simply going back in a time warp and watching a re-enactment of history through a glass,” she said. “Yes, you are looking at a historical enactment…but make no mistake: It is an enactment. It’s theater.

“We’re really inviting the audience to hold two realities at the same time as they watch the show. There is the reality of these underrepresented performers today, in their modern dress, and there is the theatrical reality of when those same actors step into the shoes of the Founding Fathers and speak the very words that depict this historical moment of the founding of America.”

At no point is the audience asked to forget who these performers are in their own skin. Instead, “the individual actors are always visible in their authentic identities,” she said. “They never become head-totoe transformed in their costumes or characters. They still wear the earrings they want to wear and their hairstyle how they want it to be. And, yes, they do enact the play. So for the audience, you’re actually having to think about both realities. I think it makes you hear the language in a fresh, new way.”

COMING UP FROM THEATRE COMPANY

THE COLOR PURPLE

The Color Purple is a stirring family chronicle following a young woman on her journey to independence and selflove. Celie Harris — abused by her family, torn from her children, and faced with the loss of her beloved sister — must learn to rebuild her life from scratch. Through joy and despair, anguish and hope, Celie discovers the power of love and life.

Based on the Pulitzer Prize-winning novel by Alice Walker, the musical boasts a Grammy Award-winning score of jazz, blues, and gospel. DCPA Theatre Company Artistic Director Chris Coleman says, “There’s a great spirit of celebration, uplifting community, and a simple authenticity to The Color Purple.” The DCPA Theatre Company is proud to share in the joy of live theatre and share diverse, genuine stories onstage. Few stories have had the cultural significance and lasting power of The Color Purple. It is a triumphant, uplifting piece of art that reaffirms some fundamental truths: that Black is beautiful, that women are powerful, and that love is love.

Page, the first African American to be named the Marcus Institute Fellow for Opera Directing at The Juilliard School, believes this new 1776 opens up a conversation around who has the right to this dream we call America.

“It’s interesting because I never really knew what 1776 was, and in the community that I come from, that is not all that far-fetched,” he said. “It might seem alien that an American would have no relationship to what the founding of America means at its very essence. But in many ways, I have felt like the America that people often speak about doesn’t involve me. And so I think this show is interested in commenting very specifically on who gets to have a piece of this American dream – and who does not.”

Paulus is a great believer that theater is an art form that is alive and present, and so she wanted very much to make our present moment of America part of the experience of this production. Theater at its best not only entertains us, Page added, “it awakens us, it shakes us, it disorients us, so that we have the ability to think in ways that are new and bright.

“I think that’s what 1776 does. I’m very proud that this show provokes a kind of discussion that galvanizes an entire community.”

Don’t miss this beloved musical at the Wolf Theatre in the Bonfils Theatre Complex from March 31 through May 7, 2023.

I think this show is interested in commenting very specifically on who gets to have a piece of this American dream — and who does not.

— JEFFREY PAGE, CO-DIRECTOR

Illustration by Kyle Malone

The American Repertory Theater Roundabout Theatre Company National Artists Management Company NETworks Presentations

Music and Lyrics by Sherman Edwards

Book by Peter Stone

Based on a Concept by Sherman Edwards

Original Broadway Production Produced by Stuart Ostrow

present 1776 with Shelby Acosta Gisela Adisa Nancy Anderson Tiffani Barbour Dawn Cantwell

Julie Cardia Amanda Dayhoff Sara Gallo Joanna Glushak Anissa Marie Greigo

Kassandra Haddock Shawna Hamic Lisa Karlin Connor Lyon Liz Mikel Oneika Phillips

Lulu Picart Kayla Saunders Ariella Serur Brooke Simpson Sav Souza Lillie Eliza Thomas

Tieisha Thomas Jill Marie Vallery Zuri Washington Gwynne Wood Candice Marie Woods

Set Design Scott Pask

Projection Design David Bengali

Orchestrations

John Clancy

Costume Design Emilio Sosa

Hair and Wig Design Mia Neal

Original Music Supervision by David Chase

Associate Director

Brisa Areli Muñoz

Casting Stewart/Whitley

Production Management NETworks Presentations

Hector Guivas

Lighting Design Jen Schriever

Fight Choreographer Thomas Schall

Vocal Design AnnMarie Milazzo

Associate Choreographer Courtney Paige Ross

Marketing and Publicity Direction BOND Theatrical

Production Stage Manager Genevieve Kersh

Executive Producer National Artists Management Company Barry Weissler and Alecia Parker

Company Manager Katie Cortez

Music Supervision Music Direction Ryan Cantwell

Choreography by Jeffrey L. Page

Sound Design Jonathan Deans

Dialect Coach Erika Bailey

Music Coordinator Dean Sharenow

Tour Booking The Booking Group

Meredith Blair

Kara Gebhart

General Managers Gentry & Associates

Gregory Vander Ploeg

Madeline McCluskey

Executive Producer NETworks Presentations Trinity Wheeler

Directed by Jeffrey L. Page and Diane Paulus

A NOTE FROM THE DIRECTORS

In creating this revival production of the Tony Award-winning musical 1776, we have embraced our American history through multiple lenses. Written by Peter Stone and composer/lyricist Sherman Edwards in the late 1960s, the story reenacts our Founding Fathers’ drafting of the Declaration of Independence, now brought to life in this twenty-first century production by a company of artists who reflect multiple representations of race, ethnicity, and gender, and who identify as female, trans, nonbinary, and gender nonconforming. The words and symbols of our cultural memory take on very different meanings through the act of reframing this musical in the context of America today. By intentionally shifting our gaze, we simultaneously see not only what was, but also what can be.

We invite you, the audience, to hold multiple realities at once: both this historical narrative and the identities of this company of artists alive in 2023. In this production, we find other faces, other voices, other perspectives on our American history. In “Molasses to Rum”, we are inspired by the Haitian Revolution, Nat Turner’s Rebellion, and present day protests. In the musical arrangement and staging of “Momma Look Sharp,” we acknowledge the ongoing impact and suffering of cyclical violence in the United States. Abigail Adams’ most famous historical words, “remember the ladies…all men would be tyrants if they could,” have been added to the musical for the first time ever with the blessing of the estates of Stone and Edwards. Robert Hemings, the enslaved person who waited upon Thomas Jefferson in his quarters in Philadelphia as he wrote the words “all men are created equal,” is given a presence on stage.

At its core, our production asks questions. How can we hold history as a predicament versus an affirming myth? How does an honest reckoning with our past help us move forward together? How is my story a part of American history?

We understand that ‘1776’ means very different things to people. Those differences, we think, feel central to the task of telling this story at this moment. Bryan Stevenson, who led the creation of the National Memorial for Peace and Justice in Montgomery, said “People do not want to admit wrongdoing in America, because they expect only punishment. I’m not interested in talking about American history because I want to punish America. I want to liberate America.” By gathering together to watch this performance, it is our invitation for you to wrestle, collectively, with the complicated multiplicity of truths from our past, while acknowledging how far we have come, and how far we still can go together. “Don’t turn away,” as the poet Rumi said. “Keep your gaze on the bandaged place. That is where the light enters you.”

Jeffrey L. Page and Diane Paulus, Directors

Photo by Matthew Murphy

CAST

Shelby Acosta Gisela Adisa

Nancy Anderson Tiffani Barbour

Dawn Cantwell

Julie Cardia Amanda Dayhoff

Joanna Glushak

Anissa Marie Griego

Kassandra Haddock

Shawna Hamic

Lisa Karlin

Connor Lyon

Oneika Phillips

Lulu Picart

Kayla Saunders

Ariella Serur

Sara Gallo

Liz Mikel

Brooke Simpson Sav Souza

Lillie Eliza Thomas

Tieisha Thomas

Jill Marie Vallery Zuri Washington

Gwynne Wood Candice Marie Woods

CAST

(in order of appearance)

John Adams, Massachusetts GISELA ADISA

Robert Livingston, New York ZURI WASHINGTON

George Read, Delaware GWYNNE WOOD

Col. Thomas McKean, Delaware DAWN CANTWELL

Andrew McNair, Congressional Custodian TIFFANI BARBOUR

Stephen Hopkins, Rhode Island JULIE CARDIA

Abigail Adams/Rev. Jonathan Witherspoon, New Jersey ................................................. TIEISHA THOMAS

Thomas Jefferson, Virginia NANCY ANDERSON

Charles Thomson, Secretary SHELBY ACOSTA

John Dickinson, Pennsylvania JOANNA GLUSHAK

Richard Henry Lee, Virginia SHAWNA HAMIC

Martha Jefferson/Dr. Lyman Hall, Georgia ..................................................................................... CONNOR LYON

John Hancock, President of the Congress ONEIKA PHILLIPS

Benjamin Franklin, Pennsylvania LIZ MIKEL

Joseph Hewes, North Carolina CANDICE MARIE WOODS

Samuel Chase, Maryland LULU PICART

Edward Rutledge, South Carolina .................................................................................. KASSANDRA HADDOCK

Judge James Wilson, Pennsylvania ARIELLA SERUR

Roger Sherman, Connecticut ANISSA MARIE GRIEGO

Courier BROOKE SIMPSON

Dr. Josiah Bartlett, New Hampshire SAV SOUZA

Caesar Rodney, Delaware JILL MARIE VALLERY

UNDERSTUDIES

Standbys and understudies never substitute for the listed performers unless a specific announcement is made at the time of the appearance.

For John Adams—LILLIE ELIZA THOMAS, TIEISHA THOMAS, ZURI WASHINGTON; for Robert

Livingston—TIFFANI BARBOUR, ONEIKA PHILLIPS, LILLIE ELIZA THOMAS; for George Read—

DAWN CANTWELL, JULIE CARDIA, SARA GALLO, ARIELLA SERUR; for Col. Thomas McKean—

JULIE CARDIA, AMANDA DAYHOFF, LISA KARLIN; for Andrew McNair—KAYLA SAUNDERS; for Stephen Hopkins—AMANDA DAYHOFF, LISA KARLIN; for Abigail Adams/Rev. Jonathan Witherspoon—BROOKE SIMPSON, ZURI WASHINGTON; for Thomas Jefferson—DAWN

CANTWELL, GWYNNE WOOD; for Charles Thomson—AMANDA DAYHOFF, ANISSA MARIE GRIEGO, SAV SOUZA; for John Dickinson—DAWN CANTWELL, JULIE CARDIA; for Richard Henry Lee—LISA KARLIN, SAV SOUZA, GWYNNE WOOD; for Martha Jefferson/Dr. Lyman Hall—ANISSA

MARIE GRIEGO, ARIELLA SERUR; for John Hancock—LILLIE ELIZA THOMAS, TIEISHA THOMAS; for Benjamin Franklin—ONEIKA PHILLIPS, LILLIE ELIZA THOMAS; for Joseph Hewes—TIFFANI BARBOUR, KAYLA SAUNDERS; for Samuel Chase—SHELBY ACOSTA, LISA KARLIN; for Edward Rutledge— AMANDA DAYHOFF, LULU PICART, GWYNNE WOOD; for Judge James Wilson—SARA

GALLO, ANISSA MARIE GRIEGO, SAV SOUZA; for Roger Sherman—SHELBY ACOSTA, SARA GALLO, LULU PICART; for Courier— KAYLA SAUNDERS, ZURI WASHINGTON, CANDICE MARIE WOODS; for Dr. Josiah Bartlett—SHELBY ACOSTA, SARA GALLO, ARIELLA SERUR; for Caesar Rodney—ONEIKA PHILLIPS, KAYLA SAUNDERS, CANDICE MARIE WOODS.

STANDBYS

AMANDA DAYHOFF, SARA GALLO, LISA KARLIN, KAYLA SAUNDERS, LILLIE ELIZA THOMAS

Production Stage Manager

GENEVIEVE KERSH

Stage Manager CHRIS ZACCARDI

Assistant Stage Manager SAGE LUMSDEN

Dance Captain ................................................................................................................................ JILL MARIE VALLERY

Assistant Dance Captain ONEIKA PHILLIPS

Fight Captain SAV SOUZA

“Sit Down, John”

MUSICAL NUMBERS

ACT I

John Adams, Company

“Piddle, Twiddle, and Resolve” Adams, Company

“Till Then”

“The Lees of Old Virginia”

John and Abigail Adams

Lee, Franklin, Adams, Historical Lees

“But, Mr. Adams” ................................................................... Adams, Franklin, Jefferson, Sherman, Livingston

“Yours, Yours, Yours”

“He Plays the Violin”

ACT II

John and Abigail Adams

Martha Jefferson, Franklin, Adams, Jefferson

“Cool, Cool Considerate Men” Dickinson, Hall, Hancock, Hewes, Read, Rutledge, Thomson, Wilson

“Momma, Look Sharp” Courier, McNair, Company

“The Egg” Franklin, Adams, Jefferson, Company

“Molasses to Rum” Rutledge, Company

“Yours, Yours, Yours” (reprise) Abigail Adams

“Is Anybody There?” ................................................................................................................................................... Adams

THERE WILL BE ONE 15-MINUTE INTERMISSION

ORCHESTRA

Conductor & Keyboards—RYAN CANTWELL; Associate Conductor—ALYSSA KAY THOMPSON; Drums, Percussion—NOAH HADLAND; Cello—HYUN-JI KWON; French Horn—HAZEL DEAN DAVIS; Trombone, Bass Tromobone—SKYE DEARBORN; Trumpet, Piccolo Trumpet, Flugelhorn—DOMINIC DERASSE; Bass—CHRIS AGAR; Violin—JD HUNTER; Guitars, Dobro, Mandolin, Banjo—GABRIEL WAREING; Saxophone, Clarinets, Flutes—PHIL VARRICCHIO.

Music Supervisor: Ryan Cantwell

Music Coordinator: Dean Sharenow

Music Director: Ryan Cantwell

Associate Music Director: Alyssa Kay Thompson

Music Assistant: Ian Chan

Electronic Music Design: Billy Stein and Hiro Iida for Strange Cranium

Music Copyist: Russell Bartmus

A NOTE ABOUT PRONOUNS AND GENDER AT 1776

Our amazing company is made up of female, trans, and non-binary individuals. As you read the program, you may notice that the cast, crew, and creative teams list their pronouns next to their names. We recognize that this might be new to some of our audiences and want to take the opportunity to highlight some concepts around pronouns and gender expansiveness.

WHAT DO YOU MEAN BY “GENDER EXPANSIVENESS”?

There are an infinite amount of ways that people experience gender. Here is a glossary of some terms that you may hear when discussing gender:

• Gender Identity. A person’s internal sense of their self and their gender.

• Non-Binary. An umbrella gender identity that does not conform to the false idea that there are only two genders, male and female. Some other terms that fall under the non-binary umbrella are agender, genderqueer, gender-fluid, pangender, or gender non-conforming.

• Trans or Transgender. A person whose gender identity differs with their gender assigned at birth. Some people who identify as non-binary may also identify as trans.

• Cis or Cisgender. A person whose gender identity aligns with their gender assigned at birth.

• Pronouns. Pronouns are the words we use to talk about people aside from using their names (ex: she/her, he/him, they/them, and many more.) Sometimes pronouns correlate with someone’s gender identity, and sometimes they don’t.

SHELBY ACOSTA she/her (Charles Thomson, Secretary) made her Broadway Debut in 1776 and is very excited to be on tour with the show.

Broadway: 1776 (Standby). OffBroadway: Emojiland (The Duke on 42nd). Regional: Into The Woods (Zach Scott Theatre), Radiant Baby (NYC Workshop). TV/Film: National University. BFA, TX State University. A huge thank you to BEA, Camden Scifres, Kaitlin Hopkins, Spencer and my Mom for their unwavering love and support. “Soy Una Mezcla” @_shelbyacosta_

GISELA ADISA she/her (John Adams, Massachusetts). Broadway: Beautiful (Lucille). 1776 (Robert Livingston/ John Adams cover.) 1st National

Tour: Sister Act. (Deloris Standby, Michelle). Regional: Lights Out: Nat ‘King’ Cole. (Eartha Kitt), Geffen Playhouse - L.A. Stage Alliance nomination, Best Featured Actress. Man of La Mancha (Aldonza), Westport Country Playhouse - CT Critics Circle nomination, Best Actress. Shoebox Picnic (Odette), Alabama Shakespeare Festival. Once on This Island (Erzulie), Actors Theatre of Louisville. Miss You Like Hell (Officer), Baltimore Center Stage. Film/Television: Sundance winner Nanny Shield, Luther, Chasing Taste FBI, Raising Kanan, Kaleidoscope

Netflix’s Ridley Jones and Dreamworks’ Dew Drop Diaries. B.A in Arts, Fordham (Drama, African-American Studies). iamgisela.com IG: @imgisela

NANCY ANDERSON she/her (Thomas Jefferson, Virginia). Broadway & West End: 1776, Sunset Boulevard (u/s Glenn Close); Wonderful Town (Helen/ Eileen); A Class Act (Mona); Kiss Me, Kate (Lois/Bianca; Olivier nomination, Helen Hayes nomination). Drama Desk nominations for The Pen, Fanny Hill and Jolson & Co. Helen Hayes nominations for Billy Elliot (Mrs. Wilkinson); The Pajama Game (Gladys); Side by Side by Sondheim; and Kiss Me, Kate. TV: The Gilded Age, The Marvelous Mrs. Maisel, The Other Two, Madam Secretary. Film: The Pen. Album: Ten Cents a Dance. nancyanderson.actor

TIFFANI BARBOUR she/her (Andrew McNair, Congressional Custodian) is thrilled to be making history with this production of 1776. As a Baltimore native, she got her start at the Arena Players Inc. and continued her

training at the University of the Arts in Philadelphia. Theatre credits include Mamma Mia! (North American tour), How to Catch Creation (Baltimore Center Stage/Philadelphia Theatre Company) and Hit the Wall (Barrow Street Theatre). TV/film: Veep, The Leftovers, Rabbit, Law & Order and The Education of Max Bickford. Thanks and love to my Mom, 25 year fam and Nicolosi & Co. Tiffanibarbour.com

DAWN CANTWELL she/her (Col. Thomas McKean, Delaware). Select credits: Broadway: 1776 (Standby); Sting’s The Last Ship (Young Meg); Wicked (Nessarose). Off-Broadway/ National Tour/Regional: Sistas: The Musical, Actors Temple; Music in the Air, NY City Center Encores!; Dogfight, Second Stage; Love’s Labour’s Lost, 37 Arts; F#%king Up Everything, Elektra; Les Misérables, Theatre of the Stars, Tour; The Master Class, Long Beach Playhouse. Film: The Train, opposite Eli Wallach; Save the Date. TV: Every Other Sunday, Amazon. Dawn is also a multi-instrumentalist and is writing a musical alongside Addi McDaniel. BFA: NYU Tisch. Many thanks to my team at Avalon Artists and Vanguard, and to my loved ones. dawncantwell.com

IG: @dawasong

JULIE CARDIA she/her (Stephen Hopkins, Rhode Island). National tours: Les Misérables (Wigmaker, u/s Madame Thénardier), The Music Man: In Concert, led by Shirley Jones; Madison Square Garden production of Annie (with Kathy Lee Gifford). Awards and nominations for Guys and Dolls (Adelaide) and The Secret Garden (Martha), Stages St. Louis, Kevin Kline Award nom.; Anything Goes (Reno) and No No Nanette (Lucille), The REV Theatre, S.A.L.T. Award nom. Other credits: Frozen, The Hyperion Theatre/ Disneyland; Wizard of Oz National tour, regional, Sacramento Music Circus, TUTS, TOTS, Ogunquit, Boston Court. Proud Cal State University, Fullerton, MFA Grad. juliecardia.com

AMANDA DAYHOFF she/her (Standby) is honored to be joining the tour of 1776 with such an amazing group of people. She is a recent B.F.A. graduate of Azusa Pacific University. Some of her favorite credits include Little Women (Jo), Shrek the Musical (Fiona) and Tarzan (Kala). She would like to thank her amazing family and friends,

her grandmash Imelda, manager Ally Taylor, and Lindsay, Todd, and Robert at ATB. All thanks to God for paving the way. Proverbs 31:25 amandadayhoff. com IG: @amandadayhoff

SARA GALLO she/her (Standby). National tour debut! Broadway: 1776. Regional: Muny, Tuacahn, TUTS, Ogunquit, Walnut Street Theatre, North Shore, Fulton Theatre, Theatre By The Sea, & Gateway. TV/Film: Sophia in A Holiday Spectacular (Hallmark Channel). Proud alumni of The Boston Conservatory. Many thanks to BLOC, my family, and Joe for their unwavering love and support. @sarajgallo

JOANNA GLUSHAK she/her (John Dickinson, Pennsylvania). joannaglushak.com for full bio. Highlight roles: Broadway: A Gentleman’s Guide to Love & Murder, Hairspray, Sunday in the Park With George, Les Misérables, Urinetown, War Paint, etc. Off-Broadway: Gloria: A Life, The Logan Family Picnic, etc. Tours: Finding Neverland, Young Frankenstein, Xanadu, etc. Many roles on film and TV: recently, Mrs. O’Tool, The Marvelous Mrs. Maisel, The Blacklist and many more. Yale Drama School graduate.

ANISSA MARIE GRIEGO she/her ( Roger Sherman, Connecticut ). National tour debut! Recent regional credits: Spring Awakening (Northern Stage), The Hunchback of Notre Dame (REV Theatre Co.), Grease (The Cape Playhouse). Thank you to her amazing team at DGRW, Brian and Amanda DeMaris, her friends, and her familia supporting her all the way across the country - love you to the moon and back! Sí se puede! @anissagriego

KASSANDRA HADDOCK she/her (Edward Rutledge, South Carolina). Select regional: Pippin, Seven Brides for Seven Brothers, Footloose, The Phoenix Theatre Company; On Your Feet (Gloria Estefan), Arts Center of Coastal Carolina; In The Heights (Nina), Royal Caribbean International; Grease (Rizzo), The 5th Avenue Theatre; Oklahoma! Education/training: Brigham Young University. Thanks and love to my family and friends for their endless support! TikTok: @singwithkass IG: @kassandra_haddock

SHAWNA HAMIC she/her (Richard Henry Lee, Virginia). Broadway: 1776, The Last Ship (Mrs. Dees). Broadway

national tours: Les Misérables (Madame Thénardier), Kinky Boots (Trish). OffBroadway: Miss You Like Hell, The Public Theater. Regional: My Paris, Goodspeed. TV/film: Orange Is the New Black, The Time Traveler’s Wife, Halston, Russian Doll, New Amsterdam, That Damn Michael Che, Bull, Bruised (dir. Halle Berry). Thanks to my reps at Clear Talent Group. As always, this is for my family & friends. Love you!

IG: @ShawnaHamic ShawnaHamic.com

LISA KARLIN she/her (Standby).

Broadway: 1776, The Addams Family, Ragtime. Tours: Pippin, Cats. Selected Regional: Shakespeare Theatre Company, Papermill Playhouse, Pittsburgh Civic Light Opera, The 5th Avenue Theatre, The Muny, Sacramento Music Circus, The Arvada Center. Lisa is honored to be among this extraordinary group of artists sharing this story across our nation. www.lisakarlin.com

IG: @lizawithak

CONNOR LYON she/her (Martha Jefferson/ Dr. Lyman Hall, Georgia) is honored to share the stage with this iconic cast of 1776. She was last seen as Lorraine and others in the national tour of Jersey Boys. Other credits include: Rocky Horror (Theatre

Under the Stars), Rock of Ages (Norwegian Cruise Line), Little Women (A.D. Players). A million thanks to the team at Pantera/Murphy and endless love to Mom, Jude, Marissa and Cara!

IG: @connorslyon

LIZ MIKEL she/her (Ben Franklin, Pennsylvania). Broadway: 1776 (John Hancock), Lysistrata Jones. OffBroadway: Lysistrata Jones, Transport Group; Fruit Trilogy, Abingdon Theatre. Regional: V to the Tenth, Louisiana Superdome ; Spring Awakening , TUTS; Seussical, Hairspray, All Shook Up!, Muny; Little Women, Old Globe Theatre. International: Blind Lemon Blues, Forum Meyrin (Switzerland), Maison des Cultures du Monde (Paris). Resident company member, Dallas Theater Center. TV/film: Friday Night Lights, Welcome Home Roscoe Jenkins, Get On Up!, Miss Juneteenth Ten Chimneys Lunt Fontanne Fellow. AEA and SAG. @miz_lyzz

ONEIKA PHILLIPS she/her (John Hancock, President of the Congress; Ass’t Dance Captain). Broadway: 1776, Tony Award-winning Fela! (+ national/international tours), SpongeBob SquarePants, Violet (asst to choreographer); Amazing Grace

(ensemble/asst. choreographer). OffBroadway: Black No More (TNG/ Signature Theatre). International: 50th anniversary tour West Side Story (Anita). NY: Christopher Gattelli’s In Your Arms; Jermaine Rowe’s Children From the Blue Mountains; Leonora, a Caribbean interpretation of Ibsen’s A Doll’s House; Abdel Salaam’s Forces of Nature Dance Theatre. Oneika is a proud ambassador of Caribbean representation in American arts. IG: @DragonPassionFruit.

LULU PICART she/her (Samuel Chase, Maryland). Broadway: 1776. Tours: R+H’s Cinderella, Madagascar Live! (China). Off- Broadway: Disenchanted! (Lortel nomination). Selected: Man of La Mancha, Mamma Mia!, Finding Nemo: the Musical, How to Succeed…, Wit. Creative: Norwegian Creative Studios, The Choir of Man. Music direction: Walt Disney World, Universal Orlando, Orlando Shakespeare Theater, freeFall Theatre. TV/film: Going in Style, Frozen (Blu-ray), Welcome to Flatch. Faculty: Pace University. Co-host of comedy podcasts 10K Dollar Day, The Daily Happy. Comedy Warehouse alumna. Grateful for my family! Just keep swimming. @lulupicart

KAYLA SAUNDERS she/her (Standby) National tour debut! Thank you so my amazing team at DGRW, and of course my family, mom and to my uncle Bob for supporting me every step of the way! @kaylamsaunders

ARIELLA SERUR she/they (Judge James Wilson, Pennsylvania ). Broadway: 1776. Regional: 1776, A.R.T.; Rent, The RedHouse; Grand Concourse, Theatre Horizon. Ariella is also a writer and composer dedicated to championing queer stories. They are currently developing We Start in Manhattan: A New Queer Musical with partner, Sav Souza. To those in my corner, Avalon, JWS, my family, Albie, Farah, Sav: Thank you. For Grandpa Sy. TikTok: @SavAndAriella, IG: @ariellaserur

BROOKE SIMPSON she/her

(Courier) Broadway: 1776. Brooke is a powerhouse vocalist who is passionate about music, people and her culture. Brooke is full-blooded Native American and is a member of the Haliwa-Saponi Tribe. Brooke has had the opportunity to work with artists such as Miley Cyrus, Sia and even more recently was featured in a global Nike N7 campaign. She was a finalist on NBC’s The Voice

and a finalist on America’s Got Talent! and has released multiple singles including her latest release, “Haliwa.”

SAV SOUZA they/them (Dr. Josiah Bartlett, New Hampshire). Broadway: 1776. Select regional credits: 1776, A.R.T.; Other World, Delaware Theatre Company; Lempicka, WTF. Sav is also a musical theatre writer & lyricist, passionate about bringing joyful queer and trans stories to the stage. They are currently developing We Start in Manhattan: A New Queer Musical with their partner Ariella Serur. Love and infinite gratitude to family, community and Ariella. IG: @saaaavv, TikTok: @SavAndAriella, savsouza.com

LILLIE ELIZA THOMAS she/her/ hers (Standby) is incredibly excited to hit the road with this phenomenal cast! Regional: Little Shop of Horrors (Audrey, Orlando Shakespeare Theatre, Orlando Sentinel’s Orlando Theatre

Best: Leading Actress, Musical). The Bodyguard (Rachel Marron), Springer Opera House. Once on this Island (Erzulie), Matilda (Miss Honey, Carbonell Awards Nom. Outstanding Performance by an Actor, Supporting Female Role, Musical), Slow Burn Theatre. MAMMA MIA! (Donna Sheridan), Loessin Playhouse/ECU. WORKING (Housewife/Prostitute/ Cleaning Woman, Actors Theatre of Indiana, Mitty Award-Most Impressive Ensemble in a Musical Professional Theatre Division). Hello Dolly (Irene Molloy), The Garden Theatre. B.S., M.S., UCF (Environmental Engineering). Thank you to my loving husband Larry, family, and friends. Thank you FSE! lillieelizathomas.com

IG: @sillylillie1127

TIEISHA THOMAS she/her (Abigail Adams/Rev. Jonathan Witherspoon, New Jersey). Black. Fem. Artist and Storyteller hailing from NYC.

National Tour: Elf the Musical (Jovie), Off Broadway: Hercules (Melpomene), B-Boy Blues the Play (Michi), Chronicle X (Knowledge), Lost in the Disco (Angelina), Midnight Mugshot (Principal Gordon). Virtual: WILMAR(Ugbad /Hamdi), Getting There (Tanaysha). Television: “Only Murders in the Building” (HULU), “Let the Right One In” (SHOWTIME), “Skully and the Mole Crack the Case” (NBC Peacock Kids), “Teaching While Black.”

Film: B-Boy Blues (BET+), Unlocked, ‘Istikhaara, New York’, Help Yourself. “A woman’s gifts will make room for her”Hattie McDaniel. GOD Thank you, for

without you I am nothing. Instagram: @officialtieishathomas

JILL MARIE VALLERY she/her (Caesar Rodney,  Delaware; Dance Captain). Broadway:  1776,  American Airlines Theatre; Tony Award Winning

FELA!  (Dance Captain: Drama Desk Nomination, Astaire Award, ACCA Actors Equity Award), Eugene O’Neil Theatre. Off-Broadway:  Fela! A New Musical, 37 Arts Theatre;  CULLUD

WATTAH  (Associate Movement Director), The Public Theatre;

LORDES (Choreographer), New Ohio Theatre. Regional:  And My Name Ain’t Peaches, Theatre Outlet.

Tours:  FELA!  (National + International).

TV:  She Gotta Have It (Jubilee Jones).

Film:  Lifted (directed by Randall Dottin) AEA and SAG. Much Love and Gratitude to the ones who came before me, my mentor Sylvia Turner and my family! I.G. @jillm.vallery

ZURI WASHINGTON she/her (Robert Livingston, New York), a native New Yorker who is thrilled to represent the great state of New York with this fabulous company of humans in our artistic endeavor to reconcile America’s past with its present and future. We are America. Last year you could find her living her nerdy girl dreams in the world premiere of the “video game musical” Other World.

Tours: Memphis (Felicia), Bring it On (Danielle) and Bat Out of Hell. VO: Blast Brigade (Shura). Thanks to my family and Nate for their patience and love.

IG: @zuriwithafringeontop

GWYNNE WOOD she/they (George Read, Delaware). Broadway: 1776 National Tour: Oklahoma! (U/S Ado Annie, Laurey Williams, Gertie Cummings). Regional: Most Happy in Concert (Williamstown Theatre Festival), SUFFS (The Public Theater development), Sister Act (Sister Mary Robert). Boston Conservatory ‘18 BFA in Musical Theatre; Emphasis in Directing. Thanks to DGRW, family, and my sweet friends. @gwynnelaurel

CANDICE MARIE WOODS they/ them (Joseph Hewes, North Carolina). This Texas native has most recently been seen in Broadway’s Ain’t Too Proud and Dallas Theatre Center’s regional production of Trouble In Mind.

Broadway: Book of Mormon, Nice Work If You Can Get It, Catch Me If You Can, and Hairspray. National Tours: Legally Blonde and Dirty Dancing. They send all the love to family and friends for their continued love and support.

SHERMAN EDWARDS (Concept, Music and Lyrics). Sherman Edwards worked his way through NYU playing jazz piano for late night radio. After serving in WWII, he played piano for Tommy Dorsey and Benny Goodman. He wrote pop standards including “Wonderful Wonderful” (J. Mathis) and “Flaming Star” (E. Presley) at the famous Brill Building with Hal David, Burt Bacharach and others. Edwards left pop songwriting to develop his idea for a Broadway musical, The Aggravation of John Adams. This later became 1776, which opened on Broadway in 1969. During the development of 1776 Edwards also scored the starstudded 1967 TV musical Who’s Afraid of Mother Goose?

PETER STONE (Book). One of the most accomplished Broadway bookwriters, Stone graduated from Bard College and earned an MFA from the Yale School of Drama. He began writing for CBS Radio and soon moved to writing for television including the shows Studio One, The Defenders (for which he won an Emmy Award), Asphalt Jungle and Espionage. He has written the plays Friend of the Family and Full Circle. In addition to 1776, his Broadway bookwriting credits include the musicals Kean, Skyscraper, Two by Two, Sugar, Woman of the Year (for which he won a 1981 Tony Award), My One and Only, Grand Hotel and The Will Rogers Follies (1991 Tony Award for Best Musical). Stone also wrote the screenplay for the film version of 1776. His other screenplays include Charade, Father Goose (for which he won a 1964 Academy Award), Mirage, Arabesque, Sweet Charity, The Taking of Pelham 1-2-3 and Who Is Killing the Great Chefs of Europe?

JEFFREY L. PAGE he/him (Co-Director, Choreographer) is an Emmy-nominated and MTV VMA-winning choreographer and director. Choreographer on Beyonce’s Run the World and FOX’s So You Think You Can Dance. Original Broadway cast: Fela! Broadway choreography: Violet. Commercial direction and choreography: Choir Boy (Philadelphia Theatre Company); Jamie, Memphis (HoriPro, Inc. Japan, four Yomiuri Award nominations, Best Musical). Regional: Ain’t Misbehavin’ (NYTimes Critic’s Pick), Who Could Ask for Anything More?, Company, Broadway Bounty Hunter (Barrington Stage Company, Berkshire Theatre Award); Mlima’s Tale (Westport

Country Playhouse). Philadelphia Theatre Company resident artist. American Repertory Theater artist fellow. Lecturer in theatre, dance and media at Harvard University.

DIANE PAULUS she/her (Co-Director) is the Terrie and Bradley Bloom Artistic Director of the American Repertory Theater at Harvard University. Broadway: 1776, Jagged Little Pill, Waitress, Finding Neverland; Tony Award-winning revivals of Pippin (Tony Award, Best Direction), The Gershwins’ Porgy and Bess (NAACP Award, Best Direction) and Hair. Most recently at the A.R.T.: 1776, WILD, Gloria: A Life (also Off-Broadway); Cirque Du Soleil’s Amaluna. Paulus is a professor of the practice of theatre at Harvard University. She was selected for the 2014 Time 100, Time Magazine’s annual list of the 100 most influential people in the world.

DAVID CHASE (Music Supervisor). Forty Broadway shows including five at Roundabout. Many arrangements and orchestrations for the Boston Pops, Kennedy Center Honors, Radio City and TV’s The Marvelous Mrs. Maisel and Crazy Ex-Girlfriend. Music director and arranger for The Sound of Music Live! and Peter Pan Live! (Emmy nominations for both) and Schmigadoon! Choral works recorded by EssentialVoicesUSA and published by Hal Leonard. Grammy nomination for Nice Work if You Can Get It and Olivier nomination for Anything Goes David lives in New York City with his wife, actress and Drama Desk nominee Paula Leggett Chase, and their two sons.

SCOTT PASK (Set Design) has designed over 50 Broadway productions, receiving three Tony Awards for The Book of Mormon, The Coast of Utopia and The Pillowman. Recently: 1776, American Buffalo (Tony nom.), Mr. Saturday Night, The Prom, The Band’s Visit (Tony nom.), Mean Girls (Tony nom.). His work with Diane Paulus includes The Donkey Show, Pippin (Tony nom.), Hair (The Public Theater, Broadway, West End), Finding Neverland (A.R.T., Broadway), Waitress (A.R.T., Broadway, U.S. tour, West End) and Cirque du Soleil’s Amaluna.

EMILIO SOSA (Costume Design) is the current chair of the American Theatre Wing. His Broadway hits: The Gershwins’ Porgy and Bess (Tony Award nom.), Trouble in Mind (Tony Award nom.), Motown the Musical,

On Your Feet!, Topdog/Underdog. He served as the costume designer for NBC’s Annie Live! and has worked with such celebrities as Usher, Diana Ross, Mariah Carey and Celine Dion. Emilio also designed costumes for Radio City Musical Hall’s Rockettes and participated in Project Runway @Esosafashion

JEN SCHRIEVER (Lighting Design). Broadway: A Strange Loop (Tony Award nomination), Death of a Salesman, Birthday Candles, Lackawanna Blues, Grand Horizons, What the Constitution Means to Me, The Lifespan of a Fact, Eclipsed, Ghetto Klown. Recent OffBroadway: Which Way to the Stage (MCC); To My Girls, Superhero (Second Stage); Shhhh (Atlantic); Selling Kabul (Playwrights Horizons). Current tours: Blue Man Group. Opera: Die Fledermaus, The Pearl Fishers, Metropolitan Opera; Faust, A Midsummer Night’s Dream, La Traviata, Mariinsky Theater, Russia. Obie Award for Sustained Excellence in Lighting Design. Adjunct: Purchase. Mom: Henry. jenschriever.com

JONATHAN DEANS (Sound Design). Bhangin’ It (La Jolla Playhouse), Anything Goes (Barbican and tour), Jagged Little Pill (Tony nomination), PY1-Lune Rouge ExtraOrdinary, The Tempest, Waitress (NY & U.K. 2021), Red Velvet, Invisible Thread, Finding Neverland (NY), Pippin (Tony nomination), La Cage aux Folles (Tony and Drama Desk nominations), Young Frankenstein, The Pirate Queen, Carrie (Drama Desk nomination), Parade (Drama Desk nomination), Fosse (NY, U.K.), Ragtime. Jonathan has designed fifteen Cirque du Soleil productions including Drawn to Life, MJ ONE, LOVE, KA, O, Mystere, Ovo and Corteo, plus others. Operas include a residency at the Royal Opera House and the L.A. Opera. www.designingsound.com

DAVID BENGALI ( Projections ). Roundabout debut. Off-Broadway and regional include The Public, Signature, Atlantic, 59E59, BAM, A.R.T., La Jolla Playhouse, Geffen, Dallas Theater Center, Alliance, Kennedy Center and Yale Rep. Lortel and Drama Desk nominations.

MIA NEAL (Hair & Wig Design) is a highly praised hairstylist and wig designer for film, television and theatre, who made history alongside collaborator Jamika Wilson as the first Black nominees and winners in the best hair and makeup category at the Academy Awards, for

Ma Rainey’s Black Bottom. Mia also served as the hair designer for A Raisin in the Sun, The Iceman Cometh, the opera Malcolm X, Trading Places and soon, KPOP.

JOHN CLANCY (Orchestrations). Broadway: Diana, Mean Girls (Tony nom.), Fun Home (Tony/Drama Desk noms.), The Prom, Tuck Everlasting, Shrek (Tony/Drama Desk noms.), Cats 2016 (dance arr.) Off Broadway/ regional: The Karate Kid, The Notebook, The Secret Life of Bees, Kimberly Akimbo, Gun & Powder, Becoming Nancy, Soft Power (dance arr.), The Fortress of Solitude, Jasper in Deadland, Just So. Rhianna: NBA All- Star Game (string arr.), 2018 Tony Awards opening by Sara Bareilles.

ANNMARIE MILAZZO (Vocal Design). Spring Awakening, Next to Normal, If/ Then, Finding Neverland, A Beautiful Noise, the revival of Carrie, Bright Lights Big City, Superhero, Dangerous Beauty, Prometheus Bound, Some Lovers, Dave, A Walk on the Moon, Almost Famous, revival 1776. Broadway orchestrator (with Michael Starobin) Once on This Island. Nominations: Tony, Grammy, Drama Desk and Outer Critics awards.

RYAN CANTWELL (Music Supervisor/ Music Director/Conductor).Credits: 1776 (A.R.T. debut), Waitress (Japanese premiere), Pippin (Australian premiere), Bat Out of Hell (City Center), Pippin (Japanese premiere). First national tours: Waitress, Finding Neverland, Pippin, La Cage aux Folles. OffBroadway: The Golden Toad, Mark, The Nomad (Liz Swados), La MaMa TV/film: CBS’ Jim Henson Special, Race (Gloria Allred). MD/composer: A Helluva Life (George Hamilton). To his wife, daughter, family and friends: I love you.

DEAN SHARENOW ( Music Coordinator). Grammy-winning record producer/engineer. Broadway: 1776, Girl

From the North Country, Tootsie, The Cher Show, The Band’s Visit, Amélie, The Last Ship, Women on the Verge of a Nervous Breakdown. Off-Broadway: The Bedwetter, As You Like It, The Total Bent, The Fortress of Solitude Album producer/engineer: The Band’s Visit, Girl From the North Country, Oklahoma! (2019), Tootsie, In the Green, The Great Comet, The Fortress of Solitude, Women on the Verge…, Shaina Taub, David Yazbek, Joan Baez, Mamie Minch, David Sanborn.

ERIKA BAILEY (Dialect Coach).

Broadway: Mary Stuart. A.R.T.: Life of Pi; 1776; Twilight, Los Angeles; Jagged Little Pill; The Night of the Iguana; Fingersmith Guthrie Theatre: Arms and the Man. Kansas City Rep: Cabaret, To Kill a Mockingbird. Erika also teaches theater and public speaking at Harvard University. Education: MA, Voice Studies, the Royal Central School of Speech and Drama.

THOMAS SCHALL ( Fight Choreographer). Broadway: over 100 shows. The Kite Runner, Company, A Soldier’s Play (Drama Desk Award, outstanding fight choreography), To Kill a Mockingbird, True West, Network, The Front Page, War Horse, Romeo and Juliet. The Public Theater: Othello, Hamlet, King Lear, Titus Andronicus. NYTW: Othello (Drama Desk nomination, outstanding fight choreography), Red Speedo. The Armory: Hamlet/Oresteia, The Hairy Ape (Drama Desk nomination, outstanding fight choreography).

ROBERT DUFFLEY (Dramaturg) is Editor & Associate Dramaturg at the American Repertory Theater.

Recent/Upcoming: We Hear You—A Climate Archive, Dramaten; Ferry Tales, Kennedy Center; A Play for the Living in a Time of Extinction, Europe & UK tours; Help, The Shed. Teaching: Harvard University, Georgetown University, Emerson College.

BRISA ARELI MUÑOZ she/her

(Associate Director) is the artistic director of Musical Theatre Factory, an organization committed to developing changemaking new musicals. Broadway and Off-Broadway credits include Roundabout Theatre Company, The Public Theater, American Repertory Theater, The Kennedy Center, Oregon Shakespeare Festival, Center Theatre Group, REDCAT, Carnegie Hall, Jacob’s Pillow & Oye Group. Much love to her family, friends, and Jonathan.

COURTNEY PAIGE ROSS she/her (Associate Choreographer), proud New Orleanian, is a performer with Camille A. Brown and Dancers and Jon Batiste. Other credits include 2022 Grammys, Porgy & Bess (Metropolitan Opera), For Colored Girls Workshop, 2021 Macy’s Thanksgiving Day Parade (NBC), POWERPLAY (The Shed), 2016 VMA’s: Beyoncé (MTV), EVIDENCE Dance Company, and Ailey II. Courtney gives thanks to God, her family, and chosen tribe for the unwavering support!

GENEVIEVE KERSH she/her (Production Stage Manager). Prior credits include Broadway: Finding Neverland and Roundabout Theatre’s revivals of 1776 and Noises Off. First national tours: Finding Neverland, Blithe Spirit, Sister Act, Cinderella and Anything Goes. Other noteworthy credits: Hartford Stage’s The Flamingo Kid (world premiere), Second Stage Theater’s Superhero (world premiere), The Public Theater’s Eve’s Song (world premiere) and Runaways, Boston Ballet, Alvin Ailey American Dance Theater. Proud graduate of Ithaca College & member of Actors’ Equity.

CHRIS ZACCARDI he/him (Stage Manager). Broadway: Hello, Dolly; Noise Off; Vanya and Sonia and Masha and Spike; The Anarchist; One Man, Two Guvnors; Hair; In the Heights; 9 to 5; Wicked; Lestat; All Shook Up. Lots of regional, Off-Broadway & tours. Proud Former Marine, Head of the SM program Pace University. Much love to Niall and Monty.

SAGE LUMSDEN she/her (Assistant Stage Manager). Broadway: 1776. National tours: Anastasia, Hairspray. BA from Pace University in Stage Management. Much love to all her supporters along the way: mom, dad, and all her friends and family!

KATIE CORTEZ she/her (Company Manager). National tours: Waitress, The Prom, The Phantom of the Opera, Finding Neverland, Bullets Over Broadway, Disney’s Beauty and the Beast.

RYAN BUCHHOLZ he/him (Assistant Company Manager). National Tours: Hairspray, Fiddler on the Roof, Elf. Regional: Powerhouse Theater (36th Annual Season).

STEWART/WHITLEY ( Casting ). Duncan Stewart CSA and Benton Whitley CSA. Broadway/NY: Life of Pi, Hadestown (Artios Award), Chicago the Musical, Paradise Square, Rock of Ages, Lightning Thief, Great Comet of 1812, Elf, On the Town, Pippin, La Cage aux Folles, Radio City Christmas Spectacular. TV/ Film: Netflix, 20th Century Fox, NBC, Lionsgate, Disney Channel. West End/ U.K.: Hadestown, Thriller Live, Menier Chocolate Factory. Tours: Hadestown, Hairspray, Waitress, Charlie & the Chocolate Factory, Finding Neverland, Into the Woods, We Will Rock You Regional: A.R.T., Berkeley Rep, Alley, Bay Street, For The Record, TUTS,

Hollywood Bowl, McCarter, Signature, RCCL. Follow: @stewartwhitley and stewartwhitley.com.

GENTRY & ASSOCIATES (General Management) has managed nearly 250 national and international touring theatrical productions over the past 25 years.

BOND THEATRICAL (Marketing & Publicity Direction) is an independentlyowned theatrical booking, marketing and publicity company representing award-winning Broadway shows and live entertainment properties. BOND connects artists and audiences by forming strategic, authentic and profitable partnerships between producers and presenters across North America. For a complete list of current projects, please visit BondTheatrical.com

THE BOOKING GROUP (Tour Booking Agency) has represented 27 Tony Award® winning Best Musicals and Plays. Current tours include: Hamilton, Dear Evan Hansen, Come From Away, The Book of Mormon, Hadestown, Mean Girls, MJ The Musical, Pretty Woman, Six, Tina, To Kill A Mockingbird, Anastasia, Chicago, Fiddler on the Roof, Hairspray, My Fair Lady, and Tootsie. Future tours include: A Wonderful World, Almost Famous, Funny Girl, Mamma Mia!, Mrs. Doubtfire, New York, New York, Some Like It Hot, The Devil Wears Prada, The Karate Kid, Peter Pan Goes Wrong, and The Wiz.

ALECIA PARKER (Executive Producer) member of the Broadway League’s Board member of the Broadway League’s Board of Governors since 2006. Chairman of The League’s International Committee. In 2009, Alecia was honored with the League’s Touring Award for Distinguished Lifetime Service. Throughout her tenure, National Artists Management Company’s productions have garnered 98 Tony Nominations and 8 Laurence Olivier nominations taking home 24 Tony and 2 Oliver wins. In addition to overseeing all domestic and international companies of NAMCO’s productions including Chicago, Waitress and Pippin, Alecia is also managing the domestic and global roll out of Once, The Band’s Visit, The Book of Mormon and To Kill a Mockingbird. She is the proud mother of Michael Parker of Atlantic Records.

TRINITY WHEELER he/him (Executive Producer). Thanks to Diane and Jeffrey for making this dream come true. @trinityonbroadway

AMERICAN REPERTORY THEATER at Harvard University is a leading force in the American theatre, producing groundbreaking work that is driven by risk-taking and passionate inquiry. Led by Terrie and Bradley Bloom Artistic Director Diane Paulus and Executive Director Kelvin Dinkins, Jr., the A.R.T. is dedicated to expanding the boundaries of theatre, always centering community, research and performance. Tony Award-winning and nominated productions include Jagged Little Pill; Waitress; Natasha, Pierre & The Great Comet of 1812; All the Way; The Glass Menagerie; Pippin; Once; The Gershwins’ Porgy and Bess. Current and upcoming national tours: Jagged Little Pill, 1776

ROUNDABOUT THEATRE COMPANY (Todd Haimes, Artistic Director/CEO) celebrates the power of theatre by spotlighting classics from the past, cultivating new works of the present and educating minds for the future. A not-for-profit company, Roundabout fulfills that mission by producing familiar and lesser-known plays and musicals; discovering and supporting talented playwrights; reducing the barriers that can inhibit theatregoing; collaborating with a diverse team of artists; building educational experiences; and archiving over five decades of production history. Founded in 1965, Roundabout presents this work on its five stages and across the country through national tours. Since moving to Broadway more than 25 years ago, Roundabout productions have received 232 Tony nominations, 222 Drama Desk nominations and 257 Outer Critics Circle nominations. More information on Roundabout’s mission, history and variety of programs can be found throughout this playbill or by visiting roundabouttheatre.org.

BARRY & FRAN WEISSLER (Executive Producers) have over 40 years of experience producing first class theatrical ventures on Broadway and the West End as well as touring in North America and internationally through their production company National Artists Management Company (NAMCO). They are the winners of 7 Tony Awards: Othello, Fiddler on the Roof, Gypsy, Annie Get Your Gun, La Cage aux Folles, Pippin and the

worldwide hit, Chicago, the longest running American musical in the world whose global success has reached over 25 countries, translated into a dozen languages. Their most recent hit: Waitress, featuring an original score by Sara Bareilles. In Development: Real Women Have Curves, The Musical.

NETWORKS PRESENTATIONS

(Producer) is an industry-leading producer of touring theatrical productions, committed to delivering quality entertainment to audiences worldwide for more than 25 years. networkstours.com

STAFF FOR 1776

EXECUTIVE PRODUCERS

Alecia Parker Trinity Wheeler

GENERAL MANAGEMENT

Gentry & Associates

Gregory Vander Ploeg

Pearce Landry-Wegener Steve Varon-Moore

Madeline McCluskey Heather Moss

PRODUCTION MANAGEMENT

NETworks Presentations

Jason Juenker

Hector Guivas Shelby Stark Walker White pesci

TOUR MARKETING & PUBLICITY DIRECTION

BOND THEATRICAL bondtheatrical.com

DJ Martin Temah Higgins Mollie Mann

Marc Viscardi Wendy Roberts

Jenny Bates Elisabeth Reyes

Phillip Aleman Melissa Cohen Steph Kelleher

Linda Stewart Bailey Ford Madison St. Amour

Yoomi Kim Scotland Newton Laura Rizzo

Simon Rosales Megan Savage

Jacob Stuckelman Janiya Wade Hannah Wallace CASTING STEWART/WHITLEY

Duncan Stewart, CSA & Benton Whitley, CSA

Joey Montenarello, CSA Micah Johnson-Levy

Darienne Orlansky Patrick Maravilla

EXCLUSIVE TOUR DIRECTION

THE BOOKING GROUP

Meredith Blair Kara Gebhart

Laura Kolarik, Stephanie Ditman, and Sophie Tiesler thebookinggroup.com

Company Manager Katie Cortez

Assistant Company Manager Ryan Buchholz

Production Stage Manager. Genevieve Kersh

Stage Manager Chris Zaccardi

Assistant Stage Manager Sage Lumsden

Associate Director Brisa Areli Muñoz

Associate Choreographer................Courtney Paige Ross

Dramaturg Robert Duffley

Research Consultant John Tupy

Additional Dramaturgy Elizabeth Amos

Associate Set Designers Stephen Carmody, Orit Carroll

Associate Lighting Designer Aaron Tacy

Assistant Lighting Designer Anna Brevetti

A.R.T. & Tour Associate Sound Designer Daniel Lundberg

Associate Sound Designer Brian Walters

Costume Supervisor Sam Fleming

Video Projection Programmer

Video Associate

Associate Hair and Wig Designer

Interactive Media BOND Theatrical

Production Videographer SpotCo Advertising

Production Photography Joan Marcus, Evan Zimmerman for MurphyMade

Social Media Filming Pinecrest Creative

Merchandising Marquee Merchandise

Accounting NETworks Presentations, LLC.

Legal Services F. Richard Pappas, Esq.

HR Services Global Solutions, Inc.

Equity, Diversity, Inclusion Consultants Production on Deck, Cornerstone HR Consulting

Housing Road Concierge, an ALTOUR Company

Travel Agency

Trucking

Janice Kessler, Carlson Wagonlit Travel

Clark Transfer

FOR NETWORKS PRESENTATIONS

Chief Executive Officer. Orin Wolf

Chief Financial Officer Scott W. Jackson

Chief Operating Officer Jennifer Ardizzone-West

Chief Producing Officer Seth Wenig

Executive Producers Mimi Intagliata, Trinity Wheeler

Associate Producer Hannah Rosenthal

Executive Assistant...............................Isabella Schiavon

Health and Safety Director

Kayla Rooplal

Sr. Director/Finance John Kinna

Controller

Director of Tour Accounting

Tax Director

Jennifer Gifford

Laura S. Carey

Pat Guerieri

Associate Tax Accountant Kim Ngan Tran

Finance and Administrative Assistant Elizabeth Olabosipo

Sr. Director/Booking and Engagements

Director, Booking and Engagements

Engagement Manager

Director of Marketing

Director of Sales

Mary K. Witte

Colin Byrne

Stacey Burns

Heather Hess

Zach Stevenson

Sr. Director/General Management Gregory Vander Ploeg

General Manager/Operations Director Pearce

Landry-Wegener

General Manager Steven Varon-Moore

Associate General Managers

Operations Manager

Madeline McCluskey, Heather Moss

Catherine Logan Blanar

Sr. Director/Production Management

Sr. Production Manager

Jason Juenker

Hector Guivas

Production Managers Shelby Stark, Walker White

Technical Director pesci

Music Coordinator

Warehouse Manager

Warehouse Costume Manager

John Mezzio

Joseph Spratt

Bobby Maglaughlin

INSURANCE BROKER SERVICES

Maury Donnelly and Parr, Inc.

Robert B. Middleton, Sr and Meghan Coleman

FINANCIAL SERVICES AND BANKING ARRANGEMENTS BY Signature Bank

SPECIAL THANKS

Deb Barsha, Nadia DiGiallonardo, Rich Mercurio, Barbara Merjan, Meg Toohey, Ben Sperling, Harvard Ash Center, Artists for Humanity, Danielle Allen, Vincent Brown, Nicole Brown, Annette Gordon-Reed, Jane Kamensky and Harvard’s HIST 1776, Jill Lepore, Massachusetts Historical Society, Museum of the American Revolution, Timothy Patrick McCarthy, Alyssa Mt. Pleasant, David Moss, John Stauffer, Mark V. Tushnet

Rehearsal - Pearl Studios and American Airlines TheatreSM, Roundabout Theatre Company, New York City.

Technical Rehearsal - Broadway Theatre League of Utica, Utica, NY, Danielle Padula, Executive Director.

CREDITS

Scenery built, painted and electrified by Show Motion, Inc., Milford, Connecticut. Lighting by Christie Lites. Audio & video equipment by Sound Associates, Inc.

DENVER CENTER FOR THE PERFORMING ARTS

GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2023/24 BROADWAY SEASON

PLEASE BE ADVISED

• 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

Mark Anthony

Perry Elliot

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

Albert Sainz, Sr

Derek Tovar

Andrew Gusciora

Brittany Bland

Ashley Wise

Head Carpenter Josh Nelson

Assistant Carpenter

Nate Lewis

Production Electrician Barrett Roberts

Head Electrician Jacob Ryan

Assistant Electrician Josh Lindblom

Moving Light Programmer Ben Fichthorn

Production Audio Steven Zeller

Head Audio Tim Jarrell

Assistant Audio Chontol J. Calvin

Properties Supervisor John “Seth” Leach

Assistant Props Kati Nelson

Wardrobe Supervisor Tatyana Yarborough

Hair and Makeup Supervisor Hallie Moore

Kemper Programmer Matt Sangiovanni

Rehearsal PianistsAlyssa Kay Thompson, Geraldine Anello

Production Assistants Jess Levine, Ashton Pickering

Physical Therapy NEURO TOUR Physical Therapy, Inc.

Safety Consultant Bryan Huneycutt

Advertising SpotCo Advertising

The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

All stage work performed by employees represented by IATSE.

UNITED SCENIC ARTISTS represents the designers and scenic painters for the American Theatre.

The Musicians employed in this production are members of the American Federation of Musicians of the United States and Canada.

The Director and Choreographer are members of the Stage Directors and Choreographers Society, an independent national labor union.

The Press Agents, Company and House Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

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

James R. Gralian

Allen Olmstead

David A. Wilson

The Denver Performing Arts Complex is owned and operated by Denver Arts & Venues for the City and County of Denver.

City and County of Denver

Michael B. Hancock, Mayor

Denver Arts & Venues

Ginger White, Executive Director

Molly Wink, Deputy Director

Denver Arts & Venues, Arts Complex Operations

Mark Heiser, Venue Director

Jody Grossman, Assistant Venue Director, Booking

Todd Medley, Facilities Superintendent

Kelly Graham, Safety, Security and Garage Operations Manager

Carol Krueger, Patron Services Manager artscomplex.com | (720) 865-4220

For immediate assistance & security (720) 865-4200

TO BUSINESS AS USUAL

Your Brand. Your Partnership. Your Support.

PROGRAM, SEASON, AND SHOW SPONSORSHIPS

Theatre is storytelling. We can help you tell yours. Being a corporate supporter of the DCPA intertwines your story with ours and elevates your brand.  Whether your goal is brand awareness, philanthropy, or employee and client engagement, partner with the DCPA to find the best opportunities for your business. Sponsor a Broadway, Off-Center or Theatre Company show or support one of our education programs — the options are endless!

CORPORATE MEMBERSHIPS

Entertain prospects, clients, co-workers, and executives with a full season of live theatre! Join us with a corporate membership and put more show in your business.

Your Corporate Membership includes premium seats to eight amazing productions, along with these benefits:

• Pre-show networking events featuring heavy hors d’oeuvres and an open bar

• Access to the VIP Corporate Member Lounge at intermission with open bar

• Brand recognition for your company

• Additional tickets for added attractions

CORPORATE MATCHING GIFTS

Leverage your organization’s financial resources to support one of the region’s most important cultural hubs. Ask your HR department about donation matching programs the next time you contribute to the DCPA.

GET IN TOUCH!

Erin Walker (EWalker@dcpa.org), Senior Director of Development

Daniel Escobar (DEescobar@dcpa.org), Corporate Partnerships Manager

Dana Green, and Desiré e Mee Jung in Much Ado About Nothing

Photo by Michael Martin Photography.

Photos by Amanda Tipton

SPECTACULAR EVENTS. SIMPLIFIED.

DCPA Event Services

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

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

photo credit: Denver International Airport

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

STOMP IS BAAAAAAACK!

HOOOOOOOLD ON TO YOUR HUBCAPS!

BY GENEVIEVE MILLER HOLT

IIt’s been a while since you heard those clomping, clanging racket makers — racketeers? — right here in your own back yard. Yes, STOMP is back in Denver in all its explosive, syncopated glory with those incredible percussionists who treasure the old adage about one man’s trash…

The troupe still doesn’t look at everyday objects the way the rest of the world does. In their hands, brooms, garbage cans, Zippo lighters (we’re not sure about Grouchos and Harpos) and the general detritus of the 21st century takes on a life of its own. STOMP, created and directed by Luke Cresswell and Steve McNicholas, is an exploration of the outer limits of rhythmic invention. It’s a Pipe (read drain pipe) and Drum (read anything) Corps for our age.

And speaking of age, it has not withered STOMP ’s clatter — or fun. STOMP, that concatenation of sound and skill, is back with its rhythms and drumbeats intact.

The same goes for its nonstop movement of bodies, objects, sound — even abstract ideas. There’s no dialogue, speech or plot. But music? Absolutely. Uncommon music, created in nontraditional ways — with everyday objects ranging from matchbooks to every household item you can imagine. “It’s a piece of theatre that’s been created by musicians,” said Steve McNicholas, co-founder of STOMP

“It doesn’t have narrative and it doesn’t have dialogue and it doesn’t have melody particularly, but it is totally rhythmically based.” You’re bombarded by a caterwauling noise that under any other circumstances you would choose to shut out.

But not here.

Here all is syncopated and choreographed with the precision of an army bugle corps (minus the bugles) and by the fertile imagination of buskers or street performers from the streets of Brighton — the spot where STOMP ’s creators hail from and where they dream up versions of this utterly inventive, unexpected, whacked-out show. “Most ideas come from everyday life,” said McNicholas, “but when we put a routine together, we are thinking not just in terms of the rhythmic qualities, the sound qualities of the instruments, but also visual impact.”

And impact it will have. So sit back, relax, tap your feet, clap your hands. There’s only fun to be had here — from the ringing of hollow pipes to clashing metal weaving its spell, and industrial strength dance routines involving a lot of supremely well-coordinated bodies.

STOMP

FEB 21 – 26

BUELL THEATRE

Audio Described performance: Feb 26 at 2pm

STOMP Created by Luke Cresswell and Steve McNicholas © Steve McNicholas

When we put a routine together, we are thinking not just in terms of the rhythmic qualities, the sound qualities of the instruments, but also visual impact.

— STEVE MCNICHOLAS, CO-FOUNDER OF STOMP

Deeply rooted in Colorado communities since 1962.

Beyond our love for Colorado is a passion for its spirit, its people, and its potential. Slifer Smith & Frampton is proud to be Colorado’s #1 independent global real estate and relocation network.

>>>

“At CBS Colorado, our journalists bring you news about what’s happening at the Denver Center for the Performing Arts, in our arts and cultural communities, as well as impactful neighborhood stories. Those stories are important because your community is our community, too. We report on the most pressing topics, but we strive to focus more on what is working than what is not, while reporting on creative solutions we Coloradans are famous for. CBS Colorado is in your communities, and we care about continuing to make Colorado a great place to live. Enjoy the show and tune in to CBS Colorado or visit www.cbscolorado.com for regular updates.”

— CBS COLORADO GENERAL MANAGER TIM WIELAND

Meet Your Neighborhood Journalists

Colorado First.

CBS Colorado is committed to covering arts and culture and is a proud partner of the Denver Center for the Performing Arts.

PROUD SPONSOR OF THE DENVER CENTER FOR THE PERFORMING ARTS

PROUD SPONSOR OF THEATRE FOR YOUNG AUDIENCES AND SATURDAY NIGHT ALIVE

DAVITA: COMMUNITY FIRST

AAs a leading provider of kidney care services in the United States, DaVita is committed to making a lasting impact, starting with the care it provides in dialysis centers and extending to the broader communities it serves.

Since first calling the Mile High City home in 2010, the company has remained dedicated to supporting causes that uplift the Denver community while fostering a culture that encourages teammates to get involved. As a company, DaVita invests in opportunities that advance leadership, sustain cultural institutions, and respond to the community’s most pressing needs.

DaVita is proud to support the Denver Center for Performing Arts, a vibrant organization committed to increasing access to the performing arts for all individuals. DCPA’s mission to serve, engage and inspire its community aligns with DaVita’s efforts to support healthy communities around the world, as well as in its own backyard of Colorado. DaVita is proud to play a role in DCPA’s Theatre for Young Audiences program, engaging more than 15,000 pre-K through 3rd grade students and educators from 128 schools across metro Denver.

Following are examples of other local community collaborations DaVita is proud to support:

Funding 10 Denver Scholarship Foundation recipients as they pursue a pathway to healthcare related careers.

Preparing Florence Crittenton Services teen moms for future livable wage opportunities through a summer exposure program that matches paid internships. The program provides them with flexibility of job choice over the summer while helping to ensure they are ready for medical internships and gain necessary professional skills.

DaVita is a proud premier supporter of Urban Peak’s annual fundraiser, Urban Nights. The nonprofit is the only organization in Denver that provides wrap-around support services for youth experiencing homelessness.

2023 Festival

JUNE 24 - AUGUST 6

ROMEO & JULIET

KISS ME, KATE OTHELLO

TICKETS ON SALE NOW

centralcityopera.org

ILLUSTRATION BY PIERRE MORNET

PPDC Energy is proud to support the Denver Center for the Performing Arts’ Best of Broadway Society for the 2022/23 season. The PDC team and its families have enjoyed shows at the Buell for years and are looking forward to another successful season filled with fun and entertainment. The DCPA is one of the best places in the world to see the brightest stars from Broadway shine!

For years, the DCPA has transported Coloradoans into the world of live theatre. With a rich history of inspiring the next generation of young artists, PDC knows the impact of seeing the performing arts live and up close. The DCPA’s theatre and educational programs extend opportunities to the next generation of stage performers that will shape their future by building confidence, encouraging creative interaction, and offering glimpses into new and exciting worlds. PDC is proud to support the DCPA as it continues its impactful work as a foundational organization within the Denver community.

PDC Energy is a Colorado-based oil and natural gas company that is proud to produce the energy needed to power America’s stages. Driven to produce the cleanest molecule of oil and natural gas in the world, the company is taking measurable steps to reduce its impact on the environment and setting ambitious goals that continue to fight climate change. While sustainability efforts remain a key part of PDC’s strategic focus for the future, the company also understands the importance of giving back and investing in non-profit organizations that enhance our shared communities. Social investment remains a cornerstone of the culture at PDC, and its team is proud to generously support worthy organizations such as the DCPA that enrich the Denver metro area.

PROUD SPONSOR OF BEST OF BROADWAY SOCIETY

Social investment remains a cornerstone of the culture at PDC, and its team is proud to generously support worthy organizations such as the DCPA that enrich the Denver metro area.

Employees and their families experience Hadestown at the Buell Theatre.

PDC Energy employees enjoying their holiday season at the theatre.

DCPA

Janice Sinden President & CEO

Gretchen Hollrah COO

Lydia Garcia Executive Director, Equity & Organization Culture

Seán Kroll Coordinator, Equity & Organization Culture

Donna Hendricks President & CEO Executive Assistant

Julie Schumaker Manager, Board Relations & COO Executive Assistant

BROADWAY & CABARET

John Ekeberg Executive Director

Administration

Ashley Brown Business Manager

Alicia Bruce General Manager

Lisa Prater Operations Manager

Garner Galleria Theatre

Abel Becerra Technical Director

Jason Begin+,

Anna Hookana+ Core Stagehands

DEVELOPMENT

Jamie Clements Vice President

Connor Carlin Associate Director, Major & Planned Gifts

Kara Erickson-Stiemke Coordinator

Daniel Escobar Manager, Corporate Partnerships

Amanda Gomez Manager, Annual Fund

Kaylie Gro Manager, Grants & Reports

Marc Ravenhill Associate Director, Donor Relations

Megan Stewart Manager, Events

Erin Walker Senior Director

EDUCATION & COMMUNITY ENGAGEMENT

Allison Watrous Executive Director

Stuart Barr Technical Director

Claudia Carson Teaching Artist & Manager, Playwriting & Bobby G

Leslie Channell Director, Business Operations

Emily Doherty Teaching Artist & Manager, Theatre for Young Audiences Programming

Patrick Elkins-Zeglarski Director, Education & Curriculum Management

Emma Kimball Assistant Registrar

Jesús Quintana Martínez Director, Community Engagement

Timothy McCracken Head of Acting

David Saphier Teaching Artist & Manager, In-School Programming

Rachel Ducat Executive Assistant & Business Manager

Rya Dyes Registrar & On Site Class Manager

Charlotte Talbert Librarian

Rachel Taylor Teaching Artist & Manager, Literary Engagement & Resiliency

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

Samuel Wood Teaching Artist & District Liaison

FACILITIES

Glen Lucero Director

Dwight Barela, Mark Dill, John Howard, Zak Merten, John Ramos Engineers

Calum Abeywickrema, Brian Adams,

Jodi Benavides, David Bright, Cody Bryant, Gabe McNally-Nakamura, Isabella Samaniego,

Shayne Thullen Security Specialists

Judy Briggs Front Desk

Quentin Crump Manager, Security & Guest Relations

Merry Davis Financial Manager

Jane Deegan Administrator

Michael Kimbrough Manager, Engineering

Brian McClain Manager, Custodial

Casey Meschievitz Manager, Environmental Health & Safety

Jerad Ayala, Steven Bilbao,

Abraham Cervantes, Lindsey Cervantes, Carmen Molina, Judith Primero Molina, Juan Loya Molina Custodians

EVENT SERVICES

Tom Du n Event Technology Manager

Samantha Egle, Cody Gocio Senior Sales & Event Managers

Stori Heleen-O’Foley Lighting, Team Lead

Shane Hotle Audio Engineer

David Mandlowitz, Benjamin Peitzer Video Engineer

Tara Miller Event Sales & Operations Director

Brook Nichols Event Technical Director

Kate Olsen Event Sales Coordinator

Viktoria Padilla Lighting

Phil Rohrbach, Alex Skaar Event Managers

Brooke Wyatt Event Logistics Manager

MARKETING, SALES & PATRON SERVICES

Marketing

Giorgio Ausenda Media Producer

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

Erin Bunyard Senior Digital Strategist

Sofia Contreras Graphic Designer

Emmy Cook Coordinator, Broadway & Cabaret

Brenda Elliott, Paul Koob Senior Graphic Designers

TJ Forlenza Copywriter

Michael Garcia Manager, Web Content

Claire Graves Director, Produced Programs

Brittany Gutierrez Manager, Communications

Linda Horan Project Manager

Je Hovorka Director, Sales & Marketing, Broadway & Cabaret

Emma Hunt Coordinator, Communications & PR

Emily Kent Director, Insights & Strategy

Lucas Kreitler Junior Graphic Designer

Michael Ryan Leuthner Director, Digital Marketing

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

Kyle Malone Director, Design

Whitney Testa Executive Assistant, Marketing & Broadway

Kong Vang Social Media Coordinator

Julie Whelan Associate, Produced Programs

Mikayla Woods Coordinator, Produced Programs

Suzanne Yoe Director, Content & Communications

Ticketing & Audience Services

Jennifer Lopez Director

Christina Adamoli*, D.J. Dennis*,

Edmund Gurule*, Chris Leech*,

Elias Lopez*, Hayley Solano*,

Sam Stump* Counter/Show Leads

Kirsten Anderson*, Scott Lix*,

Liz Sieroslawski*,

Greg Swan* Subscription Agents

Quinn Chermak*, Wisline Cledgett*,

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

Phi Johnson-Grimes*, Noah Jungferman*,

Alison Orthel*, Lane Randall*,

Holly Stigen*, Andrew Sullivan*,

Robert Warner, Joseph Williams* Ticket Agents

Jon Collins Manager, Subscription

Katie Davis Coordinator, VIP Ticketing

Billy Dutton Associate Director, Operations

Danielle Freeman Manager, Customer Service

Roger Haak Manager, VIP Ticketing

Claire Hayes, Ella Mann Managers, Box O ce

Katie Spanos Associate Director, Subscriber Services

Group Sales

Jessica Bergin Associate Director

Brad Steinmeyer Coordinator

Maddie Young Education & Group Sales Associate

Theatre Services

Evan Gendreau Associate Director

Elliot Shields Manager

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

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

ACCOUNTING & FINANCE

Jane Williams CFO

Sara Brandenburg Director, Accounting Services

Michaele Davidson Treasury Accountant

Jennifer Je rey Director, Financial Planning & Analysis

Valerie Lingbloom General Ledger Accountant

Kristina Monge Accounts Payable Specialist

Jennifer Siemers Director, Accounting

HUMAN RESOURCES

Laura Maresca Vice President

Brian Carter, Lizette Collazos Directors

Kate Faust Coordinator

Paul Johnson Payroll Specialist

Monica Robles Supervisor, Mailroom

Kinsey Scholl Operations Specialist

INFORMATION TECHNOLOGY

Lisa Roebuck Vice President For security purposes, the IT team has been omitted.

OPERATIONS

Vincent Bridgers Senior Analyst

Adam Busch Junior Analyst

Aaron Chavez Lead

Ruben Cruz Engineer

Simone Gordon Associate Director

Kyle Greufe Analyst

Brandon LeMarr Manager

Sarah Martinez Analyst

Jacob Parker Associate Director

Joseph Reecher Senior Engineer

Chris Robisch Analyst

Cordelia Taylor Coordinator

Alice Welker Administrator

OFF-CENTER

Charlie Miller Executive Director & Curator

THEATRE COMPANY

Administration

Charles Varin Managing Director

Madysen Hunter Business Admin/ Assistant Company Manager

Ann Marshall General Manager

Evangeline Read Production COVID Safety Coordinator

Sabina Rivera Company Manager

Artistic

Chris Coleman Artistic Director

Melissa Cashion Artistic Producer

Grady Soapes Artistic Producer & Director of Casting

Leean Kim Torske Director of Literary Programming

Production

Je Gi ord Director

Julie Brou Administrative Assistant/ O ce Manager

Matthew Campbell Production Manager

Peggy Carey Associate Production Manager

Scenic Design

Lisa Orzolek Director

Kevin Nelson, Nicholas Renaud Assistants

Lighting Design

Charles MacLeod Director

Lily Bradford Assistant

Joseph Price+ Production Electrician

Sound Design

Alexander Billman Supervisor

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

Stage Management

Michael Morales Production

Stage Manager

Martinique Barthel, Corin Davidson, Rachel Ducat, Wendy Blackburn Eastland, Anne Jude, Rick Mireles, Nick Nyquist, Malia Stoner, Christine Woods Stage Managers

Nia Pitts, Angie Salazar, Lorna Stephens Stage Management Apprentices

Scene Shop

Eric Moore Technical Director

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

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

Louis Fernandez III Lead Scenic Technician

Brian “Marco” Markiewicz Lead Carpenter

Prop Shop

Meghan Markiewicz Supervisor

Jamie Curl, Georgina Kayes, Ashley Lawler, Nikki Mayer Artisans

Cat V Kerr Associate Props Supervisor

Andrew McGlothen Prop Carpenter

Paint Shop

Jana Mitchell Charge Scenic Artist

Kristin Hamer MacFarlane, Melanie Rentschler Scenic Artists

Costume Shop

Janet Macleod Director/Design Associate

Meghan Anderson Doyle Design Associate Stephanie Cooper, Ingrid Ludeke, Carolyn Plemitscher Draper

Costume Crafts

Kevin Copenhaver Director

Chris Campbell Assistant

Wigs

Diana Ben-Kiki Supervisor

House Crew

Douglas Taylor+ Supervisor

James Berman+, Forest Fowler+, William Loving+, Dave Mazzeno+, Kyle Moore+, Matt Wagner+ Stagehands

Calli Lavarnway+, Kelley “Reznik” Russell+ Assistants

Wardrobe

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

Jerome Horng^, Marisa Sorce^ Wig Assistants

Aymée Nuviola and the Colorado Mambo Orchestra

Tchaikovsky’s Nutcracker conducted by Andrew Litton