Applause -- Anastasia, April 14-16, 2023

APPLAUSE

HUGE SELECTION OF BRANDS LIKE MASSOUD, 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 JANICE SINDEN

WWelcome to the DCPA. We are delighted you’re here! Your presence continues to ensure our success and for that we are especially grateful.

In January, we released our 2021/22 Community Report. With your active participation, we were able to distribute 605,145 tickets to 30 productions, engage with 100,043 students, host 21,345 guests in our rental spaces and welcome 22,502 individuals to our community events. Collectively, the DCPA had an economic impact of $203,406,512 on the metro Denver area.

Thank you for your part in boosting not only the DCPA’s recovery from the pandemic, but also preserving the vitality that is the cornerstone of downtown Denver. We recognize that you have many options in our thriving and diverse region, and we appreciate the value you place in the arts — especially live theatre.

We hope you will join us for the newly announced Theatre Company season, which will feature the world premieres of Cebollas and Rubicon plus the enduring favorites, Emma and A Christmas Carol, among others. We invite you to join us for these local, handcrafted productions that are exclusive to our audiences. You can see the full lineup on pages 24-25.

Equally exciting are the Broadway hits making their way to Denver for the very first time — Jagged Little Pill, Beetlejuice, TINA – The Tina Turner Musical, SIX, Message In A Bottle, MJ and Company. Plus, we’ll round out the season with many familiar favorites including Annie, Wicked and the national tour launch of the return of MAMMA MIA!

Mark your calendar for another fantastic season of theatre! We’ll see you soon.

Warm regards,

Janice Sinden President & CEO, Denver Center for the Performing Arts

READ THE COMMUNITY REPORT

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.

IN THIS ISSUE

The 39 Steps pg 10

Riverdance.................................... pg 12

Les Misérables pg 14

The Color Purple pg 16

Anastasia pg 22

EDITOR: Suzanne Yoe

DESIGN DIRECTOR: Kyle Malone

DESIGNER THIS ISSUE: Brenda Elliott

CONTRIBUTING DESIGNERS: Paul Koob, Lucas Kreitler

CONTRIBUTING WRITERS: Cynthia Barnes, Emma Hunt, John Moore, Kelundra Smith, Rob Weinert-Kendt

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

FOR A COMPLETE LIST OF UPCOMING SHOWS:

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

The Board and staff of the DCPA mourn the loss of Edward Payson Call (1928-2023), Founding Artistic Director of our Theatre Company. His vision established our foundation, his artistry fueled our passion and his contributions to theatre were felt throughout the American Theatre community. He will be greatly missed.

Get Tickets

MAY 4, 2023

JOIN THE DCPA FOR A STYLISH BENEFIT LUNCHEON IN SUPPORT OF OUR WOMEN’S VOICES FUND!

Gather with theatre-lovers from across Denver and help us celebrate the brilliant work of female playwrights and directors in fabulous fashion. Browse retail displays, take advantage of networking opportunities galore, sip seasonal beverages, and savor a seated luncheon in the Seawell Ballroom. Afterward, join us for the Parade of Hats, where attendees with the most exceptional, extravagant headwear will take home prizes provided by the DCPA.

Prepare your finest derby, beret, or pillbox and get your tickets to the annual Women with Hattitude Luncheon today!

Photo by Amanda Tipton

TAKING THEATRE TO THE COMMUNITY

BY SUZANNE YOE

TThe Denver Center for the Performing Arts’ commitment to community performances goes back before Shakespeare in the Parking Lot, before its DCPAccess $10 ticket program, even before its founding in 1979.

In fact, the very fabric of the DCPA was rooted in community because its benefactress, the late Helen Bonfils, made it her mission.

When Miss Helen, as she was fondly called, inherited The Denver Post from her father Frederick in 1933 she began producing The Denver Post Operas in Cheeseman Park. These free public performances continued when DCPA founder Donald R. Seawell stepped in as Presidentthen-Publisher of The Denver Post (1966 to 1981). He then extended his commitment to providing professional quality performing arts by conceiving of and creating the Denver Performing Arts Complex, which then-Mayor Bill McNichols called the “greatest gift ever given to the city of Denver.”

Fast forward to 2023, and that same commitment to community connection continues with Shakespeare in the Parking Lot. Launched as a high school program in 2015/16, the program has expanded to public performances at libraries, civic centers and parks. Held each fall and spring, DCPA Education and Community Engagement present adaptations of three Shakespearean plays in repertory — Much Ado About Nothing, Romeo and Juliet and Macbeth Now in its eighth year, the program has reached more than 70,000 people in schools and public spaces. Spring performances run April 8 – May 13; locations and times are noted in the space below. Head out to your local park or community center for a lively, 90-minute performance and share Shakespeare with your neighbors…the way it was intended to be.

Join us for a free performance of DCPA’s SHAKESPEARE IN THE PARKING LOT! Abridged versions of some of the Bard’s most beloved plays performed in and around a pick up truck “set.” Mark your

For more information email: COMMUNITY@DCPA.ORG

SPONSORED BY

Photo by McLeod9 Creative

MAKING CONFETTI OUT OF SUSPENSE

IN PATRICK BARLOW’S SLY STAGE VERSION OF

TH E 39 STEPS,

SUSPENSE IS ALL ABOUT WATCHING

FOUR ACTORS TAKE ON SOME 50 CHARACTERS

BY ROB WEINERT-KENDT

“I“I am out to give the public good, healthy, mental shakeups,” Alfred Hitchcock wrote in 1936, in an essay that might have been a mission statement for his multi-decade film career as the Master of Suspense. “Civilization has become so screening and sheltering that we cannot experience sufficient thrills at first hand. Therefore, to prevent our becoming sluggish and jellified, we have to experience them artificially.”

That essay was published a year after the British director completed The 39 Steps, a dashing espionage thriller that not only supplied the requisite jolts, but was arguably the first recognizably “Hitchcockian” film: Here was the Handsome Everyman tangled up mistakenly in a highstakes international caper; the Icy Blonde hurled by chance into his path and inclined to thaw only after some shared hardship; the Smiling Sophisticate Villain with a seamy retinue of thugs and lackeys; and assorted unsuspecting passersby who might help or hinder our hero, depending on their mood or predilection.

The film’s improbable plot—about rival rings of spies vying over some direly significant state secret—unfurled in a headlong rush, from chase to capture to escape and back to chase again, in a rolling roundelay of mounting danger and derring-do. They set the template for e-ticket movie rides from James Bond to Speed.

“What I like in The 39 Steps are the swift transitions,” Hitchcock later told French director Francois Truffaut. “The rapidity of those transitions heightens the excitement... You use one idea after another and eliminate anything that interferes with the swift pace.”

Now think for a minute: What’s another genre that relies on speed and improbability, crossed wires and missed connections? Funny you should ask: It’s farce, of course. As Pauline Kael astutely noted, the original film is “directed with so sure a touch the suspense is charged with wit.” The family resemblance between the chase thriller and the slapstick comedy will not be news to devotees of Chaplin or Keaton, not to mention Jackie Chan. It turns out that some skilled British farceurs in West Yorkshire, England, apparently also noticed this affinity, and duly turned Hitchcock’s Highland fling into a stage romp that has become an unlikely international hit.

That stage adaptation by actor/writer Patrick Barlow went on to wow the West End, Broadway, off-Broadway, even Madrid before fairly blanketing the U.S. in a tour and a series of original regional renditions.

What’s particularly notable about Barlow’s comic adaptation isn’t just that it’s comic, but that he has pushed the original material just enough to show the underlying humor.

It’s not just that Barlow has dropped in sly visual and verbal references to other Hitchcock films, from Psycho’s shower murder to North by Northwest ’s crop duster chase. No, the thing that stands out most about the new stage version is that it’s a kind of tribute from one medium to another: Just as Hitchcock used the full arsenal of cinematic technique to maximum effect in his film, Barlow’s 39 Steps does something similar with the craft of theatre by having just four actors play the whole thing—trains, planes, automobiles, sheep, and all.

Illustrations by Kyle Malone

One actor plays the put-upon lead, a Canadian bachelor named John Hannay, throughout. But the others are multiple-cast: a woman as three of Hannay’s love interests (including the blonde, Pamela) and two “clowns” who jump in and out of dozens of other characters, from train conductors to policemen to innkeepers to heavies. The gleeful flurry of quick-change characterizations might put one in mind of Charles Ludlam’s The Mystery of Irma Vep—except that most of the changes in The 39 Steps happen, beguilingly, right before our eyes.

In translating the film to the stage, Barlow has said that he used the screenplay as a blueprint. “I just took the film and then added things that make me laugh,” he said. To give a key example: Hannay and Pamela, handcuffed together by two baddies, must spend the night in a hotel room. Hitchcock includes a famously sexy scene in which Pamela gingerly takes off her stockings while Hannay’s hand flops embarrassedly across her thigh, as well as a charming bit in which sharing sandwiches becomes an awkward hand dance. But while the film retained a British understatement, Barlow wanted to go a bit further.

“I added in [a] kind of mad argument between them,” Barlow said. “That relationship fascinated me, between Pamela and Hannay—the repression of it. Repression is very interesting for a writer to look at. It’s very like Brief Encounter... The Hitchcock film treats the relationship quite lightly, so I added a lot to it.”

COMING UP FROM BROADWAY

Your wish has been granted! Disney’s Aladdin is coming to the Buell Theatre June 13-18. A thrilling production filled with laughter and splendor; you won’t want to miss what The Wall Street Journal called “Broadway magic!”

From the producer of The Lion King, this hit Broadway musical features all your favorite songs from the beloved film as well as new music written by Tony and Academy Award winner Alan Menken (Newsies) with lyrics by Howard Ashman (Beauty and the Beast). Sing along to “A Whole New World” and dance in your seat to “Friend Like Me.”

With choreography and direction by Tony Award-winning Casey Nicholaw (The Book of Mormon) and sets, costumes, and lighting from Tony Award winners Bob Crowley (Mary Poppins), Gregg Barnes (Kinky Boots), and Natasha Katz (An American in Paris), the stage is filled with sparkle and beauty. Reminisce about when you first saw Aladdin in theatres in 1992 or watch as your child experiences the magic of Aladdin for the first time. It’s an extraordinary theatrical event where one lamp and three wishes make the possibilities infinite.

If the stage version, then, adds its share of pratfalls, it’s complemented by retaining some of the film’s focus on actual nail-biting suspense. But that’s not to say that the stage version doesn’t elicit side splitting laughter.

Come to think of it, such extreme reactions aren’t too far from the “healthy mental shake-ups” Hitchcock had in mind. There are exceptions (Vertigo and Psycho come to mind), but Hitch mostly intended his filmic jolts to be ultimately pleasing, not unsettling. After all, he also once quipped, “Some films are slices of life. Mine are slices of cake.”

Rob Weinert-Kendt is Editor-in-Chief at American Theatre and has written about theatre and the arts for The New York Times, The Los Angeles Times, Variety, The Guardian and The San Francisco Chronicle

What I like in The 39 Steps are the swift transitions. The rapidity of those transitions heightens the excitement...

— ALFRED HITCHCOCK, MASTER OF SUSPENSE

Marcus M. Martin as Genie. Aladdin North American Tour.

Photo by Deen van Meer. © Disney

THE LASTING STAMINA OF

RRiverdance 25th Anniversary Show is celebrating its silver anniversary and it’s a double whammy — 25 years performing for 25 million fans.

But that was not the original expectation. Riverdance started as a one-time, seven-minute performance. “It came from the Eurovision song contest, which is a big contest in Europe and it’s watched by about 500 million people,” said John McColgan, Director. “Every year there’s an internal act and my wife (Moya Doherty, Producer) was the producer…. She contracted Bill Whelan (Composer), Michael Flatley (male lead dancer), Jean Butler (female lead dancer) and choreographers. That was the first appearance of Riverdance and it was a sensation.”

Julian Erskine, who retired in 2020 after serving as Senior Executive Producer since the show’s inception, remembers that first night. “It’s hard to describe just how enormous [the audience reaction] was. Not just in the Eurovision venue, where the entire audience let out a spontaneous roar and jumped to [its] feet, but also across all the Irish radio and TV stations and newspapers where it was the number one topic of discussion.”

Such a buzz was created that when the routine was repeated on Irish television, nearly the entire country watched. With its instant popularity, the creative team quickly planned a full-length performance to play Dublin. “The original hope,” Erskine said, “was for a one-month run.”

That was 1994 and Riverdance continues to play to enthusiastic audiences across the globe.

“Riverdance has no language barrier,” said McColgan. “I’ve stood in the back of darkened theatres in Mexico and Germany and China and the US and the UK. The response is always the same. People are energized. People come away from it uplifted.”

“Its longevity is due to the performers on stage and the culture that every night is Opening Night,” McColgan continued.

Those dancers are the heart of the show — skilled athletes whose precise execution may be rivaled only by the Rockettes. When asked if that point-perfect unison is achieved by endless hours of rehearsal or great choreographic direction, Erskine assessed it as a bit of both.

“Mostly it’s down to the competitive background of Irish dance. All of our performers are championship-winning dancers and as such, perform with extreme precision and exceptional timing. What seems extraordinary to the audience seems ordinary to the dancers,” he said.

“We manage to get the best dancers in the world,” McColgan said, “and they’re proud to deliver 110% every night.” Which they do. Enjoy.

RIVERDANCE

MAY

Audio Described performance: June 3 at 2pm

Its longevity is due to the performers on stage and the culture that every night is Opening Night.

— JOHN MCCOLGAN, DIRECTOR

Trusted Planning for Life

BEYOND OUR DREAMS

Alain Boublil (Book & Original French text) and Claude-Michel Schönberg (Book & Music) share their insights on Les Misérables.

AA few years after the huge success of the original Les Misérables in Paris, we met Cameron Mackintosh to discuss an English version. He told us excitedly, “You do not realise what you have written.” Neither he nor we could have imagined that three decades later we would be continuing to play in London and on tour in the UK. An unprecedented success like this cannot be explained but only witnessed with amazement and pride by its creators. Stravinsky once said “A real creator does not know what he is doing.”

We were to walk through the magical door leading us to the chain of talents of James Fenton, Trevor Nunn and John Caird, Herbert Kretzmer, and now Laurence Connor and James Powell. Under Cameron’s passionate helm, all have added their invaluable contributions to our original work which they have brilliantly complemented throughout the years, bringing Les Misérables to maturity and both of us into a world that has been our home ever since. We went on to write Miss Saigon, Martin Guerre, The Pirate Queen and other works.

The spirit of Victor Hugo may protect us. His novel proclaims its message around the world, to all nationalities, cultures and ages. Still, it astounds us that this young generation flock to see a current show which was written before they were born. Too often musicals age with their audience, but in this case we are the only ones who age while, onstage, the ideals and the passion of Valjean, Javert, Cosette, Marius and the rebel students are still as timeless as ever.

Attending one rehearsal at The Barbican Theatre in 1985, where in front of our eyes was mounted the musical which exceeded our wildest dreams, Alain said: “I hope that we will still be running in two months.” After 37 years, in light of all the challenges facing our theatre community today, we still are!

LES MISÉRABLES

MAY 10 – 21 • BUELL THEATRE

ASL, Audio described & Open

Captioned performance: May 20, 2pm

“One Day More” from Les Misérables

Photo: Matthew Murphy & Evan Zimmerman for MurphyMade

ALAIN

BOUBLIL CLAUDE-MICHEL SCHÖNBERG

…the ideals and the passion of Valjean, Javert, Cosette, Marius and the rebel students are still as timeless as ever.

— ALAIN BOUBLIL & CLAUDE-MICHEL SCHÖNBERG

AFTER 30 YEARS,

THE COLOR PURPLE STILL STIRS AUDIENCES

BY KELUNDRA SMITH

OOne of the most quoted sentences from Alice Walker’s novel The Color Purple is “I think it pisses God off if you walk by the color purple in a field somewhere and don’t notice it.”

Walker grew up in Eatonton, Georgia in the 1940s, the youngest of eight children in a sharecropping family. It is in those cotton fields that Walker likely saw purple asters, the wildflowers that grow anywhere there’s soil in the state of Georgia. The radiance of those flowers contrasted the society that kept the family in poverty.

Years later, Walker returned to the color purple, this time as a metaphor for a woman named Celie who learns to find God in herself. At the beginning of The Color Purple, Celie is a 14-year-old girl in rural Georgia whose mother has died and whose father is progressively more abusive to her and her sister, Nettie. In the first half of the book, Celie’s letters to God recount her fears and trials being married to Mister, the widower to whom she was sold by her father.

The second half of the book is written as letters between Celie and Nettie. Through these letters, Walker shows how Celie grows into herself and inspires the women around her — Sofia, Shug and Squeak — to do the same.

In 1983, Alice Walker became the first African American woman to win the Pulitzer Prize in Literature for The Color Purple. It also won the National Book Award. In 1985, it was adapted into a film directed by Steven Spielberg and starring Whoopi Goldberg, Danny Glover and Oprah Winfrey.

Twenty years later, The Color Purple became a Broadway musical with book by Marsha Norman and music by Brenda Russell, Stephen Bray and Allee Willis. Then, the musical was revived and revised in a Tony Award-winning production in 2015.

When the DCPA Theatre Company presents the musical adaption of The Color Purple, it will be director Timothy Douglas’ third time at the helm, which he previously directed at Portland Center Stage and Signature Theatre in Washington, D.C. Douglas says that every time he encounters the work, he has a life-changing experience.

He first read The Color Purple as an undergraduate student at Yale University in the 1980s. He says he cried three pages into the book and read it in one sitting. Douglas shared that he was abused as a child, and the novel and subsequently the musical, have helped him understand his experiences more clearly.

“It articulated the pain I was feeling; I can count on one hand how many books have done that to me,” Douglas says. “It also helped me with insight into the pain my mother was going through that would get her to a place to be abusive. I recognized the behavior of the men and what underlies that. I don’t spend time defending the men, but the level of psychological turmoil that causes that abuse.”

This is similar to the journey Celie takes through the musical. At the beginning, she is downtrodden and looking for affirmation outside of herself. However, there is no relationship closer than the one with self, and Douglas tries to make every production feel intimate.

Illustrations by Kyle Malone

“The thing I try to do in every production, though it’s impossible, is to get back to the intimacy of the book where it’s just Celie and God,” Douglas says. “When I talk to my company on the first day of rehearsal, I tell them that.”

Maiesha McQueen, who plays Celie, recalls reading The Color Purple for the first time in high school, but she says she wasn’t fully able to receive it because she hadn’t found her own liberation yet. In the book, Celie and Shug find liberation through friendships and intimacy after being emotionally, physically and sexually abused by various men. McQueen believes a lot of women can relate to the way society suppresses women’s sexuality.

“I grew up like many women — in a very repressed space,” McQueen says. “I don’t think my parents knew it, and I wasn’t really churched, but there were these limited definitions of what a girl was supposed to do and be like. Things like attraction, desire, masturbation, fulfillment versus non-fulfillment, we didn’t talk about it.”

As a full-figured woman, McQueen says that bodies tell stories and she believes that inhabiting the role of Celie will make audiences reconsider the story.

“There were certain casting choices made for the movie, so those images of the women and their bodies have been fixated in our minds,” McQueen says. “I was excited and interested in being able to be frail on the inside. When we think about women who are oppressed, abused and made to feel small, that does not discriminate based on what your body happens to look like.”

Having encountered the book, movie, and musical many times as an adult, McQueen is able to recognize the revolutionary nature of Walker’s hallmark work. Celie is the color purple — the divine creation that God deems worthy of celebration. Since chattel slavery, Black women’s bodies have been used, experimented on and criticized for capitalistic and patriarchal gains. In The Color Purple, Black women are regarded not for their usefulness, but for simply existing.

“The book brought home this idea of the divine feminine and the power of the Black woman to take her own happiness, sexual liberation and freedom,” McQueen says. “At the end of the show, Celie is still living in a racist and sexist society, but her understanding of her own divinity is her liberation.”

Douglas agrees. “Whether people acknowledge or not, Celie is never a victim of her circumstances,” he says. “She is always who she is, but through the story the women are like beacons that pull who she is at core to the surface. She doesn’t change; she becomes more realized and it’s the women around her who change. I think people see their self-resilience in her journey.”

Whether you’re an experienced actor or you’re just looking for a new hobby, we have a theatre class for you. Courses range from intro-level to advanced and are always taught by experienced professionals.

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[Celie] doesn’t change; she becomes more realized and it’s the women around her who change. I think people see their self-resilience in her journey.

— TIMOTHY DOUGLAS, DIRECTOR

Photo by McLeod9 Creative

SEASON SPONSOR

NETworks Presentations presents

Book By Music By Lyrics By

TERRENCE M cNALLY

STEPHEN FLAHERTY LYNN AHRENS

Inspired by the TWENTIETH CENTURY FOX MOTION PICTURES by special arrangement with BUENA VISTA THEATRICAL From the play by MARCELLE MAURETTE as adapted by GUY BOLTON

VERONICA STERN WILLEM BUTLER

CHRISTIAN McQUEEN GERRI WEAGRAFF BRYAN SEASTROM MADELINE RAUBE

THALIA ATALLAH LOUIS BROGNA AMIN FUSON ADRIELLA GONCALVES

REBECCA HARTMAN DAKOTA HOAR KAITLYN JACKSON ZOIE LEE BROOKLYN LIBAO

ALEC LLOYD DANNY MARTIN BILLY McGAVIN DOMINIC PAGLIARO LUKE RANDS

LATHAN A. ROBERTS ALEXANDRYA SALAZAR AMY SMITH SARAH STATLER LAUREN TEYKE

Scenic Design

Costume Design

ALEXANDER DODGE LINDA CHO

Projection Design

Hair & Wig Design

Lighting Design

DONALD HOLDER

Sound Design

PETER HYLENSKI

Makeup Design Casting

AARON RHYNE CHARLES G. LAPOINTE JOE DULUDE II

Orchestrations Vocal Arrangements

DOUG BESTERMAN STEPHEN FLAHERTY

Music Director

GLENN ALEXANDER II

Company Manager

JASON STYRES

Dance Arrangements

DAVID CHASE

Music Coordinator Tour Booking Marketing & Publicity Direction

Music Supervisor

TOM MURRAY

Interactive Marketing

JOHN MEZZIO THE BOOKING GROUP BOND THEATRICAL ANDY DRACHENBERG

MEREDITH BLAIR

Production Management

MACKENZIE DOUGLAS NETWORKS PRESENTATIONS

General Management

GENTRY & ASSOCIATES

SHELBY STARK PEARCE LANDRY-WEGENER

Executive Producer

SETH WENIG

Commissioned by DMITRY BOGACHEV Director Choreographer

SARAH HARTMANN BILL BURNS

Original Choreographer

PEGGY HICKEY

Original Director

DARKO TRESNJAK

Originally produced on Broadway at the Broadhurst Theatre on April 24, 2017 by Stage Entertainment, Bill Taylor, Tom Kirdahy and Hunter Arnold.

Production Stage Manager

KATERYNA TURKALO

CAST

Little Anastasia (at certain performances) ADRIELLA GONCALVES, ALEXANDRYA SALAZAR

Dowager Empress GERRI WEAGRAFF

Tsarina Alexandra KAITLYN JACKSON

Tsar Nicholas II AMIN FUSON

Young Anastasia .................................................................................................................................. BROOKLYN LIBAO

Maria Romanov ZOIE LEE

Olga Romanov LAUREN TEYKE

Tatiana Romanov THALIA ATALLAH

Alexei Romanov (at certain performances) ADRIELLA GONCALVES, ALEXANDRYA SALAZAR

Gleb.....................................................................................................................................................CHRISTIAN McQUEEN

Dmitry WILLEM BUTLER

Vlad BRYAN SEASTROM

Anya VERONICA STERN

Paulina BROOKLYN LIBAO

Marfa.............................................................................................................................................................................. ZOIE LEE

Dunya THALIA ATALLAH

Count Ipolitov AMIN FUSON

Gorlinsky BILLY McGAVIN

Countess Lily MADELINE RAUBE

Count Leopold BILLY McGAVIN

Sergei LOUIS BROGNA

Count Gregory AMIN FUSON

Countess Gregory SARAH STATLER

Odette in Swan Lake ................................................................................................................................ LAUREN TEYKE

Prince Siegfried in Swan Lake LATHAN A. ROBERTS

Von Rothbart in Swan Lake LUKE RANDS

Suitors, Soldiers, Comrades, Ghosts, Parisians, Russian Aristocrats in Exile, Waiters, Reporters, Cygnets in Swan Lake THALIA ATALLAH, LOUIS BROGNA, AMIN FUSON, DAKOTA HOAR, KAITLYN JACKSON, ZOIE LEE, BROOKLYN LIBAO, DANNY MARTIN, BILLY McGAVIN, LUKE RANDS, MADELINE RAUBE, LATHAN A. ROBERTS, SARAH STATLER, LAUREN TEYKE

UNDERSTUDIES

Understudies never substitute for the listed performers unless a specific announcement is made at the time of the appearance. For Anya—THALIA ATALLAH, REBECCA HARTMAN; for Dmitry—DAKOTA HOAR, DANNY MARTIN; for Vlad—BILLY McGAVIN, DOMINIC PAGLIARO; for Dowager Empress— KAITLYN JACKSON, SARAH STATLER; for Countess Lily— REBECCA HARTMAN, KAITLYN JACKSON; for Gleb—AMIN FUSON, DOMINIC PAGLIARO; for Odette— ZOIE LEE, BROOKLYN LIBAO, AMY SMITH; for Prince Siegfried—ALEC LLOYD, LUKE RANDS; for Von Rothbart—LOUIS BROGNA, ALEC LLOYD.

SWINGS

REBECCA HARTMAN, ALEC LLOYD, DOMINIC PAGLIARO, AMY SMITH

Dance Captains: ALEC LLOYD, LAUREN TEYKE

Fight Captain: BILLY McGAVIN

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, beepers and watches prior to the beginning of the performance.

Willem Butler Veronica Stern

Christian McQueen

Bryan Seastrom Gerri Weagraff

Madeline Raube Thalia Atallah Louis Brogna Amin Fuson

Adriella Goncalves

Alexandrya Salazar Amy Smith

Sarah Statler Lauren Teyke

Rebecca Hartman Dakota Hoar

Zoie Lee Brooklyn Libao Kaitlyn Jackson

Alec Lloyd Danny Martin Billy McGavin

Luke Rands

Lathan A. Roberts

Dominic Pagliaro

MUSICAL NUMBERS

ACT I

Setting: Saint Petersburg, 1906, 1917 & 1927

Prologue: “Once Upon a December” Dowager Empress and Little Anastasia

“The Last Dance of the Romanovs” Ensemble

“A Rumor in St. Petersburg” Dmitry, Vlad and Ensemble

“In My Dreams” Anya

“The Rumors Never End” Gleb and Ensemble

“Learn to Do It” Vlad, Anya and Dmitry

“The Neva Flows” Gleb and Anya

“The Neva Flows” (Reprise) Men

“My Petersburg”....................................................................................................................................... Dmitry and Anya

“Once Upon a December” Anya and Ensemble

“A Secret She Kept” Anya

“Stay, I Pray You” Count Ipolitov, Anya, Dmitry, Vlad and Ensemble

“We’ll Go From There” Vlad, Anya, Dmitry and Ensemble

“Traveling Sequence” .............................................................................. Gleb, Gorlinsky, Anya, Dmitry and Vlad

“Still” Gleb

“Journey to the Past” Anya

ACT II

Setting: Paris, 1927

“Paris Holds the Key (To Your Heart)” ....................................................... Vlad, Dmitry, Anya and Ensemble

“Close the Door” Dowager Empress

“Land of Yesterday” Countess Lily and Ensemble

“The Countess and the Common Man” Vlad and Countess Lily

“Land of Yesterday” (Reprise) Gleb

“A Nightmare” Romanov Children, Tsar and Tsarina

“In a Crowd of Thousands” Dmitry and Anya

“Meant to Be”. Vlad

“Quartet at the Ballet” Anya, Dmitry, Dowager Empress, Gleb and Ensemble

“Everything to Win” ..................................................................................................................................................... Dmitry

“Once Upon a December” (Reprise) Anya and Dowager Empress

“The Press Conference” Countess Lily, Vlad and Ensemble

“Everything to Win” (Reprise) Anya

“Still”/“The Neva Flows” (Reprise) Gleb, Anya and Ensemble

Finale ...................................................................................................................................... Anya, Dmitry and Company

ORCHESTRA

Conductor: GLENN ALEXANDER II

Associate Conductor/Keyboard 1—SONIA YUNG-HSAUN LEE; Keyboard 2: MEGAN SMYTHE; Violin—ADAM KUJAWA; Cello—ROMAN WOOD; Reeds—KENNY ADVOCAT, SHENGWEN WU; Trumpet—KEATON VIAVATTINE; Horn—ELIZABETH SIMMONS; Percussion—CHRIS CERRETO

Music Coordinator: JOHN MEZZIO

Electronic Music Design: STRANGE CRANIUM

Original Keyboard Programming: RANDY COHEN, RANDY COHEN KEYBOARDS

Anastasia utilizes theatrical haze, strobe lights, gunshot sound effects and smoking (vapor e-cigarettes).

VERONICA STERN (Anya) is thrilled to be making her national tour debut with Anastasia! In 2021, she made her professional debut with the Cincinnati Pops Orchestra and her New York debut at Feinstein’s/54 Below. BroadwayWorld named her one to watch in 2022! Special thanks to her team, Avalon Artists Group, and her family. BFA Musical Theatre, CCM. veronicastern.com, @veronicastern

WILLEM BUTLER (Dmitry) is making his touring debut. BFA Music Theatre, Elon University. Credits: Jersey Boys (Frankie Valli), Catch Me If You Can (Frank Abignale, Jr), The Hunchback of Notre Dame (Quasimodo). Willem competed and won first place in BroadwayWorld’s first annual NextOnstage competition. He would like to thank his family, friends, and specifically Mom and Dad for always supporting him. willembutler.com, @KillemWillem

CHRISTIAN McQUEEN (Gleb). Originally a native of Southern California, Christian is a multi-hyphenate based in NYC. Some of his notable roles include Sky Masterson (Guys and Dolls), Benny (In The Heights), and Jake (Porgy and Bess). Christian is elated to be back on the road with the National tour of Anastasia. He would like to thank his family and everyone else who has supported him along this journey. @theshow6000

GERRI WEAGRAFF (Dowager Empress) is thrilled to be touring with this wonderful cast and crew, telling this beautiful story! National Tour: Fiddler on the Roof (Golde). Regional: Arizona Broadway Theatre, Surflight Theatre, Beef & Boards, Fireside, Candlelight Theatre. Credits: Into the Woods (Cinderella’s Stepmother), Show Boat (Parthy Hawks), The Spitfire Grill (Hannah), Bright Star (Mama Murphy), Lend Me a Tenor (Julia). Many thanks to Jason Styres Casting and the Anastasia creative team, to my husband Paul, my children, family, and friends for their love and support! gerriweagraff.com

BRYAN SEASTROM (Vlad) is thrilled and honored to be a part of Anastasia

Favorite credits: The Red Skelton Story (Red), Singin’ in the Rain (Cosmo), Tangled: The Musical (Hook Hand), the national tour of Anything Goes, Disney Cruise Line. Bryan is also a puppeteer and family entertainer and can be found outside having fun with his pal

WHO’S WHO

Clide Snail in a web series called Bryan’s Backyard. Proud graduate, Pacific Conservatory of Performing Arts; BFA, Musical Theatre, The College of Santa Fe. Shout out to his loving friends and family. A big thanks to the Anastasia team and Todd and Bob at ATB Talent.

MADELINE RAUBE (Countess Lily). National tour debut! Recent credits: Kiss Me, Kate (Kate); The Secret Garden (Lily); Life of the Party (Nina - Dir. Larry O’Keefe & Nell Benjamin); The Phantom of the Opera (Christine); Annie (Lily St. Regis). Master’s degree, Musical Theatre Performance, NYU; bachelor’s degree, Classical Voice, Oberlin Conservatory. A huge thank you to Mom, Dad, Olivia, and Charlotte for all your love and support! madelineraube.com, @mdrsinger

THALIA ATALLAH (Ensemble) is over the moon to make her national tour debut! Southern California native, recent Musical Theater graduate from UCLA. Credits: In the Heights (Nina), Pippin (Leading Player), Heathers: The Musical (Heather Chandler), Seussical (Gertrude), The Addams Family (Wednesday). Thanks to family and agents at CESD for their unwavering support and the Anastasia team for giving her home, love, family.

LOUIS BROGNA (Ensemble) is making his National tour debut! Hailing from Boston, and a Boston Conservatory alumni, Louis currently resides in NYC. Past credits: The Donkey Show (A.R.T.), The Music Man (Olin Britt). Louis thanks friends, family, and the team for their support. louisbrogna.com, @louisbrogna

AMIN FUSON (Ensemble) is ecstatic to make his National tour and professional debut! He is from Albany, CA and attended The University of California, Irvine where he received his BFA in Music Theatre. Amin thanks his family, friends, and UCI teachers. Much love. AminFuson.com, @Amin_Fuson

ADRIELLA GONCALVES (Little Anastasia), 11 years old, is excited to be making her national tour debut! Regional credits: Annie, Matilda the Musical. Other recent credits: Sesame Street (season 53), voice over roles on YouTube, Peacock, and Nick Jr./ Noggin. A huge thank you to team and coaches: Take 3 Talent Agency, Sherry Kayne (manager), Michelle Aravena, and Raquel Nobile, Badiene

Magaziner, Nolan Bonvouloir, Jillian Zach Rodgers, and Lauren Greco; and to mom, daddy, sissy, family and friends for their constant love and support! IG @adriellaann official

REBECCA HARTMAN (Swing) (she/ her) is a singer, dancer, and actor from Holtsville, NY. BFA Musical Theatre, Webster University. Recent credits: The Sound of Music (Maria, Choreographer); Mary Poppins (u/s Mary Poppins), Matilda (Acrobat, u/s Mrs. Wormwood, Choreographer). When not performing, she can be found teaching dance, playing princesses for children’s birthday parties, and creating TikToks. @rebecca_hartman_

DAKOTA HOAR (Ensemble). National

Tour: An American in Paris (Ensemble, u/s Henri Baurel) Regional: Newsies! (Spot Conlon, The Lex), A Chorus Line (Mike, Ivoryton Playhouse), The Bodyguard (NSMT). Pace Commerical Dance alum. Represented by CTG. Dakota sends love to the most supportive friends and family. @yesiamahoar.

KAITLYN JACKSON (Ensemble) is a graduate of Ithaca College’s BFA Acting program. Credits: All Shook Up (Natalie), Songs for a New World (Woman 2), Titanic: The Musical (Kate Murphy), and an apprenticeship with the Daniel Gwirtzman Dance Company. She has two albums of original music and was featured on Season 13 of American Idol. Kaitlyn-Jackson.com

ZOIE LEE (Ensemble). National Tour debut! Kansas City native and AMDA Alumni! Recent credit: NCL Prod. Cast. Zoie sends a huge thank you to her friends, family and mentors for their unwavering and undeniable belief in her.

BROOKLYN LIBAO (Ensemble). This is Brooklyn’s national tour debut! Originally from Montreal, Canada, she moved to New York City to study at The Ailey School. She has danced alongside The Alvin Ailey Dance Company in Memoria and performed Awakening by Robert Battle at Lincoln Center. Thank you to the team and her supportive family. @Brooxlib

ALEC LLOYD (Swing, Co-Dance Captain) is ecstatic to be making his national tour debut! Credits: Beauty and the Beast, Aladdin, Tangled: The Musical, Twice Charmed (Disney Cruise

Line). Alumni of The Young Americans College of the Performing Arts. Special thanks to his parents and friends for their endless support, Lisa Lindholm and Julie Medeiros at Go 2 Talent Agency, and the entire Anastasia team. @alec.james.lloyd

DANNY MARTIN (Ensemble) is thrilled to be making his National Tour debut! Regional: Bright Star, South Pacific, All Shook Up, Beauty and the Beast. TV/Film: Wu-tang: An American Saga (Hulu). BFA Musical Theatre, Shenandoah Conservatory. Special thanks to CTG, friends, family, and his beautiful fiancée for their endless love and support . @dannyemartin_

BILLY McGAVIN (Ensemble). National Tour: Evita (American Theatre Guild). Regional: Beauty and the Beast (Moonlight Amphitheater), Ragtime, Bright Star, Joseph... (Candlelight Pavilion), Footloose (Glendale Centre Theatre), Into the Woods (Lewis Family Playhouse). @billymcgavin

DOMINIC PAGLIARO (Swing) (He/ Him) is thrilled to make his national tour debut with Anastasia! Regional: The Little Mermaid (New Paradigm Theatre), Newsies (Cardinal Stage), Mamma Mia! (Woodstock Playhouse), Jesus Christ Superstar (Clinton Showboat), and more. BFA Indiana University. From Sandy Hook, CT, Dominic is endlessly grateful for Mom, Dad, family, and friends for their support. Special thanks to Jim Keith at MTA, Jason Styres, and the team at Anastasia for making this possible! dompagliaro.com @dompags35

LUKE RANDS (Ensemble). National tour debut! Regional credits: Music Theatre Wichita - Newsies (Albert), The Drowsy Chaperone (Pastry Chef), Hairspray (Nicest Kid), 42nd Street. Brigham Young University MT BFA ’22. Thanks to LINK, The Collective, his educators, and his wonderful family.

@lukerands

LATHAN A. ROBERTS (Ensemble) is overjoyed to be joining the cast of Anastasia! Lathan is a proud native of Atlanta, GA where he trained and studied Dance at Brenau University. National Tour: Summer: The Donna Summer Musical (Ensemble, u/s Andrew Gaines) Regional: RWS Big Top Dreams (Dance Captain), Damn Yankees (Ensemble), Crazy For You (Pete). Huge thank you to my friends, family, and teachers for your constant

support. Lastly, thank you to Resolute Artists Agency! @Lathanr__

ALEXANDRYA SALAZAR (Little Anastasia) is thrilled to make her national tour debut! Credits: Puccini’s Madama Butterfly (u/s Sorrow), The Lyric Opera of Chicago; North American premiere of Solaris (The Child), Griffin Theatre; most recently, The King & I (Princess Ying Yaowlak), Drury Lane Theatre. She is nine years old, a print model, has done commercials and voice over projects. Much love to her parents for their love & support. Thanks to family and friends for their encouragement and to her teachers/coaches for their guidance and her agents at Big Mouth Talent. @alexandryads

AMY SMITH (Swing). National tour debut! Regional/New York: Feinstein’s 54 Below, Tuacahn, Moonlight Amphitheater, Moscow Ballet, New York Metropolitan Opera with LV Opera, CCAE Theatricals, Hale Center. Film: Miracle Valley (Kelly) in theaters 2022. Broadway Dance Center ProSem graduate and BYU BFA MT’20. Thanks to the Anastasia team, Avalon Artists Group, and family!

SARAH STATLER (Ensemble). Regional: Buddy…The Buddy Holly Story (Vi Petty), Indecent (Miriam Godowsky/Accordion), Tickling the Ivories (Pianist/Vocalist), New York Theater: The Dome (Sarah), Jay Alan Zimmerman’s Incredibly Deaf Musical (Lisa), Leonard Bernstein’s Mass (Featured Street Chorus).

LAUREN TEYKE (Ensemble, Co-Dance Captain) is thrilled to be returning to the touring company of Anastasia as Odette! Regional: Something Rotten (Ensemble, u/s Portia). Favorite performances include The Nutcracker (Clara, Rat King), Singing in the Rain (Lady in Green) and performing on stages in Cuba and China. A special thank you to my family, friends, and my fam at Ovation School of Musical Theatre!

TERRENCE McNALLY (Book) (November 3, 1938 – March 24, 2020) is a recipient of the Dramatists Guild Lifetime Achievement Award. He has won four Tony Awards for his plays Love! Valour! Compassion! and Master Class, and his musical books for Kiss of the Spider Woman and Ragtime. In 1996, he was inducted into the Theater Hall of Fame, and in 2018 he was elected to the American Academy of

Arts and Letters. He is a member of The Dramatists Guild, Inc.

LYNN AHRENS (Lyrics) and STEPHEN FLAHERTY (Music) have been collaborators since 1983. They won the Tony, Drama Desk, and Outer Critics Circle Awards for Ragtime, and Once On This Island won the 2018 Tony for Best Revival of a Musical. They were nominated for two Academy Awards and two Golden Globes for the score of Twentieth Century Fox’s animated feature film Anastasia, and with Terrence McNally, they also adapted Anastasia for Broadway. Other Broadway credits: Seussical (one of the most produced shows in America), Rocky, My Favorite Year, Chita Rivera: The Dancer’s Life, the 2009 revival of Ragtime, Lincoln Center Theater’s A Man of No Importance, Dessa Rose, and The Glorious Ones. Playwrights Horizon: Lucky Stiff. Upcoming shows include Little Dancer, directed and choreographed by Susan Stroman, and Knoxville, directed by Frank Galati. Ahrens and Flaherty are four-time Grammy nominees, recipients of the Oscar Hammerstein Award for Lifetime Achievement, and were inducted into the Theater Hall of Fame in 2015. They serve on the Council of the Dramatists Guild of America and founded the DGF Fellows Program for Emerging Writers. ahrensandflaherty.com

TWENTIETH CENTURY FOX (Inspired by the Motion Pictures). One of the world’s largest producers and distributors of motion pictures, Twentieth Century Fox Film includes the component units Twentieth Century Fox, Fox 2000 Pictures, Fox Searchlight Pictures, Fox International Productions and Twentieth Century Fox Animation. Fox Stage Productions, the live theatre production division of the studio, has offices in New York and Los Angeles and is currently developing numerous legitimate stage properties based on iconic motion pictures in the Fox library, including Diary of a Wimpy Kid, Mrs. Doubtfire and The Devil Wears Prada, among others.

DARKO TRESNJAK (Original Director) won the 2014 Tony, Drama Desk, and Outer Critics Circle Awards for A Gentleman’s Guide to Love & Murder starring Jefferson Mays, and a 2015 Obie Award for The Killer starring Michael Shannon. Favorite productions: The Ghosts of Versailles with Patti LuPone, The Merchant of Venice with F.

Murray Abraham, Titus Andronicus with John Vickery, The Skin of Our Teeth with Marian Seldes, All’s Well That Ends Well with Kate Forbes, and Rear Window with Kevin Bacon.

PEGGY HICKEY (Original Choreographer). Broadway: Anastasia (also in Europe and Tokyo), Dutch Tony Award Best Choreography, A Gentleman’s Guide to Love & Murder (Astaire and Outer Critics Circle noms.). Lincoln Center: My Fair Lady (NY Philharmonic). Regional: Hartford, Old Globe, Goodspeed, Paper Mill, Music Theatre Wichita, California Music Theatre. Opera: Most major opera houses. Film: Woodshock, The Brady Bunch Movie (MTV Award, Best Choreography nom.). TV: Hansel and Gretel (Live from Lincoln Center), Die Fledermaus (Live from The Kennedy Center), Beck’s The New Pollution (MTV Award, Best Choreography). peggyhickey.com

SARAH HARTMANN (Director) is a New York based director and writer. She has worked on Broadway and across the country at theaters such as Hartford Stage, The Old Globe, Chautauqua Theater Company, Charlottesville Opera, Dubuque Symphony Orchestra, and the Juilliard School. She can currently be seen on the Disney+ show Encore! and is developing projects for film and TV. Thanks to Donna and Helen.

BILL BURNS (Choreographer) has directed and choreographed US and International companies of The Producers, Japanese productions of On the Town, Curtains, My One & Only, and was Resident Choreographer for the US premiere of Dirty Dancing. Bill has numerous theater, film, and television credits to his name. Most recently, his work was seen on The Late Show with Stephen Colbert

ALEXANDER DODGE (Scenic Design). Broadway: Anastasia (Outer Critics nom.), A Gentleman’s Guide to Love & Murder (Tony, Drama Desk, Outer Critics noms.), Present Laughter (Tony nom.), Old Acquaintance, Butley, and Hedda Gabler. Off-Broadway: Harry Clarke (Vineyard); The Liar (CSC); Ripcord (MTC); Rapture, Blister, Burn (Playwrights); Lips Together, Teeth Apart (Second Stage); Observe the Sons of Ulster… (LCT, Lortel winner). West End: All New People. Opera: Samson et Dalila (Met), Thirteenth Child (Santa Fe), The Ghosts of Versailles (LA

Opera), Dinner at Eight (Minnesota, Wexford), Il Trittico (Berlin). Training: Yale.

LINDA CHO (Costume Design).

Broadway: The Great Society, Lifespan of a Fact, Anastasia (Tony nom.), A Gentlemen’s Guide to Love & Murder (Tony Award), The Velocity of Autumn Over 200 regional and international design credits in theatre, dance, and opera. Recipient of the Craig Noel Award, Connecticut Critic Circle Award, Irene Sharaff Young Master Award, Ruth Morely Design Award. Nominations from Outer Critics Circle, Drama Desk, Lucille Lortel, Henry Hewes, Elliot Norton, Bay Area, Robby, IRNE, and Jeff Awards. Linda sits on the Advisory Committee for the American Theater Wing. MFA, Yale School of Drama. lindacho.com

DONALD HOLDER (Lighting Design). Broadway: The Lion King and South Pacific (Tony Awards); The King and I, Oslo, The Bridges of Madison County, Golden Boy, Ragtime, Les Liaisons Dangereuses, A Streetcar Named Desire, Movin’ Out, Gem of the Ocean, Juan Darien (all Tony noms.); Paradise Square; Tootsie; Kiss Me, Kate; She Loves Me; Spiderman: Turn Off the Dark, Big Fish; Bullets Over Broadway; Annie; Cyrano de Bergerac; The Boy from Oz; and many others. Off-Broadway: A Midsummer Night’s Dream (TFANA), Blood and Gifts, Happiness (LCT) and many others. Opera: Porgy and Bess, Rigoletto, Two Boys, and The Magic Flute (Metropolitan Opera).

PETER HYLENSKI (Sound Design).

Grammy, Olivier, five-time Tony nominated. Selected Designs: Frozen, Anastasia, Once On This Island, Something Rotten!, Rock of Ages, After Midnight, Motown, The Scottsboro Boys, Side Show, Rocky, Bullets Over Broadway, Shrek the Musical, On A Clear Day…, Lend Me A Tenor, Elf the Musical, Wonderland, Cry Baby, The Times They Are A-Changin’, The Wedding Singer, Sweet Charity, Martin Short: Fame Becomes Me, Little Women, Brooklyn. Other credits: Moulin Rouge (Boston), Le Reve at Wynn Las Vegas, Ragtime (London), Rocky Das Musical (Hamburg, Stuttgart), King Kong (Melbourne).

AARON RHYNE (Projection Design). Winner of the Drama Desk and Outer Critics Circle Awards for Anastasia

Broadway: The Sound Inside, A Gentleman’s Guide to Love & Murder

(Drama Desk Award), Bonnie & Clyde

Tours: Hasan Minhaj: The King’s Jester Off-Broadway: This Ain’t No Disco, Absolute Brightness…, Bootycandy, Water by the Spoonful, Wild With Happy, Working. Opera: The Thirteenth Child (Santa Fe), Florencia (Florida Grand), The Ghosts of Versailles (L.A. Opera), La Traviata (Wolf Trap). Disney: Frozen (Disneyland); Beauty and the Beast, Tangled, Aladdin (Disney Cruise Line). Regional: Noir (Alley), Love Actually Live(Wallace), Hair (Asolo). aaronrhyne.com

CHARLES G. LaPOINTE (Hair and Wig Design) is an award-winning designer. Numerous Broadway, Touring, Regional, West End, and international productions including Hamilton (MakeUp Artists & Hair Stylist Guild Award), Ain’t Too Proud, Beautiful – The Carole King Musical, Beetlejuice, The Cher Show (Drama Desk Award), Anastasia, SpongeBob SquarePants (Drama Desk Award), Jersey Boys, A Gentleman’s Guide…, In the Heights. TV: The Wiz Live! (Emmy nom.), Jesus Christ Superstar Live! (Emmy nom., MakeUp Artists & Hair Stylist Guild Award), Hairspray Live!

JOE DULUDE II (Makeup Design) has been designing makeup for Broadway, Off-Broadway and the West End since 2003. Some of his iconic designs can be seen in shows such as Wicked, Beetlejuice, Spongebob Squarepants the Musical and more. He has also worked on several television and film productions including most recently The Gilded Age, Don’t Look Up, Shrine, Frills and Castle Rock Season 2. He designed and received an Emmy nomination for his work on Jesus Christ Superstar, Live on NBC. He is an educator, fine artist and a drag performer. @dulude2

TOM MURRAY (Music Supervisor). Broadway: Anastasia, Honeymoon in Vegas, The Bridges of Madison County, Nice Work…, A Little Night Music, Sunday in the Park…. London: The Bridges of Madison County (Chocolate Factory), A Little Night Music (Garrick Theatre), Parade (Donmar), Pacific Overtures (Donmar). Premieres: Bedknobs and Broomsticks (UK), The Flamingo Kid (Hartford Stage), The Last Five Years (New York, London, film), The Glorious Ones, Loving Repeating, Saturday Night. Four Joseph Jefferson Awards (Chicago) and one Barrymore Award (Philadelphia) for music direction. Upcoming: Knoxville; Farewell, My Concubine

DOUG BESTERMAN (Orchestrations).

Three-time Tony Award-winner.

Broadway: Anastasia, A Bronx Tale, Charlie and the Chocolate Factory, It Shoulda Been You, Bullets Over Broadway (Tony nom.), Rocky, On a Clear Day…, Sister Act, How to Succeed… (Tony nom.), Elf the Musical, Young Frankenstein (Drama Desk nom.), Tarzan, Dracula, Thoroughly Modern Millie (2002 Tony/Drama Desk Awards), The Producers (2001 Tony/Drama Desk Awards), Seussical, The Music Man (Drama Desk/Tony noms.), Fosse (1999 Tony), Big (Drama Desk nom.), Damn Yankees (Drama Desk nom.).

Off-Broadway: Carrie, Weird Romance.

Regional: The Honeymooners, The Sting. TV/Film: Schmigadoon, Mary Poppins Returns, Beauty and the Beast, Frozen, Chicago, Mulan.

DAVID CHASE (Dance Arrangements) has been Dance Arranger, Music Director and/or Music Supervisor for 35 original Broadway productions, several West End shows, Radio City Music Hall, Lyric Opera of Chicago, and Boston Pops. TV: Music Director/Arranger for NBC’s The Sound of Music and Peter Pan (Emmy noms. for both). Grammy nom. for Nice Work... album. Music training: Harvard Biology degree.

JOHN MEZZIO (Music Coordinator) has conducted national tours including State Fair starring John Davidson, Victor Victoria starring Toni Tennille, and Cinderella starring Eartha Kitt and Deborah Gibson. Additionally, Mr. Mezzio was Associate Conductor for Andrew Lloyd Webber’s Starlight Express at the Las Vegas Hilton. National Tours: Oklahoma!, The Producers, Spring Awakening, Memphis, Beauty and the Beast, and Elf the Musical.

GLENN ALEXANDER II (Music Director) is above and beyond excited to be making his national tour debut! He’s a versatile conductor and pianist who recently made his conducting at Carnegie Hall and has collaborated with artists across the music industry such as Jon Batiste and NBC’s The Voice’s Kim Cruse. He is a proud native of Port Arthur, Texas. IG: @_glennalexanderii

RANDY COHEN (Keyboard Programmer). Randy Cohen and Randy Cohen Keyboards have programmed over 75 Broadway shows including Hamilton, Book of Mormon, Dear Evan Hansen, Frozen, Pretty Woman, Ain’t Too Proud, Bring It On, In The Heights, Spongebob, Summer, Once

On This Island, Anastasia, Kinky Boots, Bandstand, On Your Feet, and Rock of Ages

JASON STYRES (Casting). Broadway: A Gentleman’s Guide to Love & Murder, Dames at Sea, Disney’s The Lion King, Nice Work If You Can Get It Off-Broadway: Puffs, Midnight at the Never Get (York), Pedro Pan, Neurosis, R.R.R.E.D., War Boys, Money Talks, Trip of Love, iLLA, Missed Connections, and 15 different Encores! productions. National Tours: A Gentleman’s Guide…, The King and I, Cinderella, Disney’s The Lion King, Irving Berlin’s White Christmas. Film/TV: How You Look at It, Carousel (PBS), Six by Sondheim (HBO), SYTYCD. London/Las Vegas: Magic Mike Live (Channing Tatum, dir.). Other: Josh Prince’s Broadway Dance Lab, Looking for Christmas (Old Globe), Camille A. Brown’s developmental project, Hartford Stage, NY Philharmonic, SF Symphony, Florida Studio Theatre, Shakespeare Theatre Company, and others. Seven-time Artios nominee; NY Board Member of the Casting Society of America.

KATERYNA TURKALO (Production Stage Manager) is a freelance stage manager based in NYC. Recent PSM credits include RICOCHET: An Amoralist’s Anthology about Surviving an American Epidemic (ART/NY), Three Tales of Life and Death by Craig Lucas (59E59, Edinburgh Fringe Fest), and more. ASM: Anastasia (Nat’l Tour). Other National tour credits include: A Gentleman’s Guide to Love and Murder, The King and I, The Spongebob Musical, and Escape to Margaritaville. Love and gratitude to Keaton!

MACKENZIE DOUGLAS (Company Manager). National Tours: Waitress, Fiddler on the Roof (dir. Bartlett Sher), Rodgers and Hammerstein’s Cinderella Regional: Shakespeare Theatre Company, Olney Theatre Company. BA: Arts Management and Stage Management, Emerson College. Dog mom to Berkeley.

GENTRY & ASSOCIATES (General Management) has managed nearly 250 national and international touring theatrical productions over the past 25 years. Current and upcoming productions include 1776, Anastasia, Beetlejuice, The Book of Mormon, Fiddler on the Roof, Hairspray, Les Misérables, Peter Pan, and To Kill a Mockingbird

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, 1776, Hadestown, Mean Girls, MJ The Musical, Pretty Woman, Six, Tina, To Kill A Mockingbird, Anastasia, Chicago, Fiddler on the Roof, Hairspray, My Fair Lady, R.E.S.P.E.C.T, and Tootsie. Future tours include: Almost Famous, Funny Girl, Mamma Mia!, Mrs. Doubtfire, A Strange Loop, The Devil Wears Prada, and The Wiz SETH WENIG (Executive Producer) has been with NETworks since its inception in 1995. He spearheaded the international tours of Fosse starring Ben Vereen and Ruthie Henshall. Seth has produced the Lincoln Center Theater production of Rodgers & Hammerstein’s South Pacific and the National Theatre production of War Horse. Together with Cameron Mackintosh, Seth served as Executive Producer for both the US and UK tours of the National Theatre’s My Fair Lady, the 25th Anniversary US tour of Les Misérables, the new The Phantom of the Opera tour, Miss Saigon. Currently, Anastasia, The Book of Mormon, To Kill a Mockingbird, and Beetlejuice. He is most proud of his greatest productions – Marlo and Camden.

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. Current and upcoming productions include 1776, Anastasia, Beetlejuice, The Book of Mormon, Fiddler on the Roof, Hairspray, Les Misérables, Peter Pan, and To Kill a Mockingbird networkstours.com

STAFF FOR ANASTASIA

EXECUTIVE PRODUCER

Seth Wenig

ASSOCIATE PRODUCER

Hannah Rosenthal

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

MARKETING & PUBLICITY DIRECTION

BOND THEATRICAL bondtheatrical.com

DJ Martin Temah Higgins Mollie Mann

Marc Viscardi Wendy Roberts

Melissa Cohen Simon Rosales

CASTING

Casting Director Jason Styres

Casting Associate Andrea Zee

TOUR DIRECTION

THE BOOKING GROUP

Meredith Blair

Rich Rundle and Brian Brooks thebookinggroup.com

Production Stage Manager ........... Kateryna Turkalo

Assistant Stage Manager Kendall Stevens

Company Manager Mackenzie Douglas

Assistant Company Manager .............Aaron Martin

Fight Choreography Alejandro de los Santos, Giovanni Napoli

Associate Scenic Designer Ann Beyersdorfer, Theron Wineinger

Assistant Scenic Designer Emma Antenen

Junior Assistant Scenic Designer Romello Huins

Costume Coordinator Matthew C. Hampton

Assistant Costume Coordinator Benjamin Weigel

Assistant Costume Designer Raphael Regan

Associate Hair, Wig, Make-up Designer .... Rachael Geier

Assistant Hair, Wig, Make-up Designer Loren Skora

Hair Consultant Destinee Steele

Associate Lighting Designer .............. Vivien Leone

Assistant Lighting Designer Kaitlyn Breen

Moving Light Programmer Jeff Englander

Associate Sound Designer Simon Matthews

Associate Video Designer Nick Graci

Video Programmer Don Cieslik

Production Electrician Cory Kalkowski

Production Sound Ryan Moore

Head Carpenter Blake Shepard

Flyman Andrew Boucher

Assistant Carpenter Jesse Leach

Head Electrician Adam Rye

Assistant Electrician Jessica Cuoghi

Head Sound ................................... Jake Delgado

Assistant Sound Mark Dulac

Head Props Kendall Barbera

Wardrobe Supervisor Jessie Clites

Assistant Wardrobe Kara Messer

Wig/Hair Supervisor Jakob Robson

Crew Swing Taryn Nicole

Electronic Instrument Programmer Randy Cohen

Associate Keyboard Programmers Sam Starobin, Tim Crook, Nick Schenkel

Production Assistants Sage Lumsden, Jared Pereida, Ashton Pickering

Dialect Coach Claudia Hill Sparks

Teacher/Child Wrangler............... Christina Rogers

Physical Therapy NEURO TOUR Physical Thearapy, Inc.

Safety Consultant Bryan Huneycutt

Advertising .................................. aka Advertising

Interactive Media

Andy Drachenberg

Production Videographer HMS Media

Production Photography Matthew Murphy, Jeremy Daniel

Merchandising The Araca Group

Merchandise Manager Nathan Gardner

Accounting NETworks Presentations, LLC.

Legal Services F. Richard Pappas, Esq.

HR Services Global Solutions, Inc.

Equity, Diversity & Inclusion Strategy

Production on Deck Housing ............................................ Road Rebel

Travel Agency Janice Kessler, Carlson Wagonlit Travel

Trucking 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 Jennifer Gifford

Director of Tour Accounting ........... Laura S. Carey

Tax Director Pat Guerieri

Associate Tax Accountant Kim Ngan Tran

Finance and Administrative Assistant Elizabeth Olabosipo

Sr. Director/Booking and Engagements Mary K. Witte

Director, Booking and Engagements Colin Byrne

Engagement Manager

Director of Sales

Director of Marketing

Stacey Burns

Zach Stevenson

Heather Hess

Sr. Director/General Management....Gregory Vander Ploeg

Sr. General Manager/Operations Director Pearce

Landry-Wegener

General Manager ................... Steven Varon-Moore

Associate General Managers Madeline McCluskey, Heather Moss

Operations Manager Catherine Logan Blanar

Sr. Director/Production Management

Jason Juenker

Sr. Production Manager Hector Guivas

Production Managers Shelby Stark, Walker White

Technical Director pesci

Music Coordinator

Warehouse Manager

John Mezzio

Joseph Spratt

Warehouse Costume Manager 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

Rehearsed at RWS Studios, New York City, NY

CREDITS

Scenery built, painted, and automated by Show Motion, Inc., Milford, Connecticut, and EMTECH Fabricators; Props by BrenBri Properties; Lighting equipment by PRG Lighting; Sound equipment by PRG Audio; Voice over recording at Kilgore Recording; Video equipment by Sound Associates, Inc.; Costumes Executed by: Eric Winterling Inc.; Redthreaded; Krostyne Studio; Jennifer Love Studio; Sew Good it Hurts; Primadonna Tutus Inc.; Anicete designs, Bra*Tenders; Uniformal Wearhouse; Millenary and Crafts Executed by: Arnold Levine Inc; Danny Logan; Jess Gersz; Caryn Wells Studio; Randy Carfango Production; Shoes Executed by: LaDuca Shoes; Worldtone Dance Shoes. Costume studio assistant: Ryan Neary. Chidren’s Studio Teacher provided by On Location Education. Makeup by M•A•C.

SPECIAL THANKS

Columbia County Performing Arts Center in Evans, GA, Matt Jameson, General Manager; Nederlander National Markets, John McCall, Director of Programming

This performance is dedicated to the memory of the woman who not only moved our bodies on stage, but our hearts as well, our choreographer, Peggy Hickey.

CONNECT WITH ANASTASIA

All stage work performed by employees represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.)

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

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

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

Robin Appleton

Julie Bassignani

Carrie Breidenbach

Vonnie Clough

Craig Cory

Cyndie Cory

Laura Cotugno

Steve Davies

Anne Davis

Amber Donner

Carolyn Dore

AnnSue Gunter

Judy Holabird

Will Holabird

Amber Krimbel

Mark Anthony

Perry Elliot

Lauren LaCasse

Leslie Lambert

Anthony Mattivi

Sharon Millikan-Hale

Callie Morrow

Tim Nelson

Lisa Parson

Laura Payne

Dave Poole

Alan Richardson

Liz Spadi

Amy Tepel

Marybeth Tscherpel

Eliza Vlasova

Barb Wilson

DPAC House Crew

Albert Sainz, Sr

Josh Thurnman

James R. Gralian

Allen Olmstead

Derek Tovar

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

@anastasiabway #AnastasiaTour

Garage Operations Manager

Carol Krueger, Patron Services Manager

artscomplex.com | (720) 865-4220

For immediate assistance & security (720) 865-4200

DON’T MISS THE RETURN OF THESE FAN FAVORITES

A JOURNEY TO THE PAST IN ANASTASIA

BY JOHN MOORE

IIf you didn’t know better, you might be hard-pressed to believe that the same songwriting team wrote the vastly di erent musicals Lucky Sti , Ragtime, Once On This Island, Seussical and Anastasia. That span covers madcap farce, historical drama, Caribbean-flavored deities, children’s theater and an adapted animated fantasy.

And that’s just a small sample from the catalog of Theatre Hall of Famers Lynn Ahrens and Stephen Flaherty, whose Anastasia takes on the enduring myth of the Russian Duchess long hoped to have survived the massacre of the Imperial Romanov family.

of her past, two con men make plans to pass her o as the real thing to the Dowager Empress in Paris, hoping to get money from the woman who would be Anastasia’s grandmother. The sadistic Rasputin has been replaced here by Gleb, a Bolshevik general who has orders to hunt down and kill the girl.

The stage musical is an adaptation of the classic animated 1997 film with an original score by Ahrens and Flaherty. “Ever since, we wished someone would make it into a stage musical one day — and take us along for the ride,” Ahrens said.

Nearly 20 years later, they got their wish.

In keeping with their mantra of not repeating themselves, the songwriters dug in to create something completely new. They kept just six songs from the film score and wrote 16 new ones.

“We really wanted to re-conceive the story, re-examine the myth and, frankly, be more historically accurate,” Flaherty said. “We were literally going from a twodimensional medium into a three-dimensional medium, so we felt the characters needed to have more depth and drama in their lives.”

“Lynn and I don’t like to repeat ourselves. We really try to go in di erent directions,” Flaherty said of these 40-year collaborators.

What most appealed to Ahrens and Flaherty about Anastasia was its irresistible legend. “It’s not a true story; we all know that,” said Ahrens. “We know what happened to Anastasia. We know where her ashes are. But the myth that she may have somehow survived has persisted for all these years….”

Anastasia is set years after the execution of Tsar Nicholas II and his family. It opens as a young amnesiac shows up in Russia with only a few hazy memories and a keepsake that suggests she might be Grand Duchess Anastasia Nikolaevna. As “Anya” sets out to discover the mystery

What they came up with, Ahrens believes, is a story that is just as transporting as the source film, but in a more grown-up way. “Obviously, kids can come and have a great time. But this is a more grown-up version of the Anastasia tale,” Ahrens said. “This is more romantic and more adventurous. We have real relationships and real family connections.”

To any Anastasia film fans coming to see the musical for themselves, Ahrens says, in a nutshell: “Fasten your seat belts and prepare for something that’s the same — only different.”

The Company of the North American Tour of Anastasia

Photo by Evan Zimmerman for Murphy Made.

We really wanted to re-conceive the story, re-examine the myth and, frankly, be more historically accurate.

– STEPHEN FLAHERTY, MUSIC AND LYRICS

ANNOUNCING THE THEATRE COMPANY SEASON

For the 2023/24 Theatre Company season, we’ve curated a collection of grand adventures and underdog stories. Major historical events and moments from everyday life (with a theatrical twist). We’ve assembled a lineup that pays tribute to cultural titans like Stephen Sondheim, Lynn Nottage, and Jane Austen. And we’re bringing you a trio of modern plays that push the limits of stagecraft and storytelling. Don’t miss a moment of the action! Get your subscription today and enjoy:

• The best seats at the best price — save up to 21%

• Early access to Broadway touring productions and other added attractions

• Discounts on additional tickets

• Free exchanges and concierge ticketing services

• Easy auto-renew options to keep your seats, year after year, and more!

The cast of Laughs in Spanish

Photo by Jamie Kraus Photography.

A LITTLE NIGHT MUSIC

Music and Lyrics by Stephen

Sondheim

Book by Hugh Wheeler

Orchestrations by Jonathan Tunick

Suggested by a Film by Ingmar Bergman

Originally Produced and Directed on Broadway by Harold Prince

Directed by Chris Coleman

SEP 1 – OCT 8, 2023 | WOLF THEATRE

Sometimes, a hero is more than just a sandwich CLYDE’S

By Lynn Nottage

Directed by Jamil Jude

OCT 27 – NOV 26, 2023 | KILSTROM THEATRE

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

By Leonard Madrid

Directed by Jerry Ruiz

JAN 26 – MAR 10, 2024 | SINGLETON THEATRE

The story of the greatest spy you’ve never heard of RUBICON

By Kirsten Potter

Directed by Chris Coleman

FEB 9 – MAR 10, 2024 | KILSTROM THEATRE

A delightfully unconventional rendition of Jane Austen’s classic

By Kate Hamill

Based on the Novel by Jane Austen

Directed by Meredith McDonough

APR 5 – MAY 5, 2024 | WOLF THEATRE

A theatrical mixtape created right before your eyes WHERE DID WE

By Brian Quijada

Directed by Matt Dickson

Featured Artist Satya Chavez

APR 19 – JUN 2, 2024 | SINGLETON THEATRE

Three brothers build an institution that’s “too big to fail”

By Stefano Massini

Adapted by Ben Power

Directed by Margot Bordelon

MAY 3 – JUN 2, 2024 | KILSTROM THEATRE

2023 COLORADO NEW PLAY SUMMIT: A CELEBRATION OF THE WRITTEN WORD

BY CYNTHIA BARNES

IIn the beginning of every play — before the set, the costumes, the makeup — are the words that make the story, the story that ultimately becomes the play. Lovers of words and the stories they create converged at the Helen Bonfils Theatre Complex on February 25 and 26 for a celebration of creativity and the power of the written word to inspire, illuminate, and entertain.

Now in its 17th year, the Colorado New Play Summit showcases the works of four promising young playwrights, read by seasoned actors and guided by some of the country’s most talented directors. Beloved by local enthusiasts, the event has also become a destination for industry professionals from across the nation eager for a glimpse of emerging talent and a chance to spot plays that may become the ‘next big thing.’

The four 2023 Summit plays are the reservoir by Jake Brasch; Polar Bears, Black Boys & Prairie Fringed Orchids by Vincent Terrell Durham; Joan Dark by Christina Pumariega, and The Suffragette’s Murder by Sandy Rustin.

This year’s plays grapple with addiction and police abuse, faith and feminism — potentially dark subjects that are nonetheless lightened with humor and lifted up by hope.

Artistic Director Chris Coleman couldn’t be more pleased with both the Summit’s plays and their reception. “It was heartening to see how much the writers were willing to try and tackle in their four days of rehearsal,” he says. “I particularly enjoy hearing the audience’s thoughts after the readings, as it proves super informative in our decision making about future productions.”

READ THE FULL ARTICLE

PHOTOS: 1 Zoë Golub-Sass and Christina Pumariega – Joan Dark / 2 Jake Horowitz and Caroline Aaron – the reservoir / 3 Sandy Rustin – The Suffragette’s Murder / 4 Michael Charles and Erin Cherry – Polar Bears, Black Boys & Prairie Fringed Orchids / 5 Jamie Ann Romero and Leslie Rodriguez Kritzer – The Suffragette’s Murder / 6 Vincent Terrell Durham – Polar Bears, Black Boys & Prairie Fringed Orchids. Photos by Jamie Kraus Photography.

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!

The perfect way to complement a night at the theatre? Dinner and drinks, of course! Enjoy the best of downtown Denver with our Preferred Restaurant Partners.

Range explores the New American West with cuisine that focuses on ingredients, cultural influences, and cooking techniques inherent to the Rocky Mountain West. While you are here you can enjoy an extensive wine list, craft cocktails, and local beers to complement every meal. When you dine at Range, you will receive complimentary parking for the evening of the show!

Located inside Four Seasons Hotel Denver, EDGE Restaurant is a progressive American steakhouse with global influences utilizing superior quality meats, locally sourced Colorado game, fresh seafood, and produce from nearby farms. EDGE Bar is a dynamic see-and-be-seen bar featuring expertly handcrafted cocktails, an award-winning wine list, a selection of local craft beers, and a menu of approachable fare.

Located inside The Curtis Hotel, The Corner Office is the flirty rendezvous where edgy global dishes meet chic creative cocktails in the heart of downtown Denver. Progressive comfort food mixed with international flavors give traditional favorites a fresh twist.

PROUD SPONSOR OF DCPA EDUCATION AT THE COLOR PURPLE

SAFELY DELIVERING AFFORDABLE, RELIABLE, EVER-CLEANER ENERGY

CChevron and its 600-plus Colorado employees are proud and honored to call this state home. Chevron is no newcomer to Colorado, having operated on the Western Slope since the 1930s. Today, the company is also proud to partner with Front Range communities from metro Denver to Weld and Larimer counties. Chevron Colorado is focused on safely delivering the affordable, reliable, and ever-cleaner energy this state needs. Its team has re-imagined what safely and responsibly producing oil and natural gas looks like with the goal of a lower-carbon future. The result is a transformational design that lowers greenhouse gas emissions by more than 90% and shrinks Colorado’s surface footprint by more than 95%. Learn more at colorado.chevron.com.

Partnering with Communities

As the human energy company, Chevron’s dedication to developing people drives its culture and community partnerships. The company is proud to support the Denver Center for the Performing Arts as a vital element in the state’s creative energy. The arts are for everyone, and Chevron’s contribution enables the youth theater, budding teen playwrights, and more.

Chevron’s community support includes many other programs. In 2022, the company invested several hundred thousand dollars in K12 STEM education, basic skills acquisition, and higher-education scholarships. Education partnerships include:

• Sponsoring the Colorado Energy Day robotic1 competition in Denver and supporting robotics teams in Denver, Weld and Mesa counties

• Investments in curriculum, materials and teacher professional learning for Eaton and Weld County RE-1 school districts

• Establishing a diversity, equity and inclusion fellows’ program for faculty and staff at the University of Northern Colorado

• Supporting career pathways for minorities, rural underserved students, refugees and immigrants through higher education and community-based organizations like the Mi Casa Resource Center

• Other partnerships include Eureka! math and science center, Water Education Colorado, and Colorado State University

Chevron is proud to support the Denver Center for the Performing Arts as a vital element in the state’s creative energy.

THE ARTS BRING POSITIVE ENERGY TO ALL OF OUR LIVES

TThe arts power our communities. They inspire us; they entertain us; they educate us; they connect and heal us. Through employee volunteerism, granting and sponsorships, Xcel Energy infuses arts and culture into their employee volunteer opportunities, giving programs and community sponsorships.

“Arts and culture contribute to the vitality of the communities we serve,” said Lauren Gilliland, senior director of gas operations at Xcel Energy-Colorado. “From bridging cultural gaps and elevating diverse perspectives to driving economic development and educating our youth, the arts bring positive energy to all of our lives.”

Xcel Energy is also committed to building a future powered by clean, reliable, safe energy, with a vision to be a net-zero energy provider by 2050. Learn more at xcelenergy.com.

PROUD SPONSOR OF DCPA OFF-CENTER’S CAMP CHRISTMAS

From bridging cultural gaps and elevating diverse perspectives to driving economic development and educating our youth, the arts bring positive energy to all of our lives.

— LAUREN GILLILAND, SENIOR DIRECTOR OF GAS OPERATIONS

SETTING THE STAGE FOR A BETTER TOMORROW

FFor nearly two decades, CIBC has proudly supported the Denver Center for the Performing Arts and its ongoing efforts to enrich the Denver community. During this time, it’s seen firsthand the impact that the DCPA has made through arts education. CIBC is passionate about the role arts education plays in building confidence, fostering critical thinking and shaping tomorrow’s leaders. The CIBC team is honored to further this important work and committed to benefiting DCPA theatre and education programs. CIBC’s contributions have enhanced the DCPA’s ability to positively impact more than three million students through its education program, bringing them one step closer to realizing their ambitions.

CIBC also strives to ensure its clients’ successes. This leading North American financial institution provides wealth management, private banking and commercial banking financial solutions to the Denver community through a team driven by its passion to be the leader in client relationships. CIBC strives to understand each client’s story, financial needs and goals because the team is committed to helping make their clients’ ambitions a reality. Distinguishing factors of CIBC include:

• High touch client experience: Dedicated service and support from your experienced team in both wealth management and commercial banking

• Dynamic investment management: Investing proactively to drive outperformance in ever-changing markets

• Strategic approach to private banking: Banking solutions aligned to your objectives and wealth plans.

• Comprehensive approach to commercial banking: Offering commercial lending, treasury management and access to capital markets to address complex business needs.

Learn more at us.cibc.com

used under license. Investment Products Offered are Not FDIC-Insured, May Lose Value and are Not Bank Guaranteed. This ad is not to be construed as an offer to buy or sell any financial instruments. CIBC Capital Markets is a trademark brand name under which CIBC and some of its subsidiaries, including CIBC World Markets Inc., CIBC World Markets Corp., member of FINRA and SIPC, and CIBC Bank USA, provide different products and services. Capital Markets products are not FDIC insured; not deposits or obligations of, or guaranteed by, CIBC Bank USA; and are subject to investment risk, including loss of principal.

CIBC is proud to serve as a long-time sponsor of the DCPA and to further deepen its engagement with this worthy cause.

Private

banking solutions are offered through CIBC Bank USA, Member FDIC and Equal Housing Lender. CIBC Bank USA and CIBC Private Wealth Group, LLC are both indirect, wholly owned subsidiaries of CIBC. CIBC Private Wealth Group and its subsidiaries do not provide, and are not responsible for, the products and services offered by CIBC Bank USA. CIBC Bank USA (Bank) will not pay employees of CIBC Private Wealth Group or its subsidiaries for referring clients to Bank, but to the extent permitted by applicable laws and regulations, the referral of clients to Bank for eligible products or services may be considered by CIBC Private Wealth Group in determining discretionary compensation to employees. The CIBC logo is a registered trademark of CIBC,

(Photos - Clockwise) Alexandrya Salazar (Little Anastasia) and Gerri Weagraff (Dowager Empress) in the North American Tour of Anastasia. Photo: Evan Zimmerman for Murphy Made. / Riverdance Lead Dancers.

Photo: Ewa Figaszewska & Fatima Caballero. / “Beggars at the Feast” from Les Misérables. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade.

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 & O ce Coordinator

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, Bryan Faciane, 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

Dan McNulty Marketing Analyst

Hannah Selwyn Email Marketing Manager

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*, Zeah Edmonds, 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

Claire Hayes, Ella Mann, Rocco Williams 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, Selin Ozcelik, 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 Accountant, General Ledger

Kristina Monge Specialist, Accounts Payable

Jennifer Siemers Director, Accounting

HUMAN RESOURCES

Laura Maresca Vice President

Brian Carter, Lizette Collazos Directors

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

Grady Soapes Artistic Producer & Casting Director

Leean Kim Torske Director, Literary Programs

Production Je Gi ord Director

Julie Brou Administrative Assistant/ O ce Manager

Matthew Campbell Production Manager

Peggy Carey Associate Production Manager

Scenic Design

Lisa Orzolek Director

Kevin Nelson, Nicholas Renaud Assistants

Lighting Design

Charles MacLeod Director

Lily Bradford Assistant

Joseph Price+ Production Electrician

Sound Design

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,

Amoreena Knabb, 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

Marisa Sorce^ Wig Assistants

Rachmaninoff Rhapsody on a Theme of Paganini

Aymée Nuviola and the Colorado Mambo Orchestra

Tchaikovsky’s Nutcracker conducted by Andrew Litton

Stravinsky’s The Rite of Spring with Peter Oundjian