Applause -- Les Misérables, May 10-21, 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.

One-Day Workshops | Multi-Week Courses Scholarships Available | Rolling Admissions

[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

CAMERON MACKINTOSH presents BOUBLIL & SCHÖNBERG’S

A musical based on the novel by VICTOR HUGO

Music by CLAUDE-MICHEL SCHÖNBERG Lyrics by HERBERT KRETZMER

Original French text by ALAIN BOUBLIL and JEAN-MARC NATEL

Additional material by JAMES FENTON

Adaptation by TREVOR NUNN and JOHN CAIRD

New Orchestrations by STEPHEN METCALFE, CHRISTOPHER JAHNKE and STEPHEN BROOKER

Original Orchestrations by JOHN CAMERON

Musical Staging by GEOFFREY GARRATT

Projections realized by FINN ROSS and FIFTY-NINE PRODUCTIONS

Sound by MICK POTTER

Lighting by PAULE CONSTABLE

Original Costume Design by ANDREANE NEOFITOU

Additional Costume Design by CHRISTINE ROWLAND and PAUL WILLS Set and Image Design by MATT KINLEY inspired by the paintings of VICTOR HUGO

Directed by LAURENCE CONNOR and JAMES POWELL

For LES MISÉRABLES North American Tour

Casting by General Management Executive Producer Executive Producer

FELICIA RUDOLPH, CSA GREGORY VANDER PLOEG SETH SKLAR-HEYN TRINITY WHEELER

MERRI SUGARMAN, CSA for Gentry & Associates for Cameron Mackintosh Inc. for NETworks Presentations for Tara Rubin Casting

Associate Sound Designer Associate Projection Designer Associate Lighting Designers Associate Set Designers

NIC GRAY SIMON HARDING & BEN JACOBS & DAVID HARRIS & JONATHON LYLE KAREN SPAHN CHRISTINE PETERS

Wigs, Hair & Make-Up Designer

STEFAN MUSCH

Musical Staging Associate

JESSE ROBB

Resident Director

RICHARD BARTH

Musical Supervision

STEPHEN BROOKER & JAMES MOORE

Musical Director

BRIAN EADS

Associate Director COREY AGNEW

A CAMERON MACKINTOSH and NETWORKS Presentation

THE CAST

(In order of Appearance)

Jean Valjean NICK CARTELL

Javert PRESTON TRUMAN BOYD

Farmer STEVE CZARNECKI

Laborer DANIEL GERARD BITTNER

Innkeeper’s Wife EDEN MAU

Innkeeper BENJAMIN H. MOORE

The Bishop of Digne RANDY JETER

Constables .................................................. CHRISTOPHER JAMES TAMAYO, DAVID YOUNG FERNANDEZ

Factory Foreman STEVE CZARNECKI

Fantine HALEY DORTCH

Factory Girl JULIA ELLEN RICHARDSON

Old Woman EMILY SOMÉ

Wigmaker KELSEY DENAE

Bamatabois CIARAN BOWLING

Fauchelevent .......................................................................................................................................................... J.T. WOOD

Champmathieu ANDREW MARKS MAUGHAN

Little Cosette VIVIAN ATENCIO / CORA JANE MESSER

Madame Thénardier CHRISTINA ROSE HALL

Young Éponine VIVIAN ATENCIO / CORA JANE MESSER

Thénardier MATT CROWLE

Petit Gervais / Gavroche HENRY KIRK / MILO MAHARLIKA

Éponine CHRISTINE HEESUN HWANG

Cosette ADDIE MORALES

Thénardier’s Gang

Montparnasse CHRISTOPHER JAMES TAMAYO

Babet CIARAN BOWLING

Brujon STEVE CZARNECKI

Claquesous .....................................................................................................................................BENJAMIN H. MOORE Students

Enjolras DEVIN ARCHER

Marius GREGORY LEE RODRIGUEZ

Combeferre ANDREW MARKS MAUGHAN

Feuilly DANIEL GERARD BITTNER

Courfeyrac .................................................................................................................................................. ETHAN ROGERS

Joly J.T. WOOD

Grantaire KYLE ADAMS

Lesgles RANDY JETER

Jean Prouvaire DAVID YOUNG FERNANDEZ

Loud Hailer RANDY JETER

Major Domo KYLE ADAMS

Ensemble

JENNA BURNS, ARIANNE DiCERBO, GENEVIEVE ELLIS, DAELYNN CARTER JORIF, SOFIE NESANELIS

Swings ........................................................................................ BEN CHERINGTON, MICHELLE BETH HERMAN, NICOLE MORRIS, ASHLEY DAWN MORTENSEN, TIM QUARTIER, CHRISTOPHER ROBIN SAPP, KYLE TIMSON

Dance Captain KYLE TIMSON

Fight Captain STEVE CZARNECKI

UNDERSTUDIES

For Jean Valjean–RANDY JETER, ANDREW MARKS MAUGHAN, ETHAN ROGERS; for Javert–STEVE CZARNECKI, BENJAMIN H. MOORE; for Cosette–JENNA BURNS, EDEN MAU; for Fantine–KELSEY DENAE GENEVIEVE ELLIS; for Thénardier–KYLE ADAMS, CIARAN BOWLING; for Madame Thénardier– ARIANNE DiCERBO, JULIA ELLEN RICHARDSON; for Éponine–DAELYNN CARTER JORIF, NICOLE MORRIS; for Marius–CHRISTOPHER JAMES TAMAYO, J.T. WOOD; for Enjolras–DANIEL GERARD BITTNER, DAVID YOUNG FERNANDEZ; for Little Cosette/Young Éponine– SOFIE NESANELIS; for the Bishop of Digne–ANDREW MARKS MAUGHAN, BENJAMIN H. MOORE, KYLE TIMSON; for the Factory Foreman–KYLE ADAMS, KYLE TIMSON; for the Factory Girl–KELSEY DENAE, ASHLEY DAWN MORTENSEN; for Bamatabois–DANIEL GERARD BITTNER, BEN CHERINGTON; for Grantaire–DANIEL GERARD BITTNER, CIARAN BOWLING

SCENES & MUSICAL NUMBERS

Act One

PROLOGUE: 1815, DIGNE

Prologue The Company

“Soliloquy” Valjean

1823, MONTREUIL-SUR-MER

“At The End of the Day” ..................................... Unemployed and Factory Workers

“I Dreamed a Dream” Fantine

“Lovely Ladies” Ladies and Clients

“Who Am I?” Valjean

“Come To Me” Fantine and Valjean

1823, MONTFERMEIL

“Castle on a Cloud” Cosette

“Master of the House” Thénardier, his Wife and Customers

“Thénardier Waltz”. M. and Mme. Thénardier and Valjean

1832, PARIS

“Look Down” Gavroche and the beggars

“Stars” ............................................................................... Javert

“Red and Black” Enjolras, Marius and the students

“Do You Hear the People Sing?” Enjolras, the students and the citizens

“In My Life” Cosette, Valjean, Marius and Éponine

“A Heart Full of Love” Cosette, Marius and Éponine

“One Day More” ............................................................... The Company

INTERMISSION

Act Two

“On My Own” Éponine

“A Little Fall of Rain” Éponine and Marius

“Drink with Me to Days Gone By” Grantaire, students and women

“Bring Him Home” Valjean

“Dog Eats Dog” Thénardier

“Soliloquy” Javert

“Turning” Women

“Empty Chairs at Empty Tables” Marius

“Wedding Chorale” Guests

“Beggars at the Feast” M. and Mme. Thénardier

Finale The Company

The Orchestra

Music Director/Conductor – BRIAN EADS; Associate Conductor/Keyboards – ERIC EBBENGA; Assistant Conductor/Keyboards – TIM LENIHAN; Violin/ Concertmaster – ALLY JENKINS; Viola – JARVIS BENSON; Cello – NILES LUTHER; Bass – BRAD LOVELACE; Flute / Piccolo / Alto Flute / Recorder – SCHUYLER THORNTON; Oboe / Cor Anglais – RYAN WALSH; Clarinet in Bb / Clarinet in Eb / Bass Clarinet / Recorder – PETER SCUDERI; Horn 1 – ANSON CARROLL; Horn 2 – TODD GUSTAFSON; Trumpet in Bb / Flugel Horn / Piccolo Trumpet – JOSHUA NORTON; Bass Trombone / Tuba – NAYIB GONZÁLEZ; Drums / Percussion / Mallets / Timpani – MAX MEYER; Music Coordinator – JOHN MILLER.

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited.

ACT ONE

PROLOGUE: 1815, DIGNE

After 19 years on the chain gang, Jean Valjean finds that the ticket-of-leave he must display condemns him to be an outcast. Only the Bishop of Digne treats him kindly and Valjean, embittered by years of hardship, repays him by stealing some silver. Valjean is caught and brought back by the police and is astonished when the Bishop lies to the police to save him. Valjean decides to start his life anew.

1823,

MONTREUIL-SUR-MER

Eight years have passed and Valjean, having broken his parole and changed his name to Monsieur Madeleine, has become a factory owner and Mayor. One of his workers, Fantine, has a secret illegitimate child. When the other women discover this, they demand her dismissal.

Desperate for money to pay for medicines for her daughter, Fantine sells her locket, her hair, and then joins the whores in selling herself. Utterly degraded, she gets into a fight with a prospective customer and is about to be taken to prison by Javert when the ‘Mayor’ arrives and demands she be taken to the hospital instead.

The Mayor then rescues a man pinned beneath a cart. Javert is reminded of the abnormal strength of convict 24601 Jean Valjean, who, he says, has just been recaptured. Valjean, unable to see an innocent man go to prison, confesses that he is prisoner 24601. At the hospital, Valjean promises the dying Fantine to find and look after her daughter Cosette. Javert arrives to arrest him, but Valjean escapes.

1823,

MONTFERMEIL

Cosette has been lodged with the Thénardiers, who horribly abuse her while indulging their own daughter, Éponine. Valjean pays the Thénardiers to let him take her away to Paris.

1832,

PARIS

Nine years later, there is unrest in the city because of the likely demise of the popular leader General Lamarque, the only man left in the government who shows any feeling for the poor. A street gang led by Thénardier and his wife sets upon Jean Valjean and Cosette. They are rescued by Javert, who does not recognize Valjean until he has gone.

The Thénardiers’ daughter Éponine, who is secretly in love with the student Marius, reluctantly agrees to help him find Cosette, with whom he has fallen in love.

News of General Lamarque’s death circulates in the city and a group of politically-minded students stream out into the streets to whip up support for a revolution.

Cosette is consumed by thoughts of Marius, with whom she has fallen in love. Éponine brings Marius to Cosette and then prevents an attempt by her father’s gang to rob Valjean’s house. Valjean, convinced it was Javert lurking outside his house, tells Cosette they must prepare to flee the country.

ACT TWO

The students prepare to build the barricade. Marius, noticing that Éponine has joined the insurrection, sends her away with a letter to Cosette, which is intercepted by Valjean. Éponine decides to rejoin her love at the barricade.

The barricade is built and the revolutionaries defy an army warning to give up or die. Javert is exposed as a police spy. In trying to return to the barricade, Éponine is killed.

Valjean arrives at the barricade in search of Marius. He is given the chance to kill Javert but instead lets him go. The students settle down for a night on the barricade and, in the quiet of the night, Valjean prays to God to save Marius. The next day the rebels are all killed.

Valjean escapes into the sewers with the unconscious Marius. After meeting Thénardier, who is robbing the corpses of the rebels, he comes across Javert once more. He pleads for time to deliver the young man to the hospital. Javert lets Valjean go and, his unbending principles of justice having been shattered by Valjean’s own mercy, he kills himself.

Unaware of the identity of his rescuer, Marius recovers in Cosette’s care. Valjean confesses the truth of his past to Marius and insists he must go away.

At Marius and Cosette’s wedding, the Thénardiers try to blackmail Marius. Thénardier says Cosette’s ‘father’ is a murderer and as proof produces a ring which he stole from the corpse the night the barricade fell. It is Marius’s own ring and he realizes it was Valjean who rescued him that night. He and Cosette go to Valjean where Cosette learns for the first time of her own history before the old man dies.

Andrew Marks Maughan

Cora Jane Messer

Benjamin H. Moore

Addie Morales

Nicole Morris Ashley Dawn Mortensen

Christine Heesun Hwang

Randy Jeter

Daelynn Carter Jorif

Henry Kirk

Milo Maharlika Eden Mau

Arianne DiCerbo Haley Dortch

Genevieve Ellis

David Young Fernandez

Christina Rose Hall

Michelle Beth Herman

Jenna Burns Nick Cartell Ben Cherington

Matt Crowle Steve Czarnecki Kelsey Denae

Kyle Adams Devin Archer Vivian Atencio

Daniel Gerard Bittner

Ciaran Bowling

Preston Truman Boyd

Sofie Nesanelis Tim Quartier

Julia Ellen Richardson

Gregory Lee Rodriguez

Ethan Rogers

Christopher Robin Sapp Emily Somé

Christopher James Tamayo

Kyle Timson J.T. Wood

KYLE ADAMS (Grantaire, Major Domo, u/s Thénardier, u/s Factory Foreman) is a Chicago based actor and pro wrestling fan. Honored to join this company. Regional: Paramount Theatre, Drury Lane, Marriott Lincolnshire, Rocky Mountain Repertory, and Fireside Theatre, among others. TV: NBC’s Chicago Med, The CW’s 4400 Represented by DDO. Wouldn’t be here without Amanda, Jared or Dad. @smyleadams

DEVIN ARCHER (Enjolras). National tours: Miss Saigon, Bright Star, Mamma Mia! Las Vegas: Mamma Mia!, Ace. Other: Sweeney Todd, The Last Five Years, RENT, Tarzan, Fiddler on the Roof, South Pacific. Northwestern Wildcat. Love and gratitude to my family, friends, The Mine and Tara Rubin Casting. @devinjarcher

VIVIAN ATENCIO (Little Cosette/Young Éponine) is thrilled to be making her national tour debut. Past performances include Disney’s Newsies Jr. and Alvin & the Chipmunks. Recently, Vivian appeared on Nickelodeon’s Blue’s Clues. Thanks DDO Artists Agency, Bohemia Group, Tom Sitzler, Blanco Agency, Chris Leick, Tara Rubin Casting, family and friends for helping Vivian achieve her dreams! @viviansayswhat

DANIEL GERARD BITTNER (Laborer, Feuilly, u/s Enjolras, u/s Bamatabois, u/s Grantaire). Pittsburgh-born-andraised performer, and recent graduate of Carnegie Mellon School of Drama. He has recently made his Broadway debut in The Phantom of the Opera as Monsieur Reyer/Hairdresser. Dan would like to thank his family and friends for all of their love and support!

CIARAN BOWLING (Bamatabois, Babet, u/s Thénardier, u/s Grantaire). Credits: New York: Two by Synge (Michael Dara, Irish Repertory Theatre), The Daughter in Law (Joe, Mint Theater Company). West End: Les Misérables (Grantaire, Stephen Sondheim Theatre.) Film: Les Misérables (2020). Other credits: The Burial at Thebes (Haemon, The Irish Repertory Theater); A Midsummer Night’s Dream (Rude Elemental, Theater for a New Audience in New York).

PRESTON TRUMAN BOYD (Javert) is beyond thrilled to be back wielding the truncheon! Broadway: Kiss Me Kate (Ralph), The Play That Goes Wrong (Robert Grove), Sunset Boulevard (Artie Green), She Loves Me, On the Twentieth Century, Bullets Over Broadway, and Big Fish. You may have seen Preston on the 1st national tour of Young Frankenstein

WHO’S WHO

(The Monster) or the 1st national tour of Jersey Boys (Bob Gaudio). Film and TV credits: A Good Person, Alex Inc., Younger, Schmigadoon. Lots of love and gratitude to Mom, Dad and the fam. Thank you BRS/Gage. All of my love to Sydney and baby girl. @prestontboyd

JENNA BURNS (Ensemble, u/s Cosette) is incredibly grateful to be back on stage! Most recently seen touring with the North American company of The Phantom of the Opera (Christine Daaé u/s). Thanks to Bloc, Tara Rubin Casting, and her husband Kevin. Soli Deo Gloria. @jennanicoleburns

NICK CARTELL (Valjean). Thrilled to return as Valjean. Broadway: Cirque Du Soleil’s Paramour, Scandalous: The Musical, Jesus Christ Superstar (2012 Revival). National tours: Les Misérables, ThePhantomoftheOpera. Off-Broadway: Frankenstein. Regional: The Light in the Piazza (AriZoni Award—Best Actor, Musical), My Fair Lady, Les Misérables and many more! Concerts: Bringing It Home (solo show, 54 Below), South Coast Symphony, Phoenix Symphony, The Broadway Boys. Thank you to this amazing company, TRC, Michael Kirsten and HCKR; to my family, friends and Christine for your undying support; to Sullivan Kaye for making me a father, you are “the best of my life.” For MOM. @nickcartell nickcartell.com

BEN CHERINGTON (Swing, u/s Bamatabois). National tour debut. Credits include Pittsburgh CLO, ACT of Connecticut, and Clinton Showboat Theatre. Gratitude for all the places and people Ben calls home. BFA Carnegie Mellon University. @bencherington

MATT CROWLE (Thénardier). Broadway: Monty Python’s Spamalot. Chicago: The Santaland Diaries (Goodman Theatre), The Producers (Leo, Mercury Theater Chicago), A Gentleman’s Guide to Love and Murder (The D’Ysquith Family, Porchlight Music Theatre), Mary Poppins (Bert, Paramount Theatre), South Pacific (Billis, Drury Lane Oakbrook). Love and thanks to Ma, Pa, Jim, Sam, and Erin. mattcrowle.com

STEVE CZARNECKI (Farmer, Factory Foreman, Brujon, u/s Javert, Fight Captain) is thrilled to fight on the barricade once again. NYC/Tours: Les Misérables (u/s Valjean, u/s Javert), Phantom (Swing), Paint Your Wagon (Ensemble). Regional: Sweeney Todd at the Muny (U/S Sweeney), as well as

multiple shows at Papermill Playhouse, The Fulton and more. BFA Otterbein. All his love to Liz. Instagram @steveczar.

ARIANNE DiCERBO (Ensemble, u/s Madame Thénardier). Over the moon touring with the first musical she ever saw. Several national tours as crew, now enjoying the “change of scenery!” Film: Abe (featured), Cabaret: Fringe-Sight is 2020 at Don’t Tell Mama, NYC. Love to GDK. ariannedicerbo.com

KELSEY DENAE (Wigmaker, u/s Fantine, u/s Factory Girl) is absolutely thrilled and honored to return to the barricades! National tours: Les Misérables. Regional: 9 to 5, Smokey Joe’s Café, Show Boat, Always Patsy Cline. Green Bay native (Go Pack!). BFA UWSP. Huge thanks to TRC, and my team at Hudson Artists. Love always to my family and Jacob. @kk_denae

HALEY DORTCH (Fantine) is honored to make her national tour debut as Fantine. A special thanks to teachers, the Les Mis team, and Tara Rubin Casting. So much love to her friends, family, and her dog, Boba. And Go Blue! @haleydortch

GENEVIEVE ELLIS (Ensemble, u/s Fantine). National tour debut! Favorite credits include: Hunchback of Notre Dame, Beauty and the Beast, Songs for a New World, Into the Woods, Something Rotten, and Noises Off. SUNY Fredonia BFA MT alum. So much love to my incredibly supportive friends and family. Beyond grateful for this experience. @genevieve.ellis

DAVID YOUNG FERNANDEZ (Constable, Jean Prouvaire, u/s Enjolras). An alum of DePauw University and native of Houston, Texas. Previous credits: A Gentleman’s Guide (Monty), Bye Bye Birdie (Conrad Birdie), Penny (Martin Halstrom), Macbeth (Macbeth). Broadway national tour: Fiddler on the Roof (Swing). Endless thanks to his teachers, family, friends, and Daniel Hoff Agency. @davidyoungfernandez

CHRISTINA ROSE HALL (Madame Thénardier). Roe, Feathers and Teeth, and Wonderful Town (Goodman Theatre); The Little Mermaid, Kinky Boots (Paramount Theatre); Sweeney Todd (Skylight Music Theatre); Marriott Theater; Firebrand Theatre; Writer’s Theater; Chicago Shakes; Milwaukee Rep; Mercury Theater; Fountain Theatre. Graduate of S.M.U., and represented by Gray Talent Group.

MICHELLE BETH HERMAN (Swing) is THRILLED to be swinging back

onto the Barricade! Most recently seen as JoJo in the NY premiere of Mystic Pizza. Regional: The MUNY’s Sweeney Todd, Cabaret (Sally Bowles), Spamalot (Lady of The Lake), In The Heights (Nina), A Little Night Music (Petra). Hartt BFA. Proud member of AEA. Thanks to the Les Miz team and @themineagency! Ilyttmatsatcf. @themichellebethherman

CHRISTINE HEESUN HWANG (Éponine) is a queer, Korean-American playwrightactor from the Midwest. Acting: Miss Saigon (national tour, Kim Alternate), Ars Nova ANTFest, Gossip Girl (HBO Max). Writing: Leviathan Lab, YES Theatre, Williamstown Theatre Festival. YoungArts and Spotlight Education alum. For my family, my loved ones, and God! chiseoni.com

RANDY JETER (Bishop of Digne, Lesgles, Loud Hailer, u/s Jean Valjean) is elated to be joining the barricade with his Les Mis debut. Off-Broadway: Parable of the Sower (The Public Theater), International tour: Ivan Jacob’s The Phantom of the Opera (Maestro), Favorite Regional Credits: Man of La Mancha (Don Quixote), Jekyll & Hyde (Jekyll & Hyde), Ragtime (Coalhouse Walker Jr.). MSM alum! Love to A&K! @randy_jeter randymjeter.com

DAELYNN CARTER JORIF (Ensemble, u/s Éponine) is honored to be joining the beautiful Les Misérables family for her national tour debut! Previous credits: Next To Normal (Natalie), Rent (Joanne), A New Brain (Lisa) and more. Love and thanks to The University of Michigan, Henderson Hogan, Tara Rubin Casting, and most especially, her wonderful parents for this dream come true.

HENRY KIRK (Gavroche) is thrilled to make his national tour debut in Les Misérables! Credits include: A Christmas Story: The Musical (Randy) and The Addams Family (Uncle Fester.) Special thanks to his family and friends, the Les Mis team, CESD, The Dance Refinery, Tara Rubin Casting, and his incredible coaches who inspire him! @henrykirk_9

MILO MAHARLIKA (Gavroche) is a 9 year old Filipino-American from Honolulu, HI. TV: Hawaii Five-0, Magnum P.I. and Sesame Street. Studied at Honolulu Theatre for Youth, Diamondhead Theatre, and Drama Studio Mangosteen of Koh Samui, Thailand. Milo is grateful, honored, and excited to be playing the young revolutionary, Gavroche. Thanks to his family, friends, coaches, casting and DDO Agency for their love and support.

@milomaharlika

EDEN MAU (Innkeeper’s Wife, u/s Cosette). National tour debut! Woohoo! Some of her favorite credits include: A Gentleman’s Guide (Sibella), Joseph (Narrator), and Kinky Boots (Lauren U/S). Eden is so grateful for all of her besties. A big old thank you to her role model parents, Nick, Sandy, Dustin, and Marc. I love you all endlessly. BWMT. Xoxo. @edenelizabethmau

ANDREW MARKS MAUGHAN (Champmathieu, Combeferre, u/s Jean Valjean, u/s Bishop of Digne). Credits: A Little Night Music (Barrington Stage Company), Les Misérables (National tour). Roles: Freddy (My Fair Lady), Candide (Candide), Rodolfo (La bohème), Alfredo (La traviata), Gabriel von Eisenstein (Die Fledermaus), and Lensky (Eugene Onegin). Grammy recipient for (R)evolution of Steve Jobs. Thanks to The Collective and Tara Rubin Casting! @andrewmarksmaughan

CORA JANE MESSER (Little Cosette/ Young Éponine) is thrilled to be on her first national tour. She most recently played Gretl in The Sound of Music (Asolo Rep) and Daisy Armstrong in Murder on the Orient Express (Asolo Rep). She is thankful to all her family, friends, and coaches who have supported her on this journey. @cj_messer

BENJAMIN H. MOORE (Innkeeper, Claquesous, u/s Javert, u/s Bishop of Digne). Off-Broadway: Harmony (NYTF). Tour: Rent 20th Anniversary. Favorite regional: Sister Act (PCLO, KC Starlight), Maybe Happy Ending (Alliance Theatre), Light it Up! (Cleveland Playhouse), Into the Woods (City Springs Theatre). Love to my family, friends, & Clear Talent Group! Glory to God! @mooreofthemusic

ADDIE MORALES (Cosette) is delighted to join Les Misérables for her national tour debut. Regional Theatre: West Side Story (Maria), Evita (Eva), The Sound of Music (Maria). TV: Law and Order: SVU. Many thanks to CTG, Tara Rubin Casting, and the entire creative team. All for my family who came before me, and my sweet nieces and nephew.

NICOLE MORRIS (Swing, u/s Éponine). National tour: An Officer and a Gentleman (Ensemble, u/s Seeger).

Regional/Summer Stock: Hairspray (Dynamite), Mamma Mia! (Sophie), Footloose (Rusty). BFA in Musical Theatre from Ithaca College. @nicole_ morris

ASHLEY DAWN MORTENSEN (Swing, u/s Factory Girl) is excited to be rejoining the barricade on the road. Broadway: Les Misérables (Swing).

National tour: Wicked (Elphaba understudy), Les Misérables. Regional: Spamalot (Lady of the Lake), White Christmas (Betty Haynes). The Sound of Music (Maria), How to Succeed… (Rosemary). Graduate of NYU CAP21. Special thanks to Will and everyone at Nicolosi. @shebakesyoueat

SOFIE NESANELIS (Ensemble). Thrilled to join the national tour of Les Misérables. National tour: How the Grinch Stole Christmas. Off-Broadway: Wedding Band. TV/Film: You Skidoo, This Boy’s Vita. Thanks to Bohemia Group, Stewart Talent, Amelia Demayo, Ethan Haberfield & Kelli Gautreau. Love to my family! @sofienesanelis.

TIM QUARTIER (Swing) is thrilled to be returning to the barricade! He was most recently seen in the MUNY’s firstever production of Sweeney Todd. Tour: Les Misérables, In the Mood. Regional: Titanic (Charles Clarke), Newsies (Jack Kelly), The Light in the Piazza (Fabrizio), West Side Story (Tony), Les Misérables (Marius), Hairspray (Link Larkin) and Forever Plaid (Frankie). Ithaca College BFA Musical Theatre. @timquartier

JULIA ELLEN RICHARDSON (Factory Girl, u/s Madame Thénardier) is thrilled to be returning to the Les Misérables family! Pre-COVID tour: Swing, u/s Factory Girl. Other credits: Hello, Dolly! (Irene Molloy), Disney’s The Little Mermaid (Aquata), Christmas Carol (Belle). To my family & friends: “I love you more!” ig/tt: @missjuliarich

GREGORY LEE RODRIGUEZ (Marius) is a proud Boricua from the Bronx and an alum of the Hartt School aught ‘19who is overjoyed to be joining the team of this iconic show. Many thanks to Tara Rubin Casting and the Daniel Hoff Agency. Eternally grateful for his friends and family shaping him. ¡Mama Te Amo! @gregory.rod

ETHAN ROGERS (Courfeyrac, u/s Jean Valjean). Regional: Nutty Professor (Ogunquit Playhouse), Into the Woods (ZACH Theatre), Beauty & The Beast (ZACH Theatre), Hair (Beck Center), Taming of the Shrew (Great Lakes Theatre). He is forever grateful for the support of his amazing family. BM-Music Theatre, Baldwin Wallace University. Reps: HCKR. John 13:35.

CHRISTOPHER ROBIN SAPP (Swing). The Buddy Holly Story (Buddy Holly, Argyle Theatre), Pirates of Penzance (Frederic, New York Gilbert and Sullivan Players), Tangled (Flynn Rider, Disney Cruise Line), Eileen 100th Anniversary (Dinny, VHRP LIVE!), Titanic (Thomas Andrews, College Light Opera Company).

@ChristopherRobinSapp

EMILY SOMÉ (Old Woman). National tour debut! Emily is a recent graduate of Northwestern University where she studied theatre and psychology. She is beyond grateful to the Les Misérables team, Gray Talent Group, and her amazing family and friends for their endless love and support.

CHRISTOPHER JAMES TAMAYO (Constable, Montparnasse, u/s Marius), a recent graduate of the University of Michigan B.F.A. Musical Theatre program, has performed across the country, most recently at the Cape Playhouse and their production of Grease (Sonny). All the love and gratitude to his friends and family. christopherjamestamayo.com Insta: @_cjtam

KYLE TIMSON (Swing, u/s Bishop of Digne, u/s Factory Foreman, Dance Captain) is thrilled to be returning to the barricade after spending 2 plus years on the previous U.S. tour! Previously seen as Shrek on the International tour of Shrek The Musical. Love to friends, family, Rachel, and Lily! For Baba. @kylertimson

J.T. WOOD (Fauchelevent, Joly, u/s Marius) is thrilled to be joining the Les Misérables Tour! Previous credits include the Rent 25th Anniversary Farewell Tour (Mark) and the Rent 20th Anniversary Tour (Swing, Angel/Collins u/s). Special thanks to Michael and the Roster Agency family as well as Tara Rubin Casting. All the love to his family and friends.

ALAIN BOUBLIL (Concept, Book and Original French Lyrics). Librettist/original lyricist: La Révolution Française, Les Misérables, Miss Saigon, Martin Guerre and The Pirate Queen with ClaudeMichel Schönberg and Marguerite with Michel Legrand. Co-wrote the screenplay and co-produced the movie soundtrack of Golden Globewinning Les Misérables (AcademyAward nomination, best song). Author: plays The Diary of Adam and Eve and Manhattan Parisienne, prize-winning novel, Les Dessous de Soi. Awards: two Tony, Grammy, Victoires de la Musique Awards; Molière, Evening Standard and Olivier Award; special Grammy honor; honoree of NY Pops at Carnegie Hall (2016). Producer: Boublil/Schönberg Do You Hear the People Sing worldwide symphonic concerts. Current major Martin Guerre re-write heralds a new first class production.

CLAUDE-MICHEL SCHÖNBERG

(Book and Music). Co-book writer and composer of La Revolution Française, Les Misérables, Miss Saigon, Martin Guerre and The Pirate Queen

Co-wrote Marguerite in collaboration with Alain Boublil, Michel Legrand, Herbert Kretzmer. Supervised overseas productions and co-produced international cast albums of his shows. Composed the ballet scores for Wuthering Heights and Cleopatra for Northern Ballet. Co-wrote the screenplay and reconceived the music for the Les Misérables musical movie. Golden Globe winner, Oscar nominee, 2016 honoree of The New York Pops at Carnegie Hall with Alain Boublil. Appointed visiting Professor of Contemporary Theatre at St. Catherine’s College, Oxford University. Guest Professor at Royal Academy of Music.

CAMERON MACKINTOSH (Producer) for over 50 years has remained the world’s most prolific producer of musicals with dozens of his productions either in performance or in preparation around the world. As well as co-producing Hamilton in London his record-breaking original productions include Les Misérables, The Phantom of the Opera, Cats, Miss Saigon, Mary Poppins (co-produced with Disney), Little Shop of Horrors, Side By Side

By Sondheim, Tom Foolery and Five Guys Named Moe, all of which continue to be performed regularly around the world. He is also the producer and owner of Lionel Bart’s great musical Oliver! and both producer and devisor of Sondheim’s Putting It Together and most recently Old Friends. His other modern reinventions of classic musicals include My Fair Lady, Follies, Half A Sixpence and Barnum. In 2013, alongside Working Title Films and Universal, Cameron produced Oscar, Golden Globe and BAFTA award-winning film adaptation of Les Misérables, which has become one of the most successful movie musicals of all time. The latest sell-out staged concert of Les Misérables produced in London for nearly 250 record breaking performances is now due to go on a World Tour starting in the autumn of 2024. He owns and operates eight historic London theatres which have all been spectacularly rebuilt and refurbished for the 21st Century. The Sondheim, formerly known as the Queen’s, has been rebuilt and renamed in honor of Cameron’s great friend, theatrical legend Stephen Sondheim. Music Theatre International, the world’s largest owner of secondary rights of many of the greatest musicals ever written, is now one of Cameron’s companies. In 1990, Cameron inaugurated the Chair of Contemporary Theatre at St. Catherine’s College in Oxford University, with Stephen Sondheim as his first

visiting professor, and has since hosted some of the greatest names in the arts of all time. Cameron was knighted in 1996 and is the first British producer to be elected to Broadway’s Theatre Hall of Fame.

HERBERT KRETZMER, 1925 – 2020, (Lyrics) was born in South Africa to immigrant parents from Lithuania. He was a London journalist writing the commentary for a weekly cinema newsreel when Cameron Mackintosh invited him to write the lyrics for the epochal West End production of Les Misérables in 1985. Combining twin careers as a journalist/lyricist, he contributed regular lyrics for the BBC’s famous satire series “That Was the Week That Was” and had also written lyrics for the French singer Charles Aznavour (“Yesterday When I Was Young,” “She,” etc.). It was Kretzmer’s work with Aznovour, as well as having seen and admired his work on the musical, Our Man Crichton, that inspired Cameron to invite him to join the team to write the English lyrics for Les Misérables. Kretzmer was the recipient of two honorary doctorates and was appointed OBE in 2010.

JAMES POWELL (Director) was in London when he took over as resident director in 1996 and then later as associate director. He has since directed it in Scandinavia and Berlin, joint directed the anniversary production (U.K. tour, Japan Australia, Toronto) and the O2 Arena concert (London), Broadway, Sao Paolo, Dubai, Amsterdam Early 2023. Other work: Singin’ in the Rain (west Yorkshire Playhouse, RNT), The Witches of Eastwick (London, Australia), Mary Poppins (Bristol, London, Australia, Holland, New Zealand, Zurich, Germany, Japan), Dirty Dancing (London, Utrecht, Chicago, Toronto, Berlin, Oberhausen, U.S. Tour). He co-directed Batman Live (U.K., South America, U.S). This is the 3rd U.S. Tour for James.

LAURENCE CONNOR (Director).

Theatre: Cinderella (Gillian Lynne Theatre), Joseph…Dreamcoat (London Palladium), Chess (ENO West End), School of Rock (Broadway, West End, U.S. tour), Les Misérables (Broadway, West End, worldwide, U.S. and U.K. tours), Miss Saigon (West End, U.S and U.K. tours, worldwide), Jesus Christ Superstar (U.K. arena tour, Australia), the entirely new stage production of The Phantom of the Opera (U.S. and U.K. tours), Oliver! (U.K. tour). Concerts: The Phantom of the Opera 25th anniversary (Royal Albert Hall, worldwide cinema streaming, DVD), Les Misérables 25th anniversary (O2 Arena, worldwide

cinema streaming, DVD), Miss Saigon 25th anniversary (cinema release, DVD).

Awards: Miss Saigon West End (Best Direction – WhatsOnStage, Broadway World awards), Miss Saigon Australia (Best Director of a Musical – Green Room Awards), Les Misérables Korea (Best Director of a Musical).

MATT KINLEY (Set and Image Designer) graduated from the Motley course in 1994 and spent the next decade in production and design at the National Theatre and the West End in London. As part of a long-working partnership with Cameron Mackintosh, he has designed and adapted productions of My Fair Lady, Mary Poppins, Phantom and Miss Saigon all over the world amongst the design of numerous other independent productions. In 2009 he was asked to redesign Les Misérables for its 25th Anniversary, the success of this re-imagining has seen many international productions and he is delighted to present the latest version of this legendary show on this new U.S. tour.

PAULE CONSTABLE ( Lighting Designer) has designed productions for all the major U.K. companies including Follies, Angels in America and The Red Barn for the National Theatre and the 25th anniversary concert of Les Miz at the O2. Awards: Tony Awards for The Curious Incident of the Dog in the NightTime, War Horse, four Olivier Awards, L.A. Critics Circle Awards, New York Critics Circle Award, Drama Desk Award and Helpmann Award. Opera includes Cav and Pag and Roberto Devereux at the Met; dance includes The Red Shoes and Sleeping Beauty for Matthew Bourne.

MICK POTTER (Sound Designer) is one of the world’s leading Sound Designers. He has designed the sound for over a hundred first class musical theatre productions globally, working at the forefront of technical and creative innovation. His shows include multiple word premiere productions on both the West End and Broadway stage and his Sound Designs have garnered many awards, including an Olivier Award in the West End and a Tony Award nomination on Broadway. He is honoured to have worked with many of the greatest Producers, Composers, Directors, Creatives and Artistes in Musical Theatre. mickpotter.com

ANDREANE NEOFITOU (Costume Designer). Theatre includes Les Misérables (Tony nomination) and Miss Saigon (worldwide); Once in a Lifetime, Nicholas Nickleby, Hedda Gabler, The Merchant of Venice, Fair Maid of

the West, The Changeling (all Royal Shakespeare Company); Peter Pan (National Theatre); Grease (West End); Miss Julie (Athens); Carmen (Royal Albert Hall); Timon of Athens with David Suchet (Old Vic); Martin Guerre (Guthrie); Nabucco (the Met); Jane Eyre (Broadway, Outer Critics Circle nomination). Film include Rosencrantz and Guildenstern Are Dead (dir. Tom Stoppard).

CHRISTINE ROWLAND (Additional Costume Design) was head of costume for the Royal Shakespeare Company and resident costume supervisor at the National Theatre. For Cameron Mackintosh: Carousel (London, NY, Tokyo), Oliver! (London, U.S. tour, Australia), The Witches of Eastwick (London, Australia), My Fair Lady (London, U.S. tour), Mary Poppins (London, NY, U.S. tour, Australia, Holland), Betty Blue Eyes (London), The Phantom of the Opera (U.K. tour, U.S. tour), Les Miz (Japan, South Korea, Australia, Brazil, Broadway, U.K. tour, U.S. tour, Spain, Canada). Other musicals: Gypsy (NY), Chitty Chitty Bang Bang (London, NY).

PAUL WILLS (Additional Costume Design, Costume Design Consultant) is a critically acclaimed British Stage and Costume Designer. His designs can be seen in the West End and Internationally. Work includes: The Clinic (The Almeida); The Steward of Christendom (Gate Theatre); The Monstrous Child (The Royal Opera House); An Enemy of The People (Theatre Cocoon, Tokyo); Anna Christie (Donmar Warehouse) and King Lear with Sir Ian McKellen (West End) which was nominated for Best Revival at the Olivier Awards in 2019.

GEOFFREY GARRATT ( Musical Staging). Trained at Bird Theatre College in London. Associate choreographer on Mary Poppins (London); Miss Saigon (Broadway, U.K. tour, Korea, Australia); Oliver! (London, Australia, Holland, Toronto, U.K., U.S. tours); Witches of Eastwick (London, Australia); South Pacific (National Theatre); Hey, Mr. Producer! (London, U.S.). Choreographic credits include Little Shop of Horrors, Blues in the Night and A Doll’s House for West Yorkshire Playhouse; Jack and the Beanstalk (Barbican); and Fascinating Aida (U.K. tour and West End). Performed in Cats, Martin Guerre, Fiddler on the Roof, Matador, West Side Story, Mister Cinders and Joseph and the Amazing Technicolor Dreamcoat.

MICHAEL ASHCROFT (Musical Staging). Movement director: Henry V (MGC), Dirty Dancing (Playful Productions), The Power of Yes (RNT), Resurrection Blues

(Old Vic), Life Is a Dream (Donmar), The Blue Room (West End). RSC (associate artist): Hamlet, Richard III, Othello, A Midsummer Night’s Dream, Antony and Cleopatra, Julius Caesar, The Tempest, Merry Wives the Musical, Macbeth, Richard II. Film: Hamlet, Richard II, Henry IV

FINN ROSS (Projection Realization) has won two Oliviers, a Tony and three Drama Desk awards. Recent Theatre: Back to the Future (West End); Les Misérables (West End); Sweet Charity (Donmar/Broadway); Mean Girls (Broadway), Bat Out of Hell (West End/ International), Harry Potter and the Cursed Child (West End/Broadway), Curious Incident... (Broadway/West End/Tour).

59 PRODUCTIONS (Projections

Realization). Led by Leo Warner, Mark Grimmer and Lysander Aston along with director of animation, Peter Stenhouse, 59 productions is a film and anew media production company with specialized in filmmaking and integrating the moving image into live performance. Theater projects include Waves (National Theatre/Schauspiel Holn) and Les Misérables (Cameron Mackintosh/world tour). Opera include 125th Anniversary Gala, Doctor Atomic (Met Opera/ENO), Satyagraha (ENO/ Met Opera), Al Gran Sole Carico d’Amore (Salzburg Festival). Dance includes Invitus Invitam, The Goldberg Project (Royal Ballet) and Dorian Gray (Matthew Bourne’s New Adventures). Live Music includes the set and video design for Icelandic singer Jónsi (Sigur Rós). Short film includes the multiaward-winning A Family Portrait and The Half-Light. fiftynineproductions. co.uk

JOHN CAMERON ( Original Orchestrations) arranged the Orchestral Score for all the original productions of Les Misérables, Paris, London, Broadway, the Symphonic recordings, Concert, 10th Anniversary and 2006 Queen’s Theatre versions. As a composer his extensive film and television film score credits include the Academy Awardnominated A Touch of Class and the Emmy-nominated “Path to 9-11.” John co-composed Zorro the Musical, nominated for an Olivier Award for Best New Musical 2009. Other arranging credits include Joseph and the Amazing Technicolor Dreamcoat.

STEPHEN METCALFE ( New Orchestrations). For the past 19 years, Stephen has been Head Of Music at Cameron Mackintosh Ltd. Productions include Les Misérables, Miss Saigon, Mary Poppins, My Fair Lady, Avenue Q, Hair,

Betty Blue Eyes, Barnum, The Witches of Eastwick, and Half A Sixpence. Stephen produced the cast albums of Les Misérables (25th anniversary), Oliver! (London), Mary Poppins (Australia), Miss Saigon (London, Holland), Betty Blue Eyes (London) and Half A Sixpence He orchestrated and produced the soundtrack albums for the Universal Pictures film of Les Misérables, for which he was nominated for a Grammy Award.

CHRISTOPHER JAHNKE ( New Orchestrations). Orchestrations: Porgy and Bess (2012 Tony nomination), Heart And Lights (2014 Radio City), Legally Blonde, Cry Baby, Grease (2007 Revival), Do You Hear the People Sing? (Symphonic arena tour of Boublil/ Schönberg), Dessa Rose, A Man of No Importance, Tom Jones (Stiles/ Leigh), Chasing Nicolette, Not Wanted on the Voyage (Bartram/Hill), Just So (Stiles/Drewe). Music Producer/Music

Supervisor of Memphis. Assistant to William David Brohn: Ragtime, Sweet Smell of Success, The Witches of Eastwick, Mary Poppins, Wicked

STEPHEN BROOKER ( New Orchestrations, Musical Supervisor).

Conductor/musical director: Les Misérables film. Supervisor: Les Misérables (NY, London, Tokyo), Half a Sixpence, Barnum, Oliver!, Mary Poppins, Miss Saigon, Cats, My Fair Lady, The Secret Garden, South Pacific, Chess, The Woman in White, Saturday Night Fever, The Phantom of the Opera. Conductor: symphonies and choirs worldwide including Royal Choral Society for Her Majesty Queen Elizabeth. Composer: Walt Disney, Coca-Cola, Ford Motors, BMW cars, Jaguar Cars. Produced recordings of Les Misérables, Oliver!, Mary Poppins, South Pacific. Conducted the 85th Academy Awards.

JAMES MOORE (Musical Supervisor). Broadway: Miss Saigon, On the Town, Gigi, Follies, South Pacific, Ragtime, Steel Pier, Company. National tours: The Producers; Kiss Me, Kate; Crazy for You; And the World Goes ‘Round – The Songs of Kander and Ebb. Regional: Signature Theatre, Ford’s Theatre, Paper Mill, The Muny. Symphonic: Calgary Philharmonic Orchestra, National Symphony Orchestra, Orchestra of St. Luke’s, The Kennedy Center Opera House Orchestra, The Santa Barbara Symphony. Recordings: On the Town, Follies. Education: Master and Bachelor of Music degrees from the Indiana University Jacobs School of Music.

TREVOR NUNN and JOHN CAIRD (Adaptors). Trevor Nunn joined the RSC in 1964 and in 1968 was made the company’s youngest ever Artistic

Director. He was responsible for running it until retiring from the post in 1986. From 1997-2003, he was director of the National Theatre. Trevor has worked extensively in theatre, opera and musical theatre. John Caird is a freelance director, librettist and writer working worldwide in theatre, opera and musical theatre – at the National Theatre, the RSC (Honorary Associate Director) and at the Royal Dramatic Theatre Stockholm (Principal Guest Director). Theatre Craft, his encyclopedic book about directing, is published by Faber. Together, John and Trevor directed Nicholas Nickleby (five Tony Awards), JM Barrie’s Peter Pan and the original Les Misérables (eight Tonys).

JEAN-MARC NATEL (Original French Text) was born in 1942. He studied art at the Beaux Arts in Toulon before turning to poetry and has published two volumes of his poems. In 1968 he moved to Paris where he met Alain Boublil, who introduced him to songwriting with the daunting task of co-writing the lyrics for Les Misérables. Since then, he has written songs for a variety of artists and, recently, some of his poetry has been set to music by Franck Pourcel.

JAMES FENTON (Additional Material) has worked as a political and literary journalist, drama critic and war correspondent. He won the Newdigate Prize for Poetry, was made Fellow of the Royal Society of Literature in 1983, Professor of Poetry at Oxford from 1994 to 1999 and awarded the Queen’s Medal for Poetry in 2007. Libretti include Haroun and the Sea Stories (New York City Opera). Plays include Pictures at an Exhibiton (Young Vic) and Orphan of Zhao (RSC, ACT).

COREY AGNEW (Associate Director) is happy to be back with Les Misérables. Favorite credits include: Les Misérables (Associate and Resident DirectorMexico, Toronto, Australia, U.S. Tours), Matilda (Deputy-Associate and Resident Director - South Korea, Toronto, U.S. national tour), Mary Poppins (Associate, Resident and Children’s DirectorBroadway, Australian Premier, 1st and 2nd U.S. Tours), The Sunshine Boys (Soulpepper Theatre), Robin Hood (Ross Petty Productions). Corey is passionate about teaching acting and coaches many successful college applicants: agnewactingstudio.com

JESSE ROBB (Musical Staging Associate). An honors graduate of NYU’s Tisch School of the Arts, Robb’s career covers a wide variety of work including Broadway, Cirque Du Soleil, Disney, Momix, Prime Video, RWS Entertainment Group, Opera

Philadelphia, and Turner Classic Movies.

Broadway: Associate Choreographer: Miss Saigon and The Cher Show.

Additional Credits: Miss Saigon (co-staged Tony Awards Broadcast performance, North American Tour, Vienna); Stratford Festival of Canada, Theatre Calgary, Ogunquit Playhouse, The 5th Avenue Theatre, The Ordway, The Cape Playhouse, The Berkshire Theatre Festival, and the North Shore Playhouse among others. jesserobb.com

RICHARD BARTH (Resident Director). After serving as Resident Director for a portion of the last North American tour of Les Misérables, Richard is honored to return to this incredible production. He’s performed on Broadway and OffBroadway, toured North America in Miss Saigon (2003-4) and Les Misérables (2010-13) and worked in many regional theatres. Training: The Hartt School.

BRIAN EADS (Musical Director, Conductor) is a doctoral candidate in Orchestral Conducting, Indiana University. Guest conducting credits: Great Lakes Chamber Orchestra, Mississippi Symphony Orchestra, North Mississippi Symphony Orchestra, Princeton Festival Orchestra, Lima Symphony Orchestra. His orchestral arrangements have been performed by: Indianapolis Chamber Orchestra and Chorus, Madison Symphony Orchestra and Chorus, Kalamazoo Symphony Orchestra, Nashville Symphony Orchestra, Chicago Symphony Orchestra. Master of Music in Orchestral Conducting, Florida State University; Bachelor of Music, Piano Performance, Delta State University. Unending love and thanks to all of my family, friends and teachers. Soli Deo Gloria!

STEFAN MUSCH (Wigs, Hair and Make-up Designer). Theatre: The Phantom of the Opera (London, 25th Anniversary, U.K. Tour, International), Les Misérables (London, Staged Concert, International), Miss Saigon, Shrek (London, International), King Lear (Chichester, London). London: An American in Paris, Frozen: The Play, Lady Windermere’s Fan, The Book of Mormon, Hairspray, Gone with the Wind, Wicked, Lord of the Rings. Germany: Disney’s Aida, Elisabeth, Tabaluga and Lili, Cats (also 1st national tour). Film: Young Woman and the Sea, Spencer, Maleficent, Cinderella, Flawless, The Merchant of Venice. Events: Royal Variety Show (2014, 2016), Her Majesty’s the Queen Platinum Jubilee Concert at Buckingham Palace. U.K. Theatre Trust Award for Outstanding Achievement in Wigs and Make-Up.

JOHN MILLER (Musical Coordinator).

Over 140 Broadway shows, including: Death of a Salesman, A Beautiful Noise, MJ-The Musical, Mrs. Doubtfire, Ain’t Too Proud, Tina—The Tina Turner Musical, Oklahoma!, Beautiful: The Carole King Musical, Waitress and Jersey Boys Musician (bass): Leonard Cohen, Michael Jackson, Madonna, Bette Midler, Peter, Paul and Mary, Eric Clapton, Frank Sinatra, Bette Midler. johnmillerbass.com

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

STEVEN SCHNEPP (Tour Booking and Marketing Consultant) has worked for Cameron Mackintosh’s North American touring productions for more than three decades. He is proud to continue to be associated with the world’s most popular musical. BBONYC.com

TARA RUBIN CASTING (Casting).

Selected Broadway and national tours: KPOP (upcoming), Mr. Saturday Night, Six, Ain’t Too Proud, King Kong, The Band’s Visit, Prince of Broadway, Sunset Boulevard, Miss Saigon, Dear Evan Hansen, Cats, Falsettos, School of Rock, Bullets Over Broadway, Aladdin, Big Fish, Billy Elliot, Shrek, Spamalot, … Spelling Bee, The Producers, Mamma Mia!, Jersey Boys, The Phantom of the Opera. Selected Off-Broadway: Sing Street, Trevor, Between the Lines, Clueless, Gloria: A Life, Smokey Joe’s Café, Here Lies Love.  Regional: Yale Rep, Asolo Rep, La Jolla Playhouse, The Old Globe. Film: Here Today.

CHRIS DANNER (Company Manager).

National tour: The Band’s Visit, Dear Evan Hansen, Disney’s The Lion King, Kinky Boots, Disney’s Newsies, Once, 50 Shades, The Addams Family, 9 to 5, Legally Blonde, The Color Purple, My Fair Lady, Blue Man Group, The Light in the Piazza, Annie, Oliver!, Cover Girls, Blue’s Clues Live!, and the Magic of David Copperfield. A proud DeMolay.org Advisor.

ELLE AGHABALA ( Associate Company Manager) is thrilled to be back on the barricades. National tours: Annie (30thAnniversary) and To Kill A Mockingbird. Regional: Center Theatre Group and The Wallis.

JACK McLEOD (Production Stage Manager)is honored to continue his association with Les Misérables and thanks you for attending and supporting the performing arts. Thirty-five years of Broadway and international touring credits jack-mcleod.com

RYAN W. GARDNER (Stage Manager). Broadway/NYC: Waitress, David Byrne’s American Utopia, When Playwrights Kill. National tour:  Waitress (pre and post COVID). Regional: Multiple credits at Barrington Stage, SpeakEasy Stage, and Blumenthal Performing Arts. Proud graduate of Boston College. Thanks and love to Mom, Dad, Will, and SF. Glory to God. #keeppounding @ontheroad_rg

CLAIRE FARROKH (Assistant Stage Manager) is thrilled to be on the road with Les Misérables! National tour: Fiddler on the Roof (PSM), The SpongeBob Musical (ASM). Regional Theatre: Geva Theatre Center, Colorado Shakespeare Festival, McCarter Theatre Center. BFA: Carnegie Mellon University (2019). @claire.farrokh

TIFFANIE LANE (Sub Assistant Stage Manager). NYC: When Playwrights Kill, Shanghai Sonatas. National Tours: Les Misérables, Waitress Regional: Barrington Stage. Proud graduate of Purchase College. For Mom, Dad, Parks, Steve and BE. tiffanielane.com

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

SETH SKLAR-HEYN (Executive Producer) has served as Executive Producer for Cameron Mackintosh Inc. for North American projects since 2013, working on all recent Broadway and touring productions of The Phantom of the Opera, Les Misérables, and Miss Saigon. In 2021, Seth directed the new production of The Phantom of the Opera that reopened Her Majesty’s Theatre in London’s West End (based on Harold Prince’s original staging), as well as the 2022 Australian premiere of Cameron Mackintosh’s new production of The Phantom of the Opera at the Sydney Opera House (based on Laurence Connor’s original staging). Graduate of Vassar College.

TRINITY WHEELER ( Executive Producer). Broadway: 1776 (dirs. Diane Paulus and Jeffrey Page), Les Misérables National tours: The Sound of Music (dir. Jack O’Brien), Finding Neverland, Once on This Island, Waitress, The SpongeBob Musical, Chicago, Dirty Dancing, Elf the Musical, The Producers,

The Wedding Singer, Oklahoma!, Funny Girl, The Wizard of Oz, Disney’s Beauty and the Beast, The Phantom of the Opera, Mary Poppins, Young Frankenstein starring Roger Bart, and Rent starring Adam Pascal and Anthony Rapp. Current projects: Les Misérables, Hairspray, 1776, Peter Pan (dir. Lonny Price) Host of Rhapsody Radio (Apple Podcasts, Spotify). Love to Alan, Colin, Richard, Sawyer, Huck, Curry and Alfie. @trinityonbroadway

NETWORKS PRESENTATIONS (Producer). Current and upcoming productions include 1776, Anastasia, Beetlejuice, The Book of Mormon, Come From Away, Fiddler on the Roof, Funny Girl, Hairspray, Les Misérables, Mean Girls, Peter Pan, and To Kill a Mockingbird. networkstours.com.

OPENING NIGHT OCTOBER 12, 2022

STAFF FOR LES MISÉRABLES

EXECUTIVE PRODUCERS

Seth Sklar-Heyn Trinity Wheeler

GENERAL MANAGEMENT

Gregory Vander Ploeg

Pearce Landry-Wegener Steven Varon-Moore

Madeline McCluskey Heather Moss

PRODUCTION MANAGEMENT

NETworks Presentations

Jason Juenker

Hector Guivas Shelby Stark Walker White pesci

COMPANY MANAGER

Chris Danner

Associate Company Manager

Elle Aghabala

EXCLUSIVE TOUR DIRECTION

BOND THEATRICAL GROUP bondtheatrical.com

TOUR BOOKING

Temah Higgins Mollie Mann

Wendy Roberts

Megan Savage Madison St. Amour

Laura Rizzo Nilesha Alexander

MARKETING & PUBLICITY DIRECTION

DJ Martin Jenny Bates

Marc Viscardi

Hannah Wallace

Phillip Aleman Melissa Cohen Steph Kelleher Linda Stewart

Bailey Ford Scotland Newton Elisabeth Reyes

Simon Rosales Janiya Wade Jacob Stuckelman

TOUR BOOKING & MARKETING CONSULTANT BBO

Steven Schnepp

CASTING

Tara Rubin Casting

Tara Rubin CSA, Merri Sugarman CSA

Laura Schutzel CSA, Claire Burke CSA, Peter Van Dam CSA, Felicia Rudolph CSA, Xavier Rubiano CSA, Kevin Metzger-Timson CSA, Spencer Gualdoni, Olivia Paige West, Frankie Ramirez

U.S. ASSOCIATE DIRECTOR COREY AGNEW

U.K. MUSICAL SUPERVISOR STEPHEN BROOKER

U.S. MUSICAL SUPERVISOR JAMES MOORE

U.S. MUSICAL STAGING ASSOCIATE JESSE ROBB

RESIDENT DIRECTOR RICHARD BARTH

PRODUCTION STAGE MANAGER JACK McLEOD

Stage Manager Ryan W. Gardner

Assistant Stage Manager Claire Farrokh

Assistant Stage Manager Sub Tiffanie Lane

Fight Director Joe Bostick

Intimacy Director Claire Warden

Voice Consultant Liz Caplan

U.K. Associate Scenic Designer David Harris

U.S. Associate Scenic Designer Christine Peters

Costume Design Associate Laura Hunt

U.S. Costume Supervisor Sam Fleming

Wigs, Hair and Make-up Designer Stefan Musch

U.S. Associate Hair and Make-up Designer Amanda Clark

U.K. Hair and Wig Coordinator Amy Kinsey

U.K. Associate Lighting Designer Ben Jacobs

U.S. Associate Lighting Designer Karen Spahn

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