A Pulitzer-Prize Winning Modern Classic
By Suzan-Lori Parks Directed by Steven Sapp
PREVIEW AUGUST 27–28 AUGUST 29 – SEPTEMBER 20, 2026
SEASON SPONSORS Curious Champion SCFD (Scientific and Cultural Facilities District) The Shubert Foundation Bold Benefactor Diana & Mike Kinsey The Nord Family Foundation Virginia W. Hill Foundation Audacious Patron Artemis Coaching & Elisa Canova Susan Cooper & Dr. Rick Cohn Fredricka Jura Harmonious Fund Chip Horne & Dr. Jan Kennaugh Michael Potts & Lisa Corbin
PRODUCTION SPONSORS Ensemble Judy Cadwaller Ellen and Dale LaGow Friends Alyssa Williams
Produced on Broadway by Carole Shorenstein Hays, Waxman/Williams Entertainment, Bob Boyett, Freddy De Mann, Susan Dietz, Ina Meibach, Scott Nederlander, Ira Pittelman, Hits Magazine, Kelpie Arts, Rick Steiner/Frederic H. Mayerson, The Public Theater/New York Shakespeare Festival. Original New York production by The Joseph Papp Public Theater/New York Shakespeare Festival, George C. Wolfe, Producer.
CURIOUS IS GENEROUSLY SUPPORTED BY
The Harold and Mimi Steinberg Charitable Trust Virginia W. Hill Foundation
CURIOUS IS A PROUD MEMBER OF AND SUPPORTS MEMBERS OF
LEADERSHIP NOTES Welcome. Whether this is your first visit to Curious Theatre Company or you've been with us for years, we're grateful you've chosen to spend this time with us. Theatre has always begun with a simple act: people gathering together to share a story. Thank you for being part of that tradition. This season marks an exciting new chapter for Curious. As our home at 1080 Acoma Street undergoes its transformation, we're honored to spend Season 29 in residence at Cleo Parker Robinson Dance's Historic Shorter AME Building. We are deeply grateful to Cleo Parker Robinson Dance for welcoming us into a space with such a rich history of artistry, community, and cultural expression. Their generosity and partnership remind us that the arts are strongest when we support one another. At the heart of this season is a question: Who are we to each other? It's a question that echoes through each of the four plays you'll experience this year. Together, they explore identity and memory, belonging and responsibility, love and loss, and the ways we find one another even when the path isn't simple. We chose these stories with intention, believing that theatre can help us see ourselves more clearly and understand one another more deeply. That belief has guided Curious for nearly three decades. While our address may change for a season, our purpose does not. We remain committed to creating bold, contemporary theatre that challenges, inspires, and invites conversation long after the lights come up. None of this happens without you. Every performance is a collaboration between artists and audience. Your laughter, your silence, your questions, your curiosity, and your willingness to be present complete the experience. You are not simply watching the story unfold. You are part of it. Thank you for continuing to show up, to lean in, and to make space for stories that matter. We hope this performance stays with you, sparks conversation, and reminds you of the extraordinary things that can happen when people gather together. We're so glad you're in the room. With gratitude,
Jada Suzanne Dixon Artistic Director
DIRECTOR’S NOTES There are plays that you direct because you admire the writing. And then there are plays that get under your skin. Topdog/Underdog is one of those plays for me. Suzan-Lori Parks has created two brothers who feel deeply familiar. Lincoln and Booth are trying to make sense of their lives, their history, and each other. They are brothers, but they are also rivals. They love each other, they disappoint each other, they protect each other, and they know exactly how to hurt each other. I recognize something in that. I think many of us understand what it means to grow up with someone who knows your whole story. Someone who remembers where you came from. Someone who can remind you of who you were when you are trying so hard to become somebody else. That is the heart of this play for me. These two men are trying to survive. But survival is not just about money. It is about dignity. It is about identity. It is about being seen. It is about having someone believe that your life can amount to something. And then there is history. History is always in the room. Lincoln's job as an Abraham Lincoln impersonator is one of the things I find most compelling about this play. There is humor in it, but there is also something unsettling. A Black man is making a living by putting on the face of one of the most recognizable figures in American history. Every night, he steps into that costume and performs a version of a history that has never been simple for Black people. That contradiction matters. But ultimately, it brings us back to Lincoln himself—another man trying to figure out who he is beneath the role he has been given. But I don't want this production to become a history lesson. Parks doesn't give us Lincoln and Booth so that we can simply analyze them. She gives us two brothers. And brothers can be complicated. There are things you can say to your brother that you cannot say to anyone else. There are old wounds that don't disappear just because you grow older. There are dreams you share and dreams you compete over. Sometimes love looks like protection. Sometimes it looks like anger. Sometimes it looks like simply staying in the room. The three-card monte game becomes another way for these brothers to communicate. They understand the hustle. They understand the risk. They understand that sometimes the person sitting across from you is trying to take something from you. (continued on next page)
DIRECTOR’S NOTES
continued
But what happens when the person sitting across from you is your brother? That question stays with me. As we worked on this production, I kept coming back to the idea that neither Lincoln nor Booth is simply the topdog or the underdog. Those positions can change in an instant. The one who has power today may not have it tomorrow. Life can be like that. We all play games. We all perform versions of ourselves. We all carry things that other people cannot see. And sometimes, underneath all of that, what we really want is simple: to be loved, to be respected, and to know that our lives matter. That is what I hope we see in these brothers. Not just their mistakes. Not just their anger. Not just their circumstances. But their humanity. I hope we laugh with them. I hope we recognize ourselves in them. I hope we sit with the uncomfortable moments instead of looking away from them. And I hope we leave remembering that the stories we inherit do not have to be the stories that define us. Topdog/Underdog is a play about two brothers trying to find their way through a complicated world. But for me, it is also a play about what we owe one another. About what we carry. About what we survive. And about what it means to still reach for one another when the cards are on the table. I hope you'll sit with these brothers, listen to their stories, and see what they might have to say to us about our own. Steven Sapp Director
Curious Theatre Company Presents
By Suzan-Lori Parks | Directed by Steven Sapp
TIME
PRODUCTION TEAM
Now
Director Steven Sapp
Stage Manager Harper Hadley*
CAST
Scenic Design Tina Anderson
Assistant Stage Manager Anna Cordova
Costume Design Erin Carignan**
Technical Director Michael Morgan
Lighting Design Jonathan Spencer**
Set Construction Steven McDonald, DU Theatre Tech Intern Program
LINCOLN: Cajardo Lindsey* BOOTH: Rakeem Lawrence
Original Music & Sound Design Max Silverman Properties Design Annette Westerby
TOPDOG/UNDERDOG will be performed with a 10 minute intermission. TOPDOG/UNDERDOG is presented by arrangement with Concord Theatricals on behalf of Dramatists Play Service. www.concordtheatricals.com
BOLD = Curious Artistic Company Member * Appearing through an Agreement between this theatre, Curious Theatre Company, and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. ** United Scenic Artists, IATSE is the union representing Scenic, Costume, Lighting, Sound, and Projection Designers in Live Performance.
ARTIST BIOS RAKEEM LAWRENCE he/him (BOOTH) Rakeem Lawrence is grateful to be back at Curious! Regional: ROMEO & JULIET, THE IMPORTANCE OF BEING EARNEST,PIPELINE, A RAISIN IN THE SUN, LITTLE SHOP OF HORRORS (THEATREWORKS); ROMEO AND JULIET (Shakespeare Theatre Company), BITE SIZE: TOXOPLASMOSIS, GOODNIGHT MOON (Denver Center), DOWNSTATE, GLORIA (Curious Theatre Company), SIX DEGREES OF SEPARATION (Redhouse Arts Center); PETER AND THE STARCATCHER (Virginia Stage Company), STOCKADE (Local Theatre Company); AIRNESS (Benchmark Theatre); KILL MOVE PARADISE (Unicorn Theatre); TWELFTH NIGHT, ROMEO AND JULIET (Colorado Shakespeare Festival); BURNING BLUEBEARD (The Catamounts) MY FAIR LADY, LITTLE WOMEN, MARY POPPINS (Quintessence Theatre Group); VIOLET, LITTLE MISS SUNSHINE (Aurora Fox) ADA AND THE ENGINE (Studio Theatre, Tierra Del Sol) @svhman
CAJARDO LINDSEY he/him (LINCOLN) Cajardo Lindsey is an artistic company member at Curious Theatre Company. Some of his theatre credits include: Dee in DOWNSTATE, Mr. Blake in THE MINUTES, Gerald Lamott in AMERIKIN, Charles in FIREFLIES, Reggie in SKELETON CREW, Lank in DETROIT ’67, Simon in THE WHIPPPING MAN, Ogun in THE BROTHER/SISTER PLAYS, Lyons in FENCES (Curious Theatre Company); Bob Moses & David Dennis in ALL THE WAY, Mr. Smith & Jim Spence in JUST LIKE US, Moving Man in A RAISIN IN THE SUN (Denver Center Theatre Company); Walter Lee younger in A RAISIN IN THE SUN, Tom Robinson in TO KILL A MOCKINGBIRD (Arvada Center); Godfrey Crump in CRUMBS FROM THE TABLE OF JOY (The Aurora Fox); Herald Loomis in JOE TURNER’S COME AND GONE, Nick in WHO’S AFRAID OF VIRGINIA WOOLF, Zachariah in BLOOD KNOT (Shadow Theatre Company); William in LOBBY HERO, Paul Sheldon in MISERY, Reverend T. Lawrence Shannon in THE NIGHT OF THE IGUANA (Miner’s Alley Playhouse); Ross Gardiner in VISITING MR. GREENE, Jim Tyrone in A MOON FOR THE MISBEGOTTEN, Hoke in DRIVING MISS DAISY (Cherry Creek Theatre). Social media: @cajardo
SUZAN-LORI PARKS she/her (Playwright) Named one of Time magazine’s “100 Innovators for the Next New Wave,” in 2002 Suzan-Lori Parks became the first African American woman to receive the Pulitzer Prize in Drama for her Broadway hit TOPDOG/UNDERDOG. A MacArthur “Genius” Award recipient, she has also been awarded grants by the National Endowment for the Arts, the Rockefeller Foundation, the Ford Foundation, the New York State Council on the Arts and the New York Foundation for the Arts. She was most recently awarded the Dorothy and Lillian Gish Prize for 2015. Her new play FATHER COMES HOME FROM THE WARS (PARTS 1, 2, & 3) made its world premiere at the Public Theater in New York, followed by a celebrated run at the A.R.T in Cambridge, MA. The play was named a finalist for the 2015 Pulitzer Prize for Drama and was awarded the 2015 Edward M. Kennedy Prize for Drama Inspired by American History, as well as the 2014 Horton Foote Prize. Parks’s work on THE GERSHWIN’S PORGY AND BESS was honored with a 2012 Tony Award. Her numerous plays include THE BOOK OF GRACE, IN THE BLOOD (2000 Pulitzer Prize finalist), VENUS (1996 Obie Award), 365 DAYS/365 PLAYS and THE DEATH OF THE LAST BLACK MAN IN THE WHOLE ENTIRE WORLD, among others. She’s written a novel, GETTING MOTHER’S BODY, published by Random House. Her first feature-length screenplay was GIRL 6, written for Spike Lee. She’s also written screenplays for Brad Pitt, Denzel Washington, Jodie Foster and Oprah Winfrey, adapting Zora Neale Hurston’s classic novel THEIR EYES WERE WATCHING GOD, which premiered on ABC’s Oprah Winfrey Presents. Parks is currently writing an adaptation of the film THE HARDER THEY COME for a live stage musical. SuzanLori is the Master Writer Chair at the Public Theater, and she also serves as a professor in dramatic writing at New York University’s Tisch School of the Arts.
TINA ANDERSON
ANNA CORDOVA
she/her (Scenic Designer)
they/them (Assistant Stage Manager)
Tina's most recent designs for Curious are POTUS… & CULLUD WATTAH. Other scenic designs include; WITCH, MARY JANE, BROOKLYN LAUNDRY, THE THIN PLACE, CRY IT OUT, THE WHITE CHIP, HOPE & GRAVITY, LITTLE WOMEN, WHAT THE CONSTITUTION MEANS TO ME, COAL COUNTRY (True West Award) and EDEN PRAIRIE (Henry nomination).(Boulder Ensemble); PUMP BOYS AND DINETTES, ASSASSINS (Miner’s Alley); TRUE WEST, WHAT THE CONSTITUTION MEANS TO ME, POTUS AND HURRICANE DIANE.(Thunder River Theatre Company); WHAT THE CONSTITUTION MEANS TO ME. (Silco Theatre); SOMETHING ROTTEN, THE LITTLE MERMAID, TWELFTH NIGHT, SWEENEY TODD. (Off Square Theatre) DRACULA, A FEMINIST REVENGE FANTASY, REALLY & THE LARAMIE PROJECT. (Arvada Center); Tina is always grateful for design opportunities.
Anna Cordova is the Tour Coordinator at Opera Colorado. At Curious Theatre Company: BIRTHDAY CANDLES, BAD BOOKS (Co-Production with Local Theatre Company). Other Regional SM/ASM Credits: HAPPIEST MAN ON EARTH (DCPA), Local Lab 26 ( Local Theatre Company, WONDERLAND & METAMORPHOSIS (Perry-Mansfield Performing Arts Academy), COSI FAN TUTTE & LA BOHEME (Aspen Music Festival). Apprenticeship Credits: HOT WING KING (DCPA), THE RESERVOIR (DCPA), New Play Summit 2025 (DCPA). IG: @cor.dovaa Cordovatheatre.com
ERIN CARIGNAN she/her (Costume Designer) Erin is a versatile costume designer, author, and maker who has worked in regional theatre, opera, dance, music videos, and print ads in roles ranging from costume designer, stylist, painter-dyer and breakdown artist, to crafts artisan. She has been a part of over 200 professional productions with several theatre companies, most notably Old Globe Theatre, Los Angeles Opera, La Jolla Playhouse, Pioneer Theatre, and Curious Theatre (EUREKA DAY, DOWNSTATE, and LETTERS OF SURESH) Author of Dyeing for Entertainment: DYEING, PAINTING, BREAKDOWN, AND SPECIAL EFFECTS FOR COSTUMES (Focal Press/Routledge 2023) and other work, she is an Associate Professor of Costume Design at Colorado State University, Fort Collins and the Chair of the KCACTF Design Technology Management Region 7. She is an active member of USITT, Costume Society of America, Society of Dyers and Coloursists, and United Scenic Artists 829.
HARPER HADLEY she/her/hers (Stage Manager) Is thrilled to be back with Curious for her 3rd production. At Curious AMERIKIN, TRUTH BE TOLD (ASM) Regional credits: ENGLISH, COWBOYS & EAST INDIANS, CAT ON A HOT TIN ROOF, HOT WING KING, THEATER OF THE MIND, ELEPHANT AND PIGGIE’S WE ARE IN A PLAY, LITTLE RED: THE MUSICAL ADVENTURE, CNPS: 2022, 2024, 2025 and IN THE UPPER ROOM. (Denver Center for the Performing Arts.) DEMOCRACY CYCLE, 237 VIRGINIA AVENUE (Local Theater Company) A VERY SORDID WEDDING, FUN HOME, WHEN PIGS FLY, KINKY BOOTS (Uptown Players) B.A in Theatre from the University of North Texas
STEVEN SAPP he/him (Director) Steven Sapp is a co-founder/core member of UNIVERSES Theater Company. Playwriting/Acting credits include: AmericUS; UNISON; PARTY PEOPLE; AMERIVILLE; The Denver Project; One Shot in Lotus Position; BLUE SUITE; SLANGUAGE; RHYTHMICITY; THE RIDE. Acting-only credits include: THE COMEDY OF ERRORS OFF THE RAILS. Directing-only include: FAIRVIEW; TITUS ANDRONICUS, SERIOUS MONEY; THE THANKSGIVING PLAY; FIREFLIES; PASSOVER; SWOPERA; METAMORPHOSES; THE SEVEN; Alfred Jarry’s UBU: ENCHAINED. Awards/Affiliations: Drama League Next Stage Residency, 2023-2024 Astere E. Caleyssens Artist in Residence, 2020 Andrew W. Mellon Foundation National Playwright
Residency Program recipient; 2015 Doris Duke Performing Artist Award (Theatre); Oregon Shakespeare Festival Acting Company Member (3 Seasons:’12-‘14); 2008 U.S. Cultural Ambassador w/ the U.S. State Dept./Jazz at Lincoln Center - Rhythm Road Tour; 2008 TCG Peter Zeisler Award; 2002 TCG National Directors Award; 2002-2004 and 1999-2001 TCG National Theater Artist Residency Program Award; 1998 and 2002 BRIO Awards (Bronx Recognizes its own-Performance); Van Lier Fellowship w/ New Dramatists; Co-Founder of The Point CDC; New York Theatre Workshop Usual Suspect; BARD College, BA Theater. Publications: SLANGUAGE in The Fire This Time (TCG Books); BLUE SUITE in The Goodman Theatre’s Festival Latino - Six Plays (Northwestern University Press); PARTY PEOPLE in The Manifesto Anthology (Rain City Projects- Fall 2014); Featured on the covers of American Theater Magazine 2004 and The Source Magazine 2000. Member: Actors Equity Association (AEA)
MAX SILVERMAN he/him (Sound Designer) Curious Theatre Company: BAD BOOKS, JOB, DOWNSTATE, A CASE FOR THE EXISTENCE OF GOD, AMERIKIN (OnStage Colorado Theatre Award). Max is a 2026 Henry Award Winner, 2023 True West Award recipient, and four-time OnStage Colorado Award winner. Most recently, OffBroadway, Max designed GENE AND GILDA at 59E59, the world premiere of MADWOMEN OF THE WEST at the Actors Temple Theatre, and MR. PARKER at Theatre Row. Upcoming, you can hear his work Off-Broadway in THE STEEL MAN (59E59), COME FROM AWAY (STAGES St. Louis), FLAWLESS (Premiere Stages), and IN PLAIN SIGHT (Penguin Rep). Locally: COME FROM AWAY (Colorado Springs Fine Arts Center), ALWAYS...PATSY CLINE (Lone Tree Arts Center), JOSEPH AND THE AMAZING TECHNICOLOR DREAM COAT, DOUBT: A PARABLE and DEAR EVAN HANSEN (Arvada Center for the Arts and Humanities), A TUNA CHRISTMAS (Theatre SilCo). He has written music for podcasts, advertisements, and short films. maxsilverman.com
JONATHAN SPENCER he/him (Lighting Designer) Curious: DOWNSTATE. Broadway, Touring, and Regional designs having collaborated on over 130 productions and counting, including the world premier MR. HOLLANDS OPUS at Ogunquit
Playhouse. RENT 20th – 25th Anniversary Tours with over 1200 performances, PRISCILLA QUEEN OF THE DESERT National Tour, Off-Broadway: WHO’S HOLIDAY (West Side Theatre), CARRIE MAE WEEMS GRACE NOTES: REFLECTIONS FOR NOW (John F Kennedy Center, Spoleto USA) YOU ARE MINE OWN Directed by Atom Egoyan (Spoleto USA). Recent designs include the lighting for NEWSIES and LITTLE SHOP OF HORRORS with Theatre Under The Stars, Houston. Jonathan teaches design in the University of Colorado Boulder Theatre & Dance BFA and Southern Oregon University Masters programs. Member USA 829. www.JSpencerDesign.com
ANNETTE WESTERBY she/her (Properties Artisan) Annette Westerby is an Artistic Company Member. She has made blood effects, trained live animals, painted 50 matching violins, and created props and or costumes for over 25 Curious productions. In New York, she designed costumes for several Off-OffBroadway productions and was a studio sewing assistant to contemporary artist Marie Watt.
ACTORS’ EQUITY ASSOCIATION (“AEA” or “Equity”) Actors' Equity Association (“Equity"), founded in 1913, is the U.S. labor union that represents more than 51,000 professional Actors and Stage Managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions, and providing a wide range of benefits, including health and pension plans. Actors' Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #EquityWorks Equity is governed by its own members through an elected Council, representing principal actors, chorus actors, and stage managers living in three regions: Eastern, Central, and Western. Members at large participate in Equity’s governance through a system of regional Boards and Committees. Equity has 28 designated liaison areas, metropolitan areas with a concentration of more than 100 members.
DU THEATRE TECHNICAL INTERNSHIP PROGRAM The DU Theatre Technical Internship Program (TTIP) is the University of Denver's 4D experience in action, built on the belief that students learn their craft best by doing it, not just studying it. TTIP engages students in paid positions building scenery for professional theatre companies across the Denver metro area, building big musicals, intimate plays, and full opera productions. Technical theatre skills are real and in demand. Working from a designer's drawings, interns build the scenery, rigging, and automation that bring a set to life. They run wood tools, weld, solder, wire lighting and on-stage electronics, program control systems, and translate design plans into machineready code. Then our interns take it to the stage. When a set is ready, students travel to the venue, install their work, and turn it over to the resident crew for the run. This internship is a full-circle education in how professional theatre gets made, one that sends students into the industry ready to work, fluent in the tools, vocabulary, and challenges of a real load-in..
Since 2024, TTIP students have built 32 professional productions, including twenty-four plays, four musicals, three operas and a comedy special for Amazon Video. TTIP is excited to return for our sixth season building for/with Curious Theatre Company. Recent Curious projects include FURLOUGH’S PARADISE, BIRTHDAY CANDLES, BAD BOOKS, JOB, and EUREKA DAY. Other recent partner companies include ParkerArts, Boulder Ensemble Theatre Company, St. Mary’s Academy, Denver Theatre Ensemble, Local Theatre Company, and Lamont Opera Theatre. Through TTIP, DU Theatre students become experts in hands-on craftsmanship that draws on human critical thinking and creativity, skills no shortcut can replace. TTIP participants graduate career-ready, with professional credits, industry mentors, and the confidence that comes from having already done the work. At DU, you don't just study theatre. You build it
GO DEEPER THE PLAYWRIGHT: SUZAN-LORI PARKS Suzan-Lori Parks is one of the most influential American playwrights of her generation. In 2002, Topdog/Underdog earned Parks the Pulitzer Prize for Drama, making her the first Black woman to receive the honor. “From the Public to a Pulitzer” — Playbill Parks talks about the origins of Topdog/Underdog, including how watching a three-card monte game helped unlock the play and its relationship between two brothers. Read the interview “Suzan-Lori Parks Reflects on 20 Years of Topdog/Underdog” — New York Theatre Guide Parks looks back on writing the play, its journey to Broadway, and what it means to encounter Lincoln and Booth again twenty years later. Read the interview
Compiled by Christy Montour-Larson
BLACK IDENTITY, HISTORY, & THE WEIGHT OF AMERICAN MYTH Parks names her two Black brothers Lincoln and Booth—and has Lincoln earn his living dressing as Abraham Lincoln while customers pretend to assassinate him. American history isn't just in the background of Topdog/Underdog. The brothers inherit it, perform it, joke about it, and struggle to define themselves within it. “Popular and Pervasive Stereotypes of African Americans” — National Museum of African American History & Culture An accessible look at how stereotypes of Black Americans were created and reinforced throughout U.S. history—and how those images continue to shape ideas about Black identity and masculinity. Explore the history of Black stereotypes in America
GAMES OF CHANCE & SYSTEMS OF POWER
Photo: Eric Schwabel / Wikimedia Commons. Licensed CC BY-SA 3.0.
THE AMERICAN DREAM: LUCK, SKILL, & SURVIVAL Lincoln and Booth are both trying to get ahead, but in very different ways. Topdog/Underdog asks a very American question: How much of success comes from hard work and talent—and how much depends on the hand you were dealt? “Americans Are Split Over the State of the American Dream” — Pew Research Center A look at how Americans think about the American Dream today—and how those views differ depending on income and age. Explore what Americans think about the American Dream
Three-card monte looks like a game of luck and skill, but it's really a con: the dealer controls the game while convincing the mark that winning is possible. Parks turns the hustle into something bigger—a way of looking at money, ambition, power, and whether the game was ever fair to begin with. “How Do Big-City Shell Games and Three-Card Monte Games Work?” — HowStuffWorks A quick explanation of how three-card monte actually works—and why the person placing the bet isn't really playing a fair game at all. See how the threecard monte hustle works
GO DEEPER
Compiled by Christy Montour-Larson
DISCUSSION QUESTIONS: ENGAGING WITH TOPDOG/UNDERDOG 1.Who is the “topdog” and who is the “underdog”? When do you see those roles switch? 2.Lincoln and Booth clearly love each other—but they also know exactly how to hurt each other. Where did you feel their love most? Where did you feel the danger? 3. Do you think either brother has a real chance to become someone different? Why or why not? 4.Three-card monte looks like a game you can win, even though the dealer controls the outcome. Where else in the play does it feel like the game might be rigged? 5.Lincoln makes a living impersonating Abraham Lincoln and being “assassinated” over and over. What did that image mean to you? How does race complicate it? 6.How do Lincoln and Booth think a man is supposed to act? What do those expectations cost them? 7.What does Topdog/Underdog say about the American Dream? Do either of these brothers ever really have a fair chance to win?
25 YEARS OF TOPDOG/UNDERDOG
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CHECK OUT OUR FULL GO DEEPER PAGE ON TOPDOG/UNDERDOG
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BOARD Greg Laugero, President Michael Potts ,Vice President Mark Chase, Treasurer Marike Fitzgerald, Secretary Tanya Ahmed Elisa Canova TJ Sullivan *Roscoe Hill, Board Member Emeritus *Kathryn Gray Artistic Company Member *Erik Sandvold, Artistic Company Member *Jada Suzanne Dixon, Producing Artistic Director * Non-Voting Member
STAFF Jada Suzanne Dixon Producing Artistic Director Wayne Breyer Production Manager & Resident Stage Manager Christy Montour-Larson Artistic Producer & Literary Manager Michael Morgan Technical Director Andrew Moser Business Manager Katelyn “Katie” Flynn Front of House Supervisor Emily Whalen Marketing Manager Josh Hartwell Education Coordinator Evy DiPasquantonio, Sarah Husloos House Managers Cambria Bartlet, Jane Major Front of House Representative & House Managers Kate Doust, Sarah Scott Front of House Representatives
ARTISTIC COMPANY Tina Anderson Lisa Boehm Anastasia Davidson Richard Devin Jada Suzanne Dixon Jason Ducat Brian Landis Folkins Kristina Fountaine Ilasiea Gray Kathryn Gray William Hahn Josh Hartwell Markas Henry GerRee Hinshaw Jim Hunt Janice Benning Lacek Cajardo Lindsey Sheryll McCallum Shannon McKinney Michael McNeill Christy Montour-Larson Michael Morgan Josh Robinson Erik Sandvold Sean Scrutchins Karen Slack Annette Westerby Artistic Company in Memoriam Kevin Brainerd Todd Webster Artistic Company Emeriti Thank you to our founding Artistic Company Members whose dedication, hard work and artistic vision has helped make Curious the amazing theatre it is today. Dee Covington Chip Walton