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A word from

MAYOR JIM GUNNING In December, the City of Lone Tree released the results of our bi-annual Resident Survey. This survey helps City staff and officials better understand citizens’ satisfaction with the work we do on their behalf. It provides us important data and benchmarking to ensure we’re carrying out the wishes of our constituents and providing the best quality of life we can. The results started out strong and just got better from there. 98% of all Lone Tree residents rate our overall quality of life as “excellent” or “good”. Further review highlights our terrific leisure amenities as top reasons why citizens are so pleased. Building the Arts Center was a bit of a gamble; would it be worth it? Would it make our city more attractive? Would it add to our quality of life? Since the doors opened, we’ve been flooded by positive feedback about the staff, artistic choices, and overall environment; we knew people liked the Arts Center… but would the survey reflect that? Clearly, it did. 96% of respondents rate the Lone Tree Arts Center as a positive addition to our community – and almost half of our City’s population has attended an Arts Center event in the past year. The Arts Center is the highest ranked amenity Lone Tree has to offer. The Arts Center was built to serve the entire South Metro area, and it does. But it is a tremendous affirmation to learn that those citizens whose vote passed a bond to build the Arts Center are as pleased with the results as we are. Enjoy the show! Mayor Jim Gunning

A word from

Executive Director Lisa Rigsby Peterson Earlier in January, I went to the Association of Performing Arts Presenters (APAP) conference in New York. You know what show was getting all the buzz - the “must have” show for next year? The Doo-Wop Project! I felt so proud; once again, Lone Tree is ahead of the curve! The hit show is playing here before continuing on to major venues at cities across the country - just another way we’re trying to surpass every mark set for us here at LTAC. From sell-out crowds at summer concerts and holiday shows to LEED certification to top-notch programming, our talented staff share your enthusiasm for and dedication to this incredible Arts Center. Three years ago, as the Arts Center moved from a dream to an actual building project, one thing struck us about LTAC: we could be different. This could be a place that combined the warm, welcoming feeling of an intimate community center with top-notch professional theater and entertainment options. Since the day our doors opened, we have tried to capture that spirit in all that we do. While our second season is halfway over, there is still a HUGE second half to see! Internationally recognized SFJAZZ Collective will share the music of Chick Corea in a new and exciting way; the playwright and original director of Hank Williams: Lost Highway is joining us to direct this fabulous biographical musical; we’ll celebrate Black History Month with a live radio broadcast on the world’s fastest man, Jesse Owens; the funniest play I have ever seen will keep us out of the winter doldrums when Nick Sugar directs Noises Off; and two vibrant performances by the Colorado Symphony are sure to leave you breathless. Add in our wonderful Chamber Music and Essential Jazz series and I think you’ll agree, we’re on a roll! I hope you are excited as I am about this fantastic line-up. We look forward to welcoming you back through our doors soon. Lisa Rigsby Peterson

8

LONE T R EE A RT S CEN T ER


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LONE TREE STAFF LISTINGS Lone Tree City Council Mayor Jim Gunning Mayor Pro Tem Jacqueline Millet Councilmember Harold Anderson Councilmember Kim Monson Councilmember Susan Squyer

Lone Tree City Management Jack Hidahl City Manager Seth Hoffman Deputy City Manager

Lone Tree Arts Center Staff Lisa Rigsby Peterson, Executive Director, spent ten years at the Denver Center for the Performing Arts (DCPA), working as the Director of Administration for the Denver Center Theatre Company and as Associate Director of Development for the DCPA. Her twentyfive year career in Denver arts management includes positions with PHAMALY, Curious Theatre Company, Opera Colorado, and the Colorado Children’s Chorale. Lisa has served on the Board of Directors for Curious Theatre Company, the Colorado Theatre Guild, and the national Executive Committee of the League of Resident Theatres. She served as the International (UK) Tour Coordinator for the DCPA/Royal Shakespeare Company production of Tantalus in 2001, and worked with the London International Festival of Theatre as well as the Theatre Royal, Plymouth. A Colorado resident since 1975, Lisa holds degrees from the University of Colorado and the Yale School of Drama. Paul Ackerman, Technical Director,

is a native of Long Island, NY. Paul received his degree in Technical Theatre and Design from the University of Virginia. He has worked in Atlanta with The Alliance Theatre/Atlanta Children’s Theatre, Atlanta Ballet, and the Georgia Institute of Technology where he participated in the 1996 Cultural Olympiad. Paul comes to the Lone Tree Arts Center from Blue Man Group where he was their Senior General Manager of Production.

Katie Maltais, Marketing Director,

is originally from Iowa. She has lived in Colorado since earning her BA in Arts Administration & Theatre from Drury University in Springfield, MO. Before joining Lone Tree Arts Center, Katie worked for TRG Arts in Colorado Springs where she was the Manager of Accounts and Services. She has a broad range of marketing experience with fine arts venues, working with such notable organizations as  Nederlander Alliances, Center Theatre Group, Alley Theatre, and Arts Club Theatre Company.

Rebecca Grabler, Development Director,

is a Colorado native and received her Bachelors of Arts from University of Denver and Masters of Business Administration from Daniels College of Business. She spent four years in events, fundraising and development for the Colorado Symphony Orchestra. Additional experience in the Denver area includes Membership Sales Manager for the Denver Metro Convention & Visitors Bureau, Director of Development and Marketing for the Denver Metro Sports Commission and Director of Communications for a national Sorority Headquarters.

Kirstin Fletcher, Education & Programming Coord.,

a native of Colorado, received her Bachelor Degree at the School of Journalism and Mass Communication from the University of Colorado at Boulder. Kirstin worked in public relations and special events for organizations including: University of Colorado Hospital, Make A Wish Foundation, the Women’s Professional Softball League and Crestline Sports. She previously worked as Special Events Coordinator for the City of Aurora, before becoming the Arts, Recreation and Events Coordinator for the City of Lone Tree in 2007. After several years developing and managing events and public art for the City of Lone Tree, Kirstin transferred her role to cultivate public art, education and children’s programming for the Lone Tree Arts Center.

Doug Evans, Box Office Manager,

is from Wichita, KS and currently lives in Denver. He received his MEd in Sports Administration from Wichita State University. He has worked with 1st Bank Center, Pepsi Center, and The Denver Center for the Performing Arts. Doug comes to the Lone Tree Arts Center from the Denver Center Theatre Company, where he worked as a Show Lead.

Rich Harris, House Manager Thaddeus Valdez, Assistant House Manager Allen Shapiro, Assistant Technical Director

Jennifer Kiser, Don Post, Bre Giellisen, Richard Spomer, David Laughlin, Randy St. Pierre, Stacie Cisco CMP, Rentals & Sales Coordinator, Technical Staff is a Colorado native. She received her communications degree from Kathy Denzer, Administrative Assistant Metropolitan State College of Denver. Stacie has worked in the meetings industry for over fifteen years. Before joining the Arts Center staff, she worked for Destination Management Company, overseeing meetings and events for 20 up to 5000 guests. Stacie received her Certified Meeting Professional designation in 2007 and is currently the VP of Education for Meeting Professionals International Rocky Mountain Chapter.

12

LONE T R EE A RT S CEN T ER

Brian Brooks, Miles Hooley, Matthew Kepler, Cecilia McNeel, Box Office Representatives The Lone Tree Arts Center would like to thank our volunteers for their many hours of service. Your time & talents help make the LTAC the welcoming environment we all enjoy.


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Giants of Classicism The Colorado Symphony Scott O’Neil, Resident Conductor Silver Ainomäe, Principal Cello

CPE BACH

Sinfonietta no. 2 in E-flat major Allegro di molto Larghetto Allegretto

HAYDN

Cello Concerto no. 1 in C major Moderato Adagio Allegro molto —intermission—

MOZART

Symphony no. 40 in g minor, K. 550 Molto allegro Andante Menuetto (Allegretto) et Trio Allegro assai

Sponsored by:

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PROGRAM NOTES CPE Bach: Sinfonietta no. 2 in E-flat major For three centuries in central Germany, music could scarcely escape the touch of the Bach clan. Cousins, nephews, sons, and grandsons – with a few ladies amongst the midst – served as keyboard artists and composers in the towns, cities, and royal houses of Europe’s heart. Best known of them all today is the unsurpassed master Johann Sebastian Bach (1685 – 1750). Even more successful at their time was his second son Carl Philip Emanuel (1714 – 1788). The family called him Emanuel; historians have dubbed him CPE Bach. By either name, he bridges the transitional time in music history between the days of the Baroque and those of Mozart, as the so-called Classical style was first coming into its own. CPE Bach spent thirty years based in Berlin as part of the musical establishment of the most powerful of Germany’s many royal houses, that of Frederick the Great of Prussia. Being a reasonably talented flutist, Frederick expected much flute music from the composers on his staff, but tolerated other works as well. This Sinfonietta (a “little symphony”) is typical of the style of the day. Its first movement is bright and sparkling, with much use of strings and harpsichord, though flutes and oboes also have their turn in the sun. The brief second movement gives plaintive solo lines to the woodwinds with languid, flowing themes for the strings. Lighter moods return for the final movement, longest of the three, with bright, dance-like melodies for all. The Sinfonietta is less intricate than JS Bach would have made it, and less hearty than Mozart. As such, it reveals how music evolved between those two generations, a period of evolution much influenced by CPE Bach.

Haydn: Cello Concerto no. 1 in C major Joseph Haydn (1732 – 1809) spent the last four decades of his life employed by the aristocratic Esterhazy family, in charge of all the music the court might require. That Haydn stayed with them for so long is proof not only of the Esterhazy’s satisfaction with him, but also his satisfaction with them. Part of that satisfaction came from the Esterhazy’s deep appreciation of music in general, and continuing interest in what

Haydn might have to entertain them, an evergrowing collection of music. During his time of employment, Haydn composed and presented at Esterhazy a massive body of work that would have occupied the entire lives of any three other composers. His entire catalog includes several thousand works, notably symphonies and string quartets, but also concertos intended for the principal players of the Esterhazy orchestra, who were widely considered amongst the best in the business. That fact meant that Haydn, too, was judged as one of the best in his field. His C-major Cello Concerto – the first of two such works – was composed in the early 1760s as a showcase for the Esterhazys principal cellist Joseph Weigl. In later decades, the manuscript disappeared and did not come to light again until 1961, when it was found in the Prague National Museum. Its rediscovery was a blessing not only to Haydn scholars, but also to gifted cellists, who have taken the work into their hearts. The work’s opening movement is bright and sunny, with the orchestra of strings, oboes, and horns presenting the basic themes before the soloist joins in, elaborating busily upon that material. By contrast, the second movement is sweet and restful, spotlighting instead the cello’s facility with long and languid phrases. For the finale, Haydn opted for perky and festive moods and nimble, fast-flowing lines for all, though especially the soloist. Two of the three movements include so-called cadenzas: utterly solo passages in which the orchestra sits out and the soloist plays on, possibly improvising. Such bravura display was considered crucial in a soloist, and Haydn supplied the opportunity. It is a work that makes the most of the cello, both its lyrical side and its ability to produce fireworks.


PROGRAM NOTES Mozart: Symphony no. 40 in g minor, K. 550 1788 was a dark year for Mozart. His popularity in Vienna was at a low ebb, bills were piling up, and his infant daughter Theresia had just died. Letters to friends reveal that he was finding it difficult to look beyond the shadows, and some have suggested that this fact influenced this symphony, one of only two to be based on a minor key. However, it is worth remembering that this is one of three symphonies he wrote this same summer, the last three he would ever compose, and the other two – numbers 39 and 41 – are bright and sunny works. One might imagine that Mozart loaded his somber feelings into this one composition. Yet even here, there is sweetness and sunshine to be found. At no point in his career did Mozart allow his music to stay long in somber moods. The first movement makes much of plaintive sighs, though gentle graceful melodies also

appear and even occasional bursts of jubilation. The second movement is softly elegant, as if it were music for a noble lady gazing out into the moonlight. Here, Mozart entirely sets aside the shadows of minor keys in favor of brighter major keys. The third movement minuet offers both darkness and light, the dark passages strongly assertive and the light ones sweeter. For the finale, Mozart returns to a general focus upon more serious moods, often given an urgent and fretful turn. In the middle of the movement, different sections of the orchestra simultaneously concern themselves with different melodic ideas, all blended into an intricate mix. By the last pages, clouds have covered the sky and sunny moods are utterly dismissed. The music never becomes angry, but tension and worry are everywhere. Here is the somber side of Mozart. All program notes by Betsy Schwarm, author of “Classical Music Insights” and “Operatic Insights.”

BIOGRAPHIES Scott O’Neil | Resident Conductor This is Scott O’Neil’s sixth season with the Colorado Symphony Orchestra. He most recently served as associate conductor for the Utah Symphony, which he joined in August 2000. O’Neil has guest conducted the Houston Symphony, Houston Youth Symphony, Phoenix Symphony, Annapolis Symphony, Florida Philharmonic, Tulsa Philharmonic, Portland Symphony (Maine), the Lubbock Symphony, the Boise Philharmonic, the Salt Lake Symphony and the Columbus Symphony in Ohio. O’Neil studied piano performance at the Oberlin College Conservatory, served as the assistant conductor of the Eastman School Symphony and Philharmonia Orchestras at the Eastman School of Music, and earned a master’s degree in orchestral conducting at Rice University, where he was the director of the Campanile Orchestra, a community/uni-

versity orchestra. In 1999 he served as director of orchestras at the High School for the Performing and Visual Arts in Houston, Texas. In the spring of 2003, O’Neil was selected by the League of American Orchestras (LAO) to conduct an orchestra comprised of members of the Los Angeles Philharmonic and advanced students from the University of Southern California in Synergy, a program created to promote young, contemporary composers. Also in the spring of 2003, O’Neil was selected by LAO to appear on the Conductor Preview with the Jacksonville Symphony. O’Neil leads the Colorado Symphony in every series this season, including educational concerts and appearances on each of the Colorado Symphony’s Masterworks, Family Series and Pops Series. In addition to his work with the Colorado Symphony, Mr. O’Neil is the founder and music director of the Rosetta Music Society, a group of chamber players that present interactive concerts at the Englewood Arts Center.


BIOGRAPHIES Silver Ainomäe | Principal Cello Appointed principal cello of the Colorado Symphony in 2009, Silver Ainomäe performed throughout Europe before moving to Denver. Ainomäe, who began his cello studies in 1988 at Tallinn Music High School in Estonia, recently worked as a freelance musician throughout Europe including positions as guest-leader of the Helsinki Philharmonic in Finland and work with London’s Philharmonia Orchestra. In 1992, at the age of 8, he moved from Estonia to Finland, where he pursued his musical training at Turku Conservatory with Jukka Perksalo and at the Sibelius Academy with Hannu Kiiski and Arto Noras. In 2006/07 he continued his studies in London at the Guildhall School of Music and Drama and Razumovsky Academy with Oleg Kogan. Awards that he has received at national and international competitions include second prize at the International Competition for Young Cellists, main prize and four special prizes at the contest festival “Con Brio 2000,” first prize in the string category at the “Verdi Note” competition in Rome, fifth prize at Isang Yun International Music Competition in South Korea, third prize at Witold Lutoslawski International Cello Competition in Poland (2005) and sixth prize at Paulo International Competition in Finland (2007). Additionally he has given recitals and performed as a chamber musician on numerous occasions throughout Europe.

The region’s only full-time professional orchestra, the Colorado Symphony embraces a tradition of musical excellence by presenting a diverse array of symphonic performances throughout the year. Originally established in 1989 as the successor to the Denver Symphony, the Colorado Symphony thrives on a spirit of collaboration among musicians, staff, trustees and the community. The Colorado Symphony performs in Boettcher Concert Hall and On Location throughout the state and region utilizing small ensembles to the full-sized orchestra. Programs include expanded education and outreach initiatives, as well as Masterworks, Pops, Holiday, Family, Inside the Score and Symphony on the Rocks series that have attracted an ever-increasing level of concertgoers. By presenting music that is both timeless and inspiring, while taking risks with new musical collaborations and interactive concerts, the Colorado Symphony is committed to reaching global audiences with the use of stateof-the-art digital media via live streaming and concert downloads. For more information about the Colorado Symphony, visit www.coloradosymphony.org.


Noises Off By Michael Frayn Nick Sugar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Director Starkey Theatrix . . . . . . . . . . . . . . . . . . . . . . . . . . .Producer Matthew Kepler . . . . . . . . . . . . . . . . . . . . . .Stage Manager Jacob Welch . . . . . . . . . . . . . . . . . . . . . . .Lighting Designer Linda Morkin . . . . . . . . . . . . . . . . . . . . . .Costume Designer Lindsey Benge . . . . . . . . . . . . . . . .Assistant Stage Manager Cast Lauren Bahlman . . . . . . . . . . . . . . . . . . . . . . . . . . . .Belinda Michael Bouchard . . . . . . . . . . . . . . . . . . . . . . . . . . . .Garry Rachel Bouchard . . . . . . . . . . . . . . . . . . . . . . . . . . . .Poppy Kurt Brighton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Lloyd Scot Cahoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tim Anna Gibson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brooke Trina Magness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Dotty Evan Marquez . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Freddie Ron Welch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Selsdon

Noises Off is presented by special arrangement with SAMUEL FRENCH, INC.

Sponsored by:

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BIOGRAPHIES Nick Sugar has served as a director, choreographer, actor and instructor throughout Denver. Nick was also the artistic director for the award winning Theater Group from 1998 - 2005. Prior to his move to Denver Nick worked in Hong Kong, Los Angeles and New York. Most recently he received the 2012 Henry Award for director and choreographer for his production of The Who’s Tommy. Nick has also received honors for several of his favorite productions including Hedwig and the Angry Inch, Cabaret, RENT, Dog Sees God, The Rocky Horror Show, Shakespeare’s R & J and West Side Story. Nick would like to thank Starkey Productions, Lone Tree Arts Center, the designers and actors associated with Noise Off for a wonderful journey. Also, thanks to all of you for supporting live theater! www.NickSugar.com Starkey Productions is a full service event production company with offices in Denver, Phoenix and Orlando and has been awarded Best Entertainment Company for 2007, 2008, 2009, 2010, 2011, by Colorado Meetings and Events Magazine. Starkey Productions was also nominated for Best Entertainment Company in the country in 2009 and 2011 by Event Solutions Magazine. Some of Starkey’s products have been featured on Americas Got Talent, Americas Best Dance Crew and So You Think You Can Dance. Starkey Theatrix, a division of Starkey Productions is a full service Theatrical Company serving South Denver. Noises Off marks Starkey Theatrix’s fifth production in just over a year of operations. Previous shows include Home For the Holidays (LTAC), Little Shop of Horrors (PACE) and White Christmas (LTAC). Starkey Theatrix also recently produced Alexander and the Terrible…Day for the newly founded South Metro Children’s Theatre. Starkey Theatrix is excited to be producing Hank Williams: Lost Highway here at the Lone Tree Arts Center in the spring. Thank you for supporting live theater! Mathew Kepler is excited to be working on his first show with Starkey Productions. Mathew has been involved in Denver area theater for over 10 years in many capacities on stage and

off. Thanks to the cast, crew, Ronni, Chris and Nick for the opportunity and the laughs. Jacob Welch previously designed lighting for Chess at the Lone Tree Arts Center. Jacob is also an award winning Freelance Lighting Designer working throughout North America. Jacob recently made his Off-Broadway debut with his lighting design of Conviction at the 59E59 Theatre. Other recent designs include Time Stands Still and 9 Parts of Desire with Curious; As You Like It with Kentucky Shakespeare Festival; The Syringa Tree with Alliance Stage; The Night Heron, Who’s Afraid of Virginia Woolf, The Caretaker, and Frankie and Johnny at the Claire de Lune with Paragon; My Name is Rachel Corrie with Countdown to Zero; and Kiss of the Spider Woman and Hair with Lake Dillon. Jacob is a Tenured Associate Professor of Theatre specializing in Lighting at Metropolitan State University of Denver. He received his MFA in Lighting Design from Western Illinois University. Linda Morken is the resident designer for Boulder’s Dinner Theatre. Linda has designed and worked on many regional as well as national productions and has been awarded the Colorado Theatre Guild’s Henry, two Denver Post Ovation awards for continued excellence in costume design, Boulder Daily Camera Best of Boulder as well as multiple award nominations. A long time Colorado Resident, Linda is originally from Minnesota and holds a degree from North Dakota State University. Lindsey Benge is thrilled to be a part of Noises Off. She has studied theatre at Metro State as well as The University of London. Lindsey has worked on a number of productions around the Denver area. Favorite productions include Mr. Marmalade (Next Stage), Beauty and the Beast (THAC), and Gypsy (THAC). Special thanks to Mathew, Ronni, her family, and Eric for their constant love and support.


BIOGRAPHIES Lauren Bahlman is thrilled to be a part of Noises Off! Lauren recently returned to Denver after a journey to NYC. While there, she co-founded Wide Eyed Productions, as well as trained in improvisation with Upright Citizens Brigade. Favorite roles in Denver include Paragon’s reasons to be pretty (Carly), and Spark Theater’s Two Gentlemen of Verona (Sylvia) and Three Sisters (Masha). Lauren performs improv weekly at Denver’s Voodoo Comedy Playhouse. Michael Bouchard is excited to be playing with Starkey Productions for the first time. Michael has recently finished a run of Leading Ladies with Backstage Theater in Breckenridge, where he played Jack Gable. You may have caught Michael in other shows around town, or if you’re a traveler, you may have seen Michael during his 7 seasons performing with the Creede Repertory Theater. Michael was the proud winner of 2009’s “Best Season by an Actor” Ovation Award from the Denver Post, and 2011’s Ovation Award, Best of Westword, and Marlowe Award for “Best Supporting Actor in a Comedy.” Michael is a graduate of the Pacific Conservatory of the Performing Arts and would like to thank his enormously talented wife Rachel for all she does (and puts up with). Rachel Bouchard is so excited to be making her debut with Starkey Productions. She recently played Meg in Backstage Theatre’s production of Leading Ladies. Other regional companies with whom she has worked include: Creede Repertory Theatre, Miners Alley Playhouse and The Edge Theatre. She has also both performed and

directed in Chicago. She would like to thank her extraordinary husband Michael and her grandmother, Ann, the most incredible, toughest broad she knows. Kurt Brighton is excited to revisit a favorite show—he played Freddie in a production of Noises Off at OpenStage Theatre in 2007 and he’s looking forward to the aerobic workout! Some of Kurt’s favorite roles include King Henry II in The Lion in Winter, Dr. Martin Dysart in Equus, and Roy Cohn in the Ovation Award-winning production of Angels in America at Vintage Theater. Many thanks to Nick and this great cast for the opportunity to play! Scot Cahoon is thrilled for the opportunity to work with such a talented group on this wild and witty show. Scot holds a Bachelor’s Degree in Theatre: Acting/ Directing from Colorado Mesa University in Grand Junction, Colorado. He most recently has been seen in Ignite Theatre’s production of Sweeney Todd and Spotlight Theatre’s Murder on the Nile. Thanks to God and his family as well as his theatre family for being so welcoming and so much fun.


BIOGRAPHIES Anna Gibson has many Denver highlights including: RENT (Mimi; “Outstanding Musical” Henry Award, 2011); Hello, Dolly! (Dolly Levi); Joseph...Dreamcoat (Narrator); The Sound of Music (Maria); Guys and Dolls (Adelaide), As You Like It (Celia), The Hostage (Theresa). She also works as a voiceover artist for the National Library Service for the Blind and Physically Handicapped. Anna is thrilled to debut with Starkey Productions at the Lone Tree Arts Center, and would like to thank Nick Sugar. Much love to her family and Iain for their continual support. Trina Magness has seen on stages around Denver for 20 years. Notable roles include: Ma in Mouse in a Jar (Denver Post Ovation Winner for Best Actress in a Drama and Best of Westword for Best Dramatic Actress), First Macbeth Witch in (Denver Post Ovation Winner for Best Ensemble), Lois in The Perfect Party (Denver Post Ovation Nominee for Best Actress in a Comedy), and most recently, Therese in AutoDa-Fe at the Lida Project. Evan Marquez is happy to be performing with Starkey Productions for the first time. Some of his recent roles include Roger Hopewell in Musical Comedy Murders of 1940 (Longmont Theater Company), Felix Ungar in The Odd Couple (California Actor’s Theatre), and Lionel Toop in See How They Run (Glendale Centre Theatre). Evan played Freddie once before in his high school production of Noises Off. He’s excited to have another chance… this time with slightly less acne.

Ron Welch is very pleased to be making his first appearance at LTAC. After 20 years singing, acting, directing and designing shows with the Evergreen Chorale, he recently has appeared in shows with THAC in Littleton. In past years he has performed in musical theater from playing leads to ensemble characters. This is his first non-musical show in many years. His thanks to Ronni and Nick for giving him this opportunity to dust off an old chapter in his acting career.


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