Applause -- Jesus Christ Superstar, January 23-28, 2024 by The Publishing House

VOLUME XXXIV NUMBER 4 JAN – MAR 2024

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SIGHTLINE

BY JANICE SINDEN

VO LU M E X X X I V • N U M B E R 4 • JA N - M A R 2 0 24

EDITOR: Suzanne Yoe DESIGN DIRECTOR: Kyle Malone DESIGNER: Brenda Elliott CONTRIBUTING DESIGNERS: Paul Koob, Lucas Kreitler CONTRIBUTING WRITERS: Sarah Crompton, Emma Holst, Genevieve Miller Holt, John Moore, Joanne Ostrow

Hello and happy 2024! We are delighted to welcome you to our winter lineup with eight productions, the Colorado New Play Summit, and the culmination of our Middle and High School Playwriting competition. First up from Broadway is the return of two beloved favorites of American musical theatre — Andrew Lloyd Webber and Tim Rice’s groundbreaking Jesus Christ Superstar and Bob Fosse’s choreographic masterpiece Chicago. These are followed by a new dance-theater piece Message In A Bottle from director/ choreographer Kate Prince set to the music of Sting, which portrays the humanity of refugees as they hope for a brighter future. The Denver Center Theatre Company welcomes its peers from across the nation to the 18th Colorado New Play Summit at which four scripts will be read in a crucial playwright-audience exchange that inﬂuences the development of the play. This year features Cowboy and East Indians by Nina McConigley and Matthew Spangler, Ghost Variations by Vauhini Vara, Godspeed by Terence Anthony, and One-Shot by Andrew Rosendorf. As part of the Summit, attendees will attend Cebollas by Leonard Madrid and Rubicon by Kirsten Potter, two plays that were read in 2022 and now receive their professional debut. We invite you to be among the ﬁrst in the world to experience these new plays as they enter the American theatre canon. At the same time, DCPA Education’s Middle and High School Playwriting competition awards top honors to three middle school 10-minute plays and three high school one-act plays. The one-act scripts are read in conjunction with the Colorado New Play Summit. We invite you to attend the full Summit and add on a Broadway show to your winter activities.

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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 Cebollas ..............................................................pg 10 Message In A Bottle..................................pg 12 Rubicon ...............................................................pg 14 Jesus Christ Superstar .......................... pg 19 Chicago ................................................................pg 21 4

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WO RL D P RE MIER E

The Righteous

LA TRAVIATA Giuseppe Verdi

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Gregory Spears Tracy K. Smith

WORLD PREMIERE

THE RIGHTEOUS Gregory Spears Tracy K. Smith

July 13, 17, 26, 30 August 7, 13

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THE ELIXIR OF LOVE Gaetano Donizetti

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The Righteous Illustration by Benedetto Cristofani

BY S U Z A N N E YO E

If you’ve been to downtown Denver in mid-summer, you might have encountered creatures from a different planet…known locally as FAN EXPO but known nationally as Comic Con. That one weekend a year when sci-fi enthusiasts convene to embody their favorite character, meet celebrities and delve into all things comic-sci-fi-horror-anime-gaming. Fast forward six months and you might stumble upon another convention — ThesCon — a slightly different opportunity for middle and high school students across the state to explore workshop offerings, meet actors and theatre professionals, engage with college programs, audition for main stage performances and scholarships and delve into all things theatre-drama-plays-musicals. In December, the Colorado Thespians held the 59th ThesCon at the Colorado Convention Center. More than 5,500 students from Colorado, Wyoming and New Mexico gathered for performances, workshops, panel discussions and competitions. Unsurprisingly, DCPA Education played an integral part in the 2023 event. Continuing a long-standing partnership, the full team led 17 workshops ranging from the Choreography Styles of & Juliet to stage combat and improv to movement. Additionally, the Community Engagement team hosted five behind-thescenes tours of DCPA studios and production facilities while other teaching artists participated in adjudication of student performances. New to the DCPA’s participation, was a performance of Shakespeare in the Parking Lot in the Bellco Theatre. The cast and crew offered an abridged version of A Midsummer Night’s Dream as part of the Middle School Opening Ceremony. Also, as a special treat, the actresses playing the Queens in the national tour of SIX participated in six panel discussions with the star-struck teens. Through their efforts, the Colorado Thespians lived up to their mission — to promote and strengthen theatre arts in education through theatrical experiences that provide creative enrichment for students and teachers. Bravo!

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CEBOLLAS

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RUBICON

There’s still a robust lineup of plays awaiting you at the Denver Center Theatre Company. We’ve got absurdity and espionage still to come. Romance and rhythm waiting in the wings. Epics and everyday heroes inbound. We’ve got it all, right here, in 2024.

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CEBOLLAS Illustration by Kyle Malone

WHEN A ROAD TRIP IS A FAMILY JOURNEY BY JOANNE OSTROW

This world premiere work by New Mexico playwright Leonard Madrid drew loud laughs from audiences at the 2022 New Play Summit. The tagline says it all: Three Sisters, four wheels, four hundred miles, and one dead body. From a comedic premise, a heartwarming comedydrama emerges when three Latina sisters embark on an unexpected drive, Albuquerque to Denver. Their mission: to get the body of the youngest sister’s lover back to Denver before his wife ﬁnds out how and where he died. Cue the family secrets, sibling grudges and endless highway. Are we there yet? It’s pedal to the metal as well-drawn characters bicker and laugh all the way north on I-25. Landmarks scroll by — Bernalillo, Santa Fe, Huerfano, Colorado Springs, Castle Rock — along with family memories and secrets. The sisters’ distinct personalities enliven the proceedings, and sharp dialog keeps the play speeding along. While humor fuels the trip, serious issues test the relationships. Director Jerry Ruiz said the play is “about healing the rift in their family.” Speciﬁcally, “the sisters must tell (youngest sister) Yolie the truth about her origins and help her move on.” As the miles tick by, “there is the sense of a new beginning, a rebirth for the family,” through the fact of the baby that very pregnant Yolie is going to have. “The more we’ve worked on it beyond the witty banter, there really is a lot of real human material in there that gives it the heft of a drama and also roots the humor in something very real and very emotionally understandable.

“I’d call it a comedy-drama,” Ruiz said. The story, while outrageous, is actually quite universal, concerning family, siblings and legacy. “That’s the hook,” Ruiz said. “You don’t have to have driven a body across state lines to appreciate family dysfunction and the legacy of your parents and to grapple with the choice they made. I think we all can connect to that in some ways.” The question at the outset is, are these women going to come back together and be in each other’s lives or will they be pulling in diﬀerent directions? The production aims to be immersive, to seemingly invite the audience along on the trip. “We are going to have a car, or part of a car, onstage,” Ruiz said. Audiences will see the characters getting in and out of the shell or skeleton of the vehicle. Meanwhile Ruiz will use projections to create the sense of motion and travel. Cebollas projections designer Alex Basco Koch and an assistant have made the actual drive, Albuquerque to Denver, with a video camera to capture the view from out of their car. That road trip footage will be projected onto various surfaces on and around the set, with road signs and landscapes changing as the story progresses to create an immersive environment. The Singleton Theatre is “a great space for it,” Ruiz said, “very intimate, so we’ll feel very close to the actors and also get that sense of travel.” The casting is “deﬁnitely all Latina, you want to have

APPLAUSE • JAN – MAR 2024 • 303.893.4100 • DENVERCENTER.ORG

that authenticity. The cultural representation is important,” Ruiz said. Two of the actors return from the New Play Summit reading, the third is from New York. The culture of New Mexico figures prominently in Cebollas. “There are some terms in there that I didn’t even know, and I’m a fluent Spanish speaker,” Ruiz said. “They are so regional. Regional slang and Spanglish.” A lobby display is planned to familiarize audiences with the unique culture and language of that area. For instance, Ruiz said, “’ombers,’ is it Spanglish? I’d never encountered this word. Leonard said it’s like when you’re in trouble, it’s very contextual.”

BLAST OFF!

You don't have to have driven a body across state lines to appreciate family dysfunction and the legacy of your parents and to grapple with the choice they made. I think we can all connect to that in some ways. — JERRY RUIZ, DIRECTOR

Or the expression “burque,” which Ruiz learned means Albuquerque. “It’s like shortened Spanish slang. These are things even Spanish speakers might not be familiar with. We’ll try to give that context.” Citing the Denver Center Theatre Company productions of Laughs in Spanish (2023), American Mariachi (2018), FADE (2016, which he directed) and others, Ruiz said the Denver Center “has a pretty good track record of producing Latina and Latino playwrights and other playwrights of color…. They feel that mission to represent different facets of the community.” He credits the company with figuring out a sustainable model at a time when theater generally is struggling. “They are continuing to serve their established audience but also inviting new folks in, and then picking shows that are culturally specific but that can speak to a broader audience. It’s a balancing act.” The fact that Cebollas rose through the process of the New Play Summit is a sign of that commitment to keeping the pipeline fresh and inviting in new playwright voices. Since it began 18 years ago, the Summit development process has introduced 68 new plays, more than half of which were picked up as full Theatre Company productions. “To see a play go from being read for the first time at the [Summit] to a full production two years later, that’s actually a quick turnaround in the life cycle of plays in the American theater,” Ruiz said. More typically he has worked on plays for six or seven years before they were produced. “To have that reading, to get people excited, then turn around and do it the very next year — that’s a wonderful opportunity.”

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CEBOLLAS

JAN 26 – MAR 10 • SINGLETON THEATRE ASL Interpreted and Audio Described performance: Feb 11 at 1:30pm Post-show Discussions: Feb 22 & 29

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THE MAKING OF BY SARAH CROMPTON

Message In A Bottle takes as its theme the biggest, saddest subject facing the world today: the international refugee crisis that is separating families and causing suﬀering and unrest across the globe. Yet its origins are in a small, personal — and happy — moment in the life of the choreographer Kate Prince. She was on her honeymoon in Greece, listening to Sting’s Message In A Bottle. She’d loved it since she was a child, and it had been one of the songs she’d chosen to play at her wedding. “I started wondering, as you do, what it would be like to use Sting’s music to create a dance story.” She mentioned the idea to Alistair Spalding, Artistic Director and Chief Executive at Sadler’s Wells. The next thing she knew, she was in a hotel lobby with Eliza Lumley, Head of Theatre for Universal Music UK, trying to pitch the idea to Sting himself. “I was really nervous, in that way you can be when it’s a physical reaction and very much out of your control,” she says, with a broad smile. “For someone who’s a dancer, I was so physically awkward. “And I didn’t like that I was nervous because he’s just a guy. But I think he had that impact because when I was a kid, I was so far away from even thinking that one day I might work with such a legend. “But he was really lovely and he listened. He was just really open, and from that we got his permission to do a

workshop, and I worked on it for two weeks and at the end of two weeks he came in with his manager and sat on a chair and fourteen dancers performed for him.” The workshop was a revelation. “I was blown away by it,” Sting said later. “The response for me was very emotional not just because I was honoured that they were using my music to express something, but there was something happening at a deeper level beyond understanding. It was moving me in ways that I couldn’t quite interpret. I have had very little experience of dance so being moved was what led me to say yes, carry on. I was just intrigued by it.” He also felt that in some ways, the exercise for him has been one of discovery. “This is my dream life exposed. I write songs in isolation. I don’t see any overriding themes, so watching people interpret the songs in a larger narrative, it’s therapy.” Excited by the entire prospect, he gave the go ahead, giving Prince carte blanche on story and on interpretation, while keeping control of approval over the music. Meanwhile, she began working on the project. She doesn’t quite remember where the idea of making a narrative about refugees ﬁrst came to her, but gradually it made itself impossible to ignore. She had been in the audience in Edinburgh in 2013 when a North Korean refugee, Joseph Kim, gave a TED talk. “He

APPLAUSE • JAN – MAR 2024 • 303.893.4100 • DENVERCENTER.ORG

COMING UP FROM BROADWAY

made a massive impact on me and that story got me started.” She then watched other documentaries including Human Flow, Refugee and The White Helmets on Netflix, two Guardian documentaries — Escape from Syria: Rania’s Odyssey and We Walk Together — and more recently For Sama. All this research forms the background to the fictional narrative she has created in Message In A Bottle, about a family torn apart by civil war, and about ideas of home. The two brothers and their sister each have a different story to tell “because no one story of any refugee or immigrant is the same,” Prince explains. “Every single person in it and every bit of information is extracted from the truth. “When I make dance, it’s important to me that it’s about something and that we’ve got loads of story, background, research and layers. The audience doesn’t have to receive everything we put in. There is no dialogue, no narration. I just want the bodies to respond to the music, because the music is brilliant.” Nevertheless, as the piece has developed, every dancer has in their mind a clear storyline they are trying to convey. “I want it to have a very clear narrative, but it’s not like musical theatre. There you don’t stop to express a single emotion in a piece of dance. That’s what we do here.”

— KATE PRINCE, DIRECTOR & CHOREOGRAPHER

In doing so, Prince is asserting the power of dance — and of hip hop dance in particular — to tell huge stories, and deal with important themes. She wants to use its language to draw attention to the central, often forgotten, message of the refugee crisis. She also quotes Alonzo Westbrook, the writer and hip hop pioneer. “He said ‘hip hop is the artistic response to oppression.’ If you look through history, whenever the worst thing has happened, it has brought the best art. Art is cathartic. It gives us release. I can show you a news film about refugees that’s really disturbing, and you might watch it for a while and then change the channel. But if you really engage with the story, through dance, it communicates to you in a different way. You absorb it as a work of art.” Nevertheless, she believes that Message In A Bottle offers hope. “It’s there to uplift and inspire like all our work, because all our work is really about one thing: love. Everything comes back to love and the power of love and the healing power of love, forgiveness and acceptance. This is a piece about the strength human beings have to keep going, to find peace again in their lives, despite trauma. It’s about resilience.”

MESSAGE IN A BOTTLE

FEB 13 – 25 • BUELL THEATRE ASL Interpreted, Audio Described and Open Captioned performance: Feb 25 at 2pm

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Roman Banks as 'MJ' and the cast of the MJ First National Tour. Photo by Matthew Murphy, MurphyMade.

I want it to have a very clear narrative, but it’s not like musical theatre. There you don’t stop to express a single emotion in a piece of dance. That’s what we do here.

Michael Jackson’s iconic music and signature moves are taking the Buell stage in 2024. The Tony Award-winning musical MJ offers an insider’s perspective of the artistry that catapulted Michael Jackson to international superstardom and legendary status. MJ was created by Tony Award-winning Director/ Choreographer Christopher Wheeldon and two-time Pulitzer Prize winner and playwright Lynn Nottage. The show takes audiences behind the scenes as Michael Jackson prepares for his 1992 Dangerous World Tour. As the team rehearses the setlist — packed with Jackson’s most famous tunes, including “Thriller,” “Smooth Criminal,” “Billie Jean,” “Beat It” and “Bad” — audiences witness the genius of Jackson’s creative process and are transported to pivotal moments in his career. The Washington Post called MJ “a riveting adrenaline rush of a show.” WGN Radio said, “MJ is one of the best shows ever.” Don’t miss the biggest musical of the decade as it takes its first national tour. MJ stops in Denver April 10 - 28, 2024. Sing along, dance in your seat, and flashback to the live performance of one of pop music’s most celebrated musicians.

RUBICON: SEX, ESPIONAGE AND A WOMAN FINDING PURPOSE

Illustration by Kyle Malone

BY JOANNE OSTROW

14 14

APPLAUSE • JAN – MAR 2024

Do you remember a sexy movie with Lauren Bacall as a glamorous society woman turned wartime spy named Betty, blazing through men and countries, from South America to Europe, seducing her way to crucial information for the Allies in WWII? No? That’s because there was no such movie — although perhaps there should have been. Betty Pack was a real-life character sidelined by history, an affluent wife and mother who became an espionage agent, a sultry and successful woman, who was denigrated for using her sexuality to prevail. Instead of a romantic, high-gloss movie that never was, witness Betty coming to life in Rubicon, a world premiere written by Kirsten Potter and directed by Chris Coleman, Artistic Director of the Denver Center Theatre Company. At its core the play is about “the cost of purpose,” Coleman said. “It’s about a woman who comes from immense privilege and doesn’t really have a sense of purpose at the outset. She was kind of wandering through her life…. She discovers both a sense of excitement and purpose when she fumbles her way into the world of espionage and realizes that she has a real gift for it.” Not that the art of seduction was admired in a well-bred Minnesota daughter of a U.S. Marine Corps officer. She went on to be called “the ultimate honey trap,” as she worked for both British and American intelligence outfits. It was not necessarily a compliment. “I think she was ahead of her time, and the system she was working in didn’t know what to do with her,” Coleman said. “A woman with the kind of sexual autonomy that she had was outside the realm of understanding or acceptability of that world. “In the play, it’s crushing.” Betty’s comfort with her function as a Mata Hari, trading sex for secrets, was clearly outside the norm. “It’s the heritage of our culture, isn’t it?” Coleman said. “Who gets to use their sexuality however they want to, whose sexuality has to be tightly contained? That’s so old in our culture, even when it’s being commandeered and deployed for a greater good, it still makes people uncomfortable that a woman has that much control and is actually not apologetic about it.” It shouldn’t spoil the action for audiences to know that the five cast members worked with an intimacy choreographer. Samatha Egle, who previously worked on Rattlesnake Kate, Hotter Than Egypt, A Little Night Music and Much Ado About Nothing, is “a really valued collaborator,” Coleman said. She choreographs the sex scenes as one would a fight or a dance. “She will say ‘talk to me about this kiss, what’s the flavor? A two-count, a five-count?’ I really appreciate it. It takes any kind of awkwardness out of my hands.” A celebration of this unsung hero is overdue. There are books about Betty but you are forgiven for never having heard of her. Neither had the director. “I love forgotten history,” he said. Betty was a force of nature. “She clearly was an adrenaline junkie. Situations most of us would feel terrified by and run from, she ran right

— CHRIS COLEMAN, DIRECTOR

ELIZABETH PACK

Elizabeth Pack was a World War II spy for the British and American governments. Here are ﬁve facts about this unsung heroine.

1 straight into. Even before she’d actually been recruited. You could justify it by saying she was going to help out her imprisoned lover, but it’s more than that. She just found it exciting.” Coleman laughed at the idea of ’40s film star Bacall playing Betty in a glamorous black-and-white film version of the story. “The actress we cast sounds a little like Lauren Bacall…. It’s hard for the play not to be glamorous, given the period and settings. From a ball at the embassy in Santiago to meeting rooms in Madrid…’ It’s a fancy world.” The famous Enigma machine — used by the Germans to encrypt and decrypt messages — provides a pivotal plot point for the play. A boundary-breaker but not a code-breaker herself, Betty managed to steal the Vichy Papers in an elaborate scheme that helped the Allied landing in North Africa in 1942. “Getting the Naval codes from the Vichy French embassy was going to give the allies an advantage that could turn the tide of the war,” Coleman said. For Betty, “it was all intuition, she definitely was interested in older powerful men, both romantically but also they were of interest to her as a human.” Appraising the character, Coleman said he was reminded of Robert Caro’s biographies of Lyndon Johnson. Betty’s talent was “like LBJ’s uncanny ability to sense what an older powerful man needed from a mentee, that built entree for him and a power base for him that he utilized to great effect. Betty had a similar sense of how to endear herself to people in power, whether she slept with them or not, to get them to say ‘yes’ to her…” And what of her personal Rubicon? Her point of no return? “I think it’s nice if it’s left as a question mark for the audience,” Coleman demurred. The playwright always imagined the set for her play’s production as a puzzle box, Coleman said. “It feels like it’s filled with surprises that reveal themselves in ways you don’t expect.” Designer Tony Cisek came up with “a solution that feels sleek, elegant and surprising.” The resulting set will be “beautiful but very simple,” Coleman promised, “with some magic tricks that let it transform very elegantly.” Rather than fussy furniture, audiences will be transported via simple devices like a sound cue or a chandelier. “It will be very cinematic,” Coleman said.

RUBICON

FEB 9 – MAR 10 • KILSTROM THEATRE ASL Interpreted and Audio Described performance: Feb 18 at 1:30pm Post-Show Discussions: Feb 27 & Mar 7

RUBICON

A woman with the kind of sexual autonomy that [Betty Pack] had was outside the realm of understanding or acceptability of that world.

FIVE FACTS ABOUT

Amy Elizabeth Pack also went by Betty Pack, Betty Thorpe, Amy Brousse and Cynthia (her oﬃcial codename). She was also referred to as the “Minnesota Mata Hari” and “the greatest unsung heroine of the war.” She was born to a Marine Corps oﬃcer and a Senator’s daughter, placing her in the heart of the Washington political scene. As a promiscuous teen, she got pregnant at age 19 by an unknown partner and later married British operative Arthur Pack 19 years her senior.

When they relocated to Spain at the onset of the Spanish Civil War, her activism began. She smuggled rebel Nationalists to safety, transported Red Cross supplies to Franco’s forces and coordinated the British embassy evacuation. After moving to Poland, she enlisted as a British spy and befriended a colleague of the Polish foreign minister from whom she extracted information on the Enigma machine and Hitler’s plans to dismantle the former Czechoslovakia.

But her most dangerous and sensational escapade involved breaking into a Vichy French embassy and extracting naval codebooks. See how she did it at Rubicon, playing February 9 – March 10 in the Kilstrom Theatre.

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TIM RICE MUSIC BY

ANDREW LLOYD WEBBER Starring

JACK HOPEWELL ELVIE ELLIS JADEN DOMINIQUE GRANT HODGES ALEX STONE MEKHI HOLLOWAY JOSHUA BESS AJA SIMONE BAITEY SHERROD BROWN KALEI COTECSON JAYLON CRUMP ALEC DIEM JALEEL GREEN DOMANICK ANTON HUBBARD HALEY HUELSMAN JEREMY MAKANA HURR KATRICE JACKSON CAMERON KUHN TAYLOR LANE THOMAS McFERRAN JEILANI RHONE-COLLINS JOHANN SANTIAGO SANTOS REESE SPENCER TJ TAPP ANAKIN JACE WHITE JOHN ZAMBORSKY

Hair and Costume Design

Original Music Supervision

Lighting Design

TOM DEERING

TOM SCUTT

Music Supervisor

TOM SCUTT

Music Direction/Conductor

RYAN EDWARD WISE

Company Manager

JORDAN McKEY

KEITH CAGGIANO

Associate Director

DAVID HOLCENBERG

Set Based on Original Designs by

Sound Design

LEE CURRAN

BRIAN HARLAN BROOKS

Associate Lighting Designer

RYAN O’GARA

Fight Direction

Associate Scenic Designers

DAVID ARSENAULT DAVID ALLEN

Casting

RICK SORDELET WOJCIK CASTING CHRISTIAN KELLY-SORDELET TEAM General Management

WORK LIGHT PRODUCTIONS COURTNEY KING

Production Management

PORT CITY TECHNICAL HUNTER STORIE

Booking and Marketing Direction

BOND THEATRICAL

Production Stage Manager

TARA TOLAR-PAYNE

Choreography by

DREW McONIE Directed by

TIMOTHY SHEADER

BY ARRANGEMENT WITH THE REALLY USEFUL GROUP LIMITED.

JESUS CHRIST SUPERSTAR

CAST

JACK HOPEWELL

ELVIE ELLIS

JADEN DOMINIQUE

GRANT HODGES

ALEX STONE

MEKHI HOLLOWAY

SHERROD BROWN

ALEC DIEM

THOMAS McFERRAN

AJA SIMONE BAITEY

JOSHUA BESS

KALEI COTECSON

JAYLON CRUMP

JALEEL GREEN

DOMANICK ANTON HUBBARD

HALEY HUELSMAN

JEREMY MAKANA HURR

KATRICE JACKSON

CAMERON KUHN

TAYLOR LANE

JEILANI JEILANI RHONE-COLLINS RHONECOLLINS

JOHANN SANTIAGO SANTOS

REESE SPENCER

TJ TAPP

ANAKIN JACE WHITE

JOHN ZAMBORSKY

Jesus................................................................................................................................... JACK HOPEWELL Judas.................................................................................................................................................ELVIE ELLIS Mary.................................................................................................................................JADEN DOMINIQUE Caiaphas.............................................................................................................................. GRANT HODGES Pilate...............................................................................................................................................ALEX STONE Annas............................................................................................................................... MEKHI HOLLOWAY Simon................................................................................................................................SHERROD BROWN Herod.................................................................................................................................................ALEC DIEM Peter.............................................................................................................................THOMAS McFERRAN Mob Leader........................................................................................................................ REESE SPENCER First Priest....................................................................................................................JOHN ZAMBORSKY Second Priest........................................................................................ JOHANN SANTIAGO SANTOS Third Priest...........................................................................................................................JAYLON CRUMP Soul Singers.....AJA SIMONE BAITEY, KATRICE JACKSON, JEILANI RHONE-COLLINS Ensemble................................................................................AJA SIMONE BAITEY, JOSHUA BESS, SHERROD BROWN, KALEI COTECSON, JAYLON CRUMP, ALEC DIEM, JALEEL GREEN, DOMANICK ANTON HUBBARD, HALEY HUELSMAN, KATRICE JACKSON, CAMERON KUHN, TAYLOR LANE, THOMAS MCFERRAN, JEILANI RHONE-COLLINS, JOHANN SANTIAGO SANTOS, REESE SPENCER, ANAKIN JACE WHITE, JOHN ZAMBORSKY SWINGS JEREMY MAKANA HURR, CAMERON KUHN, TAYLOR LANE, TJ TAPP DANCE CAPTAINS JEREMY MAKANA HURR, TJ TAPP FIGHT CAPTAIN JEREMY MAKANA HURR UNDERSTUDIES Understudies never substitute for the listed players unless a specific posting or announcement is made at the time of the performance. For Jesus: JOSHUA BESS, JOHN ZAMBORSKY; For Judas: SHERROD BROWN, JAYLON CRUMP, MEKHI HOLLOWAY; For Mary: AJA SIMONE BAITEY, KALEI COTECSON; For Caiaphas: JAYLON CRUMP, DOMANICK ANTON HUBBARD; For Pilate: JOSHUA BESS, JOHN ZAMBORSKY; For Annas: JOHANN SANTIAGO SANTOS, ANAKIN JACE WHITE; For Simon: JALEEL GREEN, JOHANN SANTIAGO SANTOS; For Herod: CAMERON KUHN, ANAKIN JACE WHITE; For Peter: ANAKIN JACE WHITE, JOHN ZAMBORSKY

The photographing or sound recording of any performance or the possession of any device or such photographing or sound recording inside this theater, without the written permission of the management, is prohibited by law. Violators may be punished by ejection and violations may render the offender liable for money damages.

JESUS CHRIST SUPERSTAR

CAST

JESUS CHRIST SUPERSTAR

MUSICAL NUMBERS Overture Heaven On Their Minds What’s The Buzz Strange Thing, Mystifying Everything’s Alright This Jesus Must Die Hosanna Simon Zealotes / Poor Jerusalem Pilate’s Dream The Temple I Don’t Know How To Love Him Damned For All Time / Blood Money The Last Supper Gethsemane The Arrest Peter’s Denial Pilate and Christ Herod’s Song Could We Start Again, Please Judas’s Death Trial By Pilate / 39 Lashes Superstar Crucifixion John 19:41 JESUS CHRIST SUPERSTAR runs 90 minutes without an intermission. ORCHESTRA Music Director, Keyboard I: RYAN EDWARD WISE; Assistant Music Director, Keyboard II: JEEJAY MACCARIELLA; Bass: CASIMIR OLKO; Guitar I: JACOB McCORMICK; Drums: JAMES GABRIEL; Electronic Music Design: MIDIOMATIC, LLC - ETHAN DEPPE

JACK HOPEWELL (Jesus) is an actorsinger-musician based out of New York. Thrilled to play the carpenter king once again! Recent credits: Godspell (Jesus), Charlie Brown (Snoopy). UARTS BFA MT 2022. Infinite thanks to Dave, Calvin, Wojcik casting, Mom & Dad, and Erin, always. For Al and Renée. jackhopewell.com @jackhopewell ELVIE ELLIS (Judas). Nat’l Tour: Waitress (Onstage Swing, Ogie, Cal & Joe u/s); International: The Best of... Rock Musicals, London, UK; Regional: The Music Man In Concert (Harold Hill) at Summit City Music Theatre; Smokey Joe’s Café (Adrian) at Ivoryton Playhouse; Songs for a New World (Man 1) at Monumental Theatre; Newsies (Bunsen), Rocky Horror Show (Riff-Raff), Titanic (Charles Clarke) at Lyric Theatre of Oklahoma. B.M.E. & M.Ed. at University of Oklahoma. Special thanks to my family, friends, teachers and The Luedtke Agency. Ephesians 2:10 @elvie.ellis JADEN DOMINIQUE (Mary). Texas Christian University alum, Valencia, CA. National tour debut. Recent Credits: 9 to 5 (Judy), The Color Purple (Celie) (MSMT). Gratitude to God, family and Mikey Nagy. @Jaden.Dominique on Instagram/ Facebook. GRANT HODGES (Caiaphas). He/him. Grant is so honored and humbled to be joining this remarkable production. California boy who earned his BA in Musical Theater from UCLA. Credits: Hans/Kristoff Swing (Frozen DCA), Kenickie (Grease), Chuck (Footloose), Swing (Evita National Tour). All the love to my family and friends, and everyone at ATB! @grant_hodges ALEX STONE (Pilate). Nat’l Tour: Fiddler of the Roof; Regional: Signature Theatre: The Bridges of Madison County; Constellation Theatre: The Last Five Years; Summer Lyric at Tulane: Jesus Christ Superstar, Newsies; CCM MT’19 www.alexanderstone.net @justalexstone MEKHI HOLLOWAY (Annas) is a New York based actor originally from Lansing, MI. Recent credits include Blues Clues, You Live, Rock of Ages, and Grease at The Argyle Theatre. Blessings and gratitude to all family and friends for their love and support.

AJA SIMONE BAITEY (Ensemble, Soul Singer). They/them. Aja is a Pace University ‘21 MT graduate. Past credits include: Six (Catherine Parr) and Book of Mormon (Ugandan Ensemble). Forever thankful for my friends and family! @ajasimonebaitey JOSHUA BESS (Ensemble, Onstage Standby for Jesus & Pilate) is absolutely thrilled to be hitting the road with JCS! National tours: RENT (20th Anniversary Tour), SpongeBob the Broadway Musical. Regional: Mystic Pizza (Ogunquit), RENT (ACT of CT). Huge thanks to HAA and all the love to my family and friends! @joshua_bess SHERROD BROWN (Ensemble, Simon) became the FIRST male NBA Dancer and cheerleader for The Orlando Magic. He’s also credited as a Principal Vocalist for Carnival Cruise Line & MSC Cruise Line. Sherrod is the father to his loving son Brian. @princeroddy KALEI COTECSON (Ensemble) is thrilled and grateful to be touring JCS! Recent credits: Les Misérables (Eponine), A Chorus Line (Diana Morales). Arizona Regional: Kiss Me Kate, Anything Goes. Awards: ‘18/19 Standout Female Dance (NYA) & Best Actress in a Major Role (Zoni). Endless love and thanks to family, friends, and God. @kalei.roma

Kinky Boots, Sister Act, Big River, Mamma Mia, Evita and Jesus Christ Superstar. Thanks to family & friends, for Grandma Rita, Maw Maw and brother Kevrick. @Domanick15 HALEY HUELSMAN (Ensemble). Madison, CT native currently living in NYC. Institute for American Musical Theatre grad. Blessed to be returning to JCS after performing in the second national tour. TV: “Dance Moms” season 5 & 7, “Abby’s Ultimate Dance Competition” season 2. Rep: Avalon Artists Group @haleyhuelsmandance JEREMY MAKANA HURR (Co-Dance Captain, Fight Captain, Swing). They/ Them. Born and raised on the islands of Hawaii, Otterbein University grad. National Tours: Jesus Christ Superstar 50th Anniversary Tour. Regional: Alabama Shakespeare Festival’s Cinderella (Ensemble/ Raccoon Puppeteer), Norther Stages Spamalot (Ensemble/Puppeteer). Representation: Avalon Artist Group. @_jem_remy_ KATRICE JACKSON (Ensemble, Soul Singer) recently graduated from Wagner College (‘23) and is ecstatic to be making her national tour debut! Special thanks to her family and her professors in the Wagner College Theatre program for their continued support and encouragement.

JAYLON CRUMP (Ensemble, Third Priest). National/International Tours: Kinky Boots, RENT 25th Anniversary National Farewell Tour. Off Broadway Workshops: The Dawn of Light. Regional Favorites: Ain’t Misbehavin, Dreamgirls. @jaylon.crump

CAMERON KUHN (Swing). National tour debut! Recent credits: Cabaret (Victor), Alabama Shakespeare Festival. Footloose (Bickle, u/s Ren & Willard), Norwegian Cruise Lines. Big thanks to Ball State University, and Anne Steele Agency. @cameronk1127

ALEC DIEM (Ensemble, Herod) is absolutely OVERJOYED to be making his national tour debut in Jesus Christ Superstar! He would like to thank his parents and friends for constantly supporting him as he makes his dreams come true!

TAYLOR LANE (Ensemble, Onstage Swing). National tour debut! Regional credits: Randy Skinner’s 42nd Street, Goodspeed Opera House; Marriott Theatre; Paramount Theatre; Cincinnati Playhouse in the Park; Maine State Music Theatre; Porchlight Music Theatre. Infinite love and gratitude to her family. @taylorroses

JALEEL GREEN (Ensemble) was born and raised in New Orleans and is thrilled to make his national tour debut! Much love and gratitude goes to his family, friends and everyone who continue to show their love and support. DOMANICK ANTON HUBBARD (Ensemble). B.A. MT SE Oklahoma State University. National tour: Charlie and The Chocolate Factory. Regional:

THOMAS McFERRAN (Ensemble, Peter). He/him. National tour debut! Grateful to be here. Off-Broadway: Straight Forward. Regional: Theatre Aspen, Alliance Theatre, Red Mountain. TV: “Teenage Bounty Hunters,” (Netflix) “Sweet Magnolias.” (Netflix). BFA MT UAB. Love to family & friends. @thomasmcferran

JESUS CHRIST SUPERSTAR

WHO’S WHO

JESUS CHRIST SUPERSTAR

JEILANI RHONE-COLLINS (Ensemble, Soul Singer) is delighted to be making her national tour debut in Jesus Christ Superstar! UCLA School of Theater, Film, and Television graduate. Band member of The Painted Ladies. For Lionsun! @jeilanirc JOHANN SANTIAGO SANTOS (Ensemble, Second Priest) is ecstatic to be making his National Tour debut in Jesus Christ Superstar! For every blessing, Johann gives all glory to God. Philippians 4:13 REESE SPENCER (Ensemble, Mob Leader). Reese is thrilled to be making her national tour debut. Currently a commercial dance major at Pace University in NYC. Endless thanks to family and friends. So proud to be part of this Mob! TJ TAPP (Co-Dance Captain, Swing) is excited to make her national tour debut with JCS! Regional: A Chorus Line (Drury Lane), The Cher Show (Gateway Playhouse), Kiss Me, Kate (Marriott Theatre) Thanks, Ma! @tj.tapp ANAKIN JACE WHITE (Ensemble). National tour debut! Regional theatre: Grease, A Chorus Line — Drury Lane Theatre; Matilda — RMTC. Sending all the love to my partner, Jordon; family; friends; the DDO team; and my cat, Matilda! CCPA Musical Theatre Dance! @anakinjacewhite JOHN ZAMBORSKY (Ensemble, First Priest). Touring: CATS (revival). Select regional: Ogunquit Playhouse, NSMT, Hope Repertory Theatre. Elon MT ’22. LINK Class 4. Thanks to Mikey, WCT, WLP, and the JCS team. For my family. @izamwhoiam TIM RICE (Lyrics) has worked in music, theatre and films since 1965 when he met Andrew Lloyd Webber, a fellow struggling songwriter. Rather than pursue Tim’s ambitions to write rock or pop songs, they turned their attention to Andrew’s obsession – musical theatre. Their first collaboration was based on the life of Dr Thomas Barnardo, the Victorian philanthropist, The Likes of Us. Their next three works together were much more successful – Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar and Evita. Tim has since worked with other distinguished popular composers such as Elton John (The Lion King, Aida), Alan Menken (Aladdin, King David, Beauty and the Beast), Björn Ulvaeus and

Benny Andersson (Chess) and Stuart Brayson (From Here to Eternity). He has also written with Freddie Mercury, Burt Bacharach and Rick Wakeman among others. He has recently written and presented 50 weekly podcast chats (entitled ‘Get Onto My Cloud’) which are mercifully short (25 mins max) reminiscing about his years in music, theatre and film – playing hits and flops, out-takes and number ones (bpn.fm/getontomycloud). In 2021 he and Peter Hobbs wrote ‘Gee Seven’ for the Truro Cathedral Choir to coincide with the G7 economic summit invasion of Cornwall. Tim founded his own cricket team in 1973, which played its 715th match in 2021, and was President of MCC, founded in 1789, in 2002. He was appointed President of the London Library in 2017 in succession to Sir Tom Stoppard. He is a Trustee of Sunderland FC’s Foundation of Light and a Life Vice-President of the schools/cricket charity Chance to Shine. He crops up here and there in all branches of the media drawing on his extensive knowledge of the history of popular music since Elvis was a lad. He has won several awards, mainly for the wrong thing or for simply turning up. ANDREW LLOYD WEBBER (Music) has composed the scores of some of the world’s most famous musicals. From Joseph and the Amazing Technicolor Dreamcoat (1968) to Cinderella (2021) his work has been consistently seen on world stages. Before the covid pandemic hit, Lloyd Webber had shows continually running in the West End for 48 years and on Broadway for 41. When Sunset Boulevard joined School Of Rock, Cats and Phantom of the Opera he equalled Rodgers and Hammerstein’s record of four shows running simultaneously on Broadway. He is one of the select group of artists with EGOT status, having received Emmy, Grammy, Oscar and Tony Awards. Lloyd Webber owns seven London theatres including the iconic London Palladium and Theatre Royal, Drury Lane. Over the past three years the latter has been completely restored and renovated at a cost of over £60 million. It is one of the biggest projects ever undertaken by a private theatre owner in recent times. His mantra that every penny of profit made from his theatres is ploughed back into the buildings has meant that considerable work has been undertaken across his theatre portfolio during the pandemic, including the complete re-modelling and re-seating of the Gillian Lynne.

Lloyd Webber is passionate about the importance of musical education and diversity in the arts. The Andrew Lloyd Webber Foundation provides 30 performing arts scholarships every year for talented students with financial need and supports a range of projects such as the Music In Secondary School Trust and commissioning research into diversity in theatre. Andrew Lloyd Webber was knighted in 1992 and created an honorary life peer in 1997. To mark his 70th birthday, his bestselling autobiography Unmasked was published by Harper Collins in March 2018. TIMOTHY SHEADER (Director) has been Artistic Director and Joint Chief Executive of Regent’s Park Open Air Theatre since 2007. For Regent’s Park, productions include: A Tale of Two Cities, Jesus Christ Superstar (Evening Standard Award winner, Best Musical; Olivier Award winner, Best Musical Revival); Running Wild (also UK Tour); Peter Pan (Olivier Award nominated, Best Family and Entertainment); To Kill a Mockingbird (WhatsOnStage Award Best Play Revival / UK Tour and Barbican); The Gershwins’ Porgy and Bess (Olivier Award nominated, Best Musical Revival); Crazy for You (Olivier Award winner, Best Musical Revival; also at the Novello); Hello, Dolly! (Olivier Award winner, Best Musical Revival; Evening Standard Award winner, Best Musical); Into the Woods (Olivier Award winner, Best Musical Revival/ available on Digital Theatre; also at Public Theater New York, Central Park). Operas: Turn of the Screw (Olivier nominated Best Opera Production) and Hansel and Gretel. Other theatre includes: The Magistrate (National Theatre); Barnum (Chichester Festival); Imagine This (New London); Hobson’s Choice, The Clandestine Marriage, Love in a Maze (Watermill); Arms and the Man (National Tour); Piaf, Sweet Charity (Sheffield Crucible; TMA Best Musical Award); World premiere of the opera The Monstrous Child (Royal Opera House). DREW M cONIE (Choreographer) is Artistic Director of The McOnie Company and an Associate Artist at The Old Vic Theatre. As Director/ Choreographer he has created Jekyll & Hyde - BroadwayWorld Award for Outstanding Achievement in Dance (The Old Vic); Strictly Ballroom (Piccadilly Theatre - West End); King Kong (Broadway Theatre, Broadway). On the Town - Olivier nomination for Best Revival (Regent’s Park); The

TOM DEERING (Original Music Supervisor) read music at Goldsmiths College (University of London) and the Royal Academy of Music. He was named as an associate of the Royal Academy of Music in the 2016 honours list. Music Supervisor credits: Standing at the Sky’s Edge (Sheffield Crucible); Little Shop of Horrors (Regent’s Park Open Air Theatre); On The Town (Regent’s Park Open Air Theatre); Jesus Christ Superstar (Regent’s Park Open Air Theatre – Olivier Award nomination for Outstanding Achievement in Music, Lyric Opera Chicago, US Tour & The Barbican); The Grinning Man (Bristol Old Vic); wonder.land (National Theatre); In the Heights (King’s Cross Theatre/Southwark Playhouse) which won the 2016 Olivier Award for Outstanding Achievement in Music and Hobson’s Choice (Regent’s Park Open Air Theatre). Music Director credits: Something Rotten (Wermland Opera, Sweden); Made in Dagenham (Adelphi/Rupert Goold); From Here to Eternity (Shaftesbury/Tamara Harvey); The Color Purple (Menier/ John Doyle); West Side Story (NYMT/ Nikolai Foster); The Witches of Eastwick (UK Tour/Nikolai Foster). As a composer: The Public Administration and Constitutional Affairs Committee Takes Oral Evidence on Whitehall’s Relationship with Kids Company (Donmar Warehouse); Pity (Royal Court); Little Red Riding Hood, a ballet conceived by Drew McOnie commissioned by The National Youth Ballet of Great Britain; Last Night a Killer Saved my Life (French Fancy Films); Lost for Words (Workhouse Films). Film credits as a conductor include: Genius (Michael Grandage/Adam Cork); Richard II, Macbeth (Rupert Goold/ Adam Cork). Albums as Conductor/ Orchestrator: Just Let Go (Hadley Fraser); Terry Pratchett’s Only You Can Save Mankind (Leighton James House); Looking Up (Simon Bailey);

Dark Side of the Egg (The Knights of Hyperbole). TOM SCUTT (Hair, Costume, and Original Scenic Design) won the Linbury Biennial Prize in Stage Design (2007), WhatsOnStage Award for Best Set Designer (2013) and 2016 Tony Award nomination for costume design for King Charles III. He was Creative Director for Christine and The Queens, Sam Smith, Ben Platt, and Liam Gallagher, Production Designer for MTV Video Music Awards 2015 & 2016 at Microsoft Theater and Madison Square Garden and for Frida Kahlo: Making Her Self Up (V&A). Other productions in the U.S. include Constellations (West End/UK Tour/Manhattan Theatre Club); Les Liaisons Dangereuses (Donmar/Booth Theatre); King Charles III (West End/ Almeida/NYC Music Box Theatre/ UK Tour/Sydney Theatre Company). Major projects include Summer and Smoke (West End/Almeida); A Very Expensive Poison (Old Vic Theatre); The Weir (& West End); Berberian Sound Studio, Belleville, The Lady from The Sea (Donmar); Outwitting the Devil (Akram Khan Company); Grand Finale (Hofesh Shechter Company). As Director: Berberian Sound Studio (Donmar). LEE CURRAN (Lighting Design). A lighting designer of theatre, dance and opera, Lee has worked on most of London’s major stages, including the National Theatre, Royal Court, Royal Opera House, Sadler’s Wells, Almeida, Donmar Warehouse, Young Vic, Old Vic, and Regent’s Park Open Air Theatre. His designs for dance artists such as Hofesh Shechter have toured around the world. He has three Olivier Award nominations, for Jesus Christ Superstar, Summer and Smoke, and Constellations, the latter of which also ran on Broadway. Lee is an Artist Research Fellow of Queen Mary University of London. KEITH CAGGIANO (Sound Design). Select credits: Holiday Inn - The New Irving Berlin Musical, The Radio City Spring Spectacular, Himself and Nora, Disenchanted, Bare; Tours: Cabaret, RENT, Irving Berlin’s White Christmas, Nice Work If You Can Get It, Anything Goes; Regional: The Most Beautiful Room in NY, Austen’s Pride, Hedwig and the Angry Inch, Little Shop of Horrors, Guys and Dolls. Keith also designs and engineers live events and consults on professional sound system installations. He is a graduate of

Duquesne University. BRIAN HARLAN BROOKS (Associate Director). Born in Pittsburgh, PA, raised in Teaneck, NJ. Training: Dance Theatre of Harlem, The Ailey School; Acting at William Esper Studios. Performing in dance companies, theatres & TV/ Film productions: Philadanco, Deeply Rooted Chicago Dance Theater, Donald Byrd/The Group, Earl Mosley’s Diversity of Dance, Oprah Winfrey’s The Color Purple 1st National Tour, “Boardwalk Empire”, “Tormenting the Hen”. Dir. AileyCamp Missouri. Assoc. Choreographer: Motown: The Musical on Broadway and all U.S./U.K. tours. Assoc. Choreographer: Born For This, First Noel. Co-Dir.: One Harlem Night. Dir.: While I Have the Floor. Assoc. Dir. of Jesus Christ Superstar tour. Res-Dir: Ain’t Too Proud tour. Dir. Work Equity Action for Work Light Productions. DAVID HOLCENBERG (Music Supervisor). Broadway: MJ (Drama Desk Award, Tony and Outer Critics nomination-best orchestrations), Groundhog Day, Mamma Mia!, Matilda, Rocky, Ghost, Bye Bye Birdie, The Story of My Life, Good Vibrations, Seussical, Titanic and Showboat. Other credits: Newsies (world premiere Paper Mill Playhouse), Ragtime (US Premiere), The Glorious Ones and Dessa Rose (LCT) The Radio City Summer Spectacular, Mamma Mia! at the Hollywood Bowl. RYAN EDWARD WISE (Music Director). Previous with WorkLight: JCS (AMD/Keys 2), RENT (MD/Keys 1), Something Rotten (AMD/Keys 2). Grease das Musical European tour (MD/Keys 1). Five years as Music Director at Westchester Broadway Theatre including West Side Story, Show Boat, Saturday Night Fever, Newsies, and Mamma Mia! DAVID ARSENAULT (Associate Scenic Designer). As as designer and associate, David’s work has been seen on Broadway, Off-Broadway, regionally, and internationally. Recent designs in NYC: #DateMe: An OKCupid Experiment, A Letter to Harvey Milk. Regional: Ogunquit, Weston, Dorset Theatre Festival, George Street Playhouse, Bay Street Theatre, Kitchen Theatre Company, Geva Theatre, Hangar Theatre, Northern Stage, Gulfshore Playhouse, among others. International: English Theatre Berlin. Broadway Associate: Hillary and Clinton, The Color Purple, and King Charles III. www.DavidArsenaultDesign.com

JESUS CHRIST SUPERSTAR

Wild Party (The Other Palace); Merlin (National Tour for Northern Ballet). Director credit: Torch Song (Turbine Theatre). Choreographer credits: Jesus Christ Superstar - Olivier nomination for Best Theatre Choreography (Regent’s Park); Bugsy Malone (Lyric Hammersmith); In the Heights Olivier Award winner for Best Theatre Choreography (Southwark Playhouse/ King’s Cross Theatre); Hairspray BroadwayWorld Award for Best Choreography (U.K. tour); Oklahoma! (National Tour); Carousel (Regents Park Open Air Theatre).

JESUS CHRIST SUPERSTAR

RYAN O’GARA (Associate Lighting Designer). Selected work: Cirque du Soleil’s Paramour, Thoughts Of A Colored Man, Cesar Millan- Unleashed!, NBC Upfront at Radio City Music Hall, Juke Box Hero, A Night with Janis Joplin and Vocalocity. Various productions for Norwegian Cruise Line, New York City Opera, Paper Mill, Walnut Street, Drury Lane (2019 Jeff Nomination), TUTS, Signature DC, New Victory, Lincoln Center Festival, Capital Repertory and Bristol Riverside Theatre (2016 Barrymore Award). Associate Lighting Designer for over 25 Broadway productions, currently: Ain’t Too Proud, Come From Away and Hamilton. O’Gara graduated from NCSA. www.ryanogara.com RICK SORDELET & CHRISTIAN KELLY-SORDELET (Fight Directors, Intimacy Consultants) Rick and Christian with Collin Kelly-Sordelet have created sordeletinc.com, a Native-owned action movement company with 35 years’ experience. They have done 80 Broadway productions, including The Lion King, Beauty and the Beast, Wolf Hall, Waiting for Godot and Tina and Jesus Christ Superstar National Tours with 52 first-class productions worldwide including Beauty and the Beast UK Tour and West End production, soon to Broadway, as well as many National Tours. Opera, resident fight/intimacy directors for Santa Fe Opera since 2015, with many productions at The MET, La Scala, The Royal Opera House and many more. Films, including, The Game Plan starring Dwayne Johnson, Dan in Real Life starring Steve Carell, Ben is Back starring Julia Roberts, Respect starring Jennifer Hudson, One True Loves starring Simu Lim and Blue Light, also loads of television productions. They teach at William Esper Studio, New York Conservatory of Dramatic Arts, HB Studio, CUNY Harlem, Montclair State, and 22 years at Yale School of Drama. Rick is a board member for Red Bull Theater and runs a publishing company for the first time writer called sordeletink.com. MIDIOMATIC, LLC - ETHAN DEPPE (Keyboard Programmer) Midiomatic is a collective of electronic music designers providing solutions in theatre, film, television, and recording. Lead programmer for JCS is Ethan Deppe, a Chicago-based composer, producer, and co-founder of KeyboardTEK, which rents out programming to theatres worldwide.

WOJCIK CASTING TEAM (Casting). B’way: The Little Prince. Tours: Upcoming-The Kite Runner and SHREK along with Motown, Nice Work…., Something Rotten!, RENT, Kinky Boots, Rock of Ages, An Officer & A Gentleman, Flashdance, Joseph/ Dreamcoat and A Chorus Line as well as Dreamgirls and Jekyll & Hyde in S Korea and West Side Story in Tokyo, Norwegian Cruise Line’s Summer: The Donna Summer Musical, Kinky Boots and Noise Boys. Cirque’s Bad Apple @ NY/NY in Las Vegas and extensive branded family entertainment tours including Mr Blippi, American Girl Doll, Blues Clues, Cocomelon, Baby Shark and more. Off-Broadway: Othello: The Remix, Church & State, Tennessee Williams’ The Two Character Play, Handle With Care, Triassic Parq and more. Regional: Multiple seasons/ shows for Riverside Theatre, FL; Tuacahn PAC, UT; Theatre Aspen and the Arvada Center, CO; Stages St. Louis, MO, Theatre Raleigh, NC; The Engeman Theatre, 92nd Street Y and Summer Theatre of New Canaan. NY Developmental: SuperYou and His Story. wojcasting.com @Wojcasting TARA TOLAR-PAYNE (Production Stage Manager). She/her. Tara is thrilled to work on this incredible production! Some favorite credits include: Frozen (Disney Theatrical), The Lightning Thief (TYA Version) and The Magic School Bus: Lost in The Solar System (TheaterWorksUSA); Hair and Eureka Day (Asolo Rep); The Rocky Horror Show (Phamaly Theatre Company); and Romeo and Juliet and Wizard of Oz (Colorado Ballet). Endless gratitude to everyone in her life who continue to support her in all that she is and does! KADEN DOLPH (Assistant Stage Manager) is incredibly grateful to be on the Jesus Christ Superstar team! National tour debut. Recent Credits: Tuacahn Amphitheater, Pittsburgh CLO, Denver Center, Turn It Up Dance Challenge, and The Nutcracker Ballet at Colorado Dance Theatre. @kadendolph JORDAN McKEY (Company Manager) is thrilled to return for another year of JCS! Previous experience includes Syracuse Stage and the Hangar Theatre. Proud graduate of the Syracuse University Department of Drama Theatre Management program.

PORT CITY TECHNICAL (Production Management) is a production management company based in Charleston, S.C. Also referred to as “Work Light South,” PCT was initially started in 1993 as Technical Theater Solutions by Rhys Williams. TTS worked with WLP on many shows, including American Idiot, Nice Work If You Can Get It, In the Heights and Avenue Q. Since the conception of PCT, tours with WLP have included Mamma Mia!, Vocalosity, Motown: The Musical, R&H’s Cinderella, Something Rotten!, Bandstand, Irving Berlin’s White Christmas and the pre-Broadway Ain’t Too Proud: The Temptations Musical. Current and upcoming tours include Ain’t Too Proud, An Officer And A Gentleman, RENT, and Jesus Christ Superstar. BOND THEATRICAL (Tour Booking, Marketing & Publicity Direction) is an independently-owned 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. REGENT’S PARK THEATRE (Original Producer). Established in 1932, the award-winning Regent’s Park Open Air Theatre is one of the largest theatres in London. Situated in the beautiful surroundings of a Royal Park, both its stage and auditorium are entirely uncovered. The theatre is celebrated for its bold and dynamic productions (Carousel, The Turn of the Screw, The Seagull, Porgy and Bess, The Crucible, Henry V), with audiences of over 140,000 each year during its 18-week season. Timothy Sheader was appointed Artistic Director in 2007, and James Pidgeon Executive Director in 2021. Over the past twelve years, the theatre has won seven Olivier Awards, seven WhatsOnStage Awards and four London Evening Standard Awards for productions including Evita, Little Shop of Horrors, The Sound of Music, Hello, Dolly! and To Kill A Mockingbird. The theatre’s ambition of reaching new audiences beyond the Park has seen their productions Crazy for You transfer directly to London’s West End, and Into the Woods to the Delacorte Theatre, Central Park, New York. Pride and Prejudice, Lord

WORK LIGHT PRODUCTIONS (Producer) is dedicated to creating and producing live entertainment. Formed in 2005 for purposes of developing new work for young audiences, WLP has since grown into a producing, investing, general management and technical supervision company with offices in Summit, NJ and Charleston, SC. WLP regularly employs over 200 actors, musicians, managers and technical crews on productions throughout the world. Broadway Investments: Ain’t Too Proud, Jagged Little Pill, Mrs. Doubtfire, Waitress, and Hamilton. Current and upcoming touring productions: Ain’t Too Proud, RENT, An Officer And A Gentleman, and the Olivier Award winning production of Jesus Christ Superstar in North America, Australia and the UK. Producing Clue, a new comedy based on the Paramount movie, throughout the UK. Produced Julie Andrews, The Gift of Music at The Hollywood Bowl and London’s O2 Arena. Other recent touring productions include Motown, Mamma Mia!, Irving Berlin’s White Christmas, Bandstand, Something Rotten, R+H Cinderella, the Tony Award-winners American Idiot, In the Heights, and Avenue Q. www.worklightproductions.com THE REALLY USEFUL GROUP is Andrew Lloyd Webber’s producing and licensing company and manages the theatrical rights for all of Andrew’s works, including The Phantom of the Opera, Cats, Jesus Christ Superstar, Evita, Sunset Boulevard and School of Rock – The Musical. The Really Useful Group reached over 20 million people across the globe in 2019, from live theatre and concert audiences, cinemagoers, television viewers and music fans,

to social media and art lovers. After more than a year of West End theatres being dark due to the COVID-19 pandemic, The Really Useful Group is thrilled that upon the reopening of the West End, The Phantom of the Opera and Joseph and the Amazing Technicolor Dreamcoat have been joined by Andrew Lloyd Webber’s new production of Cinderella, produced by The Really Useful Group, with lyrics by multi award winning David Zippel and book by 2021 Oscar winner Emerald Fennell. The Really Useful Group continues to work across theatre, film and television as it produces and develops new projects and partnerships worldwide, alongside its ongoing work in education, amateur licensing and music publishing.

Rhys Williams, VP of Production Mackenzie Foster, Director, Production Operations Tom Klonowski, Director of Technical Supervision

Associate Scenic Designers.....................David Arsenault, David Allen Associate Costume Designer........................... Cat Lovejoy Stitcher .......................................................................... Riley Clark Associate Hair/Make-Up Designer ...Adrienne T. Maurer Associate Lighting Designer ...........................Ryan O’Gara Assistant Lighting Designer ................. Samantha Weiser Lighting Programmer ......................................Jackson Miller Production Carpenter........................................ William Klein Head Carpenter .................................................Scott Halstead Assistant Carpenter/Fly .............................Maggie Dickson Swing Tech ................................................Harley Scherrbaum Advance Electrician..............................................Mike Barnes Head Electrician ............................................... Michael Schulz Assistant Electrician ............................... Diamond Fulwood Production Audio ................................................. Nate Brooks Head Audio ............................................................... John Fynes Assistant Audio ...............................................Amanda Hanna Head Props .....................................................Spencer Mochari Production Wardrobe.........................................Tiﬀany West Assistant Production Wardrobe .................Ryan Johnson Head Wardrobe ........................................... Stacey Juengling Head Hair & Make-up.......................................... James Scott Vocal Consultant........................................................Chris York Keyboard Programmer .....................................Ethan Deppe Music Copier ................................................................Matt Croft Production Assistants .......................................Sam Benson, Alexis Hinman Physical Therapy ............................................... NEURO TOUR Production Photography .......................Evan Zimmerman for MurphyMade Production Video ....................................................HMS Media Tour Booking, Marketing & Publicity Oﬃce.......................................BOND Theatrical/ Jenny Bates, Phillip Aleman, Melissa Cohen, Linda Stewart, Bailey Ford, Elisabeth Reyes, Simon Rosales, Janiya Wade, Hannah Wallace, Jacob Stuckelman Social Media ....................................................Marathon Digital Accounting ...........................................WithumSmith+Brown Robert Fried, CPA, Karen Kowigos, CPA, Anthony Moore, CPA Comptroller .........................................................Galbraith & Co Kenny Noth, LeeAnn Kelley Insurance ........................................Maury, Donnelly and Parr Bob Middleton Banking .................................................................. Flagstar Bank Payroll .....................................VENSURE Employer Services Travel Agent ..............................................................Road Rebel Merchandising.............................................. The Araca Group

Tiﬀany West Adrienne Maurer Sara Schultz Joshua Bristow Ryan Johnson Ryan George

USTour.JesusChristSuperStar.com

JESUS CHRIST SUPERSTAR TOUR STAFF WORK LIGHT PRODUCTIONS PRODUCER Nancy Gabriel GENERAL MANAGEMENT Courtney King, General Manager Sanjida Chowdhury Aniele Fortin Mitchell Skolnick Marian Osadebe Carolyn Smith Noelle Hedgcock Matt Kunkel Jordyn David TECHNICAL SUPERVISION PORT CITY TECHNICAL Hunter Storie, Production Manager

TOUR BOOKING, MARKETING AND PUBLICITY DIRECTION BOND THEATRICAL bondtheatrical.com TOUR BOOKING Temah Higgins Mollie Mann Wendy Roberts Dave Stinson Madison St. Amour Laura Rizzo Nilesha Alexander TOUR MARKETING & PUBLICITY DJ Martin Marc Viscardi Steph Kelleher Scotland Newton WOJCIK CASTING TEAM CASTING DIRECTORS Scott Wojcik & Holly Buczek (CSA) CASTING ASSISTANT Cassie Maguire LEGAL COUNSEL LEVINE PLOTKIN MENIN, LLP Loren Plotkin Susan Mindell Emily Erstling Production Stage Manager......................Tara Tolar-Payne Assistant Stage Manager .................................Kaden Dolph Company Manager .......................................... Jordan McKey Associate Director................................ Brian Harlan Brooks Associate Choreographer ........................ Ashley Andrews Assistant Choreographer........................Courtney Arango Co-Dance Captains............................ Jeremy Makana Hurr, TJ Tapp Associate Music Supervisor..........................Shawn Gough Fight Direction .................................................... Rick Sordelet, Christian Kelly-Sordelet Fight Captain.........................................Jeremy Makana Hurr

CREDITS Masque Sound, Lighting Equipment by PRGLighting, Inc, Applied Arts Limited, Kate Shattock, Laura Whitlock, Gabrielle Firth SPECIAL THANKS BrenBri Props, Creative Conners, Inc., Rosebrand, Janco, Dan Rudin Recording and Production, Daedalus Design & Production Inc, Port City Equipment Rental, LLC, New 42 Studios, Marathon Digital, Law Oﬃces of Dora M Komura, PC Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E) The Director-Choreographer is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.

JESUS CHRIST SUPERSTAR

of the Flies and To Kill a Mockingbird have toured the UK and Ireland, the latter subsequently transferring to the Barbican for a month-long residency, and their co-production with Chichester Festival Theatre of Michael Morpurgo’s Running Wild toured the UK in 2017. The theatre’s multiaward-winning production of Jesus Christ Superstar played a season at Lyric Opera of Chicago in 2018, at the Barbican in 2019, and returned to Regent’s Park in 2020 as the first West End production to open during the pandemic. The Open Air Theatre’s 2021 season included critically acclaimed productions of Romeo and Juliet and Carousel. For more information visit openairtheatre.com.

JESUS CHRIST SUPERSTAR

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BRIGHT LIGHTS OF

BROADWAY Direct from Broadway to the Buell, these larger-than-life hits and intimate cabaret shows will ﬁll your calendar in 2024. Secure your seats today!

5 0 TH A N N I V E R S A R Y T O U R

JAN 3 – 28

JAN 23 – 28

JAN 30 – FEB 4

FEB 7 – MAR 31

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MAR 5 – 10

GARNER GALLERIA THEATRE

MAR 14 – 17 BUELL THEATRE

BUELL THEATRE

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APPLAUSE • JAN – MAR 2024 • 303.893.4100 • DENVERCENTER.ORG

Elvie Ellis and the company of the North American Tour of Jesus Christ Superstar. Photo by Evan Zimmerman for MurphyMade.

JESUS CHRIST SUPERSTAR IS REBORN BY JOHN MOORE

From blasphemy to Broadway to banned to broadcast television, few pop-culture titles have generated the buzz Jesus Christ Superstar has generated. When Andrew Lloyd Webber and Tim Rice dared to imagine the final weeks in the life of Jesus Christ through a decidedly late 1960s rock ’n’ roll lens, it was received much like a revolution in world history. “Superstar was written like a radio play, because that was the closest thing we had available to us,” Lloyd Webber told Rolling Stone magazine. “I think it works best when it’s closer to a rock concert.” From the start, Superstar was slammed as blasphemous. Imagine the audacity of a new rock musical that dared to tell the story of Christ’s downfall from the sympathetic perspective of his chief betrayer? The writers couldn’t find a producer at first. “We were told it was the worst idea in history,” Lloyd Webber recalled. So he and Rice transformed their stage musical into a two-record concept album that was released in 1970. Rice was inspired by the Bob Dylan anthem “With God On Our Side,” which features Judas in its penultimate verse. Rice was fascinated by the idea of Judas not as a craven back-stabber but rather a close friend struggling with the implications of Jesus’ growing popularity. “From a very young age, I had wondered what I might have done in the situations in which Pontius Pilate and Judas Iscariot found themselves,” Rice wrote. “How were they to know Jesus would be accorded divine status by millions and that they would as a result be condemned down the ages?” When the legendary concept album hit No. 1 on the Billboard charts, a Broadway staging went from impossible to inevitable. American fans had begun staging unauthorized live performances in churches and theaters. But what bowed on Broadway in 1971 was polarizing. Webber himself called that first (of four) Broadway productions “brash and vulgar” — and he was not alone. The show was banned in South Africa and protested by everyone from the American Jewish Committee to the Anti-Defamation League of B’nai B’rith to evangelist

Billy Graham. (Though Graham did acknowledge that “if the production causes young people to search their Bibles, to that extent it may be beneficial.”) Ironically, Jesus Christ Superstar found favor with Catholic popes. Jewison, who directed the 1973 film, arranged a special screening for Pope Paul VI. Neeley quotes Paul VI as saying: “Mr. Jewison, not only do I appreciate your beautiful rock-opera film, I believe it will bring more people around the world to Christianity than anything ever has before.” From its birth, Superstar reflected the rock roots that defined a generation. And as time has passed, it has proven to be a musical that demands to be re-interpreted again and again.

We were told it was the worst idea in history. – ANDREW LLOYD WEBBER, COMPOSER

JESUS CHRIST SUPERSTAR

READ THE FULL ARTICLE

JAN 23 – 28 BUELL THEATRE

ASL Interpreted, Audio-Described and Open Captioned performance: Jan 27 at 2pm

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(TOP PHOTO) The cast of A Little Night Music. Photo by Amanda Tipton Photography. (INSET PHOTO) Matt Zambrano and Brittany Mendoza-Peña in LITTLE RED. Photo by Amanda Tipton Photography.

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Connor Sullivan in The Touring Production of CHICAGO. Credit Jeremy Daniel.

CHICAGO STILL HAS THAT

“RAZZLE DAZZLE”

B Y G E N E V I E V E M I L L E R H O LT

every gesture, every bit of lighting, every word and The 1975/76 Broadway season made history. Meryl moment were all woven together to create the story,” Streep earned her first Tony® nomination and Sondheim’s said Brown, who played the role of June. Pacific Overtures premiered on Broadway. And two of Chicago opened on Broadway on June 3, 1975, to musical theatre’s most enduring musicals were created enthusiastic audience response. Fosse considered it a nearly simultaneously. compliment that some took In the preceding year, offense at his cynical take on the while visionary director and American justice system and the choreographer Michael Bennett cult of celebrity. “When people was developing A Chorus Line, walked out,” said Brown, “Bob got the equally visionary Bob Fosse tickled because he figured that in enlisted composer John Kander order to be offended, they must and lyricist Fred Ebb to create a have ‘got it.’” new piece too: the musical version But when the Tony Awards of a 1926 play about an infamous came around, the unconventional dame who’d killed her husband. A Chorus Line won them all. In Fosse was an established his review of Chicago’s 1996 Broadway director and revival, New York Times critic choreographer at this point with Ben Brantley reflected that the a corps of loyal dancers. Denver — CANDY BROWN, 1975 production of Chicago had resident Candy Brown was one ORIGINAL BROADWAY CAST been, “in a sense, the evil twin of of them. its rival musical, as acerbic and In January 1974, while Brown cold-hearted as the other was was dancing in Pippin, she and 18 sentimental and warm.” other dancers gathered to discuss the challenges of being But Chicago would eventually get its due. The 1996 a Broadway gypsy, which eventually became the basis revival was a resounding success, winning six Tonys of Bennett’s A Chorus Line. His project was an unknown and remains the longest-running American musical on quantity with only the glimmer of becoming something Broadway today. Still considered one of Fosse’s towering bigger, so some participants defected to more secure gigs, undertakings, Chicago returns to Denver and it’s still got Brown among them. She joined Fosse’s Chicago. that razzle dazzle. “I felt a loyalty to Bob,” she said, “as Chicago would be my third project with him...not to mention the fact that no Genevieve Miller Holt is the Vice President for Broadway Across one knew if the Michael Bennett workshop would even be America in Cincinnati. a show.” A year later, Brown arrived for the first day of rehearsal, yet just after lunch, the cast was told that Fosse had been hospitalized. “I went numb,” said Brown. “We all were in CHICAGO a state of disbelief.” Work stopped as Fosse suffered two JAN 30 – FEB 4 • BUELL THEATRE heart attacks and underwent bypass surgery. ASL Interpreted, Audio-Described and Open Captioned Months later, the Chicago team reassembled and Fosse performance: Feb 3 at 2pm began to construct his iconic musical. “Every costume,

Every costume, every gesture, every bit of lighting, every word and moment were all woven together to create the story.

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PROUD SPONSOR OF MESSAGE IN A BOTTLE

T [The arts] inform, inspire and uplift while bringing the community together.

The arts are a significant part of making Denver an amazing place to live and work. U.S. Bank believes in the power of play, which includes the arts, because it brings joy, encourages creativity, teaches problem-solving skills and builds emotional learning. That is why U.S. Bank is a long-time supporter of the magnificent programs and spectacular performances at the Denver Center for the Performing Arts (DCPA). The arts educate, promote understanding, broaden our perspectives and enable communities to share rich cultural experiences. Denver is fortunate to have a thriving arts community, which is home to some of the nation’s finest theatres, museums and artists. “We’re proud to serve the DCPA because it provides a world-class venue offering the best in live entertainment, in addition to education for all ages through the art of theatre,” said Andy Aye, Market Leader for Colorado and New Mexico. “We know the critical role that the arts play in our society. They inform, inspire and uplift while bringing the community together.” In 2022, U.S. Bank committed $64 million to nonprofit organizations through Community Possible, with an emphasis on community development diversity and inclusion, financial education and the environment. Additionally, its employees volunteered more than 311,000 hours, demonstrating that employee engagement is a major component of its community success. “The DCPA brings us together to appreciate our diversity of thought, perspective and talent,” said Aye. “I am always amazed at how much we share in common when we all laugh or gasp during a key moment in a performance. It is a sense of participation and belonging that strengthens our community. Supporting the DCPA is making an investment in ourselves, the arts and the place we call home.”

— ANDY AYE, COLORADO/NEW MEXICO MARKET LEADER

APPLAUSE • JAN – MAR 2024 • 303.893.4100 • DENVERCENTER.ORG

“One of the best musicals of the decade” - Time Out New York

Titanic, The Musical Story and Book by Peter Stone · Music and Lyrics by Maury Yeston Presented by Eklund Opera and the Musical Theatre Program

March 15-17, 2024 · Macky Auditorium Robert Westenberg, stage director Tickets start at $17 at cupresents.org. TITANIC is presented by arrangement with Concord Theatricals on behalf of Tams-Witmark LLC. www.concordtheatricals.com

Second Wind Fund pays for up to 12 sessions of therapy for Colorado youth at risk of suicide.

February 16 - March 31, 2024

For more information visit thesecondwindfund.org or scan the QR code

arvadacenter.org |

Underwritten by Diana and Mike Kinsey

| 720.898.7200

PROUD SPONSOR OF THEATRE FOR YOUNG AUDIENCES AND SATURDAY NIGHT ALIVE

DAVITA: COMMUNITY FIRST

As a leading provider of kidney care services in the United States, DaVita is committed to making a lasting impact, starting with the care it provides and extending to the broader communities it serves. Since first calling the Mile High City home in 2010, the company has remained dedicated to supporting causes that uplift the Denver community while fostering a culture that encourages teammates to get involved. As a company, DaVita invests in opportunities that advance leadership, sustain cultural institutions, and respond to the community’s most pressing needs. DaVita is proud to support the Denver Center for the Performing Arts, a vibrant organization committed to increasing access to performing arts for all individuals. DCPA’s mission to serve, engage and inspire its community aligns with DaVita’s efforts to support healthy communities around the world, as well as in its own backyard of Colorado. DaVita is proud to play a role in DCPA’s Theatre for Young Audiences program, engaging more than 15,000 pre-K through 3rd grade students and educators from 128 schools across metro Denver. Following are examples of other local community collaborations DaVita is proud to support: Funding 10 Denver Scholarship Foundation recipients as they pursue a pathway to healthcare related careers. Preparing teen moms at Florence Crittenton Services for future livable wage opportunities through a summer exposure program that matches them with paid internships. The program provides them with flexibility of job choice over the summer while helping to ensure they are ready for medical internships and gain necessary professional skills. DaVita is a proud premier supporter of Urban Peak’s annual fundraiser, Urban Nights. The nonprofit is the only organization in Denver that provides wrap-around support services for youth experiencing homelessness.

APPLAUSE • JAN – MAR 2024 • 303.893.4100 • DENVERCENTER.ORG

FEB 8TH - APR 7TH, 2024 SCAN OR CALL TO GET YOUR TICKETS NOW!

(970) 744-3747

9/19/24 – 11/10/24

11/21/24 – 1/12/25

4/10/25 – 6/8/25

1/23/25 – 3/30/25

6/19/25 – 8/31/25

DCPA TEAM DCPA TEAM DCPA

Stori Heleen-O’Foley................Event Technical Katie Davis .....................Manager, VIP Ticketing Prop Shop Manager Billy Dutton...........................Associate Director, Meghan Markiewicz ...........................Supervisor Janice Sinden..........................President & CEO Operations Sara Pugh ........................Associate Supervisor Donna Hendricks...........Executive Assistant, Shane Hotle.................................Audio Engineer Danielle Freeman ...................................Manager, Bennet Goldberg, Georgina Kayes, President & CEO David Mandlowitz, Customer Service Ashley Lawler .............................................Artisans Julie Schumaker......................................Manager, Will Stowe, Ian Wells ...........Video Engineers Andrew McGlothen................Prop Carpenter Board Relations Tara Miller...........................................Event Sales & Claire Hayes, Ella Mann, Operations Director Rocco Williams ...........Managers, Box Office ACCOUNTING & FINANCE Brook Nichols ........Event Technical Director Chris Leech.......... VIP Ticketing Coordinator Scene Shop Eric Moore.............................. Technical Director Jane Williams...................................................CFAO Kate Olsen................Event Sales Coordinator Katie Spanos .......................Associate Director, Subscriber Services Albert “Stub” Allison, Robert L. Orzolek, Sara Brandenburg................................... Director, Benjamin Peitzer...........Event Technical Lead Josh Prues ....Associate Technical Directors Accounting Services Alex Taylor ..............................Lighting Designer Group Sales Jeremy Althoff, Tyler D. Clark, Michaele Davidson ....Accountant, Treasury Brooke Wyatt........Event Logistics Manager Jessica Bergin..................... Associate Director Amy Wynn Pastor, Blythe Kamin.............................................Manager, Kyle Scoggins .....................Scenic Technicians Jennifer Jeffrey....................Director, Financial Audience Development Planning & Analysis INFORMATION TECHNOLOGY Louis Fernandez III.....Lead Scenic Technician Kristina Monge .......................................Specialist, Lisa Roebuck.................................Vice President Elias Lopez...........................................Coordinator Brian “Marco” Markiewicz ....Lead Carpenter Accounts Payable For security purposes, the IT team has been omitted. Maddie Young .......................................Associate, Education & Group Sales Scenic Design Jennifer Siemers ...........Director, Accounting Operations Lisa Orzolek .................................................Director Audrey Smith....................Associate Manager, Vincent Bridgers ........................Senior Analyst OFF-CENTER Kevin Nelson, Accounting Adam Busch................................. Junior Analyst Charlie Miller ...Executive Director & Curator Nicholas Renaud..................................Assistants Aaron Chavez ....................................................Lead BROADWAY & CABARET Courtney Ozaki............................ Line Producer Sound Design Ruben Cruz, Jordan Latouche.... Engineers John Ekeberg.........................Executive Director Alex Billman .......................................... Supervisor, Simone Gordon .................Associate Director PEOPLE & CULTURE Sound & Technology Administration Kyle Greufe, Sam Nolte, Laura Maresca ................................................ CPCO Lucas Swinehart..........Associate Supervisor, Ashley Brown.......................Business Manager Tara Perticone............................................Analysts Sound & Technology Alicia Bruce ............................. General Manager Brandon LeMarr ......................................Manager Equity & Organization Culture Meagan Holdeman+, Lisa Prater .........................Operations Manager Sarah Martinez ..............................Administrator Lydia Garcia .........................Executive Director Timothy Schoeberl+, Seán Kroll .............................................Coordinator Joseph Reecher ......................Senior Engineer Dimitri Soto+ .......................................Technicians Garner Galleria Theatre Cordelia Taylor ..................................Coordinator Human Resources Abel Becerra ............................Technical Director Stage Management Brian Carter.............. Senior Business Partner Michael Morales ..................................Production Jason Begin+, MARKETING & SALES Andrew Guilder ....HR & Recruiting Specialist Anna Hookana+ ...................Core Stagehands Stage Manager Angela Lakin....................................Vice President Paul Johnson..............................................Payroll & Corin Davidson, Harper Hadley, Whitney Testa..................Executive Assistant, DEVELOPMENT Compliance Manager Sage Hughes, Anne Jude, Marketing & Broadway Laurie Moore ........................... Business Partner Nick Nyquist, Malia Stoner, Jamie Clements .............................Vice President Monica Robles...............Supervisor, Mailroom Kristin Sutter.............................Stage Managers Connor Carlin......................Associate Director, Marketing Major & Planned Gifts Heidi Bosk ...........Associate Director, Press & Kinsey Scholl .................Operations Specialist Magdalena Tronina, Georgia Wood, Rain Young .....Apprentices Promotions, Broadway & Cabaret Caroline Eppers .......................................Manager, Wardrobe Corporate Partnerships Erin Bunyard.............Senior Digital Strategist THEATRE COMPANY Heidi Echtenkamp .............................Supervisor Kara Erickson-Stiemke.................Coordinator Sofia Contreras .....................Graphic Designer Administration Kaylie Groff........Manager, Grants & Reports Brenda Elliott, Charles Varin .......................Managing Director Robin Appleton^, Amber Krimbel^, Paul Koob..............Senior Graphic Designers Emily Kettlewell .................Associate Director, Madysen Hunter....................Business Admin/ Lauren LaCasse^, Lisa Parsons Wagner^, Annual Giving TJ Forlenza ............................................Copywriter Assistant Company Manager Nicole Watts^, Kami Williams^........Dressers Michael Garcia ..........Manager, Web Content Caitie Maxwell.... Senior Director, Major Gifts Alex Koszewski ................ Company Manager Wigs Claire Graves............................................... Director, Marc Ravenhill ....................Associate Director, Produced Programs Ann Marshall........................... General Manager Diana Ben-Kiki......................................Supervisor Donor Relations Abby Schmidt^, Brittany Gutierrez...................................Manager, Artistic Megan Stewart........................Manager, Events Communications Chris Coleman .......................... Artistic Director Marisa Sorce^ ..............................Wig Assistants Linda Horan...............................Project Manager Jessica Eckenrod.................Artistic Associate EDUCATION & VENUE OPERATIONS Jeff Hovorka .... Director, Sales & Marketing, Grady Soapes ....................Artistic Producer & COMMUNITY ENGAGEMENT Glen Lucero....................................Vice President Broadway & Cabaret Casting Director Allison Watrous ................. Executive Director Emma Holst .......................................Coordinator, Leean Kim Torske.................................... Director, Merry Davis ..........................Financial Manager Stuart Barr ............................. Technical Director Communications & PR Literary Programs Jane Deegan ..................................Administrator Leslie Channell .......................................... Director, Emily Kent........Director, Insights & Strategy Costume Crafts Facilities Business Operations Lucas Kreitler .........Junior Graphic Designer Kevin Copenhaver....................................Director Jerad Ayala, Steven Bilbao, Lyndsay Corbett ...................Teaching Artist & Michael Ryan Leuthner ........................ Director, Chris Campbell.........................................Assistant Abraham Cervantes, Lindsey Cervantes, Manager, Playwriting & Bobby G Digital Marketing Carmen Molina, Judith Primero Molina, Elliot Davis ......................... Evening Registrar & Costume Shop Office Coordinator Emily Lozow .............Assoc. Director, Sales & Janet Macleod... Director/Design Associate Juan Loya Molina...............................Custodians Marketing, Broadway & Cabaret Dwight Barela, Mark Dill, John Howard, Rachel Ducat.................Executive Assistant & Meghan Anderson Doyle ....Design Associate Bryon Willingham ............................... Engineers Business Manager Kyle Malone................................Director, Design Stephanie Cooper, Michael Kimbrough....Manager, Engineering Rya Dyes .................................................Registrar & Dan McNulty.........................Marketing Analyst Amoreena Knabb, Ingrid Ludeke, On-Site Class Manager Todd Metcalf .................................Media Producer Carolyn Plemitscher ................................. Draper Brian McClain .....................Manager, Custodial Gavin Juckette ......Teaching Artist & Theatre Hannah Selwyn ....Manager, Email Marketing Patron Experience for Young Audiences Program Manager Brad Steinmeyer .............................Coordinator, House Crew Evan Gendreau .................. Associate Director Douglas Taylor+ ...................................Supervisor Broadway & Cabaret Jesús Quintana Martínez ....................... Director, Elliot Shields...............................................Manager Community Engagement Julie Whelan ...........................................Associate, James Berman+, Forest Fowler+, Kaylyn Kriaski, Leilani Lynch, Produced Programs William Loving+, Dave Mazzeno+, Timothy McCracken................Head of Acting Aaron McMullen, Stacy Norwood, Kyle Moore+, Matt Wagner+ ....Stagehands Mikayla Woods.................................Coordinator, Rick Mireles ...................................................Manager, Valerie Schaefer...............Assistant Managers Produced Programs Calli Lavarnway+, Community Engagement Nora Caley, Teresa Gould, David Saphier......Teaching Artist & Manager, Suzanne Yoe.......................Director, Content & Kelley Reznik+ .......................................Assistants Robin Lander, Myrisa Martin, Communications Lighting Design In-School Programming Selin Ozcelik, Barbara Pooler, Charlotte Talbert ......................................Librarian Ticketing & Audience Services Charles MacLeod......................................Director Wendy Quintana ..................House Managers Rachel Taylor .....Teaching Artist & Manager, Jennifer Lopez ...........................................Director Lily Bradford..............................................Assistant Safety & Security Literary Engagement & Resiliency Christina Adamoli*, D.J. Dennis*, Joseph Price+ .............Production Electrician Jodi Benavides, Justin Walvoord ....................Teaching Artist & Edmund Gurule*, Alison Orthel*, Bryan Faciane............Lead Security Officers Paint Shop Manager, Shakespeare in the Parking Lot Lane Randall*, Hayley Solano*, Calum Abeywickrema, Brian Adams, Samuel Wood.........................Teaching Artist & Sam Stump*...................Counter/Show Leads Jana Mitchell....................Charge Scenic Artist Mayte Armendariz, David Bright, Kristin Hamer MacFarlane, District Liaison Kirsten Anderson*, Scott Lix*, Tyler Edwards, Arden Jones, Melanie Rentschler .....................Scenic Artists Liz Sieroslawski*, Manuel Amaya Loera, EVENT SERVICES Greg Swan* ..................... Subscription Agents Production Gabe McNally-Nakamura, Saundra Bergman, Tamika Cox*, Mekenzie Dalton*, Jeff Gifford ...................................................Director Isabella Samaniego, Shayne Thullen, Phil Rohrbach ...........................Event Managers Zeah Edmonds*, John Fish, Jen Gray*, Julie Brou................Administrative Assistant/ Tori Witherspoon............Security Specialists Daniel Davidek, Noa Halpern, Natalie Jaramillo*, Office Manager Judy Briggs...........................................Front Desk Arias Goldanloo, Jacob Sorling, Phi Johnson-Grimes*, Noah Jungferman*, Matthew Campbell......Production Manager Quentin Crump..........................................Director Drake Watkins ..................... Event Technicians Holly Stigen*, Andrew Sullivan*, Peggy Carey................. Associate Production Samantha Egle, Cody Gocio ....Senior Sales Robert Warner*, * Member, I.A.T.S.E. Local B-7 Manager & Event Managers Joseph Williams*..........................Ticket Agents + Member, I.A.T.S.E. Local 7 ^ Member, I.A.T.S.E. Local 719 Jon Collins.....................Manager, Subscription Staff list current through December 21, 2023

APPLAUSEWORTHY EVENTS DCPA Event Services

Bring some theatricality to your next all-team meeting, annual gala, or corporate retreat and leave your guests starstruck! DCPA Event Services makes it easy, with everything from coat check to catering facilitated by our in-house professionals. Contact us today!

BOOK NOW

DENVERCENTER.ORG/VENUE-RENTALS

6 CORE VALUES. 1 DENVER CENTER.

4. CREATIVITY

AB IL

Y NIT

We cultivate open, responsive, aﬃrming relationships and partnerships for a greater collective impact.

T RI EG

3. COMMUNITY

I NT

We produce our best possible work together by engaging people with diverse perspectives, lived experiences and talents around our shared goals.

C O

2. COLLABORATION

SUST AIN

We build a respectful and empathetic culture through our active commitment to equity, diversity, inclusion and accessibility.

CO L

Y IT

TION RA BO LA

1. BELONGING

BELONGING

CREATIVITY

We embrace innovation and imagination in our daily work to advance our mission.

5. INTEGRITY

We act responsibly, with honesty, accountability and transparency.

6. SUSTAINABILITY

We prioritize the wellbeing of our team, our ﬁnances and the environment to ensure our thriving future.

Learn more about what drives the DCPA, and where we’re going, at denvercenter.org/plan

PROUD SPONSOR OF DCPA EDUCATION’S HIGH SCHOOL/MIDDLE SCHOOL PLAYWRITING COMPETITION

The Aegon Transamerica Foundation is proud to support the DCPA and the brilliant programs and events it brings to life. From Broadway tours to immersive experiences to educational programs for kids, DCPA is an integral part of Denver’s thriving artistic community — and it’s a big part of what makes our city so special.

Transamerica employees are dedicated to helping people live their best lives, whether it’s saving and investing for the future or protecting themselves and their loved ones. They bring expertise, creativity and heart to everything they do — and to the communities where they live and work. Transamerica’s private, nonprofit foundation is proud to do its part in helping to create a brighter and more secure future for people in our community by supporting programs that enhance their opportunities and capabilities while broadening social networks, interactions and aspirations. Through our charitable giving and employee volunteer efforts, we contribute to a wide range of worthy causes in Denver, including the Denver Center for the Performing Arts (DCPA). We believe our longtime support of the DCPA — one of the nation’s largest nonprofit theatre organizations — helps to enliven our community and bring new perspectives that can enable Denverites see the world through another’s eyes. The Aegon Transamerica Foundation looks forward to supporting another great year of DCPA programming. We are proud to play a role helping DCPA make theatre accessible to all.

— MELISSA SMITH, CHAIR OF THE AEGON TRANSAMERICA FOUNDATION’S DENVER ADVISORY COMMITTEE

Transamerica employees help serve meals at Denver Children’s Home. Transamerica employees help prepare “Bags of Fun” for children ﬁghting long-term or life-threatening conditions. Transamerica employees help build homes for families in need with Habitat for Humanity.

APPLAUSE • JAN – MAR 2024 • 303.893.4100 • DENVERCENTER.ORG

Attention to detail like no other. Guaranteed. CREMATIONS LIFE CELEBRATIONS CEMETERIES

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PROUD SPONSOR OF DCPA OFF-CENTER’S CAMP CHRISTMAS

Union Pacific is proud to support the Denver Center for the Performing Arts and its commitment to embed diversity, equity and inclusion into its organization and programs.

Union Pacific Railroad, through its Community Ties Giving Program, is proud to support DCPA Off-Center’s Camp Christmas Community Access program, ensuring equitable access to underserved populations in the Center’s surrounding communities. Union Pacific proudly supports organizations that improve the quality of life where its employees live and work. Investing in high quality, nonprofit programs positions communities for future growth and prosperity. Union Pacific is proud to support the Denver Center for the Performing Arts and its commitment to embed diversity, equity and inclusion into its organization and programs. Camp Christmas brings together the local community in a secular celebration to remind everyone that joining together as a community is important during the holiday season and year-round. This program meets the community’s need for an affordable, family-friendly program that showcases differences and unites us through immersive storytelling.

APPLAUSE • JAN – MAR 2024 • 303.893.4100 • DENVERCENTER.ORG

Photo: From the Hip Photography

CELEBRATE THE COLORADO SYMPHONY’S CENTENNIAL WITH THESE CONCERTS AND MORE ALL SEASON LONG!

Mozart & Now with Peter Oundjian

Beethoven Piano Concerto No. 2

The Wizard of Oz in Concert

Stravinsky’s The Firebird with Christopher Dragon

JAN 26-28

FEB 9-11

MAR 2-3

MAR 8-10

COLORADOSYMPHONY.ORG | 303.623.7876 VIEW ALL EVENTS USING THE QR CODE

( 3 03) 86 2 -3 90 0 | r igh t t i m e . c om