Applause -- Riverdance, May 31-June 4, 2023

APPLAUSE

HUGE SELECTION OF BRANDS LIKE MASSOUD, BERNHARDT, CENTURY AND SO MUCH MORE!

Non metallic Pantone 4515 + Black (C-40%, M-50%, Y-50%, K-100%)

White + Black (C-40%, M-50%, Y-50%, K-100%)

SIGHTLINE

BY JANICE SINDEN

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

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

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

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

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

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

Warm regards,

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

READ THE COMMUNITY REPORT

HONORING OUR ELDERS

The Denver Center for the Performing Arts honors and acknowledges that it resides on the traditional and unceded territories of the Ute, Cheyenne, and Arapaho Peoples. We also recognize the 48 contemporary Indigenous Tribes and Nations who have historically called Colorado home.

IN THIS ISSUE

The 39 Steps pg 10

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

Les Misérables pg 14

The Color Purple pg 16

Anastasia pg 22

EDITOR: Suzanne Yoe

DESIGN DIRECTOR: Kyle Malone

DESIGNER THIS ISSUE: Brenda Elliott

CONTRIBUTING DESIGNERS: Paul Koob, Lucas Kreitler

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

Applause is published seven times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

Applause magazine is funded in part by

Angie Flachman, Publisher For advertising 303.428.9529 or sales@pub-house.com coloradoartspubs.com

Denver Center for the Performing Arts is a non-profit organization that engages and inspires through the transformative power of live theatre.

BOARD OF TRUSTEES

Hassan Salem, Chair

Martin Semple, Immediate Past Chair

Ruth Krebs, Vice Chair

Robert C. Newman, Secretary/Treasurer

Dr. Patricia Baca

Brisa Carleton

Fred Churbuck

Navin Dimond

David Jacques Farahi

Kevin Kilstrom

Susan Fox Pinkowitz

Manny Rodriguez

Alan Salazar

Richard M. Sapkin

William Dean Singleton

Robert Slosky

June Travis

Ken Tuchman

Tina Walls

Dr. Reginald L. Washington

Judi Wolf

Sylvia Young

HONORARY TRUSTEES

Margot Gilbert Frank

Jeannie Fuller

Daniel L. Ritchie

Cleo Parker Robinson

HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES

William Dean Singleton, President

Martin Semple, Vice President

FOR A COMPLETE LIST OF UPCOMING SHOWS:

Dr. Reginald Washington, Secretar y/Treasurer

Ruth Krebs

David Miller

Robert C. Newman

Hassan Salem

Robert Slosky

June Travis

Judi Wolf

EXECUTIVE MANAGEMENT

Janice Sinden, President & CEO

Jamie Clements, Vice President, Development

Chris Coleman, Artistic Director, Theatre Company

John Ekeberg, Executive Director, Broadway & Cabaret

Lydia Garcia, Executive Director, Equity & Organization Culture

Gretchen Hollrah, Chief Operating Officer

Laura Maresca, Vice President, Human Resources

Charlie Miller, Executive Director & Curator, Off-Center

Lisa Roebuck, Vice President, Information Technology

Charles Varin, Managing Director, Theatre Company

Allison Watrous, Executive Director, Education & Community Engagement

Jane Williams, Chief Financial Officer

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

Get Tickets

MAY 4, 2023

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

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

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

Photo by Amanda Tipton

TAKING THEATRE TO THE COMMUNITY

BY SUZANNE YOE

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

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

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

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

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

For more information email: COMMUNITY@DCPA.ORG

SPONSORED BY

Photo by McLeod9 Creative

MAKING CONFETTI OUT OF SUSPENSE

IN PATRICK BARLOW’S SLY STAGE VERSION OF

TH E 39 STEPS,

SUSPENSE IS ALL ABOUT WATCHING

FOUR ACTORS TAKE ON SOME 50 CHARACTERS

BY ROB WEINERT-KENDT

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

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

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

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

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

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

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

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

Illustrations by Kyle Malone

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

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

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

COMING UP FROM BROADWAY

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

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

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

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

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

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

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

— ALFRED HITCHCOCK, MASTER OF SUSPENSE

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

Photo by Deen van Meer. © Disney

THE LASTING STAMINA OF

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

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

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

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

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

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

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

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

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

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

RIVERDANCE

MAY

Audio Described performance: June 3 at 2pm

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

— JOHN MCCOLGAN, DIRECTOR

Trusted Planning for Life

BEYOND OUR DREAMS

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

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

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

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

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

LES MISÉRABLES

MAY 10 – 21 • BUELL THEATRE

ASL, Audio described & Open

Captioned performance: May 20, 2pm

“One Day More” from Les Misérables

Photo: Matthew Murphy & Evan Zimmerman for MurphyMade

ALAIN

BOUBLIL CLAUDE-MICHEL SCHÖNBERG

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

— ALAIN BOUBLIL & CLAUDE-MICHEL SCHÖNBERG

AFTER 30 YEARS,

THE COLOR PURPLE STILL STIRS AUDIENCES

BY KELUNDRA SMITH

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

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

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

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

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

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

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

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

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

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

Illustrations by Kyle Malone

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

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

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

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

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

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

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

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

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

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

— TIMOTHY DOUGLAS, DIRECTOR

Photo by McLeod9 Creative

ABHANN PRODUCTIONS

Presents

Starring

Principal Dancers:

BRANDON ASAZAWA, WILL BRYANT, MAGGIE DARLINGTON, AMY MAE DOLAN, ANNA MAI FITZPATRICK, FERGUS FITZPATRICK, MATTHEW GARDINER.

THE RIVERDANCE IRISH DANCE TROUPE, MUSICIANS AND SINGERS AND FEATURED INTERNATIONAL SOLOISTS.

Costume Designer

Sound Designer

JOAN BERGIN MICHAEL O’GORMAN

For HIGH RES Lead Designer Set Designer PETER CANNING ALAN FARQUHARSON

Lighting Designer

Motion Graphics

ANDREW VOLLER COSMO AV

Poetry Written by Orchestrations by THEO DORGAN NICK INGMAN and BILL WHELAN

Press Representative POLK & CO

COMPOSER

BILL WHELAN

PRODUCER

MOYA DOHERTY DIRECTOR

JOHN McCOLGAN

Executive Producer/Associate Director

PADRAIC MOYLES

SEASON SPONSOR

CAST

The Riverdance Irish Dance Troupe

Principals

Brandon Asazawa, Will Bryant, Maggie Darlington, Amy Mae Dolan, Anna Mai Fitzpatrick, Fergus Fitzpatrick, Matthew Gardiner.

Troupe

Belle Brenton, Kieran Bryant, Morgan Bullock, Gerard Byrne, Keeva Corry, Michael Gardiner, Sarah Gaughran, Ronan Kelly, Meadhbh Kennedy, Jordan McCormick, Faith Moore, Olivia Nachtigal, Cian Porter, Dylan Schloss, Zoe Talbot, Mairead Trainor, Ellie-Mae Wheeler.

The Riverdance Band

Mark Alfred Drums / Percussion / Bodhrán/ Musical Director

Cathal Croke Uilleann Pipes / Low Whistle

Haley Richardson Fiddle

Hannah Riches Saxophone

The Riverdance Singers and Drummers Members of the Company

The Riverdance Flamenco Soloist Rocio Dusmet

The Riverdance Russian Folk Dance Troupe

Elena Macovei, Stefan Mircea, Ana Turcan, Eugeniu Turcan

The Riverdance Tappers Lamont Brown, Dharmesh Patel

Poetry Narrated by John Kavanagh

ORIGINAL PRINCIPAL IRISH DANCE CHOREOGRAPHY BY MICHAEL FLATLEY

ORGINAL CHOREOGRAPHY BY MAVIS ASCOTT, JEAN BUTLER, JOHN CAREY, BRENDAN DE GALLAI, COLIN DUNNE, CAROL LEAVY JOYCE, EILEEN MARTIN, PAULA NIC CIONNATH, MARIA PAGES, TARIK WINSTON

RIVERDANCE 25TH ANNIVERSARY SHOW

ACT ONE

REEL AROUND THE SUN

The Riverdance Male Irish Dance Principal & Troupe

Original Choreography: Michael Flatley

THE HEART’S CRY The Riverdance Singers

THE COUNTESS CATHLEEN ... The Riverdance Female Irish Dance Principal, Troupe and Folk Dance Troupe

CAOINEADH CHÚ CHULAINN (LAMENT)

THUNDERSTORM

Original Choreography: Jean Butler, Moscow Folk Ballet Company

The Riverdance Irish Piper

The Riverdance Male Irish Dance Principal & Troupe

Original Choreography: Michael Flatley

FIREDANCE Flamenco Soloist and the Riverdance Male Irish Dance Troupe

Original Choreography: Maria Pagés, Colin Dunne

SHIVNA The Folk Dance Troupe and the Riverdance Singers

Original Choreography: Moscow Folk Ballet Company restaged by Svetlana Malinina

SLIP INTO SPRING - THE HARVEST

RIVERDANCE

The Riverdance Musicians

The Riverdance Irish Dance Principals, Troupe, Singers & Drummers

Original Choreography: Mavis Ascott, Michael Flatley (Irish Dance Step Choreography), Jean Butler (Female Solo Choreography)

ACT TWO

AMERICAN WAKE The Irish Dance Troupe

LIFT THE WINGS

TRADING TAPS

Original Choreography: Michael Flatley, Paula Nic Cionnath (Set Dance Consultant)

The Riverdance Singers

The Riverdance Male Irish Dance Principal & Male Troupe and the American Tappers

MACEDONIAN MORNING/THE DERVISH

Original Choreography: Colin Dunne, Tarik Winston

The Riverdance Musicians & the Folk Dance Troupe

Original Choreography Dervish: Moscow Folk Ballet Company restaged by Svetlana Malinina

RITMOS DEL CORAZON/ANDALUCÍA

ANNA LIVIA

SLOW AIR & TUNES

The Flamenco Soloist, the Riverdance Male Irish Dance Principal, the Riverdance Drummer

Original Choreography: Colin Dunne, Maria Pagés

The Riverdance Female Irish Dance Principal & Troupe

Original choreography: John Carey

Additional text adapted from James Joyce’s Finnegans Wake by Bill Whelan

HOME AND THE HEARTLAND/HEARTLAND

FINALE

The Riverdance Musicians

The Riverdance Irish Dance Principals and Troupe and the Riverdance Singers

Original Choreography: Michael Flatley, Colin Dunne, Jean Butler

The Company

Story by Bill Whelan, Moya Doherty and John McColgan

Music and Lyrics by Bill Whelan

Original Principal Irish Dance Choreography: Michael Flatley

At certain performances, alternative principal performers will dance the principal roles. Cast and content may be subject to change without prior notice.

RIVERDANCE CAST & BAND THE RIVERDANCE IRISH DANCE TROUPE

The Riverdance Irish Dance Troupe are world-class Irish dancers. They hail mostly from Ireland, but also from Great Britain, the United States, Canada and Australia. Between them the dancers can boast of hundreds of championships won in Ireland and abroad. Most started dancing at a young age at local dance schools and progressed to world championship level before being chosen to perform in Riverdance. The dancers would have known and competed against each other at various competitions, including the World Championships. Riverdance has given them the opportunity to perform together in a non-competitive way. The grace and eloquence of their soft-shoe dance and the power and precision of their hard-shoe routines clearly display the endless hours of practice and their dedication to the art of Irish Dance.

THE RIVERDANCE PRINCIPAL DANCERS

FEMALE LEAD DANCERS MAGGIE DARLINGTON

Maggie began dancing with the Claddagh School of Irish Dance in California. She won four North American Championships, two All-Ireland Championships and in 2007 won the World Irish Dancing Championships. In 2010 Maggie performed the lead role in Busch Gardens’ production Celtic Fyre and originated the lead female role in Battle of the Dance. She joined the cast of Riverdance in 2011 and became a Principal Dancer, touring extensively with the show in North America and internationally. She was a Principal dancer with Heartbeat of Home Maggie was most recently involved with the dance production for the film Riverdance The Animated Adventure.

AMY MAE DOLAN

Amy Mae from Co. Tyrone, Northern Ireland danced for the Carson Kennedy Academy in Belfast, Northern Ireland. She won the World Irish Dance Championships and many other major titles. On completion of the Riverdance Summer School she achieved her lifelong ambition to join Riverdance in 2016. Amy-Mae featured in the BBC’s “Born to Riverdance” which followed her journey to become the Principal Dancer in the cinema release of the

WHO’S WHO

Riverdance 25th Anniversary Show

filmed in the 3Arena Dublin. Amy-Mae is a reformer Pilates instructor and creates content for her YouTube channel and Instagram. She would like to thank her family, friends and teachers for their continued love and support and everyone involved in Riverdance for their unrelenting inspiration and endless encouragement.

ANNA MAI FITZPATRICK

Anna Mai began her dance journey at the age of four and danced competitively for sixteen years alongside her brother Fergus. She knew from a young age that Irish Dance was her passion. She won many major championships including the All-Ireland Championships, Great Britain Championships and the British Nationals. Anna Mai joined Riverdance and toured China with the fantastic cast which included her brother Fergus. She moved into the principal role in 2020 and toured extensively with the 25th Anniversary Production including the UK national tour, Expo Dubai, the North American tour and most recently in Dublin, Ireland. Anna Mai has also toured with Heartbeat of Home and made her debut as Principal Dancer in the famous Piccadilly Theatre in London’s West End.

MALE LEAD DANCERS

BRANDON ASAZAWA

Brandon began dancing at the age of four with the Leneghan Academy of Irish Dance in Cleveland, Ohio. In sixteen years of competitive dancing, Brandon became a five-time Mid-American champion, National champion, and placed 6th at the World championships. After participating in the 2015 Riverdance Summer School, Brandon began touring with Riverdance at the age of 19. Brandon is privileged to be in the show that inspired him to begin Irish dancing. He has toured with Riverdance and Heartbeat of Home in North America, Europe, and China.

WILL BRYANT

Born in Sydney, Australia, Will trained with the Halloran Dance School in Irish, ballet, contemporary and tap from the age of four. Will performed lead roles in musical productions and made regular appearances on TV. At university he studied for a Bachelor of Music and is an accomplished guitarist. An ambitious athlete, Will is studying personal

training on and off tour. Following an impressive competitive Irish dance career, placing top-three internationally and winning state and national titles, he went on to perform with Celtic Illusion and Heartbeat of Home. In 2014 he joined Riverdance and has toured worldwide. Will is thrilled to be part of the lead team.

FERGUS FITZPATRICK

Fergus from Co. Meath, Ireland, discovered his passion for dance at the age of eight.  With his sister Anna Mai, he grew up competing internationally in Irish dancing competitions. Under the tutelage of Holly and Kavanagh Academy of Irish Dance, Fergus achieved his dream of becoming a World Champion in 2017. He joined Riverdance performing in the renowned Gaiety Theatre Dublin.   As a Principal Dancer he has performed in many prestigious venues including Radio City Music Hall, New York and the Hammersmith Apollo, London. His other productions include Heartbeat of Home in London’s Piccadilly Theatre and The Palladium. Fergus is grateful for the continued support of his friends and his family.

MATTHEW GARDINER

Matthew began Irish dancing in Denver, Colorado and moved to Galway, Ireland and continued dancing under the Hession School of Irish Dance. He won 30 major championship titles, including three World championships. With his brother Michael, they created Irish dancing history when they won their respective World titles in the same year. Matthew attended the Riverdance Summer School and was selected to join Riverdance in 2017. He performed in the Riverdance 25th Anniversary Show in the 3Arena, Dublin (2020), on the UK National Tour (2021) and North American Tour (2022) and joined the lead team at the Gaiety Theatre, Dublin. Matthew and his brother Michael showcase their creative side with @gardinerbrothers and they have over 350 million views on social media. Matthew is a qualified Civil Engineer from the National University of Ireland, Galway and a championship winner in tennis, soccer and basketball.

THE RIVERDANCE BAND

MARK ALFRED Drums, Percussion, Bodhrán and Musical Director Mark Alfred from Carrickmacross,

Co. Monaghan, Ireland studied at the Royal Irish Academy of Music and Performing Arts College, Dublin. He is most recognized as being the Musical Director, drummer and percussionist in Riverdance. His ability to cross so many genres coupled with a unique and energetic style has made him one of Europe’s most sought-after and highly regarded drummers and percussionists of today. Mark has worked with Lionel Richie, Simply Red, Katie Melua, Josh Groban, The Corrs, Imelda May, Paddy Moloney (The Chieftains), The Divine Comedy, Mary Coughlan, Ronan Keating, Westlife, Girls Aloud, Donny Osmond and the late Christy Hennessy. Mark recorded drums and percussion on Bill Whelan’s Riverdance 25th Anniversary album. He made his debut on London’s West End with the hit show Come From Away at London’s Phoenix theatre. Mark proudly endorses: Pearl Drums, Zildjian Cymbals, Evans Drumheads, Vater Drumsticks, Protection Racket Cases, Sensaphonics, and Porter and Davies Thrones.

CATHAL CROKE Uilleann Pipes and Whistles

Dublin born uilleann piper Cathal Croke, a Senior All Ireland Champion and Honours Graduate in Music from the University of Limerick, has performed at festivals and toured with productions in numerous countries spanning five continents. He has played for two Presidents of Ireland, was recorded by RTÉ, has shared the stage with Ralph McTell and was recorded in the Hollywood production, There You’ll Find Me starring actors Vanessa Redgrave and Patrick Bergin, music scored by Timothy Williams. Touring with Heartbeat of Home from 2018, Cathal has performed in the London Palladium and later in 2019 in the West End run in the Piccadilly Theatre. LondonTheatreDirect – “Special mention to Cathal Croke for a particularly haunting solo on the uilleann pipes”. More recently, he was appointed as the Musical Director of a new Irish music and dance show. He debuted with Riverdance in the Gaiety Theatre Dublin in 2019 and then toured with the show in Minneapolis and Chicago, on the UK national tour and at Expo Dubai. Cathal is honoured to be performing with the Riverdance 25th Anniversary Show

HALEY RICHARDSON Fiddle

Haley Richardson is a virtuosic musician who has garnered many prestigious awards, including multiple championships at the Fleadh Cheoil na hÉireann

(All Ireland Championships), numerous Mid-Atlantic Championships, and the coveted Fiddler of Dooney awards (2015 and 2018). She brings a rare dynamism and energy to her music, informed by thorough knowledge of the form, mastery of her instrument, and trailblazing, show-stopping technique and emotion evident in every note. Haley’s most recent album, When the Wind Blows High and Clear, with Quinn Bachand, was nominated for 2020 Ensemble of the Year by the Canadian Folk Music Awards. Haley appeared in the cinema release of Riverdance 25th Anniversary Show at the 3Arena, Dublin, and was invited by Bill Whelan, to record on the Riverdance 25th Anniversary Album www.HaleyRichardsonMusic.com @haleyrichardson.music

HANNAH RICHES Saxophone

Hannah Riches is a freelance saxophonist and woodwind player based in London having studied at the Royal Northern College of Music and Guildhall School of Music and Drama. She predominantly works in musical theatre, most recently touring the UK with Dreamgirls. Hannah has also worked with the Mariinksy Theatre Orchestra, Chineke Orchestra and National Symphony Orchestra. Her saxophone quartet Marici Saxes have performed across Europe and in 2019 toured China. The group have broadcast live on BBC Radio 3’s In Tune programme and have amassed nearly two million views of their popular YouTube videos.

THE RIVERDANCE DERVISH ENSEMBLE

The Riverdance Folk Dance Ensemble combines elegance and grace with verve, dynamism and joyous physicality. The company’s dancers come from a diverse mix of cultural backgrounds and from many different countries throughout Eastern Europe. What they have in common is a dedication to dance and many years of training and performance in pursuit of perfection in their chosen art. Working as individual performers, they have come together for Riverdance, where they will share their individual talents and fuse the many elements that have gone into the development of their own unique style of dance.

THE RIVERDANCE FLAMENCO SOLOIST

ROCIO DUSMET

Born in Madrid, Spain Rocio began her professional career when she was

eight years old. She graduated from the Royal Professional Conservatory of Dance Mariemma in the specialty of Spanish Dance in Madrid. In 2012 Rocio was awarded the Spanish Dance Prize at the XVI National Call for Dance City of Castellón. Rocio has toured France, China, Mexico, Colombia, Italy, Russia, Latvia and the United Arab Emirates as a dancer in the companies of Aida Gómez, Ibérica de Danza, Ballet Carmen Mota, Compañía Jesús Lozano, Inc. Ángel Manarre , and soloist dancer at the Festival d’Avignon. Her most recent work as a dancer and actress includes the musicals Dirty Dancing, Disney Mickey’s Music Festival and the Circus of Horrors

THE RIVERDANCE TAPPERS

LAMONT BROWN

Lamont is excited to be back with Riverdance 25th Anniversary Show He was last seen in the 1st National Tour of Mean Girls: The Broadway Musical as Martin J. and understudied Aaron Samuels. He performed as Andy Lee in the national tour of 42nd Street, featuring the iconic choreography by Randy Skinner. He worked on Norwegian Cruise Line performing Warren Carlyle’s choreography as a Tap Brother in “After Midnight.” He has also been featured in the World premiere of Chasing Rainbows: The Road to Oz at Papermill Playhouse and the Broadway National Tour of White Christmas. Also see him in the Season 2 Episode 6 of “Wutang: An American Saga” on HULU! Regional work includes Hairspray, Singin’ in the Rain and Jared Grimes’ new production of 42nd Street at the Ordway Center for Performing Arts in Minnesota and Drury Lane Theatre in Chicago. He has been fortunate enough to work alongside some of New York’s most sought-after theatre choreographers, including Denis Jones, Al Blackstone, Lorin Latarro, Jeff Whiting, Jason Sparks, Richard J. Hinds, Dewitt Fleming, Shannon Lewis, Mary Anne Lamb and Lisa Gajda. Lamont is a New York-based performer and choreographer. Graduate of the Dance Theatre Conservatory at The American Musical and Dramatic Academy in New York City. Proud member of the Actors Equity Association Hudson Artist Agency @LamontBrownNyc

DHARMESH PATEL

Dharmesh Patel graduated from the Doreen Bird Performing Arts College in 2007. Since graduating he has performed in numerous operas for the

English National Opera and the Royal Opera House and at Buckingham Palace, London for Prince Charles III. He starred on Sky 1’s Got to Dance as a semi-finalist and he’s also a member of Plague, who won the World Hip Hop International Championships in both 2005 and 2011. He was one of the original cast in Bodyguard the Musical in London’s West End and has choreographed and performed for Cirque Du Soleil

BILL WHELAN COMPOSER

Bill Whelan has composed music for theatre, film and orchestra. His 1997 Grammy Award winning music Riverdance continues to be performed around the world. To coincide with the 25th anniversary tour, Bill completed a new studio recording of the music from Riverdance, released by Decca/ Universal Records, featuring many of the young musicians who play the music live with the show. He also recently finished recording a new score for the animated feature film, Riverdance: The Animated Adventure. His orchestral works include: The Seville Suite, Spirit Of Mayo, The Connemara Suite and Linen & Lace. His musical settings of the literary works of Irish writers include the poetry of WB Yeats, Paul Muldoon, Derek Mahon, Tom McIntyre, Frank McGuinness and Paul Durcan. His music for film includes scores for Dancing At Lughansa starring Meryl Streep, Some Mother’s Son featuring Helen Mirren and Lamb with Liam Neeson. As a producer in the studio he has worked with U2, Van Morrison, Kate Bush, Richard Harris, The Dubliners, Planxty, Andy Irvine, Davy Spillane and Bulgarian/Irish band, East Wind. Bill is a Fellow of the Royal College of Music and holds two honorary doctorates. He is an Honorary Freeman of the City of Limerick, where he was born.

MOYA DOHERTY PRODUCER

Moya Doherty’s career encompasses the creative industries, theatre, radio and television production and presentation, both in Ireland and internationally. She fronted a number of Arts, Features and documentary programmes for RTÉ. As Executive Producer, Moya produced a number of charity Telethons, the Eurovision Song Contest and the televising of the opening ceremony of the Special Olympics held in Ireland in 2003. Moya developed the original concept for Riverdance and was the Commissioning Producer for the Eurovision Song Contest of 1994. Moya

has sat on a number of arts related Boards including seven years as Chair of the Dublin International Theatre Festival, The Abbey Theatre, The Ark Children’s Theatre in Dublin, Business to Arts and Walnut Hill Arts School in Massachusetts. Moya has received numerous awards and accolades over the years, including the Veuve Clicquot Business Woman of the Year, the Ernst & Young Entrepreneur of the Year Award and Honorary Doctorates from the University of Ulster, University College Dublin & from the National University of Ireland in recognition of her ongoing commitment to the world of the arts in Ireland Since 2014 she has been Chair of the RTE Public Service Media Board.

JOHN MCCOLGAN DIRECTOR

John McColgan is a multi-awardwinning producer and director. He was Head of Entertainment (RTÉ Television), Head of Weekend Entertainment (ITV/TVAM) and was awarded a Jacob’s Television Award (1980).  He played a key role in the evolution of Riverdance from the original seven-minute dance number to the full stage show.  He is founding director of Tyrone Productions whose productions include:   Quirke (BBC), Beckett on Film (C4), The Hunger (RTE/ARTE), David Brophy’s Choir Series (RTE) and Born to Riverdance (BBC).  John served as Chairman of the Abbey Theatre Centenary Committee and directed a critically acclaimed production of Dion Boucicault’s melodrama The Shaughraun. He produced a major theatrical event marking the State visit of Queen Elizabeth II to Ireland (2011).  John is the director of Heartbeat of Home which premiered in Dublin (2013), toured in North America and China and played in London’s West End (2019).  He holds an Honorary Doctorate of Law from the National University of Ireland. John is an accomplished photographer and is an Ambassador for Trócaire, one of Ireland’s largest development agencies.  His recent work includes the documentary This is Palestine and a book of his photography Looking at the Same Moon

PADRAIC MOYLES EXECUTIVE PRODUCER/ASSOCIATE DIRECTOR

Born in Dublin, Ireland Padraic emigrated to New York when he was nine years old. At the age of twelve he starred as the principal actor in the OffBroadway production of Grandchild

of Kings, directed by Harold Prince. Dancing under the tutelage of Donny Golden, he joined Riverdance in 1997, going on to become Dance Captain and Principal Dancer. He was nominated for an Ovation Award for his leading role in the show.  In 2006 he joined the Broadway production of The Pirate Queen as Dance Captain before returning to Riverdance in 2008.  He has had the privilege to perform for heads of state and notable individuals from around the world, including Michelle Obama and Queen Elizabeth II.  Padraic is also proud to be the Executive Producer/ Director for the international show Heartbeat of Home which has toured China, North America and played in London’s West End.  He was Dance Director and a choreographer on Riverdance: The Animated Adventure. Padraic would like to give special thanks to his wife Niamh, his children Juliette-May and Harrison Rhys, his father, brothers and sister for their continued support. He dedicates all his work to his late mother Christine Moyles.

PRODUCTION MANAGER

JUNIPER STREET PRODUCTIONS

(Production Management) is a New York City based production management and technical supervision firm specializing in live theatrical productions. Since its formation in 1998, Juniper Street has managed more than 100 Broadway, OffBroadway, national tours and events. Current and upcoming shows include: & Juliet, Bad Cinderella, Come From Away, Dear Evan Hansen, Funny Girl, Good Night Oscar, The Grey House, Harry Potter, Here Lies Love, Kimberly Akimbo, MJ The Musical, Moulin Rouge, Shucked, Some Like It Hot, Tina. www.juniperstreet.com

NORTH AMERICAN TOUR STAFF

North American Press Representative Polk & Co. –Matt Polk, Kelly Stotmeister, Colgan McNeil, Alex Seeley

Production Manager Juniper Street Productions

Company Manager Ryan Parliment

Associate Company Manager Oran Ostinelli

Production Stage Manager Aaron Kennedy

Technical Stage Manager Grainne McKnight

Irish Dance Captains Amy-Mae Dolan, Meadhbh Kennedy

Dervish Dance Captain Ana Turcan

Head Carpenter Timothée Courouble

Head Electrician Landon Robinson

Assistant Electrician/Relighter Dominic White

Assistant Electrician Jack Blackstock

Production Sound Kevin McGing

Head Sound/Monitors Isaac Sheppard

Assistant Sound/FOH Mixer Justin McIntyre

Wardrobe Supervisor Kristen O’Maley

Wardrobe Assistant Maya Faye Gordon

Physical Therapy Lucy Vaughn, NEURO TOUR, Physical Therapy, Inc.

Massage Therapy Stephanie Weston, NEURO TOUR, Physical Therapy, Inc.

Merchandising MAX MERCHANDISING LLC (randi@maxmerch.com)

International Representation Second Symphony Ltd North American Representation WME Entertainment LLC

FOR ABHANN PRODUCTIONS LIMITED

Directors Moya Doherty, John McColgan, David Orr

RIVERDANCE DUBLIN PRODUCTION OFFICE

Executive Producer Padraic Moyles

General Manager Sean O’Brien

Marketing Manager Mary Keatley O’Donnell

Marketing Executive Jason O’Neill

Costume Shop Supervisor Monica Ennis

Accountants Ciaran Evans Dominick Tighe

PREVIOUS CREDITS

Senior Executive Producer Julian Erskine (1995-2020)

Set Design Mary Morrow, Robert Ballagh

Lighting Design Andrew Leonard, Rupert Murray,

Lighting Design Benjamin Pearcy, John Comiskey

Costumes for Riverdance

Eurovision 1994 Margaret Crosse

Costumes for Riverdance – The Show Jen Kelly

Projection Dick Straker, Chris Slingsby

Projection Animation Benjamin Pearcy

POETRY AND MUSIC

Riverdance Poetry

Theo Dorgan

Spoken by John Kavanagh

Music orchestrations by Nick Ingram and Bill Whelan

Riverdance soundtrack recorded by Brian Whelan, Brian Masterson and Andrew Boland

Riverdance soundtrack mixed by Brian Masterson

THE PRODUCER WOULD LIKE TO GIVE

SPECIAL ACKNOWLEDGEMENT TO:

RTÉ Commercial Enterprises Limited Paul McGuinness - Principle Management, Liam Miller, Maurice Cassidy, Tommy Higgins

The Office of Public Works

The National Gallery of Ireland

Elements of the Ardagh Chalice and other artefacts by kind permission of the director of The National Museum of Ireland

CREDITS AND ACKNOWLEDGEMENTS

Dance Flooring and Covering American Harlequin Corporation

Soft Goods iWeiss Theatrical Solutions

Lighting, Video, LED Screen PRG

Sound Equipment CLAIR Global

Handheld Radios Proocol Telecommunications Inc

Trucking Provided by Janco Ltd

Tour Buses by All Access Coach Leasing and Timi’s Tours Transportation

Housing by Road Concierge

Transport Sponsorship Aer Lingus www.aerlingus.com

Make-Up provided by MAC

Drums provided by PEARL

Cymbals provided by Zildjian

Drumheads provided by Evans

Drumsticks provided by Vater

Protection provided by Racket Cases

US Immigration Counsel Barst Mukamal & Kleiner LLP

Flamenco Consultant Yolanda Gonzalez Sobrado

Photography Deidre Buck, Barbara Corsico, Julian Erskine, Hugo Glendenning, Jack Hartin, Tom Lawlor, Joan Marcus, John McColgan, Rob McDougall, Sean Breithaupt & Yvette Monahan, Ewa Figaszewska & Fatima Caballero.

NORTH AMERICAN TOUR SPONSORSHIP

TOURISM IRELAND www.ireland.com

Be in with a chance to win a fantastic trip to the island of Ireland including flights and accommodation. Enter on www.ireland.com/riverdance or scan the QR code

STAY IN TOUCH WITH RIVERDANCE www.riverdance.com

Facebook @riverdance

Twitter @riverdance

Instagram @riverdance

TikTok @riverdance

YouTube.com @riverdance

RIVERDANCE SUMMER SCHOOLacademy.riverdance.com

The Musicians employed in this production are members of the American Federation of Musicians of the United States and Canada.

Backstage Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

The Press Agents and Company Manager employed in this production are represented by the Association of Theatrical Press Agents & Managers.

The Denver Performing Arts Complex is owned and operated by Denver Arts & Venues for the City and County of Denver. City and County of Denver

Michael B. Hancock, Mayor

Denver Arts & Venues

Ginger White, Executive Director

Molly Wink, Deputy Director

Denver Arts & Venues, Arts Complex Operations

Mark Heiser, Venue Director

Jody Grossman, Assistant Venue Director, Booking

Todd Medley, Facilities Superintendent

Kelly Graham, Safety, Security and Garage Operations Manager

Carol Krueger, Patron Services Manager

artscomplex.com | (720) 865-4220

For immediate assistance & security (720) 865-4200

DENVER CENTER FOR THE PERFORMING ARTS

GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2023/24 BROADWAY SEASON

PLEASE BE ADVISED

• LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

• PHOTOS, RECORDING & CELL PHONE USE are prohibited.

• CHILDREN 6+ are welcome in our theatres and must be ticketed.

• DRINKS are allowed in provided containers.

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you.

• BRAILLE PROGRAMS are available with 2 weeks’ notice to amcmullen@dcpa.org or 303.446.4836

Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719

Robin Appleton

Julie Bassignani

Carrie Breidenbach

Vonnie Clough

Craig Cory

Cyndie Cory

Laura Cotugno

Steve Davies

Anne Davis

Amber Donner

Carolyn Dore

AnnSue Gunter

Judy Holabird

Will Holabird

Amber Krimbel

Mark Anthony

Perry Elliot

Lauren LaCasse

Leslie Lambert

Anthony Mattivi

Sharon Millikan-Hale

Callie Morrow

Tim Nelson

Lisa Parson

Laura Payne

Dave Poole

Alan Richardson

Liz Spadi

Amy Tepel

Marybeth Tscherpel

Eliza Vlasova

Barb Wilson

DPAC House Crew

Albert Sainz, Sr

Josh Thurnman

James R. Gralian

Allen Olmstead

Derek Tovar

David A. Wilson

A JOURNEY TO THE PAST IN ANASTASIA

BY JOHN MOORE

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

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

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

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

Nearly 20 years later, they got their wish.

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

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

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

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

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

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

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

The Company of the North American Tour of Anastasia

Photo by Evan Zimmerman for Murphy Made.

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

– STEPHEN FLAHERTY, MUSIC AND LYRICS

ANNOUNCING THE THEATRE COMPANY SEASON

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

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

• Early access to Broadway touring productions and other added attractions

• Discounts on additional tickets

• Free exchanges and concierge ticketing services

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

The cast of Laughs in Spanish

Photo by Jamie Kraus Photography.

A LITTLE NIGHT MUSIC

Music and Lyrics by Stephen

Sondheim

Book by Hugh Wheeler

Orchestrations by Jonathan Tunick

Suggested by a Film by Ingmar Bergman

Originally Produced and Directed on Broadway by Harold Prince

Directed by Chris Coleman

SEP 1 – OCT 8, 2023 | WOLF THEATRE

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

By Lynn Nottage

Directed by Jamil Jude

OCT 27 – NOV 26, 2023 | KILSTROM THEATRE

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

By Leonard Madrid

Directed by Jerry Ruiz

JAN 26 – MAR 10, 2024 | SINGLETON THEATRE

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

By Kirsten Potter

Directed by Chris Coleman

FEB 9 – MAR 10, 2024 | KILSTROM THEATRE

A delightfully unconventional rendition of Jane Austen’s classic

By Kate Hamill

Based on the Novel by Jane Austen

Directed by Meredith McDonough

APR 5 – MAY 5, 2024 | WOLF THEATRE

A theatrical mixtape created right before your eyes WHERE DID WE

By Brian Quijada

Directed by Matt Dickson

Featured Artist Satya Chavez

APR 19 – JUN 2, 2024 | SINGLETON THEATRE

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

By Stefano Massini

Adapted by Ben Power

Directed by Margot Bordelon

MAY 3 – JUN 2, 2024 | KILSTROM THEATRE

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

BY CYNTHIA BARNES

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

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

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

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

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

READ THE FULL ARTICLE

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

SPECTACULAR EVENTS. SIMPLIFIED.

DCPA Event Services

The Denver Center’s Event Services team is here to partner with you for every aspect of your next big event. We can create an experience for the record books with immaculate catering, dramatic lighting design, our theatre-quality A/V system, professional staffing — the works!

We’ll meet with you for a behind-the-scenes tour of our rental spaces, contribute to the creative process (if desired), and, on the day of the event, help you hit every cue with flawless precision. All you need to do is dream up your perfect event and let our theatrically trained staff make it a reality.

photo credit: Denver International Airport

The only limit is your imagination. Get in touch with us today!

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

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

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

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

PROUD SPONSOR OF DCPA EDUCATION AT THE COLOR PURPLE

SAFELY DELIVERING AFFORDABLE, RELIABLE, EVER-CLEANER ENERGY

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

Partnering with Communities

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

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

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

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

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

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

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

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

THE ARTS BRING POSITIVE ENERGY TO ALL OF OUR LIVES

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

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

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

PROUD SPONSOR OF DCPA OFF-CENTER’S CAMP CHRISTMAS

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

— LAUREN GILLILAND, SENIOR DIRECTOR OF GAS OPERATIONS

SETTING THE STAGE FOR A BETTER TOMORROW

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

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

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

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

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

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

Learn more at us.cibc.com

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

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

Private

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

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

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

DCPA

Janice Sinden President & CEO

Gretchen Hollrah COO

Lydia Garcia Executive Director, Equity & Organization Culture

Seán Kroll Coordinator, Equity & Organization Culture

Donna Hendricks President & CEO Executive Assistant

Julie Schumaker Manager, Board Relations & COO Executive Assistant

BROADWAY & CABARET

John Ekeberg Executive Director

Administration

Ashley Brown Business Manager

Alicia Bruce General Manager

Lisa Prater Operations Manager

Garner Galleria Theatre

Abel Becerra Technical Director

Jason Begin+,

Anna Hookana+ Core Stagehands

DEVELOPMENT

Jamie Clements Vice President

Connor Carlin Associate Director, Major & Planned Gifts

Kara Erickson-Stiemke Coordinator

Daniel Escobar Manager, Corporate Partnerships

Amanda Gomez Manager, Annual Fund

Kaylie Gro Manager, Grants & Reports

Marc Ravenhill Associate Director, Donor Relations

Megan Stewart Manager, Events

Erin Walker Senior Director

EDUCATION & COMMUNITY ENGAGEMENT

Allison Watrous Executive Director

Stuart Barr Technical Director

Claudia Carson Teaching Artist & Manager, Playwriting & Bobby G

Leslie Channell Director, Business Operations

Emily Doherty Teaching Artist & Manager, Theatre for Young Audiences Programming

Patrick Elkins-Zeglarski Director, Education & Curriculum Management

Emma Kimball Assistant Registrar & O ce Coordinator

Jesús Quintana Martínez Director, Community Engagement

Timothy McCracken Head of Acting

David Saphier Teaching Artist & Manager, In-School Programming

Rachel Ducat Executive Assistant & Business Manager

Rya Dyes Registrar & On Site Class Manager

Charlotte Talbert Librarian

Rachel Taylor Teaching Artist & Manager, Literary Engagement & Resiliency

Justin Walvoord Teaching Artist & Manager, Shakespeare in the Parking Lot

Samuel Wood Teaching Artist & District Liaison

FACILITIES

Glen Lucero Director

Dwight Barela, Mark Dill, John Howard, Zak Merten, John Ramos Engineers

Calum Abeywickrema, Brian Adams, Jodi Benavides, David Bright, Cody Bryant, Bryan Faciane, Gabe McNally-Nakamura, Isabella Samaniego,

Shayne Thullen Security Specialists

Judy Briggs Front Desk

Quentin Crump Manager, Security & Guest Relations

Merry Davis Financial Manager

Jane Deegan Administrator

Michael Kimbrough Manager, Engineering

Brian McClain Manager, Custodial

Casey Meschievitz Manager, Environmental Health & Safety

Jerad Ayala, Steven Bilbao, Abraham Cervantes, Lindsey Cervantes, Carmen Molina, Judith Primero Molina, Juan Loya Molina Custodians

EVENT SERVICES

Tom Du n Event Technology Manager

Samantha Egle, Cody Gocio Senior Sales & Event Managers

Stori Heleen-O’Foley Lighting, Team Lead

Shane Hotle Audio Engineer

David Mandlowitz,

Benjamin Peitzer Video Engineer

Tara Miller Event Sales & Operations Director

Brook Nichols Event Technical Director

Kate Olsen Event Sales Coordinator

Viktoria Padilla Lighting

Phil Rohrbach, Alex Skaar Event Managers

Brooke Wyatt Event Logistics Manager

MARKETING, SALES & PATRON SERVICES

Marketing

Giorgio Ausenda Media Producer

Heidi Bosk Associate Director, Press & Promotions, Broadway & Cabaret

Erin Bunyard Senior Digital Strategist

Sofia Contreras Graphic Designer

Emmy Cook Coordinator, Broadway & Cabaret

Brenda Elliott, Paul Koob Senior Graphic Designers

TJ Forlenza Copywriter

Michael Garcia Manager, Web Content

Claire Graves Director, Produced Programs

Brittany Gutierrez Manager, Communications

Linda Horan Project Manager

Je Hovorka Director, Sales & Marketing, Broadway & Cabaret

Emma Hunt Coordinator, Communications & PR

Emily Kent Director, Insights & Strategy

Lucas Kreitler Junior Graphic Designer

Michael Ryan Leuthner Director, Digital Marketing

Emily Lozow Assoc. Director, Sales & Marketing, Broadway & Cabaret

Kyle Malone Director, Design

Dan McNulty Marketing Analyst

Hannah Selwyn Email Marketing Manager

Whitney Testa Executive Assistant, Marketing & Broadway

Kong Vang Social Media Coordinator

Julie Whelan Associate, Produced Programs

Mikayla Woods Coordinator, Produced Programs

Suzanne Yoe Director, Content & Communications

Ticketing & Audience Services

Jennifer Lopez Director

Christina Adamoli*, D.J. Dennis*,

Edmund Gurule*, Chris Leech*, Elias Lopez*, Hayley Solano*,

Sam Stump* Counter/Show Leads

Kirsten Anderson*, Scott Lix*,

Liz Sieroslawski*,

Greg Swan* Subscription Agents

Quinn Chermak*, Wisline Cledgett*,

Tamika Cox*, Mekenzie Dalton*, Elliot Davis*, Zeah Edmonds, Jen Gray*, Natalie Jaramillo*,

Phi Johnson-Grimes*, Noah Jungferman*,

Alison Orthel*, Lane Randall*,

Holly Stigen*, Andrew Sullivan*,

Robert Warner*,

Joseph Williams* Ticket Agents

Jon Collins Manager, Subscription

Katie Davis Coordinator, VIP Ticketing

Billy Dutton Associate Director, Operations

Danielle Freeman Manager, Customer Service

Claire Hayes, Ella Mann, Rocco Williams Managers, Box O ce

Katie Spanos Associate Director, Subscriber Services

Group Sales

Jessica Bergin Associate Director

Brad Steinmeyer Coordinator

Maddie Young Education & Group Sales Associate

Theatre Services

Evan Gendreau Associate Director

Elliot Shields Manager

Kaylyn Kriaski, Leilani Lynch, Aaron McMullen, Stacy Norwood, Valerie Schaefer Assistant Managers

Nora Caley, Teresa Gould, Robin Lander, Myrisa Martin, Selin Ozcelik, Barbara Pooler, Wendy Quintana House Managers

ACCOUNTING & FINANCE

Jane Williams CFO

Sara Brandenburg Director, Accounting Services

Michaele Davidson Treasury Accountant

Jennifer Je rey Director, Financial Planning & Analysis

Valerie Lingbloom Accountant, General Ledger

Kristina Monge Specialist, Accounts Payable

Jennifer Siemers Director, Accounting

HUMAN RESOURCES

Laura Maresca Vice President

Brian Carter, Lizette Collazos Directors

Paul Johnson Payroll Specialist

Monica Robles Supervisor, Mailroom

Kinsey Scholl Operations Specialist

INFORMATION TECHNOLOGY

Lisa Roebuck Vice President

For security purposes, the IT team has been omitted.

OPERATIONS

Vincent Bridgers Senior Analyst

Adam Busch Junior Analyst

Aaron Chavez Lead

Ruben Cruz Engineer

Simone Gordon Associate Director

Kyle Greufe Analyst

Brandon LeMarr Manager

Sarah Martinez Analyst

Jacob Parker Associate Director

Joseph Reecher Senior Engineer

Chris Robisch Analyst

Cordelia Taylor Coordinator

Alice Welker Administrator

OFF-CENTER

Charlie Miller Executive Director & Curator

THEATRE COMPANY

Administration

Charles Varin Managing Director

Madysen Hunter Business Admin/ Assistant Company Manager

Ann Marshall General Manager

Evangeline Read Production COVID Safety Coordinator

Sabina Rivera Company Manager

Artistic

Chris Coleman Artistic Director

Grady Soapes Artistic Producer & Casting Director

Leean Kim Torske Director, Literary Programs

Production Je Gi ord Director

Julie Brou Administrative Assistant/ O ce Manager

Matthew Campbell Production Manager

Peggy Carey Associate Production Manager

Scenic Design

Lisa Orzolek Director

Kevin Nelson, Nicholas Renaud Assistants

Lighting Design

Charles MacLeod Director

Lily Bradford Assistant

Joseph Price+ Production Electrician

Sound Design

Alexander Billman Supervisor

Meagan Holdeman+ Timothy Schoeberl+, Dimitri Soto+ Technicians

Stage Management

Michael Morales Production Stage Manager

Martinique Barthel, Corin Davidson, Rachel Ducat, Wendy Blackburn Eastland, Anne Jude, Rick Mireles, Nick Nyquist, Malia Stoner, Christine Woods Stage Managers

Nia Pitts, Angie Salazar, Lorna Stephens Stage Management Apprentices

Scene Shop

Eric Moore Technical Director

Albert “Stub” Allison, Robert L. Orzolek, Josh Prues Associate Technical Directors

Jeremy Altho , Tyler D. Clark, Amy Wynn Pastor, Kyle Scoggins Scenic Technicians

Louis Fernandez III Lead Scenic Technician

Brian “Marco” Markiewicz Lead Carpenter

Prop Shop

Meghan Markiewicz Supervisor

Jamie Curl, Georgina Kayes, Ashley Lawler, Nikki Mayer Artisans

Cat V Kerr Associate Props Supervisor

Andrew McGlothen Prop Carpenter

Paint Shop

Jana Mitchell Charge Scenic Artist

Kristin Hamer MacFarlane, Melanie Rentschler Scenic Artists

Costume Shop

Janet Macleod Director/Design Associate

Meghan Anderson Doyle Design Associate

Stephanie Cooper,

Amoreena Knabb, Ingrid Ludeke, Carolyn Plemitscher Draper

Costume Crafts

Kevin Copenhaver Director

Chris Campbell Assistant

Wigs

Diana Ben-Kiki Supervisor

House Crew

Douglas Taylor+ Supervisor

James Berman+, Forest Fowler+, William Loving+, Dave Mazzeno+, Kyle Moore+, Matt Wagner+ Stagehands

Calli Lavarnway+, Kelley “Reznik” Russell+ Assistants

Wardrobe

Heidi Echtenkamp Supervisor

Robin Appleton^, Amber Krimbel^, David La Beaux^, Lauren LaCasse

Lisa Parsons Wagner , Kami Williams Dressers

Marisa Sorce^ Wig Assistants

Rachmaninoff Rhapsody on a Theme of Paganini

Aymée Nuviola and the Colorado Mambo Orchestra

Tchaikovsky’s Nutcracker conducted by Andrew Litton

Stravinsky’s The Rite of Spring with Peter Oundjian