Applause -- MAMMA MIA!, June 25-29, 2025 by The Publishing House

APPLAUSE

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Photographed at the Denver Art Museum.

SIGHTLINE

BY JANICE SINDEN

HHello and welcome to our summer engagements of the Colorado debut of & Juliet, the 25th anniversary tour of MAMMA MIA!, an all-new tour of Some Like it Hot, and the return of Moulin Rouge! The Musical. We’re delighted you’re here and hope you will return for our 2025/26 Broadway season, which kicks oﬀ this fall with Shucked. The full season line-up can be seen on page 24.

With an all-Broadway audience for this issue of Applause, I wanted to take a moment to introduce you to another of our ﬁve theatre divisions — the Denver Center Theatre Company. Performing in three intimate theatres just down the galleria in the Bonﬁls Theatre Complex, the Theatre Company produces a season of eight productions hand-crafted on site.

The upcoming Theatre Company season features our original take on some of the hottest plays on the stage including The Happiest Man on Earth, which originally debuted in 2023.

Broadway fans will want to see the Tony- and Pulitzer Prizewinning pop rock musical Next to Normal and the Pulitzer Prizewinning English, which was just nominated for the 2025 Tony Award for Best Play (winners will be announced June 8).

These recent New York hits will be accompanied by Somewhere by Tony Award-winning playwright Matthew Lopez, Tennessee Williams’ American classic Cat on a Hot Tin Roof, the perennial favorite A Christmas Carol, and our own world premieres — Cowboys and East Indians and Godspeed

If you can’t wait until September to try the Theatre Company, head over to the Garner Galleria Theatre to try some of our Cabaret hits: Forbidden Broadway: Merrily We Stole a Song, Dixie’s Tupperware Party, and Dixie’s Never Wear a Tube Top.

Vladimir Script

We invite you to try something new. You won’t be disappointed!

Warm regards,

Janice Sinden

Janice Sinden, President & CEO

APPLAUSE MAGAZINE

VOLUME XXXV • NUMBER 8 • JUN - AUG 2025

EDITOR: Suzanne Yoe

DESIGN DIRECTOR: Kyle Malone

DESIGNER: Brenda Elliott

CONTRIBUTING DESIGNERS: Paul Koob, Lucas Kreitler

CONTRIBUTING WRITERS: Lisa Bornstein, David Cote, Emma Holst, Gillian Russo

Applause is published eight 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.

Angie Flachman, Publisher For advertising 303.428.9529 or sales@pub-house.com coloradoartspubs.com Applause magazine is funded in part by

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

Ruth Krebs, Vice Chair

David Jacques Farahi, Secretary/Treasurer

Nicole Ament

Brisa Carleton

Jerome Davis

Elizabeth Hioe

Deb Kelly

Kevin Kilstrom

Lynn McDonald

Susan Fox Pinkowitz

Manny Rodriguez

Alan Salazar

Richard M. Sapkin

Martin Semple

William Dean Singleton

Robert Slosky

Tina Walls

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

Moulin Rouge! The Musical pg 8

Some Like it Hot pg 12

MAMMA MIA! pg 18 & Juliet .............................................. pg 22

FOR A COMPLETE LIST OF UPCOMING SHOWS:

LEARN MORE

Dr. Reginald L. Washington

Sylvia Young

HONORARY TRUSTEES

Navin Dimond

Margot Gilbert Frank

Jeannie Fuller

Robert C. Newman

Cleo Parker Robinson

Judi Wolf

HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES

Martin Semple, President

William Dean Singleton, Vice President

Dr. Reginald L. Washington, Secretar y/Treasurer

Nicole Ament

Marco D. Chayet

David Jacques Farahi

Kevin Kilstrom

Ruth Krebs

Susan Fox Pinkowitz

Hassan Salem

Robert Slosky

EXECUTIVE MANAGEMENT

Janice Sinden, President & CEO

Jamie Clements, Vice President, Development

Chris Coleman, Artistic Director, Theatre Company

John Ekeberg, Executive Director, Broadway & Cabaret

Angela Lakin, Vice President, Marketing & Sales

Glen Lucero, Vice President, Venue Operations

Laura Maresca, Chief People & Culture Officer

Charlie Miller, Executive Director & Curator, Off-Center

Lisa Roebuck, Vice President, Information Technology

Charles Varin, Managing Director, Theatre Company & Off-Center

Allison Watrous, Executive Director, Education & Community Engagement

Jane Williams, Chief Financial & Administrative Officer

DESIGNING THE SPECTACULAR WORLD OF Moulin Rouge! The Musical

EEntering Moulin Rouge! The Musical, you encounter a world like no other: sensual, mysterious, decadent. A hypnotic dance loop plays as aristocratic men in top hats circle seductive women in lace and bustiers. You take your seat and gaze at rich, red fabric on the walls, the neon sign, details in lamps on each table. The music feels like it’s coming from 360 degrees. Lights rake over bodies promenading back and forth. It’s hard not to notice the elephant perched beyond the proscenium, and the red windmill on the other side. An exquisite tension hangs in the air, before the show has even begun. Welcome to the club.

You’ve never seen a Broadway show as wildly immersive as the Tony-winning Moulin Rouge! The Musical. The revolutionary design started on Broadway and goes around the country.

“I began by amassing huge amounts of research,” scenic designer Derek McLane explains. “There were many period photos of Montmartre and the Moulin Rouge, of Parisian courtesans’ apartments.” The walls of the theater, McLane adds, are draped in no fewer than nine diﬀerent types of red fabric, each its own hue and pattern. The heart-shaped portals you see upon entering are loosely inspired by Baz Luhrmann’s ﬁlm. “I worked hard to create a structure both densely patterned and lacy so that you see through one set of patterns into another,” McLane says.

Costume designer Catherine Zuber poured the cast into a series of bespoke costumes, mixing Parisian silhouettes

and edgy, contemporary couture. “Since the music is contemporary, the challenge is to introduce a modern interpretation,” Zuber notes. “The choreography is highenergy, requiring costumes that are not restrictive.” She notes that director Alex Timbers “kept us on track by insisting that the design should occur now and in the past simultaneously.”

We combine images and sounds that shouldn’t work together but have a deeper truth, a deeper beauty, when placed next to one another.

— JUSTIN TOWNSEND, LIGHTING DESIGNER

“I had a vision that we’re inside a spinning crystal chandelier,” says lighting designer Justin Townsend. Shifting rapidly from spotlighting actors to bathing them in romantic reds, purples and blues, Townsend tucks tiny

Robert Petkoﬀ and the Company of the 2025 touring production of Moulin Rouge! The Musical

Photo by Matthew Murphy and Evan Zimmerman for MurphyMade

lights around the set to allow the stage and house to sparkle. Every reliable surface holds a lightbulb that can pulse and animate. “My hope is to create the same quality of the movie,” the designer says, “being on a ride with the camera pulled and pushed into and out of the scenes with wonder and joy.”

Peter Hylenski fuses dialogue and a score woven from dozens of song fragments into a seamless sonic whole.

“From the very first bass notes and finger snaps, we should understand the flavor and attitude of the evening ahead,” the sound designer says. “Ultimately, it’s my responsibility to shape and sculpt the inputs from the cast, band, and sound effects to weave a sonic tapestry.”

Hylenski shares his secret weapon: concealed in and around the set are some 200 various-sized speakers. Even in the table lampshades of the front seating area.

As Townsend sums up: “We combine images and sounds that shouldn’t work together but have a deeper truth, a deeper beauty, when placed next to one another.”

The theater community certainly agrees. In 2021, Moulin Rouge! The Musical came away with a staggering ten Tony Awards, including top prizes for scenic design, lighting, costumes, sound, and orchestrations.

David Cote is the author of Moulin Rouge! The Musical: The Story of the Broadway Spectacular (Rizzoli). David is a New York-based theater and TV critic who writes for The A.V. Club, Observer, and 4 Columns. He’s also a playwright and opera librettist, and author of books about the making of Spring Awakening, Jersey Boys, and Wicked Reprinted with permission of Moulin Rouge! The Musical. MOULIN

ASL Interpreted, Audio Described and Open Captioned performance: Aug 9 at 2pm

LIFE MIRRORS ART: TAVIS KORDELL EMBODIES JERRY/DAPHNE IN SOME LIKE IT HOT

IIn 1959, the acclaimed Billy Wilder directed Tony Curtis and Jack Lemmon in the raucous caper of two men who, having witnessed a mob hit, take cover by posing as women in a traveling Jazz Age band. (Curtis came to Denver in 2002, starring in a different musical adaptation of the movie.) Sixty-three years later, an all-star crew collaborated to develop a new approach: Director Casey Nicholaw (The Book of Mormon, Mean Girls, and Aladdin); composer/lyricist team of Marc Shaiman and Scott Wittman (Hairspray), and book writers Tony winner Matthew López (The Inheritance) and Amber Ruffin (“The Amber Ruffin Show,” THE WIZ ). Their fresh approach brought new meaning to the classic tale.

For recent college graduate Tavis Kordell, performing in their ﬁrst national tour brought them an Equity card and the opportunity to express themself fully onstage. Kordell plays Jerry/Daphne, the role originated in ﬁlm by Lemmon, who even then embraced the opportunity to live a female life as Daphne. As a non-binary and Black performer, Kordell found a depth and richness to the role, and one that went beyond historical depictions of drag as comedy.

“My character goes on a journey of self-discovery and self-identity,” Kordell says. “Rather than lying in the trope of men in dresses, we rely on the circumstances to get our comedy from. We do take more of an empathetic path

BY LISA BORNSTEIN

toward what we would consider drag or cross dressing. The original ﬁlm, typically that was all of the humor, but we ﬁnd that my character begins to become comfortable as Daphne. It’s bringing to the forefront non-binary and trans identities and letting people know that this is who I love to be. Rather than sing it as a joke, just pursue it with love and respect.”

It’s also opened up new possibilities for the stories of those who don’t conform to traditional gender roles. “There are some people, they have the mindset of what a gender non-conforming person is, and they tend to write the same stories all the time, about the struggle,” Kordell says. “I believe that we should just write those characters in without having to give them some sort of struggle or trauma to heal from. Roles like Jerry/Daphne have come a long way. To play this role today, to be able to express this story and not have it be trauma-based, it’s so beautiful and cathartic.”

And while Joe and Jerry are non-blood “brothers,” their journeys are very diﬀerent, as one pushes back against the dresses and the other ﬁnds a home in them.

“We get to see the nuances as Daphne begins to up the look,” Kordell says. “As we get through, the costumes begin to get more intricate for Daphne. The makeup ups a little bit, the mannerisms change. For Joe, the costumes

Edward Juvier (Osgood), Tavis Kordell (Daphne) and the First National Touring Company of Some Like It Hot .

Photo by Matthew Murphy.

don’t beneﬁt the character. For Joe/Josephine’s character, their age is also a butt of the joke. That is a way that we have gotten away from the men-in-dresses trope.”

The creators of this adaptation pushed farther, by making Jerry/ Daphne a Black character and having Sugar, famously portrayed by Marilyn Monroe in the movie, and the bandleader Sweet Sue, Black as well.

“Due to its world being versed in jazz music and tap dance, we cannot acknowledge tap dance and jazz music without acknowledging the contributions of African Americans,” Kordell says. “With our show speciﬁcally, they are written African American to where they could not be cast as any other race. Their race is put to the forefront in this show, where I (as Jerry/Daphne) can’t go to some of the same places where my best friend/brother Joe can go. Sugar has not been able to pursue the opportunities she wants to pursue because of the world around her.”

Even without the plot points of segregation in 1930s America, Kordell says that the very casting of Black actors imbues the story with that experience.

“As African Americans, we’re going to deliver the lines a bit differently than someone of a different culture,” they say. “It brings to the forefront the talent that is within the communities and just how suppressed it was. The talent is clear, you can see that in the performer. No matter how talented an individual was, they were suppressed, and they weren’t allowed to pursue the same opportunities as their non-Black, specifically white, counterparts.”

…we ﬁnd that my character begins to become comfortable as Daphne. It’s bringing to the forefront non-binary and trans identities and letting people know that this is who I love to be.

— TAVIS KORDELL PLAYS JERRY/DAPHNE

The company was wondering how the show and its themes of inclusion and diversity would be received. They have been pleasantly surprised so far.

“Right now, just considering the political climate and the attack against queer rights, especially trans rights, we’re wondering about the reception in each city we go to,” Kordell says. “We’re currently in the Midwest: Nebraska, Oklahoma, Iowa. We were nervous, but we have been greeted with so much love and so much acceptance to this message.”

SOME LIKE IT HOT

JUL 8 – 20 • BUELL THEATRE

ASL Interpreted, Audio Described, and Open Captioned performance: July 20 at 2pm

COMING UP FROM BROADWAY SHUCKED

Denver is getting corny. Shucked, the farm-to-fable musical, tells the story of a small-town community desperate to save their failing corn crop. Come for the story and stay for the hilarity and copious corn puns. The Wall Street Journal called Shucked “ﬂat out hilarious!” And no one knows comedy like economists.

Shucked boasts a talented team behind its creation. The book is penned by Robert Horn (Tootsie) while the score is a collaboration between Grammywinning duo Brandy Clark and Shane McAnally. All were nominated in their respective categories at the 2023 Tony Awards, and Shucked itself received a nomination for Best Musical.

When the show opened on Broadway, audiences weren’t sure what to expect. With its vibrant yellow banners, ears of corn, and air of general mystery, no one anticipated Shucked would become the viral sensation of the season. But this corn-fed, corn-bred American musical is sure to satisfy your appetite for great musical theater.

The New York Post raved about the musical’s tuneful country score and superb book, describing it as “just so damn funny that the audience sits in a state of perpetual giggle.” Like Vulture says, “the proof is in the (corn) pudding.”

Don’t miss your chance to see Broadway’s corniest new hit while it’s stalkin’ Denver this fall. Shucked will be at the Buell Theatre October 7 - 19. See for yourself: what the shuck is Shucked ?

Jake Odmark as Beau and Danielle Wade as Maizy in The North American Tour of Shucked

Photo by Matthew Murphy and Evan Zimmerman.

7 Days/6 Nights:

Times Square

4 Theatre Productions (under consideration): SMASH Buena Vista Social Club Maybe Happy Ending

3 Breakfasts & Theatre Talks

3 Dinners: Tony’s Di Napoli, Sardi’s & Bond 45 • 1 Lunch: Café Un Deux Trois

Frick Collection

911 Museum

Carnegie Hall Tour

EXHIBITION FREE WITH MUSEUM ADMISSION

Exhibición gratis con la entrada al Museo

Throw a party to remember at the Denver Center for the Performing Arts, complete with hassle-free event planning plus optional theatre entertainment. Pair your room rental with group tickets to any of the DCPA’s holiday productions for the ultimate show of appreciation for your clients and guests!

Working with our theatrically trained, in-house Event Services team, you can select from the spectacular Seawell Ballroom or intimate Directors Room plus your choice of:

• Eight caterers

• Customized bar package from Sodexo Live!

• Dramatic lighting design and Broadway-caliber sound

OOn Saturday April 6, 1974, in the English coastal town of Brighton, a group known in their native Sweden but unknown to the rest of the world, won the Eurovision Song Contest with a song entitled “Waterloo.”

For Napoleon, Waterloo was big trouble. For this upstart singing group it was the start of something bigger than they could ever have anticipated.

And so begins the improbable saga of ABBA. And why not? The phenomenal success of the decade-long association of Agnetha Faltskog, Benny Andersson, Björn Ulvaeus and Anni-Frid Lyngstad (the initials of their ﬁrst names were to form the name ABBA) is of mythical proportions.

Over the next eight years, they would achieve countless hit singles, platinum albums, sell-out concert tours and even a movie.

And by 1982 it was all over.

Yet despite the fact that ABBA ceased to record or tour, the music refused to die.

MAMMA

M A MA I A — Success Is Spelled ABBA

a reporter. People “were literally out of their seats and singing and dancing in the aisles — and they still are. Every night.”

Phyllida Lloyd, MAMMA MIA! ’s original director, says she was oﬀered the job only after “some wonderful person” (who must be very, very sorry now) dropped out. More than a year of workshops followed.

MIA! is the

musical Benny and

Björn

wrote years ago. They just decided to release the songs ﬁrst.

A life-changing anecdote Lloyd likes to tell is that, if the show is such a hit today, it is thanks to the relative of a company member who sent an unsolicited letter telling her how to ﬁx a problem she had been struggling to identify. This gentleman explained that the show’s ﬁrst two scenes were, in his words, “the wrong way around.”

— PHYLLIA LLOYD, ORIGINAL DIRECTOR OF MAMMA MIA!

It was on March 23, 1999 that MAMMA MIA! — a show constructed from 22 of ABBA’s most memorable songs — was put in front of a paying audience at London’s Prince Edward Theatre. Let’s be clear: musicals are not supposed to be created this way. Usually, someone has a story to tell and someone else creates a series of songs that punctuate that story. Taking a bunch of songs that were previously conceived as singles, and ﬁnding a unifying thread was as heretical as it sounds.

“We really had no idea how it was going to be received,” reﬂected producer Judy Craymer, whose initial concept it had been to use existing ABBA songs to construct an original musical. “The audience went wild,” she told

“I handed the letter to [choreographer] Anthony van Laast,” Lloyd said. “We looked at each other and knew we had to change it. The new opening was immediately right. It makes it clear that this is a domestic, intimate show.”

Ultimately, however, the success of MAMMA MIA! rests in equal measure with all of its creators, whose tenacity and imagination persevered.

To quote Lloyd: “MAMMA MIA! is the musical Benny and Björn wrote years ago. They just decided to release the songs ﬁrst.”

MAMMA MIA!

JUNE 25 – 29 • BUELL THEATRE

ASL, Audio-described & Open Captioned performance: June 28 at 2pm

(L to R) Jalynn Steele (Tanya), Christine Sherrill (Donna Sheridan), and Carly Sakolove (Rosie). Photo by Joan Marcus.

6/19/25 - 8/31/25

9/11/25-11/9/25 11/20/25-1/11/26

1/29/26-4/4/26 4/16/26-6/21/26

7/2/26-9/6/26

JUDY CRAYMER, RICHARD EAST AND BJÖRN ULVAEUS FOR LITTLESTAR IN ASSOCIATION WITH UNIVERSAL

JUDY CRAYMER, RICHARD EAST AND BJÖRN ULVAEUS FOR LITTLESTAR ASSOCIATION WITH UNIVERSAL

PRESENT

MUSIC AND LYRICS BY

BENNY ANDERSSON

BJÖRN ULVAEUS

AND SOME SONGS WITH STIG ANDERSON

BOOK BY CATHERINE JOHNSON

PRODUCTION DESIGNED BY MARK THOMPSON

LIGHTING DESIGNED BY HOWARD HARRISON

SOUND DESIGNED BY ANDREW BRUCE & BOBBY AITKEN

MUSICAL SUPERVISOR, ADDITIONAL MATERIAL & ARRANGEMENTS MARTIN KOCH

MUSICAL SUPERVISOR, ADDITIONAL MATERIAL & ARRANGEMENTS

MARTIN KOCH

CHOREOGRAPHY

ANTHONY VAN LAAST

DIRECTED BY PHYLLIDA LLOYD

DIRECTED BY

PHYLLIDA LLOYD 2

NORTH AMERICAN PRODUCTION TEAM

MUSIC AND LYRICS BY

Director PHYLLIDA LLOYD

Choreographer ANTHONY VAN LAAST

BENNY ANDERSSON BJÖRN ULVAEUS

Production Designer MARK THOMPSON

Lighting Designer HOWARD HARRISON

AND SOME SONGS WITH STIG ANDERSON

Sound Designers ANDREW BRUCE BOBBY AITKEN

Musical Supervisor, Additional Material & Arrangements MARTIN KOCH

BOOK BY CATHERINE JOHNSON

Transcribed by ANDERS NEGLIN

Associate Director MARTHA BANTA

Associate Choreographer JANET ROTHERMEL

PRODUCTION DESIGNED BY MARK THOMPSON

Associate Musical Supervisor DAVID HOLCENBERG

Associate Set Designer NANCY THUN

LIGHTING DESIGNED BY HOWARD HARRISON

Associate Costume Designer LUCY GAIGER

Associate Lighting Designers ED McCARTHY, ANDREW VOLLER

Associate Sound Designer DAVID PATRIDGE

Associate Hair Designer JEFF KNAGGS

SOUND DESIGNED BY ANDREW BRUCE & BOBBY AITKEN

Company Manager MICHAEL SANFILIPPO

Production Stage Manager LARRY SMIGLEWSKI

MUSICAL SUPERVISOR, ADDITIONAL MATERIAL & ARRANGEMENTS MARTIN KOCH

Executive Producer BESPOKE THEATRICALS AMY JACOBS

CHOREOGRAPHY ANTHONY VAN LAAST

General Management WORK LIGHT PRODUCTIONS ANIÈLE FORTIN-PERKELL, MATT KUNKEL

DIRECTED BY PHYLLIDA LLOYD

Production Management PORT CITY TECHNICAL RYAN GEORGE

Casting Director THE TRC COMPANY KEVIN METZGER-TIMSON, CSA

Tour Booking Agency THE BOOKING GROUP MEREDITH BLAIR, KARA GEBHART

Tour Marketing & Press ALLIED GLOBAL MARKETING

Content & Social Media

THINK TANK

Music Coordinator MICHAEL AARONS

CAST

(in order of appearance)

Sophie Sheridan AMY WEAVER

Ali HALEY WRIGHT

Lisa LENA OWENS

Tanya .......................................................................................................................................... JALYNN STEELE

Rosie CARLY SAKOLOVE

Donna Sheridan CHRISTINE SHERRILL

Sky GRANT REYNOLDS

Pepper JUSTIN SUDDERTH

Eddie ETHAN VAN SLYKE

Harry Bright ROB MARNELL

Bill Austin .......................................................................................................................................JIM NEWMAN

Sam Carmichael VICTOR WALLACE

Father Alexandrios BLAKE PRICE

THE ENSEMBLE

ALESSANDRA ANTONELLI, CARO DAYE ATTAYEK, ADIA OLANETHIA BELL, TONY CLEMENTS, EMILY CROFT, MADISON DEADMAN, JORDAN DE LEON, NICO DiPRIMIO, PATRICK DUNN, MAKOA, ERICA MANSFIELD, JASMINE OVERBAUGH, BLAKE PRICE, DORIAN QUINN, XAVI SOTO BURGOS

UNDERSTUDIES

Swings and understudies never substitute for listed performers unless a specific announcement is made at the time of the appearance.

For Sophie Sheridan ALESSANDRA ANTONELLI, MADISON DEADMAN for Ali SARAH AGRUSA, ADIA OLANETHIA BELL for Lisa CARO DAYE ATTAYEK, ADIA OLANETHIA BELL for Tanya ERICA MANSFIELD, JASMINE OVERBAUGH for Rosie EMILY CROFT, JASMINE OVERBAUGH for Donna Sheridan EMILY CROFT, ERICA MANSFIELD for Sky XAVI SOTO BURGOS, ETHAN VAN SLYKE for Pepper JORDAN DE LEON, MAKOA for Eddie—NICO DiPRIMIO, MAKOA for Harry Bright TONY CLEMENTS , PATRICK DUNN, BLAKE PRICE for Bill Austin TONY CLEMENTS , PATRICK DUNN, BLAKE PRICE, DORIAN QUINN for Sam Carmichael TONY CLEMENTS, BLAKE PRICE, DORIAN QUINN for Father Alexandrios TONY CLEMENTS , PATRICK DUNN, DANNY LOPEZ-ALICEA

SWINGS

SARAH AGRUSA, DEAN CESTARI, ANDY GARCIA, DANNY LOPEZ-ALICEA, FAITH NORTHCUTT, GRAY PHILLIPS, LAUREN SOTO, GEORGE VICKERS V

DANCE CAPTAIN

DANNY LOPEZ-ALICEA

ASSISTANT DANCE CAPTAIN

GRAY PHILLIPS

THE BAND

Conductor/Keyboard—MATTHEW CROFT

Associate Conductor/Keyboard—DANIEL KLINTWORTH Guitars—NICK GREATHOUSE, BENJAMIN SAMUELSON; Bass—NOGA SHEFI; Drums—KEVIN McNAUGHTON; Keyboard Programmer—ETHAN DEPPE; Music Coordinator—MICHAEL AARONS

AMY WEAVER

ETHAN VAN SLYKE

TONY CLEMENTS

EMILY CROFT

MADISON DEADMAN

ANDY GARCIA

JUSTIN SUDDERTH

HALEY WRIGHT

LENA OWENS

CHRISTINE SHERRILL

GRANT REYNOLDS

JIM NEWMAN

SARAH AGRUSA

DANNY LOPEZ-ALICEA MAKOA

JALYNN STEELE

VICTOR WALLACE

JASMINE OVERBAUGH GRAY PHILLIPS

CARLY SAKOLOVE

BLAKE PRICE

DORIAN QUINN

ALESSANDRA ANTONELLI

LAUREN SOTO

XAVI SOTO BURGOS

ADIA OLANETHIA BELL

PATRICK DUNN

ERICA MANSFIELD

FAITH NORTHCUTT

NICO DiPRIMIO

JORDAN DE LEON

ROB MARNELL

CARO DAYE ATTAYEK

DEAN CESTARI

GEORGE VICKERS V

SCENES & MUSICAL NUMBERS

in alphabetical order

“CHIQUITITA”

“DANCING QUEEN”

“DOES YOUR MOTHER KNOW”

“GIMME! GIMME! GIMME!”

“HONEY, HONEY”

“I DO, I DO, I DO, I DO, I DO”

“I HAVE A DREAM”

“KNOWING ME, KNOWING YOU”

“LAY ALL YOUR LOVE ON ME”

“MAMMA MIA”

“MONEY, MONEY, MONEY”

“ONE OF US”

“OUR LAST SUMMER ”

“SLIPPING THROUGH MY FINGERS”

“S.O.S.”

“SUPER TROUPER”

“TAKE A CHANCE ON ME”

“THANK YOU FOR THE MUSIC”

“THE NAME OF THE GAME”

“THE WINNER TAKES IT ALL”

“UNDER ATTACK”

“VOULEZ-VOUS”

On a Greek Island, a wedding is about to take place...

PROLOGUE

Three months before the wedding

ACT ONE

The day before the wedding

ACT TWO

The day of the wedding

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, pagers and watches.

CHRISTINE SHERRILL (Donna Sheridan) last enjoyed the role of Donna during her residency with the Las Vegas company of Mamma Mia! Other national credits include Kiss Me, Kate (Kate); Next to Normal (Diana); Guys and Dolls (Adelaide); Sunset Boulevard (Norma Desmond), which earned her the Joseph Jefferson Award. TV/film/ video: “FBI: Most Wanted,” “Prophet,” “Red Dead Redemption,” Landline @christinesherrill. “Love to my boys.”

AMY WEAVER (Sophie Sheridan). Favorite credits: Jersey Boys national tour (Francine), Hong Kong Disneyland (Merida). WKU alum. “Special thanks to Kevin-Metzger Timson and Tara Rubin Casting, Bloc, my incredible family and God!” Believes in mermaids and magic! @dreamweaver90210.

CARLY SAKOLOVE (Rosie) played Rosie in Mamma Mia! ’s 2013/14 national tour and on Royal Caribbean! Off-Broadway: The Book of Merman (Ethel), NEWSical the Musical, The Marvelous Wonderettes (Betty Jean). TV: “The Watcher”(Netflix). Film: Joanna Gleason’s The Grotto Singing impressionist headliner on Celebrity Cruises. Boston Conservatory graduate. Instagram: @carlysakolove. “For my family!”

JALYNN STEELE (Tanya) is thrilled to tour with Mamma Mia! Broadway: The Lightning Thief (Sally and others). Off-Broadway: Sistas (Dr. Simone). National/International tours: Fosse (Star). Regional theater: Rock of Ages (Justice), Joseph… (Pharaoh) and Mary Poppins (Mrs. Corry). Television: “Titanique The Musical: Livestream” (Ensemble) and “Sesame Street.” “Love to my family and friends.” @Jalynn_The_Entertainer.

ROB MARNELL (Harry Bright). Broadway: Tina: The Tina Turner Musical (OBC), Beautiful (Gerry Goffin u/s), Gettin’ the Band Back Together (Joe Perry). Other: Jersey Boys (Bob Gaudio in Las Vegas, Joe Long in Clint Eastwood film), Rock of Ages (Stacee Jaxx). B.F.A. Elon University. Original comedy and music: robmarnell.com. “Endless love to Laurel and our baby boy. For Elliot.” @ robmarnell.

JIM NEWMAN (Bill Austin). Broadway: Hands on a Hardbody, Curtains, Minnelli on Minnelli, Steel Pier, Sunset Boulevard, Tommy. First national tours: Kiss Me, Kate; Big; Joseph...Dreamcoat. Film/ television: “Succession,” “And Just Like That,” “The Equalizer,” “FBI: Most Wanted,” “Daddyhunt,” “After Forever,” Love Is Strange, Hiding in Daylight VICTOR WALLACE (Sam Carmichael ). B’way: Sam Carmichael in Mamma Mia! final cast. Off-B’way: Far From Heaven at Playwrights Horizons (cast recording). Tours: The Phantom of the Opera

WHO’S WHO

(Buquet, Phantom u/s), Les Misérables (Enjolras). Las Vegas: Mamma Mia! (Sky) at Mandalay Bay Casino. Regional: Fun Home (Bruce Bechdel) at Coachella Valley Rep, Dragone’s Carmen (Escamillo) at La Jolla Playhouse.

GRANT REYNOLDS (Sky) is blessed to be making his national tour debut with this beautiful company! Credits: Billy Porter’s directorial debut, Anything’s Possible on Amazon Prime, Sweeney Todd and The Color Purple (Muny). He is thankful to God, his fantastic family and his amazing team. Carnegie Mellon MT ’21. “For Grandma and Grandpa.” @grantreynoldss.

JUSTIN SUDDERTH (Pepper, Ensemble). National tour debut! Recent: The Color Purple, Jimmy Buffet’s Escape to Margaritaville, Evita. Thank you to DGRW, friends and family for their continued guidance and support. Probably thrifting. “Love you momma!” 757 @justinaaronsudderth.

ETHAN VAN SLYKE (Eddie, Ensemble, u/s Sky). Regional: Goodspeed (South Pacific), The Muny (West Side Story), Arena Stage (Newsies). Gratitude to HCKR, Tara Rubin Casting, his teachers and his family/friends. Go blue! (’24). @ethan.vanslyke.

LENA OWENS (Lisa, Ensemble) is thrilled to be making her national tour debut with this company! She’s performed at the Muny and Kennedy Center, and was last seen as Peggy Sawyer in 42nd Street (MTW). S/o mom and dad!

HALEY WRIGHT (Ali, Ensemble). Prior to this tour, Haley had been to only a handful of U.S. states, so getting to travel and do what she loves is just an absolute treat. Love and thanks to all her people! @haleyleft.

SARAH AGRUSA (Swing, u/s Ali ) is thrilled to be making her professional debut in Mamma Mia! She is a proud graduate of CAP 21/Molloy University and would like to thank her family/ friends for their love and support! Instagram: @sarah_agrusa.

ALESSANDRA ANTONELLI (Ensemble, u/s Sophie). Broadway national tour debut! Off-B’way: Waiting in the Wings. Regional: Sister Act, The Addams Family. Voice work includes Netflix and commercials. B.F.A. NYU! Gratitude to TRC, LDC, her family and the stellar MM team! For her Mamma. @alessandra__antonelli.

CARO DAYE ATTAYEK (Ensemble, u/s Lisa). Nat’l tours: Disney’s Aladdin, Hairspray. Select regional: Signature Theatre, The REV, Arts Center, New London Barn. Elon B.F.A. MT ’19. “Love to my parents, grandparents, family, friends, Pete, Tara Rubin Casting and Hybrid!” @caro_daye.

ADIA OLANETHIA BELL (Ensemble, u/s Ali, u/s Lisa). National tour debut! Regional faves: The Wizard of Oz (Dorothy, Capital Rep), The Comedy of Errors (u/s Luciana, Chicago Shakes). B.F.A.: The University of Arizona. Rep: Gray Talent Group. “I love you Mom!” IG: @adia_bell.

DEAN CESTARI (Swing) is stoked to join the MM! family. Recent: The Great Comet (Anatole; Shanghai), The Sound of Music (Paper Mill), Kinky Boots (NSMT). TV: “AHS.” “Thanks to the creative team, Tara Rubin Casting, HKA and my family.” @deancestari.

TONY CLEMENTS (Ensemble, u/s Sam, u/s Bill, u/s Harry, u/s Father Alexandrios). Broadway: Mamma Mia! Regional: Milwaukee Rep, Utah Shakespeare, Skylight Opera. Assistant Producer and Stage Director for “Disney on Classic,” an annual symphony concert tour of Japan. More at www.tonyclements.com and @tonebobb on Instagram.

EMILY CROFT (Ensemble, u/s Donna, u/s Rosie). National tour: Rock of Ages 10th anniversary. TV/film: “Law & Order: Organized Crime.” Other: Disney World, Disney Cruise Line. B.F.A. SUNY Buffalo. Thanks to ATB, Martha and Janet. “Love to my family and Josh.” @emlurrr.

MADISON DEADMAN (Ensemble, u/s Sophie). B.F.A. graduate of CCM, performed in regional productions of Cabaret, Les Misérables and Rock of Ages, and appears in TV and film. Stay tuned @mjdeadman and madisondeadman.com. Much love to Connor, her parents and TTH agents.

JORDAN DE LEON (Ensemble, u/s Pepper). National tour: The Prom. Select regional: The Muny, PCLO, Seattle Rep, Fulton Theatre, DCPA, Pasadena Playhouse, The 5th Avenue Theatre. CCM. Rep: The Price Group. “For my family.” IG: jordan_deleon_.

NICO DiPRIMIO (Ensemble, u/s Eddie). Tours: Charlie and the Chocolate Factory, Jimmy Buffet’s Escape to Margaritaville, Elf, Charlie Brown Christmas Live. Regional: Mamma Mia!, The Little Mermaid, Guys and Dolls. Love to his whole family! Thanks to Tara Rubin Casting, UIA! @nicoo_d.

PATRICK DUNN (Ensemble, u/s Bill, u/s Harry,u/s Father Alexandrios). Recently seen leading the national tour of Les Misérables as Valjean. Other credits include The Phantom of the Opera (Phantom u/s), Waitress (Pie Eater), Candide (@Lincoln Center), A Christmas Carol (@MSG)—TCB. @thepattydwagon. patrickhdunn.com. 0 Tonys.

ANDY GARCIA (Swing) is ecstatic to put on his dancing flippers! Tour: Elf (’17–’18). Regional: Mamma Mia!, Escape to Margaritaville, Holiday Inn. Boston Conservatory graduate. “Love and gratitude to my family, friends, Daniel Hoff Agency and Nick!” @andygarsha16.

DANNY LOPEZ-ALICEA (Swing, u/s Father Alexandrios, Dance Captain) is thrilled to be back on the road with Mamma Mia! National tours: Mamma Mia!, Something Rotten! Cruises: Kinky Boots (NCL), Priscilla… (NCL). Regional: In the Heights (Engeman), The Producers (ACCC), La Cage… (ACCC), WSS (Palace Theatre). @dannylopezalicea.

MAKOA (Ensemble,u/sPepper,u/sEddie) is gracious to be making their national tour debut with Mamma Mia! A Native Hawaiian of Hilo, Hawaii. Kamehameha Schools (’17), Performing Arts Project (’18), NYU Tisch (’22). Mahalo Ke Akua! @makoanyc.

ERICA MANSFIELD (Ensemble, u/s Donna, u/s Tanya) is thrilled to join the Island where she made her Broadway Debut! Other Broadway: Almost Famous, Doubtfire, Kiss Me Kate, Bandstand, Neverland, Twentieth Century, On the Town, Pippin, Evita, How to Succeed…Thanks team Mamma Mia, DGRW and fam!

FAITH NORTHCUTT (Swing). She/her. Faith is so pumped to be joining Mamma Mia! Tours: Hairspray. Sending love and thanks to the whole Mamma Mia! team and to friends and family. Proud FSU graduate. IG: @faithnorcutt, faithnorcutt.com

JASMINE OVERBAUGH (Ensemble, u/s Tanya, u/s Rosie) is aware of the power of live theater and grateful to provide such a gift. Point Park ’17. Notable credit: Rent 20th Anniversary! Overwhelming gratitude to Don and Eieshia. Support single moms by donating to momsformomsnyc.org (@jasminemoverbaugh).

GRAY PHILLIPS (Swing, Assistant Dance Captain). Touring: Tina, Legally Blonde. Regional: North Shore Music Theatre, Gateway, Engeman, Theatre By The Sea. Pace MT. “For my beautiful family! Thank you to Janet, Martha, Tara Rubin and the whole island fam!” @grelph_.

BLAKE PRICE (Father Alexandrios, Ensemble, u/s Sam, u/s Harry, u/s Bill ). National tour: Monty in A Gentleman’s Guide to Love & Murder. TV/film: “FBI: Most Wanted,” “Awkwafina Is Nora from Queens.” “Thank you to The Price Group, my family and my stunning wife, Kat!”

DORIAN QUINN (Ensemble, u/s Bill, u/s Sam). As an Oklahoma native and UCO alumni, Dorian is thrilled to be making his tour debut! Credits: Jersey Boys, Xanadu Love and thanks to Dorian’s family and

friends. Glory to God! @dairyquinn22, @dq_drawingss. DorianQuinn.org.

LAUREN SOTO (Swing). Tours: Jesus Christ Superstar, Charlie and the Chocolate Factory, West Side Story. Pace University B.F.A. commercial dance. Many thanks to the Mamma Mia! team, Tara Rubin Casting and MTA. “For my Grandma.” @laurenmariesoto.

XAVI SOTO BURGOS (Ensemble, u/s Sky) is an actor/writer/producer born and raised in the Bronx. Previous credits: Disney Cruise Line, Flat Rock Playhouse. Thanks to the fam and friends for all the support! xavisotoburgos.com. IG:@xavi.s.b.

GEORGE VICKERS V (Swing) is pumped to be back on tour, this time in Greece! Recently George was seen in Hell’s Kitchen on Broadway. Tours: Hairspray, Jagged Little Pill, A Bronx Tale. Gratitude to family, chosen family and Brian over at HKA. @gvickers5.

JUDY CRAYMER (Creator/Producer) originated the idea of Mamma Mia! and, in 1996, founded Littlestar Services Limited with Benny Andersson, Björn Ulvaeus and Richard East to produce the stage musical in London. She has since produced 50 productions of Mamma Mia! in 16 languages around the world. In recognition of her international success, Judy was presented with a Woman of the Year Award in 2002 and awarded with a CBE on the Queen’s Birthday honours list in 2020 for her services to theater and charity. In 2008, Judy produced Mamma Mia! The Movie starring Meryl Streep and Pierce Brosnan, which garnered Golden Globe and Bafta nominations. After grossing over $600 million worldwide, Judy produced an all-new movie musical based on the songs of ABBA for Universal Pictures, Mamma Mia! Here We Go Again. Judy is co-executive producer of the new TV entertainment show “Mamma Mia! I Have A Dream,” produced by Thames and Littlestar.

RICHARD EAST (Producer) is an originating producer of Mamma Mia!, having been involved since its inception. A Tony nominee, he has worked in the entertainment business for 35 years in Australia, London and the U.S.

BJÖRN ULVAEUS (Music & Lyrics) was born on April 25, 1945 in Gothenburg. In the mid-’50s, Björn fell in love with rock ’n’ roll and skiffle. By the early ’60s, he was a member of a folk group called the West Bay Singers. 1966: Björn met with Benny Andersson, a member of Sweden’s number-one pop group, The Hep Stars. 1970” Björn and Benny started releasing records as a duo. 1972–82: ABBA. 1982: Björn and Benny started writing the musical Chess with Tim Rice. 1986: Chess opened in

London’s West End and, in 1988, Chess had its Broadway premiere. 1990: Björn and Benny started to write a new musical. Kristina from Duvemåla opened 1995. Björn writes most of the lyrics for the Benny Andersson Orchestra, and has involved himself in the stagings of Mamma Mia! 2008: Mamma Mia! The Movie was released. 2016: Mamma Mia! The Party opened in Stockholm, with Björn as one of the producers. 2018: Mamma Mia! Here We Go Again was released. 2021: ABBA announced the release of the first album in 40 years, Voyage, as well as a virtual stage show “Voyage,” which opened in a new custom-built arena in London in 2022. Björn is president of CISAC, an umbrella organisation for all royalty collecting societies for songwriters in the world.

BENNY ANDERSSON (Composer) was born on December 16, 1946 in Stockholm. 1952: He received accordion lessons from his father and grandfather. 1964–68: Benny was a member of the Hep Stars, Sweden’s most popular rock band in the ’60s. During this time, he began composing music. “Sunny Girl” and “Wedding” were huge hits for the Hep Stars. 1972–82: ABBA. 1982–84: Benny composed the music (together with Björn Ulvaeus and Tim Rice) for the musical Chess. 1987: He began collaborating with Orsa Spelmän rooted in Swedish folk music. 1990–95: Working with Björn, Benny composed the music to Kristina från Duvemåla, which premiered in October 1995. 1995: Benny received the title of professor from the Swedish government. 2001: His collaboration with Orsa Spelmän led to the formation of Benny Andersson’s Orchestra, a 16-man constellation with vocalists Helen Sjöholm and Tommy Körberg. This has resulted in seven albums and several summer tours. 2007: Benny was inducted in to the Royal Swedish Academy of Music. 2008: He was appointed Honorary Doctor of the College of Humanities at Stockholm University, and at LuleåUniversity of Technology in 2012.

CATHERINE JOHNSON (Book). Theater includes Rag Doll, Too Much Too Young, Suspension (Bristol Old Vic); Boys Mean Business, Dead Sheep, Shang-A-Lang, Little Baby Nothing (Bush Theatre); Mamma Mia! (worldwide). TV includes “Casualty,” “Love Hurts,” “Byker Grove,” Gold” and original series “Love in the 21st Century.” Film: Catherine wrote the screenplay for Mamma Mia! The Movie, released July 2008. Awards include Bristol Old Vic/HTV Playwriting Award, Thames TV Writer-In-Residence Award, Thames TV Best Play Award, U.K. Film Council Best Script Award for Mamma Mia! Catherine is patron of Jackie Chan’s Dragon Heart Europe charity.

PHYLLIDA LLOYD (Director). Grenfell: In the Words of the Survivors (National Theatre), Donmar all-female Shakespeare trilogy (London and St. Ann’s Warehouse), The Taming of the Shrew (The Public Theater at the Delacorte), Mary Stuart (Donmar Warehouse, Apollo and Broadway; Tony nomination), Josephine and I (Bush Theatre/Joe’s Pub). Mamma Mia! (London, Broadway, worldwide), Tina: The Musical (London, Broadway, worldwide), The Ancient Mariner (BAM). Film: Mamma Mia! (Universal), The Iron Lady (Pathe/DJ Films), Gloriana A Film (Illuminations, International Emmy), Herself (Element Pictures). Opera in London, Paris, Copenhagen, Tokyo, Barcelona, Toronto.

ANTHONY VAN LAAST (Choreographer) is a multi-award winning choreographer of international acclaim. In 1999, he was awarded the MBE and in 2018 the CBE, both for services to dance and choreography. In 2019, he became an Honorary Doctor of the Arts. His work for theater includes Tina: The Tina Turner Musical, Mamma Mia!, Sister Act, Bombay Dreams, Andrew Lloyd Webber’s Song & Dance and Joseph and the Amazing Technicolour Dreamcoat His productions have been nominated for numerous awards, including Helpman, Tony and Oliver awards. His film credits as a choreographer include Mamma Mia!, Mamma Mia! Here We Go Again, Beauty and the Beast, Harry Potter and the Deathly Hallows, Never Say Never Again and What’s Love Got to Do With It.

MARK THOMPSON (Production Designer ). Awards/nominations: two Critics Circle Awards, five Olivier Awards and seven Tony Award nominations. Theater in NYC: Charlie and the Chocolate Factory; The Taming of the Shrew; Mamma Mia!; Tina: The Musical (London, Broadway, worldwide), A Raisin in the Sun (set only); Joseph and the Amazing Technicolor Dreamcoat; God of Carnage; Life (x) 3; Bombay Dreams; Art; Follies (set only); La Bête; One Man, Two Guvnors; The Blue Room; Arcadia. Opera at The Met: The Queen of Spades, Macbeth. Other work in the U.K. includes multiple productions for the National Theatre and the Royal Shakespeare Company.

HOWARD HARRISO N (Lighting Designer) has been nominated for six Best Lighting Designer Olivier Awards and won for City of Angels (Donmar Warehouse) and Macbeth (Gielgud Theatre, Lyceum Theatre, Broadway). His recent theater credits include Das Falco Musical (VBW Vienna) and As You Like It (@sohoplace). His West End productions include Mamma Mia! (global), Blithe Spirit (Harold Pinter Theatre), The Wind in the Willows (Palladium), Mary

Poppins (Prince Edward Theatre/New Amsterdam Theatre NY), Rosencrantz and Guildenstern Are Dead (Old Vic), The Importance of Being Earnest (Vaudeville Theatre), Guys and Dolls (Piccadilly Theatre), Cat on a Hot Tin Roof (Lyric Theatre). Dance includes The Phantom of the Opera (Shanghai Ballet), Matthew Bourne’s Nutcracker! and Edward Scissorhands (Sadlers Wells, U.K. and U.S. tours). Operas include The Barber of Seville (Lyric, Chicago), Nabucco (Metropolitan, NY).

ANDREW BRUCE (Sound Designer) began his theater career at Glyndebourne Festival Opera in 1968 and was appointed head of sound at the Royal Opera House in 1971. A year later, he co-founded Autograph Sound, a leading British sound design and rental company that celebrated its 50th year in 2022. He was appointed Associate Sound Designer for Evita, Cats and Starlight Express and Sound Consultant on the original Paris version of Les Misérables in 1981. He subsequently designed the sound for the 1985 London production and all its reproductions. Original West End productions include Song and Dance, Chess, Follies, Into the Woods, Children of Eden, City of Angels, Martin Guerre, The Fix, Witches of Eastwick, Mamma Mia!, Miss Saigon, The Secret Garden, Chitty Chitty Bang Bang, Mary Poppins

BOBBY AITKEN (Sound Designer). Recent productions include Tammy Faye (Almeida) and Standing at the Sky’s Edge (Crucible Theatre and The National). Bobby’s West End and Broadway productions include Grease (Piccadilly Theatre), Mamma Mia! (worldwide), Desperately Seeking Susan (Novello Theatre), Dirty Dancing (worldwide), We Will Rock You (worldwide), Lennon (Broadway), Cyberjam (Queen’s Theatre), Blast! (London, U.S.), Return to the Forbidden Planet (Cambridge Theatre, London, U.S., Japan and Australia), Five Guys Named Moe (Albery Theatre and tours), Which Witch?, Metropolis (Piccadilly Theatre). Opera credits include Carmen, Madame Butterfly, Aida, Cav and Pag, Tosca and La Bohème (Royal Albert Hall). Bobby’s design for the Australian production of We Will Rock You won him the 2005 Helpman Award for Best Sound Design. He worked on the opening ceremony of the 2012 Olympics.

MARTIN KOCH (Musical Supervision and Orchestrations). London: Chicago, Pirates Of Penzance, The Boy Friend, Blondel, Follies. International: Les Misérables, Miss Saigon, Oliver!, Mamma Mia!, Billy Elliot. Orchestrations: Just So, Moby Dick, Which Witch, Tutankhamen, Mamma Mia!, Jerry Springer The Opera, Billy Elliot, Bad Girls, Kombat Opera, Shoes and Viva Forever. Also

for Shirley Bassey, Charles Aznavour, Jennifer Rush, Micheal Ball, Sir Elton John, Anastasia, Denise Van Outen, Jamelia, John Barrowman, Emeli Sande, Lesley Garrett, Venessa Mae, Will Young, Beverly Knight, Birdy and John Newman. Film: Mamma Mia! Here We Go Again. Television: “The Olivier Awards,” “The Royal Variety Show,” “BAFTAs,” “Sports Personality of the Year,” “Kombat Opera Music Live,” “The Sound of Music Live.” Music supervisor: Cameron Mackintosh Ltd, Eurovision Song Contest, Commonwealth Games Handover, London Olympic and Paralympic Ceremonies. Grammy and Tony nomination (Mamma Mia! ), Tony and Drama Desk winner (Billy Elliot).

MARTHA BANTA (Associate Director). Associate Director Mamma Mia! Broadway, national tour, Las Vegas. Original Associate Director of Rent Broadway, tour, London. Director Rock of Ages 10th anniversary tour. NYC: Public Theater, Rattlestick, New York Theatre Workshop, Cherry Lane, Lincoln Center. Regional: Portland Center Stage, Cincinnati Playhouse, Pittsburgh Public, PCLO, Ordway, St. Louis Rep, Capital Rep., Berkshire Theatre. Adirondack Theatre Festival’s founding Artistic Director of several premieres.

JANET ROTHERMEL ( Associate Choreographer). Broadway: Mamma Mia!, Sister Act, Side Show, Joseph… Dreamcoat. TV: “Dancing With the Stars,” Tony Awards, Miss USA/ Universe. Film: Beauty and the Beast (2017), Mamma Mia! (2008).

DAVID HOLCENBERG (Associate Music Supervisor) was the original music director of Mamma Mia! and is thrilled to be back on the island! Other recent Broadway: MJ (Tony and Grammy nominations, Drama Desk Award), Groundhog Day, Matilda, Rocky and Ghost. Other credits include the world premiere of Newsies, the U.S. premiere of Ragtime, The Radio City Summer Spectacular starring the Rockettes and Mamma Mia! at the Hollywood Bowl

NANCY THUN ( Associate Scenic Designer) has designed sets and costumes for theater, television, opera and ice shows but primarily she has served as Associate Set Designer for Broadway plays and musicals such as Jersey Boys and preparing them for audiences all over the world!

LUCY GAIGER (Associate Costume Designer). Theater: Jack Absolute Flies Again (RNT), Associate Costume Designer on The Ferryman (Royal Court, West End and Broadway), The Light in the Piazza (West End and Chicago), Lungs (Old Vic), A Christmas Carol (Old Vic), Venus in Fur (Haymarket) and Young Marx (Bridge Theatre). Associate Costume Designer on Mamma Mia! worldwide, including Royal Caribbean

International production. Other work: Productions for RSC, Almeida and Donmar Warehouse. Musicals: Bombay Dreams, The Phantom of the Opera, Nine, Moby Dick, Into the Woods, Carmen Jones and The Wizard of Oz. Lucy has supervised many plays and designed costumes for Sarah Brightman’s world tours. Recent film: Matilda (Netflix) and Wicked (Universal).

ED McCARTHY (Associate Lighting Designer). Over 80 Broadway, OffB’way and regional shows. Associate Lighting Designer for all companies of Mamma Mia! in the Western Hemisphere since 2000. Television: 23 Tony Awards (seven Emmy nominations), “Live from Lincoln Center,” Grammys, “Prairie Home Companion” and more. Graduate of, and teacher at, NYU Tisch School of the Arts.

ANDREW VOLLER (Associate Lighting Designer). Theater: Lighting designs for Riverdance 25th Anniversary Tour (U.K. and U.S.); Hello, Dolly! (Netherlands tour); I Am from Austria; Evita; Messiah Rocks; Rebecca; Romeo and Julia; Hair (Vienna); Shrek The Musical (German and international tour); Hans Klok’s The Beauty of Magic (Las Vegas). Associate Lighting Designer and Programmer for Mamma Mia! (London, New York, Australia, Toronto, U.S. tours, Japan, Las Vegas, South Korea, South Africa and the international tour). Programming credits: Rio 2016 Olympic opening and closing ceremonies, Sochi 2014 Paralympic open and closing ceremonies, London 2012 Olympic and Paralympic opening and closing ceremonies, Eurovision Song Contest (2001, 2009 and 2010), Bombay Dreams (London and Broadway) and The Blue Room (Donmar Warehouse and Broadway).

DAVID PATRIDGE (Associate Sound Designer) has been involved with Mamma Mia! since 1999 and has participated in creating 12 different productions of the show. He has worked in theater for 42 years and considers his time working on Mamma Mia! some of the most memorable! Currently David can be found working at Harry Potter and the Cursed Child on Broadway.

JEFF KNAGGS (Associate Hair and Makeup Designer). Regional: Engeman Theater: Beautiful, Beauty and the Beast, Jersey Boys, Waitress, Clue, Heartbreak Hotel. Norwegian Cruise Lines: Kinky Boots, Footloose, Six, After Midnight Royal Caribbean: The Wizard of Oz, Hairspray. Pittsburgh CLO: 2017–2025 seasons. TUTS: Memphis, Dreamgirls, Into the Woods, Sweet Potato Queens, Bonnie & Clyde, A Christmas Story Tuacahn: Beauty and the Beast, Joseph…, A Christmas Carol, Little Mermaid, Newsies. Other regional: Dancing with the Stars, America’s Got Talent, Into the Woods at The Hollywood Bowl.

THE TRC COMPANY (Casting). Led by partners Claire Burke, Kevin MetzgerTimson, Xavier Rubiano and Peter Van Dam. Broadway: Dead Outlaw, Boop! The Musical, Stephen Sondheim’s Old Friends, Buena Vista Social Club, Death Becomes Her, Left on Tenth, The Outsiders, Six, Aladdin. National Tours: The Phantom of the Opera, Water for Elephants, Beauty and the Beast, The Wiz, Back to the Future, Les Misérables The TRC Company is proud to continue the casting legacy of Tara Rubin Casting and Johnson-Liff Casting.

MATTHEW CROFT (Music Director/ Keys 1 ). Broadway: The Illusionists: Turn of the Century (MD/Keys 2). Touring: Jesus Christ Superstar (AMD/Keys 2, Assoc. Music Supervisor); Beetlejuice, Something Rotten!, Motown: The Musical, The Producers, Guys & Dolls “Thanks to our amazing cast, creative team, crew and our incredible orchestra. All my love to my partner, Aubrey— F&A.” matthewcroftmusic.com.

MICHAEL AARONS (Music Contractor). Broadway: Harmony, How to Dance in Ohio, & Juliet, Moulin Rouge!, Hamilton, Aladdin, Little Shop of Horrors Upcoming Broadway: Boop!, The Wiz, Heart of Rock & Roll. Current tours: Hamilton, Aladdin, Frozen, Company, Mamma Mia!, Moulin Rouge!, Jagged Little Pill. Aarons founded M² Music with Michael Keller. m2music.nyc.

LARRY SMIGLEWSKI (Production Stage Manager). Broadway: Kiss Me, Kate National tours: Tina: The Tina Turner Musical, Ain’t Too Proud, School of Rock, White Christmas. Off- Broadway: Cagney, Sex Tips…, All Is Calm. Regional: The Muny, Theatre Under the Stars, Dallas Summer Musicals, Baltimore Center Stage, etc. For Nettie and Smigs. @LarrySmigs.

ANDREW VOLZER (Stage Manager). National tours: Ain’t Too Proud: The Life and Times of the Temptations. Other credits: iTheatrics, Junior Theater festivals. B.F.A. graduate of CCM. “Thanks to my family and friends for all of their love and support!”

JESS CASANOVA (Assistant Stage Manager) is thrilled to be working on Mamma Mia! and her first national tour! Regional credits include Stages Houston, American Shakespeare Center, Rec Room Arts, Theatre Under the Stars. Jessica holds a B.F.A. in stage management from The University of Houston. Go Coogs! @jess_nova13.

MICHAEL SANFILIPPO (Company Manager). Broadway and national tours include Into the Woods, Jagged Little Pill, A Christmas Carol, Ain’t Too Proud (pre-B’way), Summer, Something Rotten, Motown, Dreamgirls, The Color Purple, The Lion King (L.A.), Aida (Broadway), Beauty and the Beast (L.A.), The Phantom of the Opera (L.A.

and S.F.), Five Guys Named Moe (B’way) and Les Misérables (L.A. and S.F.).

BESPOKE THEATRICALS (U.S. Executive Producer). Partners Amy Jacobs and Devin Keudell executive produce and general manage Broadway musicals, plays and tours and served as the general managers for all U.S. AEA productions of Mamma Mia! from 2000–2015. Other current productions include MJ The Musical, A Beautiful Noise—The Neil Diamond Musical, The Who’s Tommy, Tina—The Tina Turner Musical, Back to the Future the Musical and Harry Potter and the Cursed Child Bespoke Theatricals has provided consulting services to a variety of international productions, including Mamma Mia! on the Royal Caribbean as well as in Mexico, Brazil and Argentina and After Midnight and Beetlejuice on NCL Cruises. General managers in the firm include David Roth, Danielle Saks and Kate Egan.

WORK LIGHT PRODUCTIONS (General Management). Formed in 2005, WLP has since grown into a full-service producing, investment, general management and technical supervision company. Current and past productions: Olivier Award-winning production of Jesus Christ Superstar (North America, U..K tour), Ain’t Too Proud (Broadway, North America, West End), Clue (North America), Cluedo (U.K.) and the North American tours of Mrs. Doubtfire, Mamma Mia!, Company, Rent, An Officer and a Gentleman, Motown, Something Rotten!, Bandstand, R&H’s Cinderella, White Christmas, American Idiot, In the Heights and Avenue Q Produced Julie Andrews, The Gift of Music. WLP is led by founding partners Stephen Gabriel and Nancy Gabriel. worklightproductions.com.

PORT CITY TECHNICAL (Production Management) is 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, In the Heights and Avenue Q. Since the conception of PCT, tours with WLP have included Rent, An Officer And A Gentleman, Motown, R&H’s Cinderella, Something Rotten!, Bandstand, White Christmas and the pre-Broadway Ain’t Too Proud: The Temptations Musical Current tours include Ain’t Too Proud, Clue, Company, Mamma Mia!, Mrs. Doubtfire and Jesus Christ Superstar

THE BOOKING GROUP (Tour Booking Agency). Current tours include Hamilton, The Book of Mormon, Come From Away, Funny Girl, Hadestown, Mamma Mia!, Mean Girls, MJ, Six, Tina, To Kill A Mockingbird, The Wiz, Chicago, Hairspray. Future tours: A Wonderful World, Parade, Peter Pan Goes Wrong, Some Like It Hot and Sweeney Todd

ALLIED GLOBAL MARKETING

(Tour

Marketing & Press) is a full-service, integrated marketing agency working with the world’s largest entertainment, consumer and lifestyle brands, including 80+ Broadway shows over three decades. Current tours: Ain’t Too Proud, Back to the Future, Beetlejuice, The Book of Mormon, Hadestown, Mrs. Doubtfire, Riverdance, Some Like It Hot. Upcoming tours: Elf The Musical, The Great Gatsby, Kinky Boots, The Notebook, The Outsiders, Suffs

THINK TANK (Content & Social Media), based in Louisville, Kentucky, is a marketing, advertising and social media agency rooted in social storytelling. Think Tank works with local businesses and national touring productions to create compelling, genuine, engaging content. Current tours: Mamma Mia!, Dear Evan Hansen, Tina: The Tina Turner Musical, Pretty Woman: The Musical, Some Like It Hot, Elf, Wheel of Fortune LIVE. thinktanklou.com.

STAFF FOR MAMMA MIA!

LITTLESTAR SERVICES LIMITED

Directors Judy Craymer Benny Andersson, Björn Ulvaeus

Business & Finance Director Ashley Grisdale

General Manager .......................... Philip Effemey

PA To Judy Craymer Amanda Horn

Marketing & Communications Director Claire Teare

Marketing & Social Media Coordinator Ella Jarman

Head of Accounts Jo Reedman

Accountant ................................... Sheila Egbujie

Assistant Accountant Ricky Whaites

Accounts Assistant Ruby Tyler

Office Manager Matthew Willis

Receptionist & Production Assistant .......... Kimberley Wallwork

Legal Services Howard Jones At Sheridans

Production Insurance

Services Tysers Insurance Brokers

Business Manager for Benny Andersson, Björn Ulvaeus & Scandinavian PressGörel Hanser ON BEHALF OF LITTLESTAR SERVICES LIMITED

International Executive Producer Mark Whittemore

US Executive Producer Amy Jacobs, Bespoke Theatricals

GENERAL MANAGEMENT

WORK LIGHT PRODUCTIONS

Stephen Gabriel Nancy Gabriel

Anièle Fortin-Perkell, Chief Operating Officer & General Manager

Matt Kunkel, General Manager

Jordyn David, Assistant General Manager

Sanjida Chowdhury Mackenzie Foster

Kimberly Helms Courtney King Marian Osadebe

Casi Pruitt Mitchell Skolnick

PRODUCTION MANAGEMENT

PORT CITY TECHNICAL

Rhys Williams, Vice President of Production

Ryan George, Production Manager

Laurence Christopher Rossella Human

Tom Klonowski Hunter Storie

CASTING

THE TRC COMPANY

Claire Burke CSA Kevin Metzger-Timson CSA

Xavier Rubiano CSA Peter Van Dam CSA

Tara Rubin CSA Merri Sugarman CSA

Louis DiPaolo CSA Spencer Gualdoni CSA

Olivia Paige West CSA Frankie Ramirez CSA

TOUR BOOKING AGENCY

THE BOOKING GROUP

Meredith Blair Kara Gebhart

Laura Kolarik Stephanie Ditman Sophie Tiesler thebookinggroup.com

TOUR MARKETING AND PRESS

ALLIED GLOBAL MARKETING

Andrew Damer

Jennifer Gallagher Scott Praefke

Jessica Cary Davis Adina Hsu Amenkha Sembenu

Jessica Steans-Gail Emily Toppen

Anne Waisanen Kate Wyman

PRODUCTION TEAM

Assistant Director Samantha Tella

Assistant Choreographer ................ Ryan Sander

Original Keyboard Programming Nick Gilpin

Assistant Costume Designer Cat Lovejoy

Assistant Costume Designer Eva Maciek

Assistant Lighting Designer Tyler Dubuc

Assistant Sound Designer............ Kevin Kennedy

Production Wardrobe Tiffany West

Production Hair Adrienne Maurer

Production Carpenter Tom Klonowski

Production Props John Mark Zink

Production Electrician ............. Michael Anderson

Lighting Programmer Jackson Miller

Production Sound Engineer Joshua Hummel

Production Assistant Angela Dogani

TOURING STAFF

Company Manager Michael Sanfilippo

Assistant Company Manager Arella Flur

Production Stage Manager ........ Larry Smiglewski

Stage Manager Andrew Volzer

Assistant Stage Manager Jess Casanova

Substitute Assistant Stage Managers Berrit Keller, Melissa Sparks, Dora Jane Trenbeath

Dance Captain ...................... Danny Lopez-Alicea

Assistant Dance Captain Gray Phillips

Head Carpenter Will Klein

Assistant Carpenter/Flyperson Sam Vettrus

Assistant Carpenter Gracie “Scooter” Lawson

Head Electrician ............................. Travis Wilson

Assistant Electrician David Salazar

Assistant Electrician/Spots Jeremy Warsitz

Head Sound Jeff McWay

Assistant Sound Matthew Crane

Head Props................................... Kayla Stillman

Head Wardrobe Eva Maciek

Assistant Wardrobe Andrea Phillips

Head Hair and Makeup Cassondra Takas

Swing Tech Ryan Johnson

Banking ........ City National Bank, Michele Gibbons

Payroll Prestige PEO, Payroll Data Processing

HR Consultant K+K Reset, Kiah Jones & Karen Robinson

Accounting CBIZ Marks Paneth, Christopher Cacace, CPA, Petrina Bryan

Bookkeeping Galbraith & Co/Jessica Pressman

Insurance Maury Donnelly & Parr/Bob Middleton

Legal Counsel (US) Lazarus & Harris LLP

Scott R. Lazarus, Esq., Robert C. Harris, Esq.

Immigration Counsel Law Offices of Dora M Komura, PC/Stephanie Friedberg

Original Logo Design ©Littlestar Services Limited

Production Photography Joan Marcus

Physical Therapy ............................... Neuro Tour

Travel Agent Travel Trust

Housing Road Rebel

Merchandising Max Merchandising, LLC/ Randi Grossman

Merchandise Manager.................... Brian Estrada

Trucking/Hauling Janco Limited

Music Published by EMI Grove Park Music, Inc. and EMI Waterford Music, Inc.

CREDITS AND ACKNOWLEDGEMENTS

Scenery constructed and painted by Hudson Scenic Studio, Inc. Sound equipment supplied by Masque Sound. Lighting Equipment supplied by PRG Broadway. Soft goods by I. Weiss and Sons. Costumes executed by Eric Winterling Inc, Arel Costumes, Kate Wyatt, Karen Crighton, Sally Marchant, Lorraine Richards, Rose Chandler, Alida Herbst, Sally Payne. Cornelia James. Tailoring by Kathy Pederson, Millinery by Dolly Hurran, Barbie McCann, and Megan Ann Richardson. Wetsuits by Snugg Wetsuits. Thanks to Hali Liles. International Costume Coordinator Howard Rayner. Makeup by La Femme Cosmetics. Wigs and hairpieces by WigglePigWigs. Properties by Paragon Theme and Prop Fabrication and Bad Boogie Fabrication. Production outfitting provided by Port City Equipment Rentals. Rehearsed at the New 42nd Street Studios.

Mamma Mia! was originally produced in London by LITTLESTAR SERVICES LIMITED on April 6, 1999. Mammamiathetour.com

Facebook: @mammamianorthamerica

Instagram: @mammamianorthamerica

TikTok: @mammamianorthamerica

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

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

The Directors, Choreographers and Associates employed on this production are Members of the Stage Directors and Choreographers Society, a national theatrical labor union.

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

United Scenic Artists represents the designers and scenic painters for the American Theatre.

The musicians employed in this production are members of the American Federation of Musicians.

This production is produced by a member of The Broadway League in collaboration with our professional union-represented employees.

DENVER CENTER FOR THE PERFORMING ARTS

GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2024/25 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, IATSE Local 719

Robin Appleton

Julie Bassignani

Vonnie Clough

Craig Cory

Cyndie Cory

Steve Davies

Anne Davis

Amber Krimbel

Carolyn Dore

AnnSue Gunter

Judy Holabird

Will Holabird

Lauren LaCasse

Kelsey Lambert

We Fund Culture. SCFD.org

Leslie Lambert

Sarah Lambert

Sharon Millikan-Hale

Callie Morrow

Tim Nelson

Lisa Parsons Wagner

Laura Payne

Dave Poole

Alan Richards

Elisa Spadi

Amy Tepel

Eliza Vlasova

Barbara Wilson

DPAC House Crew

Mark Anthony

Perry Elliott

Kiko Marra

Allen Olmstead

Albert Sainz Sr.

Josh Thurman

Derek Tovar

David A. Wilson

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

Mike Johnston, Mayor

Denver Arts & Venues

Gretchen Hollrah, Executive Director

Tariana Navas-Nievas, 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

LEGACY GIVING

Leave a legacy. Make a pledge that safeguards the future of theatre. By doing so, you’ll become a member of the Encore Society, a dedicated group of patrons who have made long-term commitments to the DCPA in their estate plans. HERE’S HOW TO GET INVOLVED

Take advantage of tax-wise giving: Speak with your tax advisor about transferring appreciated stock directly to the DCPA, or direct part or all of the RMD from your IRA directly to us. We pay no capital gains, so your direct transfer contributions often go further than personally taking your distribution and making donations out of the proceeds.

Make a gift in your will or revocable trust:

Give a tax-free gift for any DCPA designation that can be updated at any time.

Designate the DCPA as a beneficiary:

Name the DCPA as a beneficiary of a retirement plan, IRA, insurance policy, or other account.

As a member of our Encore Society, you’ll receive invitations to special events, access to discounted show tickets, and more member-only perks!

Leslie Alexander and Sophia Dotson in A Little Night Music

Photo by Amanda Tipton Photography

JUNE 7 SEPTEMBER 14

Immerse yourself in a celebration of American Impressionism. Explore the gallery exhibition, enjoy stunning garden views and visit the exclusive pop-up shop.

•

Granville Redmond, California Poppy Field (detail), oil on canvas, ca. 1926. 40¼”H x 60¼”W. Los Angeles County Museum of Art. Gift of Raymond Griffith.

HOW MAX MARTIN SHAPED & JULIET ON ITS ROAD TO BROADWAY

BY GILLIAN RUSSO

TThink you haven’t heard of Max Martin? Think again. You’re more familiar with the Swedish music executive than you know if you’ve heard Britney Spears’s “...Baby One More Time,” Bon Jovi’s “It’s My Life,” The Backstreet Boys’ “I Want It That Way,” or dozens of other chart-toppers the ﬁve-time Grammy Award winner wrote and/or produced over the past three decades. He is, to be fair, a famously private person. And unless they also perform their tunes, songwriters don’t often get public attention for their work. Or, for that matter, dedicated Broadway musicals a la Carole King, ABBA, or Neil Diamond.

But Martin, with an extensive catalog of 250plus songs, has made just as seismic an impact on popular music as any performer. He had the idea to fashion his songs into a musical years ago — and in 2019, that thought became a reality with the world premiere of & Juliet in London. The pop musical has now earned nine Tony nominations, including Best Musical, for its 2022 Broadway transfer.

The & Juliet team has called him the “Shakespeare of pop,” so it ’s fitting that 30 of his songs score a show inspired by a Shakespeare play: Romeo & Juliet. The musical picks up just before that play’s end, when Juliet suddenly decides not to die and instead ditches Verona in search of new life, new friends, and new loves.

Shakespeare’s play has been around centuries longer than Martin’s songs, but those were the true genesis of & Juliet. He remained closely and enthusiastically involved every subsequent step of the way — Tony nominee Betsy Wolfe, who plays Shakespeare’s wife Anne Hathaway, described him as “a kid in a candy store during this whole process.”

The cast and creatives’ excitement to work with Martin, in turn, was mutual, and they shared how Martin’s inﬂuence lives in everything the audience hears. The journey begins in fair Canada, where we lay our scene...

TWO WRITERS, ALIKE IN DIGNITY

Technically, it begins in the Martin family home, where Jenny Petersson, Martin’s wife, said, “We should make a musical,” Martin recalled. “And a long journey ahead started.”

But Martin is an expert songwriter, not a scriptwriter.

“I was insecure about how this is going to [be],” Martin admitted. “I really wanted it to be a great story, not just a bunch of songs — to have a purpose, so to speak.”

One would expect someone with as proliﬁc a career as Martin to take on the job. But it was Canadian writer David West Read — a relatively unknown name who hadn’t won his Emmy Award for “Schitt’s Creek” yet — who came up with the winning idea at the unlikeliest of times.

“I suﬀered a concussion, which worked out well because I couldn’t look at screens or anything, so I was lying in a dark room listening to the playlist [of Martin’s songs],” Read said. “There’s so many songs about heartbreak and young love, and I thought, ‘How do you put a brand to this?’

Because Max Martin wasn’t really known by

anyone, even though he’s the most successful songwriter [after] the Beatles.” (That’s statistically true — only Paul McCartney and John Lennon notched more Billboard Hot 100 number-one singles.)

“So I came up with the idea of Juliet from Romeo & Juliet,” Read continued. “We’re going to repurpose and reinvent these pop songs and it’ll be great, but also reinvent a classic love story.”

His idea won over the production team and Martin. “When he created this story and gave me an example of how the songs could actually work to tell this story, that’s really when it started to come to life,” Martin said.

ARISE, FAIR SOUND

In & Juliet, Juliet ﬁrst enlists her nurse, Angelique, to hit the road with her, but it takes a crew of friends old and new to enliven her adventure. Similarly, West and Martin couldn’t refashion pop songs for the stage alone. Their crew included sound designer Gareth Owen, music director/orchestrator Dominic Fallacaro, and orchestrator/arranger Bill Sherman. (All three are Tony-nominated.)

When asked what convinced them to work on & Juliet, they all had the same answer: Martin. “The possibility of collaborating with the greatest songwriter of the last 25 years on songs that deﬁne your life is impossible to pass up,” Sherman said. Fallacaro similarly called the opportunity a “no-brainer.”

The possibility of collaborating with the greatest songwriter of the last 25 years on songs that deﬁne your life is impossible to pass up.

“I’d never met the guy [before & Juliet], but everyone behind the scenes in the music industry knows he’s a genius,” Owen said. “Then I met him and realised he was nice as well as talented — frankly, between Max, Bill Sherman, and I? Well, it was a bit of a bromance!”

Sherman recalled a different kind of nervousness — not the bromantic kind — defining his and Martin’s first meeting. “Max said two things: ‘If a song is going to be a departure from the original version, go all the way. Don’t half-ass it,’” Sherman remembered.

“The second thing that Max said was, “If it’s not perfect, it goes in the trash.” You can imagine me eight years ago, having no idea what the hell is going on in the world, and the greatest songwriter of our time looks at you dead in the eye in a very humbly Swedish way and goes, ‘If it’s not perfect, it goes in the trash.’ I can safely say that was one of the most terrifying days of my life.”

Having Martin on hand during London and Broadway rehearsals, though, helped ensure the sound of & Juliet was to his liking. “One of the coolest parts about getting this was getting access to the vault of Max,” Fallacaro said. “ We’re not approximating what the synth sounds like. We’re running it past someone who knows exactly what it ’s supposed to sound like.”

“It’s been so fun and rewarding reimagining and bringing some of the greatest songs of our generation onto a theatre stage, and to put a narrative force behind them,” he added in a separate interview. “The challenge of fusing the traditional orchestral and band components of Broadway with the studio ‘pixie dust’ of synthesizers and drum machines was a tremendously rewarding experience.”

“It might not be perfect,” Sherman said of the ﬁnal result, “but it’s pretty damn close.”

— BILL SHERMAN, ORCHESTRATOR/ARRANGER

& JULIET

JUNE 4 – 15

BUELL THEATRE

ASL Interpreted, Audio Described, and Open Captioned performance: June 15 at 2pm

READ THE FULL ARTICLE

This article was originally published in 2023 and reprinted with permission from New York Theatre Guide.

(TOP) Rachel Simone Webb and the company of the North American Tour of & JULIET

(BOTTOM) The company of the North American Tour of & JULIET

Photos by Matthew Murphy.

Shucked

Oct 7 – 19, 2025

Buell Theatre

Harry Potter and the Cursed Child

May 30 – Jun 27, 2026

Buell Theatre

The Notebook

Dec 16 – 28, 2025

Buell Theatre Water for Elephants

Feb 11 – 22, 2026

Buell Theatre

Spamalot

Aug 11 – 23, 2026

Buell Theatre

The Denver Center for the Performing Arts is delighted to announce a spellbinding, spinetingling (and slightly corny) 2025/26 Broadway season! Join the ride as we ﬁght for eternal love, set out on new adventures, and explore fantastic worlds where anything is possible.

Hell’s Kitchen

Apr 14 – 26, 2026

Buell Theatre

The Outsiders

Sep 8 – 27, 2026

Buell Theatre Photo:

Dracula: A Comedy of Terrors

Nov 8, 2025 –May 10, 2026

Garner Galleria Theatre

Renew or subscribe to the season today to unlock savings on extra tickets, concierge ticketing services, free exchanges,* automatic seat renewals, and early access to DCPA Added Attractions. *Some restrictions apply

AAs any parent knows, it takes something extraordinary to peel a teenager away from their phone, focus their attention away from Instagram, and get them to engage with anything other than Tik Tok.

Something extraordinary has just shown up.

DCPA Education in partnership with a whole lineup of Broadway touring shows, recently launched a Broadway Master Class series just for teens. From choreography with cast members of Mean Girls and puppetry with Life of Pi to a dance workshop with THE WIZ and dance and vocal workshops with & Juliet, this new program oﬀers something worth leaving your phone at home for.

“We’re delighted to extend this new series to this age group,” said Allison Watrous, Executive Director of Education and Community Engagement. “Our Teen Broadway Master Class series complements our onsite teen classes, summer teen program, and annual Bobby G High School Musical Theatre Awards competition by providing specialized classes in a variety of theatre-based curriculum. It’s a terriﬁc way to inspire the next generation of theatre artists with rightbefore-your-eyes success stories. They can literally see their own potential in the room where it happens.”

Participants register for a single 60- to 90-minute master class with a representative from the show and are then eligible to purchase reduced-price tickets to the production. Classes typically begin at 10:30am and wrap up in time for lunch before the matinee. Additionally, a second session can be scheduled to accommodate special groups, such as an area dance studio or theatre club.

Master Classes are led by seasoned professionals who are experts in their ﬁeld. They oﬀer an in-depth, focused learning opportunity that provides practical application and immediate feedback, peerto-peer mentoring and collaboration, and incredible inspiration and motivation.

One parent who successfully redirected her daughter’s attention at the Life of Pi puppet workshop said, “My daughter is so interested in making things like puppets and moving wings and stuﬀ she sees online and on shows like [the SYFY Channel’s] ‘Face Oﬀ ’ to the [Jim Henson’s] ‘Creature Shop Challenge.’ I was absolutely jealous. I wanted to go. Instead, I had to live vicariously through her.… I love the workshops and want more, more, more.”

Dates are forthcoming for the 2025/26 season. Use the QR code below to learn more and sign up for advance notice of upcoming classes.

PreK - Adult

No Experience Required

1-Day Workshops

Multi-Week Courses

Daytime, Evening, and Weekend Classes

SEE YOURSELF ON STAGE Theatre Education at the DCPA

Photo by McLeod9 Creative

Forbidden Broadway:

Merrily We Stole A Song May 28 – Jun 29 Garner Galleria Theatre

Dixie’s Tupperware Party Jul 16 – Aug 17

Dixie’s Never Wear a Tube Top… Aug 20 – Sep 7 Garner Galleria Theatre

21 - AUGUST 9, 2025

RIMSKY-KORSAKOV SCHEHERAZADE

MAHLER SYMPHONY NO. 4

BERLIOZ SYMPHONIE FANTASTIQUE

Featured performances include:

100+ Events this summer in Breckenridge, from classical masterpieces to contemporary works and pops.

MENDELSSOHN A MIDSUMMER NIGHT’S DREAM

INDIANA JONES RAIDERS OF THE LOST ARK IN CONCERT

MUSSORGSKY PICTURES AT AN EXHIBITION

MOZART SYMPHONY NO. 39

COPLAND APPALACHIAN SPRING

BEETHOVEN SYMPHONY NO. 7

IMAGE

BY MEL HAYNES, JR

FirstBank is focused on elevating those around us — businesses, communities, and employees. If we do an outstanding job of taking care of these key stakeholders, our future growth and success will take care of itself.

— KEVIN CLASSEN, CEO OF FIRSTBANK

PROUD SPONSOR OF DCPA’S WOMEN’S VOICES FUND

FFirstBank began providing banking services in 1963, and is committed to doing what’s right for its customers, communities, and employees — or what it refer to as “banking for good.” As a result, the company has been consistently recognized as one of the nation’s best performing banks, the state’s top workplaces, a top corporate philanthropist, and the highestranked bank for customer satisfaction in the southwest region.

“FirstBank is focused on elevating those around us – businesses, communities, and employees. If we do an outstanding job of taking care of these key stakeholders, our future growth and success will take care of itself,” said Kevin Classen, CEO of FirstBank.

Through its partnership with Colorado Gives Day, the bank helped raise more than $54 million for thousands of local charities in 2023 alone, and it directly contributed another $6.1 million to area nonproﬁts as part of its annual giving.

Beyond strengthening the communities it serves, the company’s longterm plan also puts a large emphasis on “Include All,” or ensuring diversity, equity and inclusion are prioritized within and outside of the organization. That’s one of the many reasons FirstBank is proud to partner with the Denver Center for the Performing Arts (DCPA), one of the nation’s largest nonproﬁt theater organizations, for its vision of creating a more connected and inclusive community in Colorado through the arts and theatrical storytelling.

For instance, DCPA’s Women’s Voices Fund, which elevates opportunities for female artists and leaders in theater, aligns perfectly with FirstBank’s mission to drive equity and inclusion for underrepresented groups. The bank’s Women in Leadership and Women in Technology initiatives, for example, are dedicated to developing future women leaders and encouraging interest and advancement in technology careers. Thanks in part to these eﬀorts, more than 50% of FirstBank’s management positions (from supervisor to C-Suite) are held by women.

In addition, the company contributes countless volunteer hours and millions in ﬁnancial support each year to many organizations aimed at closing racial and gender gaps. The bank also deploys multiple business grants to entrepreneurs representing underserved communities, including women-owned, veteran-owned and businesses of color.

FirstBank’s collaboration with the DCPA represents its dedication to fostering a vibrant, creative, and inclusive community. By supporting the arts, FirstBank strengthens the collective identity of Denver, making it a more dynamic place to live and work. Learn more about FirstBank at eﬁrstbank.com. Member FDIC.

PROUD CORPORATE MEMBER OF THE DENVER CENTER FOR THE PERFORMING ARTS

Supporting the DCPA bonds the Turner Morris team by fostering a shared appreciation for creativity and innovation.

TTurner Morris Commercial Rooﬁng is invested in Denver’s rich cultural identity. Stemming from a commitment to the diversity of its employees and the community, TMI appreciates the opportunity to partner in support of the Denver Center for the Performing Arts (DCPA). As an institution that elevates culture in our city, the DCPA’s unique perspectives and experiences represent values Turner Morris naturally aligns with as a company. Denver distinguishes itself as a city that values creativity and diversity by fostering a vibrant arts scene. TMI has been a business in the Denver community for over 30 years and is thankful to have partnered with the DCPA for the last decade.

Sponsorship of the DCPA is a community investment, and TMI believes that employees’ access to world-class theater is an asset. Turner Morris is proud to allow employees to engage in the theater world. As unexpected as a rooﬁng company championing the arts may seem, TMI sees the partnership with the DCPA as a reﬂection of company values. It is important to balance hard work with cultural enrichment. Supporting the DCPA bonds the Turner Morris team by fostering a shared appreciation for creativity and innovation, qualities shared in arts and industry.

Turner Morris understands that a healthy and vibrant community throughout Denver is crucial to a company’s health. Art is not a luxury but essential to society. By partnering with the DCPA, TMI strives to do its part to ensure the arts thrive in Denver and keep the local community thriving. The magic of live theater is an essential cultural bastion that needs to be enjoyed by future generations.

Turner Morris is a family company that believes in exposing the younger generation to the arts. The quality of performances that the DCPA brings to Denver is impressive, and TMI is committed to supporting it so that this level of excellence can continue to thrive for years to come. Turner Morris is honored to work closely with the DCPA, which aligns closely with the company’s core values of character, competence, and commitment.

(Top photo)

Roof Repair Denver

(Bottom photos) Turner Morris Denver Skyline

Performing Arts Academy

Break a Leg & Build a Dream

This Fall at PAA

Grades K-12

BeginnersAdvanced

Enroll Today

Find your 2025 art festival experience! Sculpture, jewelry, paintings, & more in 11 beautiful Colorado locations!

2025 Fall Productions:

Plus, over 20 Theatre Skills Classes

paacolorado.org

Framing at Tells Your Story

Since 1965, ABC Custom Framing has been Denver’s trusted choice for museum-quality custom framing.

From ﬁne art to heirlooms, memorabilia, and more, we craft frames that preserve, elevate, and transform your space. Framing isn’t just about protection—it’s about making a statement.

Experience a vibrant celebration of art at our summer of fine art festivals! Colorado and nationally touring artists will gather to showcase their finest work Click

Jewelry - James Sandoval • Sculpture - Greg Robertson Moose Painting - Peter Freischlag

Supporting the DCPA aligns with the mission to improve community wellbeing and create opportunities for engagement in artistic expression.

— BROWN & BROWN INSURANCE

PROUD CORPORATE MEMBER OF THE DENVER CENTER FOR THE PERFORMING ARTS

BBrown & Brown Insurance, founded in 1939, is one of the largest independent insurance brokers in the United States. With a strong focus on providing innovative and customized risk management solutions, the company serves a diverse range of clients, including individuals, businesses, and governmental entities. Brown & Brown has been a member of the Denver community for over 20 years, oﬀering a comprehensive suite of services that include property and casualty insurance, employee beneﬁts, and specialty insurance products. Known for its commitment to client service and community involvement, Brown & Brown strives to build long-lasting relationships while fostering a culture of integrity, professionalism, and excellence within the insurance industry.

Brown & Brown recognizes that supporting the arts is not just a philanthropic endeavor; it is an investment in the cultural fabric of our communities. The arts enrich our lives, foster creativity, and provide economic beneﬁts, and Brown & Brown is committed to playing a role in this vital sector. By partnering with establishments like the Denver Center for the Performing Arts (DCPA), Brown & Brown aims to amplify its positive impact through strategic eﬀorts that resonate deeply with its corporate values.

As a proud Corporate Member of the DCPA, Brown & Brown beneﬁts from an engagement that goes beyond mere ﬁnancial support. This membership provides unique opportunities to connect with the arts, fostering a culture of creativity and collaboration within the company. By actively participating in DCPA events and initiatives, Brown & Brown can experience the transformative power of live performances and educational programs, enriching professional lives and enhancing team cohesion.

The DCPA serves as a beacon for creativity and innovation in the arts, drawing talent from across the nation and enriching the local community with diverse performances. Brown & Brown believes that access to the arts is essential for personal and professional growth. Supporting the DCPA aligns with the mission to improve community well-being and create opportunities for engagement in artistic expression. Brown & Brown acknowledges the economic importance of the arts industry, which generates jobs, stimulates local economies, and attracts tourism. Brown & Brown aims to help support the DCPA’s mission of delivering world-class performances, educational initiatives, and community outreach programs.

(ABOVE) Taha Mandviwala as ‘Pi’ and puppeteers Anna Leigh Gortner, Shiloh Goodin and Toussaint Jeanlouis as ‘Richard Parker’ in the National Tour of LIFE OF PI Photo by Evan Zimmerman for MurphyMade 2024.

(RIGHT) Lucas Hallauer (Marty McFly) and the Company of Back to the Future: The Musical. Photo by McLeod9 Creative, 2025.

(FAR RIGHT) The Su ragette’s Murder Linda Mugleston, Curtis Wiley, and Matthew Boston. Photo by Jamie Kraus Photography.

GREAT AMERICAN INSURANCE GROUP: A COMPANY YOU CAN COUNT ON

PROFILE UNDERWRITTEN BY

DCPA CORPORATE MEMBER

BROWN & BROWN

FFor more than 40 years, Great American Insurance Group has provided insurance solutions to the human and social service marketplace. It was one of the ﬁrst insurance companies to recognize the special needs of these organizations.

The company’s Arts & Cultural program oﬀers speciﬁc coverages to organizations such as museums, theaters, dance studios, and art galleries, which are focused on the creative and cultural aspects that enrich lives and lift spirits. Over the years, Great American Insurance Group has expanded its coverage and services to ensure that its experts can meet the evolving needs of this marketplace.

Our Beginnings

In 1872, accidents and natural disasters meant the end for many businesses. When a need for insurance met a few ambitious German immigrants, the company was born. The ﬁrst customer? A rubber comb factory. Within a few years, Great American Insurance Group became known for paying claims in a timely manner. In fact, after the 1906 San Francisco earthquake, it paid out more than $2 million in claims, even to policyholders who didn’t have viable coverage.

Nearly 150 years later, the company continues to protect specialized businesses in more than 30 niche industries. And, it continues to be recognized for ﬁnancial stability. Its lead company, Great American Insurance Company, has received an “A” rating or higher from AM Best for more than 110 years. From that rubber comb factory to today, companies turn to Great American Insurance Group when they need someone who knows their space, shares their priorities, and has the freedom to do what’s right.

The Numbers Tell The Story

o There are over 3,100 property and casualty insurance companies in the United States

o Only 50 are included on the Ward’s 50 List for safety, consistency and performance

o Only 4 have been rated “A” or better by AM Best for over 110 years

o Only 2 are on both lists

o Great American Insurance Company is 1 of the two

DCPA

Janice Sinden President & CEO

Donna Hendricks Executive Assistant, President & CEO

Julie Schumaker Manager, Board Relations

ACCOUNTING & FINANCE

Jane Williams CFAO

Sara Brandenburg Director, Accounting Services

Jennifer Jeﬀrey Director, Financial Planning & Analysis

Kristina Monge Associate Accountant

Rachel Rodriguez Manager, Treasury & Reconciliations

Jennifer Siemers Director, Accounting

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

Sarah Darlene Manager, Grants & Reports

Caroline Eppers Manager, Auctions & Partnerships

Kara Erickson-Stiemke Coordinator

Emily Kettlewell Associate Director, Annual Giving

Caitie Maxwell Senior Director, Major Gifts

Marc Ravenhill Director, Donor Relations

Megan Stewart Associate Director, Special Events

EDUCATION & COMMUNITY ENGAGEMENT

Allison Watrous Executive Director

Stuart Barr Technical Director

Leslie Channell Director, Business Operations

Lyndsay Corbett Teaching Artist & Manager, Bobby G

María Corral Director, Community Engagement

Heather Curran Teaching Artist & Manager, Playwriting

Elliot Davis Evening Registrar & Oﬃce Coordinator

Rachel Ducat Executive Assistant & Business Manager

Rya Dyes Registrar & On-Site Class Manager

Gavin Juckette Teaching Artist & Manager, TYA Engagement & Music

Timothy McCracken Head of Acting

Rick Mireles Manager, Community Engagement

David Saphier Teaching Artist & Manager, In-School Programming

Charlotte Talbert Librarian

Rachel Taylor Teaching Artist & Manager, Literary Engagement & Resiliency

Justin WalvoordTeaching Artist & Manager, Shakespeare in the Parking Lot

Samuel Wood Director, Education & Curriculum Development

EVENT SERVICES

Cody Gocio Senior Sales & Event Managers

Stori Heleen-O’Foley Event Technical Manager

Shane Hotle Audio Engineer

David Mandlowitz Video Engineer

Natalia Marroquin, Phil Rohrbach Sales & Event Managers

DCPA TEAM

Tara Miller Event Sales & Operations Director

Brook Nichols Event Technical Director

Kate Olsen Event Sales Coordinator

Benjamin Peitzer Event Technical Lead

Michael Harris, Alex Taylor Lighting Designers

INFORMATION TECHNOLOGY

Lisa Roebuck Vice President For security purposes, the IT team has been omitted.

MARKETING & SALES

Angela Lakin Vice President

Whitney Testa Executive Assistant, Marketing & Broadway

Marketing

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

Erin Bunyard Senior Digital Strategist

Soﬁa Contreras, Lucas Kreitler Graphic Designers

Brenda Elliott, Paul Koob Senior Graphic Designers

Harper Anne Finch Manager, Social Marketing

TJ Forlenza Copywriter

Claire Graves Director, Produced Programs

Brittany Gutierrez Associate Director, Communications

Linda Horan Program Manager

Jeﬀ Hovorka Director, Sales & Marketing, Broadway & Cabaret

Emma Holst Associate, Content & Communications

Emily Kent Director, Insights & Strategy

Michael Ryan Leuthner Director, Digital Marketing

Emily Lozow Associate Director, Sales & Marketing, Broadway & Cabaret

Kyle Malone Director, Design

Dan McNulty Analyst

Todd Metcalf Media Producer

Hannah Selwyn Manager, Email Marketing

Sergio von Kretschmann Manager, Website

Julie Whelan Manager, Produced Programs

Mikayla Woods Coordinator, Produced Programs

Suzanne Yoe Director, Content & Communications

Ticketing & Audience Services

Jennifer Lopez Director

Jessica Alverson*, Zeah Edmonds*,

Lauren Estes*, Jen Gray*,

Noah Jungferman*, Max McCord*,

Noelle Norris*, Alexander Roy*,

Holly Stigen*, Asheala Tasker, Lily Valdez*,

Bronwen VanOrdstrand*,

Rob Warner* Ticket Agents

Kirsten Anderson*, Scott Lix*, Liz Sieroslawski*,

Greg Swan* Subscription Agents

Jon Collins Manager, Subscription

Katie Davis Manager, VIP Ticketing

D.J. Dennis*, Luke Fish*, Edmund Gurule*,

Lane Randall*, Hayley Solano*,

Sam Stump*, Andrew Sullivan*,

Alfonso Vazquez* Counter/Show Leads

Billy Dutton Associate Director, Operations

Danielle Freeman Manager, Customer Service

Claire Hayes,

Ella Mann Managers, Box Oﬃce

Chris Leech Coordinator, VIP Ticketing

Katie Spanos Associate Director, Subscriber Services

Group Sales

Jessica Bergin Associate Director

Tucker Kamin Manager, Audience Development

Elias Lopez Coordinator

Maddie Young Associate, Education & Group Sales

OFF-CENTER

Charlie Miller Executive Director & Curator

Cat Huck Assistant Operations Manager

Courtney Ozaki Creative Producer

Mike Pingel Operations Manager

OPERATIONS

Sarah Arzberger Administrator

Vincent Bridgers Manager

Adam Busch Analyst

Aaron Chavez Lead

Ruben Cruz, Jordan Latouche Engineers

Simone Gordon Associate Director

Kyle Greufe Senior Analyst

Maria Herwagen Junior Analyst

Brandon LeMarr Manager

Alison Orthel, Tara Perticone Analysts

Joseph Reecher Senior Engineer

Cordelia Taylor Coordinator

PEOPLE & CULTURE

Laura Maresca CPCO

Equity & Organization Culture

Seán Kroll Coordinator

Human Resources

Brian Carter Senior Business Partner

Andrew Guilder HR & Recruiting Specialist

Michaela Johnson Interim Mailroom Assistant

Paul Johnson Manager, Payroll & Compliance

Jocelyn Martinez Business Partner

Kinsey Scholl Manager, Operations

THEATRE COMPANY

Administration

Charles Varin Managing Director

Emily Diaz Business Admin./ Asst. Company Manager

Alex Koszewski Company Manager

Ann Marshall General Manager

Artistic

Chris Coleman Artistic Director

Jessica Eckenrod Artistic Associate

Grady Soapes Artistic Producer & Casting Director

Leean Kim Torske Director, Literary Programs

Madison Cook-Hines Literary Assistant

Costume Crafts

Kevin Copenhaver Director

Chris Campbell Assistant

Costume Shop

Janet MacLeod Director/Design Associate

Meghan Anderson Doyle Design Associate

Katarina Kosmopoulos First Hand

Ingrid Ludeke,

Carolyn Plemitscher Drapers

House Crew

Douglas Taylor+ Supervisor

James Berman+, Forest Fowler+, Dave Mazzeno+, Kyle Moore+, Piper Stormes+, Matt Wagner+ Stagehands

Joseph Price+, Kelley Reznik+ Assistants

Lighting Design

Charles MacLeod Director

Connor Baker+ Production Electrician

Lily Bradford Assistant

Paint Shop

Kristin Hamer MacFarlane Charge Scenic Artist

Melanie Rentschler, Sasha Seaman Scenic Artists

Production

Jeﬀ Giﬀord Director

Julie Brou Administrative Assistant/ Oﬃce Manager

Matthew Campbell Production Manager

Peggy Carey Associate Production Manager

Prop Shop

Meghan Markiewicz Supervisor

Sara Pugh Associate Supervisor

Bennet Goldberg, Georgina Kayes, Ashley Lawler Artisans

Andrew McGlothen Prop Carpenter

Scene Shop

Eric Moore Technical Director

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

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

Louis Fernandez III Lead Scenic Technician

Brian “Marco” Markiewicz Lead Carpenter

Scenic Design

Lisa Orzolek Director

Kevin Nelson, Nicholas Renaud Assistants

Sound Design & Technology

Alex Billman Supervisor

Meagan Holdeman+, Timothy Schoeberl+, Dimitri Soto+ Technicians

Elena Martin Associate Supervisor

Stage Management

Anne Jude Supervisor

Corin Davidson, Harper Hadley, Brandon T. Holmes, Kristen O’Connor, Malia Stoner Stage Managers

Anna Cordova, Sam Forrest, Megan Franco Apprentices

Wardrobe

Heidi Echtenkamp Supervisor

Robin Appleton^, Amber Krimbel^, Lauren LaCasse^, Lisa Parsons Wagner^, Nicole Watts^, Kami Williams^ Dressers

Wigs

Diana Ben-Kiki Supervisor

Abby Schmidt^, Marisa Sorce^ Wig Assistants

VENUE OPERATIONS

Glen Lucero Vice President

Merry Davis Financial Manager

Jane Deegan Administrator

Samantha Egle Operations Manager

Kristi Horvath Director of Venue Operations

Facilities

Craig Smith Director

Dwight Barela, Mark Dill, Bryan Faciane, John Howard, Iver Johnson Engineers

Abraham Cervantes, Carmen Molina, Judith Primero Molina, Juan Loya Molina, Blanca Primero Custodians

Michael Kimbrough Manager, Engineering

Brian McClain Manager, Custodial

Patron Experience

Evan Gendreau Associate Director

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

Kelly Breuer, Nora Caley, Amy Howard, Robin Lander, Barbara Pooler, Ayden Smith House Managers

Safety & Security

Quentin Crump Director

Jacquelyne Schmidt Manager, Health & Safety

Timothy Allen, Jodi Benavides Lead Security Oﬃcers

Samara Attridge, David Bright, Erika Carter, Ariana Cuevas, Ethan Kemberlin, Jack Leatherwood, Ian Nelson, Jason Porquis, Zach Stemley, Pamela Winston, Tori Witherspoon Security Specialists

Judy Briggs Front Desk