APPLAUSE
COLORADO ONLY HAS ONE #1
COLORADO ONLY
Invictus Private Wealth is pleased to announce that its own Michael Caplan was selected as Barron’s top independent advisor in Colorado.
Michael S. Caplan
Barron’s Top 100 Independent Advisors 2024
Michael S. Caplan
Forbes/Shook Top RIA Firms 2024
Barron’s Top 100 Independent Advisors 2024
Forbes/Shook Top 10 Best-in-State Wealth Advisor 2024
Forbes/Shook Top RIA Firms 2024
Northwestern University - Honors in Mathematics
Adjunct Professor/International Economic Fellow Georgetown Law
Forbes/Shook Top 10 Best-in-State Wealth Advisor 2024 Northwestern University - Honors in Mathematics
Adjunct Professor/International Economic Fellow Georgetown Law
and our
Furniture Row® Companies is a group of specialty home furnishings and mattress stores, carrying a variety of brand names, all available at one convenient location. We focus on providing a shopping experience that is tailored to your needs. Our specialized buying teams are constantly combing the globe in search of the hottest trends and best values available. In addition, incentives
sales staff, make Furniture Row® one of the most
SIGHTLINE
BY JANICE SINDEN
WWelcome to the holiday issue of Applause.
Whether you are celebrating love, family, Christmas, or even Halloween (yes, you read that right!), we’ve got something to fill your activity list.
First up is the return of Goodnight Moon. The beloved children’s classic comes to the stage in a fully produced musical perfect for PreK through third grade students and their caregivers. Other family favorites include our Theatre Company’s traditional production of A Christmas Carol and everyone’s favorite green grump in Dr. Seuss’ How the Grinch Stole Christmas! The Musical
The Broadway touring engagement of The Notebook, based on the best-selling novel by Nicholas Sparks, will fill hearts to overflowing with its tender story of love that survives even when memories fade. And the 30th anniversary of STOMP makes some noise in the Buell Theatre when it creates music out of brooms, hubcaps, zippo lighters, and trashcans.
Finally, if stores can decorate for Christmas in September, then Dracula: A Comedy of Terrors can take a bite out of the holidays alongside Charles Dickens’ little ghost story.
Half of these productions are original works designed, built, assembled, and rehearsed right here in Denver. Many of your neighbors, friends, and family are part of the incredible artistry that you see before you, so as part of your year-end giving, consider a donation to the DCPA. The return on your investment is more than an economic boon to our community. It is reflected in the memories that you and your loved ones will cherish for a lifetime.
Vladimir Script
Warm regards,
Janice Sinden
Janice Sinden, President & CEO
H O N O R I N G O U R E L D E R S
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
A Christmas Carol pg 10
The Notebook pg 16
STOMP pg 22
Goodnight Moon ......................... pg 24
FOR A COMPLETE LIST OF UPCOMING SHOWS:
APPLAUSE
VOLUME XXXVI • NUMBER 2 • NOV – DEC 2025
EDITOR: Suzanne Yoe
DESIGN DIRECTOR: Kyle Malone
DESIGNER: Paul Koob
CONTRIBUTING DESIGNERS: Lucas Kreitler, Kyle Malone
CONTRIBUTING WRITERS: Lisa Bornstein, Lisa Kennedy, Dan Sullivan
Applause is published six 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
Ruth Krebs, Chair
Hassan Salem, Immediate Past Chair
Jerome Davis, Vice Chair
David Jacques Farahi, Secretary/Treasurer
Nicole Ament
Marco D. Chayet
Yosh Eisbart
Christopher Hayes
Elizabeth Hioe
Deb Kelly
Robert Kenney
Kevin Kilstrom
Lynn McDonald
Susan Fox Pinkowitz
Manny Rodriguez
Alan Salazar
Richard M. Sapkin
Martin Semple
William Dean Singleton
Sylvia Young
HONORARY TRUSTEES
Navin Dimond
Margot Gilbert Frank
Jeannie Fuller
Robert C. Newman
Cleo Parker Robinson
Robert Slosky
Dr. Reginald L. Washington
Judi Wolf
HELEN G. BONFILS
FOUNDATION BOARD OF TRUSTEES
Martin Semple, President
William Dean Singleton, Vice President
Kevin Kilstrom, Secretary/Treasurer
Nicole Ament
Marco D. Chayet
David Jacques Farahi
Ruth Krebs
Susan Fox Pinkowitz
Hassan Salem
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
LEARN MORE
LEARN MORE
SEASON NO. 39
JUNE 25 - AUGUST 6, 2026
ACADEMY OF ST MARTIN IN THE FIELDS • JUNE 25 - 28, 2026
DALLAS SYMPHONY ORCHESTRA • JULY 2 - 8, 2026
THE PHILADELPHIA ORCHESTRA • JULY 10 - 17, 2026
NEW YORK PHILHARMONIC • JULY 22 - 29, 2026
CHAMBER MUSIC SERIES • JUNE 30 - JULY 27, 2026
IMMERSIVE SERIES • JULY 13 - 14, 2026
CLASSICALLY UNCORKED • AUGUST 5 - 6, 2026
WAYS TO GIVE IT’S
FUN TO SUPPORT THE DCPA!
INVEST IN INSPIRATION
Join more than 6,000 annual donors who help DCPA bring creativity and inspiration to nearly 997,000 patrons, including 158,600 students, each year
Annual Fund Gifts
Give in any amount to spread the joy of theater!
Colorado Gives Day
Mark your calendars! Gives Day is Tuesday, December 9 this year.
Become a Monthly Sustainer
Give in any amount monthly to support live theatre year round!
Sponsor a Show
Go behind the scenes, meet cast & creative team, enjoy Opening Night dinners and parties!
Women’s Voices Fund Membership
Celebrating 20 years of Women’s Voices Fund, which has supported 50 plays written by women and 52 female playwrights since 2005.
CONTACT
Emily Kettlewell
Director of Development Operations ekettlewell@dcpa.org
303.446.4812
JOIN A PREMIUM MEMBERSHIP SOCIETY
Experience theatre like never before with nearly 300 other Premium Members
Best of Broadway Society
8 unforgettable dinners, Broadway shows in Golden Circle seats & pre/ post show artistic experiences! ($6,500/person*. Includes $4,000 donation.)
Directors Society
7 incredible Theatre Company Opening Nights with pre-show dinners and post-show cast parties! ($2,500/person*. Includes $1,000 donation.)
Premiere Access Membership
4 Broadway & 4 Theatre Company behind-the-scenes evenings that dazzle! ($4,500/person*. Includes $2,250 donation.)
*Memberships may be prorated.
CONTACT
Marc Ravenhill Director of Development, Donor Relations mravenhill@dcpa.org 303.572.4594
PARTY WITH A PURPOSE
Celebrate the transformative power of the arts in style
DCPA Gala: Saturday Night Alive JUNE 13, 2026
Hattitude APRIL 30, 2026
No long programs or endless speeches. Fun, entertainment, and dancing all supporting theatre and education programs.
One room. 650 incredible hats. Supporting the DCPA’s Women’s Voices Fund.
CONTACT
Megan Stewart
Associate Director of Development, Special Events mstewart@dcpa.org 303.446.4821
TAX-WISE WAYS TO SUPPORT
Speak with your financial advisor about these tax-wise ways to support your favorite charities like DCPA
Gifts of Appreciated Stock
Transfer directly to DCPA and pay no capital gains
Qualified Charitable Distribution from IRA (up to $100,000 per year once you reach retirement RMDs)
Give through your Donor Advised Fund or Family Foundation
CONTACT
Caitie Maxwell
Sr. Director of Development, Major Gifts cmaxwell@dcpa.org
303.446.4840
Stephanie Lynne Mason and Matthew Henerson in
A Christmas Carol
Pissarro’s Impressionism
THROUGH FEBRUARY 8, 2026
The Honest Eye: Camille Pissarro’s Impressionism is co-organized by the Denver Art Museum and the Museum Barberini, Potsdam. It is presented by Barbara Bridges, Bridget and John Grier, the Kristin and Charles Lohmiller Exhibitions Fund, and Craig Ponzio. The exhibition is also supported by the Tom Taplin Jr. and Ted Taplin Endowment, Adolph Coors Exhibition Endowment Fund, Birnbaum Social Discourse Project, Lori and Grady Durham, Kathie and Keith Finger, Sally Cooper Murray, Ellen and Morris Susman, Lisë Gander and Andy Main, Mary Pat and Richard McCormick, Kent Thiry and Denise O’Leary, Robert Lehman Foundation, Christie’s, the donors to the Annual Fund Leadership Campaign, and the residents who support the Scientific and Cultural Facilities District (SCFD). Indemnity is awarded by the Federal Council on the Arts and the Humanities. Promotional support is provided by 5280 Magazine and CBS Colorado. Camille Pissarro, The Garden of Les Mathurins, property of the Deraismes Sisters, Pontoise (Le Jardin des Mathurins, Pontoise, propriete des soeurs Deraismes) (detail), 1876. Oil on canvas; 44 5⁄8 × 65 1⁄8 in. The Nelson-Atkins Museum of Art, Kansas City, Missouri: Purchase: William Rockhill Nelson Trust. Image courtesy akg-images / De Agostini Picture Lib. / J. E. Bulloz
A LITTLE BOOK FOR THE CHRISTMAS TRADE
BY DAN SULLIVAN
HHe wrote it for the money. Not just for the money, of course: Charles Dickens was no Grub Street hack. Still, his family was growing, he was behind on his bills and his latest novel, Martin Chuzzlewit, wasn’t selling as expected. “A little book for the Christmas trade” might be just the ticket.
He already had a point of departure: a vignette in The Pickwick Papers about a jittery gravedigger who spends a drunken Christmas Eve spooked by goblins. What if Dickens were to turn him into a cold-hearted financier named... Ebenezer Scrooge? What sort of midnight ghosts would he entertain?
He dashed off the story in six weeks. Rather, it dashed off with him. “I don’t invent, but see it, and write it down.” Mornings, he strode around his study acting out the roles — now the flinty old miser, now the angelic little boy on crutches. Evenings, he roamed the streets, wiping away a tear or a smile as a new scene came to him. And when the thing was done — November 1843 — “I broke out like a Madman.”
Published in mid-December, A Christmas Carol swept the town. Alas, it didn’t clear up his cash-flow problem; but only because Dickens had pressured his publisher into selling it for a mere five shillings — a price even Bob Cratchit could afford.
But everyone went mad for it. Even the Americans. Even his archrival, William Makepeace Thackeray, who called it a more powerful Christmas sermon than all the clerics in England could have devised.
The din was so loud that by February no fewer than eight London theatres had slapped bootlegged stage versions of A Christmas Carol onto their stages, none of them written by Dickens. “O heaven, if ever this was in my mind!” he moaned. Why then did he allow them to continue? Perhaps to keep the title before the public? There was no need. More than 180 years later, A Christmas Carol remains the bestselling Christmas book of all time and the most-performed Christmas play.
Strangely it’s less of a favorite on the English stage, where it’s up against that peculiar theatrical form, the Christmas
pantomime: camped-up versions of Aladdin and Cinderella. But in the colonies Scrooge rules. Is there a major American resident theatre where A Christmas Carol hasn’t been an “annual family tradition,” for the last 20 or 30 years? Sure but, trust me, they were tempted.
It’s the one show of the season that a box-office manager can reasonably trust to put bums on seats, as the Brits say. Ibsen may fail, Albee may falter, but Dickens will pull you through.
A tradition must be maintained, but does it stand up to the test of time? Take it down from the shelf and see for yourself. Consider, for example:
1. ITS THEME. “Redemption,” we used to say, but “recovery” would better suit the Age of Oprah. Using guided imagery, Scrooge’s ghosts lead him through his past, force him to confront his hang-ups and give him the necessary tools to get on with the rest of his life. Instant intervention — and without a co-pay! Will he stay with the program? One can only hope.
2. ITS SUBJECT. “Greed” if you insist, but “the economy” would be even more timely. As a spokesman for free market capitalism, Scrooge has had his defenders in the past. G.K. Chesterton suggested that he was supporting a dozen charities on the sly. Ed Meese of the Reagan administration thought that he paid Bob Cratchit a good salary.
Another 1980s commentator noted Scrooge’s impeccable reputation in the financial community. Ouch, we say; just like Bernie Madoff. The comparison would please Mr. Dickens no end.
3. ITS TACT. What is A Christmas Carol not about? Religion, thank God. Wearied by America’s annual Christmas Wars — the First Amendment crowd versus the churchgoers — we’re grateful to Dickens for a cheerful holiday sermon that consigns no one to the outer darkness. “God bless us every one” may be the most sensible prayer ever written.
I don’t invent, but see it, and write it down
— CHARLES DICKENS, PLAYWRIGHT
As noted, Dickens himself never turned his book into a play. The nearest thing we have to a script is the text he used for his sensationally popular public readings, which continued for 20 years, to his own delight.
Every other telling of the story is an adaptation — skillful, clumsy or just there. My first Scrooge was Lionel Barrymore on the radio, a warm-up for his mean old banker in It’s A Wonderful Life. You may remember George C. Scott’s Scrooge — boldly drawn and beautifully detailed. Or Alistair Sim in an earlier British film, all jangled nerves.
Those are two of the more respectable adaptations. It’s also been a starring vehicle for Mister Magoo and a Little Golden Book featuring Scrooge McDuck.
It’s been sliced, diced, chopped, camped, cartooned, transplanted to Harlem and the Old West, and even turned into a Disney movie starring Jim Carey. Having been put through the wash so often, there ought to be nothing left of it.
But there it stands, pretty much as Dickens conceived it. Perhaps what we’re really dealing with here (which may explain why Dickens only considered himself its foster father) is a myth — not a lie, but a truth embodied in a fiction.
Dickens described his little book best: a ghost story aimed at raising “the ghost of a thought.”
And a parable for our times, however you slice it.
Dan Sullivan (1935–2022) directed the National Critics Institute at the O’Neill Theater Center in Waterford, CT, taught journalism at the University of Minnesota and was a theatre critic for the Los Angeles Times. This article was originally published in Applause magazine in 2009 and has been edited for length.
A CHRISTMAS CAROL
NOV 21 – DEC 28 • WOLF THEATRE
ASL Interpreted, Audio Described, Open Captioned production: Dec 7 at 1:30pm
Turn your special moments into memories that last a lifetime. Give the gift of Theatre!
Redeem for Tickets, Classes, Subscriptions & Venue Rentals
Concierge Medicine
Our new Wellness and Prevention Clinics are home to an innovative Concierge Medicine program that brings our unique model of care into a membership-based primary care setting for adults.
Focused on keeping you healthy, the program is rooted in evidence-based medicine. Our goal is to provide personalized, precision medicine in a relationship characterized by trust, in a manner that exceeds expectations. Services are covered by an annual fee.
LIGHTS TRAIL OF
NOV. 21 – JAN. 11
Nightly (closed Nov. 27 & Dec. 25) 5-8:30 p.m.
Explore a winding path glistening with lights, Holiday Market (select nights) and seasonal treats. GET TICKETS! Tickets must be purchased in advance at botanicgardens.org
C-470 & Wadsworth Blvd. botanicgardens.org
FINDING THE HEARTBEAT IN THE NOTEBOOK
BY LISA KENNEDY
SSentimentality is often scrutinized. Rightly so — let the teary among us admit. Yet, in the hands of people who appreciate its power but also believe it has integrity, the sentimental can be more than merely moving or easily nostalgic. Enter singer-songwriter Ingrid Michaelson and writer Bekah Brunstetter, the tag team responsible for the musical adaptation of one of the more unabashedly sentimental projects to come down the pike, The Notebook.
A story of young lovers that gives ample time to their aged selves began as a novel by bestselling author Nicholas Sparks before becoming one of those guilty pleasure movies you stop to watch if you come across it on cable.
The 2004 film launched the careers of Ryan Gosling and Rachel McAdams who played Noah and Allie, the pair at the center of a story of love and loss — both actual separation and the loss incurred by Alzheimer’s. It also introduced a new generation to the storied actors portraying them in their later years: Gena Rowlands and James Garner. He attentively visits her, reading to her from the volume of the title and hoping for glimmers of recognition in the haze of her dementia.
Like many a romantic couple, Noah and Allie “meet cute.” And Michaelson’s own way to writing the music and lyrics for The Notebook is similarly charming. Her partner of 10 years, Will Chase, performs on Broadway and television. Chase knew that Michaelson loved Broadway; she studied musical theater in college before pursuing a different route. At an after party circa 2017, Chase introduced Michaelson to Kevin McCollum, producer of the Broadway shows In the Heights, SIX, and Mrs. Doubtfire among others.
Chase brought her over to McCollum. “Ingrid wants to write a musical,” she recalls Chase saying by way of introduction. “Kevin, you’re a Broadway producer, why don’t you guys have a chat?” They did. And somewhere in this nascent intro, McCollum told Michaelson she’d “be
good for The Notebook,” the rights of which he and his partners were acquiring.
“I thought that meant ‘you’re hired,’” she recalled, with a smile and reclining on her bed before going to audio only on the video chat. It didn’t, quite. No matter. McCollum has been quoted saying that Michaelson went home that night and wrote a slew of songs for a show for which she had yet to be hired. “It might have been that night,” Michaelson offered.
“But I know. I thought the job was mine to lose,” she said, smiling perhaps at the power-of-positive-thinking audacity of her assumption.
When they spoke next, McCollum told her she was the only one on the list — “for now,” Michaelson said. “And I was like, the list? There’s gonna be a list? And then I just doubled down, and I wrote more and more songs.”
Meanwhile, while Michealson was churning out songs for and about Noah and Allie, Brunstetter got wind of a possible adaptation of The Notebook. “My lawyer heard that it was being developed and that they were looking for a book writer,” she recalled. “And I’m actually from North Carolina, close to where the book takes place.” She’s also “a sap,” she confesses. “I love hopeful stories. I love intergenerational stories. And my lawyer, thankfully, knows all these things about me. So, when he heard about it, his ears kind of perked up.”
Alysha Deslorieux (Middle Allie) and Ken Wulf Clark (Middle Noah).
Photo by Roger Mastroianni.
INGRIDMICHAELSON BEKAH
Once she tossed her hat in the ring, the producers sent her some demos of Michaelson’s early songs, said Brunstetter. “I just fell in love and just knew that it was going to be beautiful and that I had to be a part of it.”
“When you’re adapting something, you have a roadmap. Bekah and I, we followed that roadmap, but we did not want to slap the movie on stage,” said Michaelson. “We wanted to create something that had its own life, its own heartbeat.”
Both creatives know their way around a sentimental note and a heart-tweaking gesture. Michaelson’s career began to sing when her songs “Without You” and “Keep Breathing,” among others, were featured on that iconic melodrama-in-scrubs: “Grey’s Anatomy.” As for Brunstetter, in addition to being a playwright, she worked on and wrote for the ever-weepier series: “This Is Us.”
When you’re adapting something, you have a roadmap.… [W]e followed that roadmap, but we did not want to slap the movie on stage. We wanted to create something that had its own life, its own heartbeat.
— INGRID MICHAELSON, COMPOSER
“I get it,” Brunstetter replied when asked about the disdain sentimentality can arouse in critics. “I’m a sentimental person and I’m also the kind of person who’s always empathizing with everyone, regardless of their point of view.
“So, you know, the easy answer to that question is, oh, people don’t want to be vulnerable, right? People don’t want to be made to feel,” she said. “I don’t think it’s really that. It’s more like people resist the feeling of being manipulated. And that is subjective. It just depends on where they’re at in their life and what their lived experience is.”
While Michaelson has no plans to peek in on the Denver stop of The Notebook tour, she will be performing in her singer-songwriter guise at Boettcher Hall with the Colorado Symphony in late Novem ber. Still it’s clear, she has no plans for her first musical to be her last.
“I’ve had a great time writing music for myself. I’ve gone on the road. I’ve performed, and I love it. But there’s another side of me that really loves writing for people, writing songs that I could never sing, writing songs with notes that I could never reach,” she shared.
“Seeing other people take in your words and your melodies and making it their own,” she has come to think of as a kind of “metab olizing” she said. “Sort of metabolizing your art and then making it their own art or a little hybrid of mine and theirs together.”
That’s not a bad description of the work of Michaelson and Brun stetter did to bring The Notebook to vivid, melodic life.
THE NOTEBOOK
DEC 16 – 28
BUELL THEATRE
ASL Interpreted,
NEXT UP FROM BROADWAY WATER FOR ELEPHANTS
Step right up for a theatrical spectacle like no other!
Run away with the circus in Water for Elephants (Feb 11–22), a unique and authentic musical experience that is fueled by the collective artistry of world-class acrobats, innovative puppeteers, and the very best of Broadway talent.
Based on Sara Gruen’s bestselling novel, this sweeping tale follows Jacob Jankowski, a young man whose life is upended by tragedy and reborn aboard a Depression-era circus train. As he finds purpose among acrobats, roustabouts, and a mysterious elephant named Rosie, Jacob discovers love, loyalty, and the courage to choose the ride — even when the stakes are high.
Told through the eyes of Jacob’s older self, the story unfolds with dazzling aerial choreography, inventive puppetry, and a score that pulses with heart and grit. At the center is a love triangle between Jacob, the radiant equestrienne Marlena, and her husband August, the ringmaster whose charm masks a dangerous edge.
From the thrill of the Big Top to the heartbreak of betrayal, Water for Elephants is a celebration of resilience, wonder, and the wild beauty of second chances. Come for the spectacle — stay for the soul.
Helen Krushinski as Marlena.
Photo by Matthew Murphy for MurphyMade.
Humankindness® lives here
At CommonSpirit Health, we’re evolving health care. By treating people – not just patients – with innovations that amplify healing and lead to more personalized care. All guided by the belief we all hold the power to heal.
Learn more at mountain.commonspirit.org.
CommonSpirit Health Mountain Region does not discriminate against any person on the basis of race, color, national origin, disability, age, sex, religion, creed, ancestry, sexual orientation, and marital status in admission, treatment, or participation in its programs, services and activities, or in employment. For further information about this policy contact CommonSpirit Health Mountain Region Office of the General Counsel at 1-303-643-1000 (TTY: 711). Copyright © CommonSpirit Health Mountain Region, 2025. ATENCIÓN: Si habla español, tiene a su disposición servicios gratuitos de asistencia lingüística. Llame al 1-303-643-1000 (TTY: 711). CHÚ Ý:
có các dịch vụ hỗ trợ ngôn ngữ miễn phí dành cho bạn. Gọi số 1-303-643-1000 (TTY: 711).
ARCHITECTURE IN HARMONY WITH NATURE
ARCHITECTURE IN HARMONY WITH NATURE
93 custom home lots located midway between downtown Boulder and Golden.
93 custom home lots located midway between downtown Boulder and Golden.
BANG! Theatricals
Harriet Newman Leve James D. Stern Wolkowitz/Sudock Schuster/Maxwell Gallin/Sandler Markley/Manocherian
present
Created
and Directed by
Luke Cresswell and Steve McNicholas
Dilian Cantrell, Micah Cowher, Ben Johnson, Jasmine Joyner, Khalil Louigene, Michael Mendoza, Jayme Overton, Andrew Patrick, Jake Pyjar, Isaiah Robinson, Cade Slattery, Daysha J Williams
Lighting by Steve McNicholas and Neil Tiplady
US Rehearsal Director
Fiona Wilkes
Tour Resident Director
Andrew Patrick
Production Manager Ricardo De Arruda Camargo
General Manager
Associate Producer
Roberta Roberts Fred Bracken
Executive Producers
Richard Frankel Productions / Marc Routh / Alan Schuster / Aldo Scrofani
STOMP IS PERFORMED WITHOUT INTERMISSION.
THE USE OF ANY CAMERA, RECORDING DEVICES OR LASER POINTERS IS STRICTLY PROHIBITED.
STOMP WEBSITE: http://www.stomponline.com
STOMP, a unique combination of percussion, movement and visual comedy, was created in Brighton, UK, in the summer of 1991. It was the result of a ten-year collaboration between its creators, Luke Cresswell and Steve McNicholas.
They first worked together in 1981, as members of the street band Pookiesnackenburger and the theatre group Cliff Hanger. Together, these groups presented a series of street comedy musicals at the Edinburgh Festival throughout the early ‘80s. After two albums, a UK TV series and extensive touring throughout Europe, Pookiesnackenburger also produced the highly acclaimed “Bins” commercial for Heineken lager.
The piece was originally written and choreographed by Luke as part of the band’s stage show; it proved to be the starting point for STOMP’s climactic dustbin dance.
In 1986, Luke and Steve created an eight-minute ‘percussive movie’ for Bette Midler’s HBO special Mondo Beyondo. Between 1987 and 1990, Luke staged, as Artistic and Musical Director, four large-scale outdoor events, including “Beat the Clyde”, which involved floating a drum orchestra on a pontoon in the center of Glasgow; the largest of these events, “The Heineken Hove Lagoon Show”, involved a 120-piece drum orchestra featuring the Brighton Festival Chorus and a full orchestral string section.
In 1991, Steve and Luke first created STOMP, previewing at London’s Bloomsbury Theatre and premiering at the Assembly Rooms in Edinburgh, where it became The Guardian’s “Critics’ Choice” and won The Daily Express “Best of the Fringe Award”.
Between 1991 and 1994, the original cast of STOMP played to capacity audiences around the world: from Hong Kong to Barcelona, from Dublin to Sydney. The touring culminated in a sell-out season at London’s Sadler’s Wells Theatre in January 1994, where STOMP received an Olivier nomination for Best Entertainment and won Best Choreography in a West End Show.
An expanded version of STOMP, involving up to 30 cast members, was originally created for the Brighton Festival, UK, and was subsequently presented in Melbourne, Australia. It was most recently seen in September 1995, open-air, at the Acropolis in
Athens and at the Royal Festival Hall, London. This production broke all box office records, which had been established by Frank Sinatra in 1972. STOMP began its run at the Orpheum Theatre in New York in February 1994 and quickly went on to win both an Obie and a Drama Desk Award for Most Unique Theatre Experience. By the summer of 1994, the first American cast was in place at the Orpheum, freeing the original cast for sell-out tours of North America and Japan.
In the summer of 1995, two more American productions were created for the sole purpose of US touring, which continues to this day. US casts have also debuted STOMP in Chile, Brazil and Korea. Meanwhile, a fifth STOMP company, also touring from the UK, was formed in 1997 and has consistently toured the world ever since. This company presented STOMP for the first time in Scandinavia and South Africa, and has been a regular visitor to Germany, Holland and France. Another STOMP production opened in San Francisco in May 2000, running for two and a half years.
The original cast of STOMP have recorded music for the Tank Girl movie soundtrack and appeared on the Quincy Jones album, Q’s Jook Joint. A soundtrack recorded by Steve and Luke for the Showtime movie Riot was released in the spring of 1997. STOMP has also featured in a number of commercials, including Coca-Cola’s “Ice Pick” and numerous spots for both Target stores in the US and Toyota in Japan.
STOMP also created the Mr. Frears’ Ears series of short films created for Nickelodeon, whilst Brooms, a 15-minute short based around the opening routine, was nominated for an Academy Award. “Brooms” was also selected for screening at Robert Redford’s Sundance Festival and for competition at the Cannes Film Festival.
STOMP made a special appearance at the Academy Awards in March 1996, with an original piece involving the live synchronization of classic film clips and onstage action, featuring 20 performers from all five productions.
In the summer of 1997, Steve and Luke created and directed STOMP OUT LOUD, a 45-minute television special for HBO, which combined stage material with new pieces created for
TV. It was premiered in the USA in December 1997 and subsequently received four Emmy nominations, for direction, sound mixing, multi-camera editing and art direction. 1998 saw the release of the STOMP OUT LOUD video and DVD around the world. Another unique blend of live action and film footage was created for the Emmy Awards, in which STOMP effectively performed with Spike Jones! STOMP performed after midnight on the steps of the Lincoln Memorial at US President Clinton’s millennium celebrations. During 2000, a Sesame Street special, “Let’s Make Music”, a collaboration between STOMP and the Muppets, was released on TV and video in North America.
Luke and Steve began production of their IMAX movie Pulse: A STOMP Odyssey in Brazil during Carnival 2000 and completed it in the summer of 2002. Pulse takes the IMAX audience on a spectacular global journey, featuring performances from Kodo, Timbalada and Eva Yerbabuena. It was released to critical acclaim in New York in the autumn of 2002, and went on to win two major awards at the International Festival of La Géode in Paris.
In September 2002, STOMP finally entered London’s West End at the Vaudeville Theatre, and later that year STOMP performed as part of The Royal Variety Show for the second time.
2003 saw a new STOMP production open at the Stuart Street Theatre in Boston and a unique Dolby Digital trailer featuring STOMP performances debuted in cinemas across the globe.
In 2004, New York celebrated 10 years of continuous performances of STOMP at the Orpheum Theatre by renaming 2nd Avenue at 8th Street Stomp Avenue.
In addition to the European tour, in 2005 STOMP returned to Tokyo for three weeks and also toured to Hong Kong, Singapore and Kuala Lumpur.
In 2006, STOMP’s New York production passed its 5,000th performance mark. In the same year, Luke and Steve directed a public service announcement for television called “Stomp Out Litter”, which featured the cast ‘sweeping up’ at iconic locations in the five boroughs.
In addition, they were commissioned to create and produce The Lost and Found Orchestra, which takes the
ideas behind STOMP to a symphonic level, in celebration of 40 years of the Brighton Festival. The LFO subsequently performed at the Sydney Opera House as part of the Sydney Festival early in 2007, was seen at the Royal Festival Hall in London at Christmas 2008 and the Theater Carré in February 2009.
In 2007, STOMP OUT LOUD opened in Las Vegas at Planet Hollywood Resort and Casino with an expanded cast and performed inside a new $28 million theatre, specifically created for the production. The West End entered its 6th consecutive year with a move from the Vaudeville to the Ambassadors Theatre.
In 2008, STOMP returned to its roots for a new DVD shoot at the Brighton Dome, bringing together a cast from all over the STOMP world. For the first time, the entire show has been captured in high-definition sound and video. 2008 also saw Steve and Luke expand into new areas with the release of their IMAX 3D nature documentary Wild Ocean, with a
symphonic mix of percussion and traditional orchestra in the soundtrack. In September of the same year, Wild Ocean won two awards at the Giant Screen Cinema Association for Best Sound and Best Original Score at their annual conference held in New York.
The Lost and Found Orchestra reunited in 2010 for a new show, PANDEMONIUM , which appeared in several US cities throughout the autumn.
In 2011 the New York production of STOMP entered its eighteenth year, trouncing the Orpheum house record set by Little Shop of Horrors. It also entered its tenth year in the West End at the Ambassadors Theatre, whilst at the same time Steve and Luke continued with their 3D film work. 2012 has seen the release of The Last Reef 3D, a film about the beauty and the plight of reefs worldwide. As with Wild Ocean, Luke and Steve composed the film’s orchestral soundtrack, recording it at The Old Market Theatre in their hometown of Brighton & Hove
WHO’S WHO
in the UK. They have also celebrated the one-year anniversary of The Old Market Theatre, which, having renovated it back in 2011, they now run as a full-time venue, bringing music, theatre, dance, comedy and visual arts to the UK’s south coast.
In August 2012, the largest ever assembly of STOMP performers (40 performers from 12 different countries) were brought together for a specifically choreographed appearance in the closing ceremony of the London 2012 Olympic Games. Post-pandemic, STOMP played the Orpheum in New York for one final year and continues to tour the USA and around the world.
STOMP was created with the original U.K. cast:
Luke Cresswell, Nick Dwyer, Sarah Eddy, Theseus Gerard, Fraser Morrison, David Olrod, Carl Smith and Fiona Wilkes.
DILIAN CANTRELL (Performer) is a classically trained technical and street dancer out of Stamford, CT. He has trained and been mentored by Jimmy Locust. Studying Giordano jazz technique since a young age Dilian was able to learn the structure, maturity, technique, and professionalism that it takes to be a dancer and performer. He has performed across the tristate area in private performing art festivals, parades, charity events, and competitions. He is beyond thrilled to be a part of the cast of STOMP Dilian_05 on all social media!
MICAH COWHER ( Performer ) is a New York native with a passion for all things rhythm. Growing up playing drums, Micah went on to major in music education at NYUSteinhardt before studying musical theatre and dance at AMDA. Since then, he’s traveled the world acting and drumming in various musicals and rock bands. Favorite theatre credits include Rock of Ages, Shrek the Musical, Monty Python’s Spamalot, Footloose, and Bayside the Musical. Current band/producing projects include @nightwithoutcars,
@theduderanch, and @thealicevalentine. When not performing, Micah teaches percussion and tap dance at Dance Molinari while also managing his entertainment company, Imperial Entertainment NYC. @micah.cowher
BEN JOHNSON (Performer) Raised in Rockford, Illinois, Ben graduated from Rockford University with a BFA in Musical Theatre. His performances span national tours, theme parks, and several regional theatres across the country with full credits available on his website. Most recently, he toured with STOMP and is thrilled to be back again on the road with this talented company. Offstage, Ben loves to song write and release music online while working on projects in New York City. He is forever thankful for his friends and family for their continued support! Tagalong on his Instagram @ bennjohnnsonn or at www.benjohnsonofficial.com
JASMINE JOYNER (Performer) is a performer from Queens, NY who has studied dance all of her life. She started out in her hometown family dance studio called Jenn’s Studio 1.
She received her Bachelors in Dance from SUNY Fredonia. As a professional dancer, she has performed in many dance ensembles, theater production of Cabaret, and Debbie Allen’s Dance Academy summer intensives. She is grateful STOMP has given her opportunities to fulfill her hopes and dreams. Special thanks to her family and friends for being her biggest supporters.
KHALIL LOUIGENE (Performer) is a BFA Theatre graduate from Montclair State University and an artist driven by a lifelong love of storytelling and performance. He is deeply grateful for the friends and family whose love and support have carried him through every stage of his journey, fueling his passion to create art that uplifts and inspires. Beyond the stage, Khalil serves as Chief Visual Officer of All Brothers Dream, a production company dedicated to turning vision into reality. His artistry reflects gratitude, community, and an unshakable belief in the power of dreams. @Khalillouigene — All Glory to God
MICHAEL MENDOZA (Performer)
Brooklyn is where Michael Mendoza’s rhythm was born. What began as a love for drums has grown into more than a decade of teaching and performing— from inspiring young musicians with The Brooklyn Steppers, to driving the energy with the NY Giants Drumline, to providing unforgettable performances at weddings with Mabrook Entertainment. Now in his second tour with STOMP, he carries the heartbeat of percussion onto stages around the world. Beyond music, Mendoza explores creativity through photography, anime, and video games. Follow his journey: @DozaDrumz
JAYME OVERTON (Performer), originally from Williamsburg, VA, is an NYC-based dancer who received her B.S. in therapeutic recreation from St. Joseph’s University in 2023. She has trained in a wide range of dance styles, but found her love for tap dance at an early age. She has had the privilege to attend several dance intensive festivals, such as the tap dance program at The School at Jacob’s Pillow. Jayme was a member of the final NYC cast of STOMP and is honored to be part of the STOMP tour and continue to create music with her fellow artists.
ANDREW PATRICK (Performer)
Massachusetts native and now a London, UK resident, Andrew began his STOMP journey in 2002 in NYC. For the last 23 years he has performed with the Boston, London, International and US tours. Andrew is happy to be able to continue with the ‘25-’26 season and feels very fortunate to have been a part of the STOMP family as long as he has. Seeing the world and putting smiles on audience’s faces while playing music and performing has been an absolute dream come true. Outside of STOMP Andrew is a drummer for various projects and a singer songwriter @andygpatrick
JAKE PYJAR (Performer) is a musician and composer from San Diego, CA. His lifelong pursuit of music was sparked at a young age by mentor and former STOMP cast member Chris Rubio, in many ways rooting his musical language in the unique dialect of STOMP. Making his performance debut during the 30th anniversary tour, he is thrilled and grateful at the opportunity to leave his own mark on the STOMP world. Jake is an
interdisciplinary computing and arts graduate of UC San Diego, currently working in commercial AV and as a music educator in his home city.
ISAIAH ROBINSON (Performer)
Hailing from South Jersey, Isaiah Robinson is elated to be returning to STOMP on his second national tour!! Growing up a drummer, Isaiah credits his rhythmic ability to years and years of playing in church. In May of 2024, he graduated from Montclair State University’s BFA Acting program with honors. Everyday is a dream when surrounded by his STOMP family (who never stop making noise). He continues to be encouraged, loved, and supported by his family and friends who he cherishes deeply. Follow him on instagram @_isaiah_robinson
CADE SLATTERY (Performer) Originally from San Diego, Cade Slattery dreamt about being in STOMP as a young percussionist. 10+ years into the show, it still feels like a dream to him. He thanks his wife Sophie, Mom, Dad, and Chris. Outside of STOMP, Cade creates electronic music under the artist name “Cade Master Cade” on major streaming platforms.
DAYSHA J WILLIAMS (Performer) is an award-winning Actress, Singer & Dancer. Since discovering her passion, she has trained and performed at The National Theater of Scotland, The Kennedy Center, Stellar Adler, Jacob’s Pillow, Dartmouth College, Mass MoCA & Netflix Studios. Daysha J Williams recently closed Dreamgirls Revival in NYC & joined the International Touring Company of STOMP in Dubai. When she isn’t touring, she is originating the lead role in Step Show: The Musical. She is very excited to join STOMP’s National Tour bringing her love of rhythm to audiences worldwide!
LUKE CRESSWELL (Director) is a selftaught percussionist from Brighton. His session work as a drummer and rhythm programmer includes Beats International, Bette Midler, Elvis Costello, and Bryan Ferry. After working for several years as a street musician and performer, he first created STOMP in 1991. He has directed, with Steve McNicholas, several award-winning commercials and short films. He received an Oscar® nomination for the film “Brooms”, an Emmy® nomination for STOMP OUT LOUD, and co-directed the award-winning IMAX movie, Pulse: A STOMP Odyssey. He
has also received a special achievement award from the Chicago Human Rhythm Project. More recently, Luke co-created the Lost and Found Orchestra and the Vegas production of STOMP OUT LOUD and also co-directed the 3D IMAX movie Wild Ocean. Luke occasionally performs with STOMP, and is currently conductor of the LFO.
STEVE McNICHOLAS (Director), from Yorkshire, has worked as an actor/ singer/musician/writer with various theatrical and musical groups, starting out with the Bradford Theatre Group in 1973. Through the ’80s he worked with Cliff Hanger, Covent Garden Community Theatre, and Pookiesnackenburger. Despite also being an original member of the a cappella group the Flying Pickets, and a final appearance in Mr. Bean, Steve no longer performs. He shares directorial credits with Luke Cresswell on STOMP-based films and commercials, and their new show, the Lost and Found Orchestra. With Luke, he composed the soundtrack to the Showtime movie, Riot, and shares the Oscar® and Emmy® nominations for his work on Brooms and STOMP OUT LOUD, and co-directed the awardwinning IMAX movie, Pulse: A STOMP Odyssey. Steve also co-created the LFO and co-directed the 3D IMAX movie Wild Ocean, released worldwide in 2008.
FGTM / Roberta Roberts (General Management) Richard Frankel and Roberta Roberts have been working together for the past 11 years in New York and on tour in the U.S. Shows general managed by Richard Frankel Productions and FGTM include STOMP, Smokey Joe’s Café, The Sound of Music, The Weir, Swing!, The Producers, Hairspray, Little Shop of Horrors, Sweeney Todd, Company, Young Frankenstein, Gypsy , The Norman Conquests, Finian’s Rainbow, Burn the Floor, A Little Night Music, The Rocky Horror Show, Forever Tango, Standing on Ceremony: The Gay Marriage Plays, Necessary Targets, Old Jews Telling Jokes, Murder Ballad, Los Monólogos de la Vagina, Lennon: Through a Glass Onion and Flashdance. Richard and his partners Tom Viertel and Steve Baruch own and operate 54 Below, Broadway’s supper club.
BANG! THEATRICALS ( Producer ) is a company whose principals are Richard Frankel, Alan Schuster and
Aldo Scrofani. They, along with the late Gary McAvay, have been the producers, managers and touring executives of STOMP since they premiered the show in North America in 1994. Their collective professional experience in the theatre totals 190 years.
HARRIET NEWMAN LEVE Broadway: four-time Tony award winning producer: Anastasia; Beautiful: The Carole King Musical; An American in Paris; Hedwig and the Angry Inch; Of Mice and Men; Ann; One Man Two Guvnors; War Horse; Norman Conquests; Mountaintop; La Cage Aux Folles; A Little Night Music; 39 Steps; Diary of Anne Frank; Crucible; Hedda Gabler; Lieutenant of Inishmore; Ma Rainey’s Black Bottom. Off Broadway: Beebo Brinker Chronicles; Family Secrets; Shockheaded Peter; Necessary Targets; Communicating Doors. She is a member of The Broadway League and was on the Board of Directors of New York Stage and Film for four years.
JAMES D. STERN CEO of Endgame Entertainment. Has produced or directed over 50 shows or movies including Broadway: A Little Night Music, Hairspray, The Producers, Legally Blonde, and STOMP. Film: An Education, Every Little Step, It’s the Rage, Pulse: A STOMP Odyssey, Michael Jordan to the Max, Proof, Harold and Kumar Go to White Castle, I’m Not There.
MORTON WOLKOWITZ Theatrical Producing Credits: Donnybrook , music and lyrics by Johnny Burke; The Enemy Is Dead starring Linda Lavin; My Astonishing Self, starring Donal Donally; The Unexpected Man, by Yasmina Reza starring Alan Bates and Eileen Atkins; From Door to Door by James Sherman; One Shot One Kill by Richard Vetere; Tryst by Karoline Leach, directed by Joe Brancato; STOMP OUT LOUD in Las Vegas. He is managing part of “Suitz LLC” with Richard Sudock and Michael Wolkowitz. He has enjoyed success in the industrial and financial worlds and is former Chairman and current Director of Key Energy Services, Inc. He is married to the actress Anita Keal.
MITCHELL MAXWELL has produced six Broadway shows, twenty-one Off-Broadway shows, four national tours, three West End shows, and five feature films. His shows have won the Tony, Drama Desk, Outer Critics
Circle, and Obie Awards and his longrunning Off-Broadway hit, Dinner With Friends by Donald Margulies, was the recipient of the 2000 Pulitzer Prize for Drama.
SUSAN QUINT GALLIN/SUKI SANDLER
Productions include Desperately Seeking Susan (London, opening November 2007); Spamalot ; STOMP (NY & tour); Woman Before A Glass; The Retreat From Moscow; Man Of La Mancha (2002 Revival); The Shape Of Things; Hedda Gabler (2001 Broadway); Fully Committed; Cowgirls; Angels In America; From The Mississippi Delta; The Rothschilds (Revival); Other People’s Money; Burn This; The Cryptogram (London).
DAN MARKLEY Producing credits include Irving Berlin’s White Christmas , High Fidelity, Family Secrets (rev.), Vagina Monologues, Lifegame, Damn Yankees, On The Waterfront , Oleanna , and Jeffrey (film), with Alison Sheehy, Sarah, Hayden and Sander.
JENNIFER MANOCHERIAN Broadway credits include Spring Awakening; The Little Dog Laughed; Caroline, or Change; Ma Rainey’s Black Bottom; Thoroughly Modern Millie; The Crucible; Jane Eyre, the musical; and The Kentucky Cycle. Off Broadway: Berkshire Village Idiot; STOMP; Hello Muddah, Hello Fadduh; Showing Off; Palace of Amateurs Film: Family Blues, which she also co-wrote.
FRED BRACKEN (Associate Producer) first saw STOMP in Australia and resolved to see it performed in New York. Mr. Bracken works for CNN.
RICHARD FRANKEL PRODUCTIONS / MARC ROUTH (Executive Producers) Richard Frankel and Marc Routh have been producing and general managing shows together since 1985. Some of their productions include Young Frankenstein, Hairspray, Gypsy, and STOMP in New York, and STOMP OUT LOUD in Las Vegas, Sweeney Todd on tour, Little Shop of Horrors in London as well as a UK tour of The Producers and The King and I and SpongeBob SquarePants Live in Asia. With their partners Tom Viertel and Steve Baruch they have produced some 60 additional musicals and plays in New York, London, and in Asia, including Back to the Future, Company, Sweeney Todd, Little Shop of Horrors, Swing, A Funny Thing
Happened on the Way to the Forum, Penn and Teller, Driving Miss Daisy, Love Letters, Smokey Joe’s Cafe, and Angels in America
ALAN J. SCHUSTER ( Executive Producer) has operated the Orpheum, Minetta Lane, Union Square, 2nd Avenue and The Cherry Lane Theatres in New York and The Royal George Complex in Chicago. He built 37 Arts the home to the Baryshnikov Arts Center and the Orchestra of St. Luke’s. He has produced over 25 productions including STOMP OUT LOUD, Key Exchange, Mamet’s Oleanna, Marvin’s Room, Jeffrey, Vita and Virginia and Shockheaded Peter
ALDO SCROFANI (Executive Producer) is Currently the Chief Operating Officer of the Apollo Theater Foundation which includes the iconic Apollo Theater. Founding producer of STOMP . President and CEO of Theatre Management Associates, Inc. COO of Columbia Artists Theatricals (18 years). Executive VP of Jujamcyn Theatres (13 years). Over 100 productions including: Gone With The Wind, Dirty Rotten Scoundrels, Chita Rivera: The Dancer’s Life, Lovemusik, Elaine Stritch At Liberty, Noise/Funk, Tap Dogs, Sunset Boulevard, Carousel, Cat On A Hot Tin Roof, City of Angels, Grand Hotel, M. Butterfly, Jelly’s Last Jam, Into The Woods, Gypsy, Big River, My One and Only, and Dracula.
STAFF FOR STOMP
GENERAL MANAGEMENT FGTM
Richard Frankel Roberta Roberts
COMPANY MANAGER
Carla Marie Rugg
GENERAL PRESS REPRESENTATIVE BONEAU/BRYAN-BROWN
Chris Boneau Jackie Green
TOUR PRESS REPRESENTATIVE
C MAJOR MARKETING & PUBLICITY
Catherine Major
Production
Manager ............ Ricardo de Arruda Camargo
Assistant Company
Manager ......................... Kimberly Pienkowski
Production Carpenter Walker Richardson
Lighting Director Vivian Santana
EVERY PLAY HAS A STORY
Visit the DCPA NewsCenter for in-depth coverage of the Colorado arts scene, bonus content from your favorite shows, and local tips for your next adventure downtown — all from nationally recognized writers.
LEARN MORE denvercenter.org/news-center
Production Props Ani Inman
Production Electrician .......... Andrew Hildner
Production Sound Mark Miller
Management Associate Ashlyn Smith
Controller Galbraith & Co./Amanda Hayek
Assistant to Mr. Frankel Stephanie Lazard
Information Technology
Manager Ben Bigby
Set Dresser Stacey-Jo Marine
Photographers Marc Bryan-Brown, Steve McNicholas, Lois Greenfield, Jun-Ichi Takahashi, Harry Pocius
Legal Counsel S. Jean Ward, Esq.
Insurance DeWitt Stern Group, Risk Management Underwriters, Inc.
Accounting Adam Hoffman, Hoffman & Bentovim CPA’s
Travel & Housing Road Rebel
Entertainment Touring
Payroll Services Stratus Solutions PEO, Payroll Data Processing, LLC
Merchandising Marquee Merchandise, Inc./ Matt Murphy
Physical Therapy NEURO TOUR Physical Therapy, Inc
Physical Therapist Hannah Mark, PT
Medical Director Charles Garten, MD
GO BEHIND THE SCENES
Find out how costume designers, set builders, propmakers, and technical specialists create our shows from scratch.
Behind-the-Scenes Tours take place Mondays and Saturdays at 10am
During these walking tours, you will experience recent updates to our storied performance spaces and discover the people and processes that bring theatre to life.
$12 • 2-hour guided tour BOOK NOW
ACKNOWLEDGMENTS
Original production presented by Yes/No People in association with Glynis Henderson and Loretta Sacco. STOMP’s exclusive agent and general inquiries: Loretta Sacco, c/o Yes/No Productions, N1 Offices, The Old Market, 11A Upper Market Street, Hove BN3 1AS Tel: 011.44.127.371.1151
EXCLUSIVE NORTH AMERICAN TOUR BOOKING
Columbia Artist Theatricals
Magaly Barone Justine Spingler www.columbiaartiststheatricals.com
CREDITS
Designed by Yes/No Productions, Ltd.; Trucking by Janco; Scenery built by Light & Sound Design; Zippo lighters courtesy of Zippo Manufacturing Corp.; “Super Big Gulp” cups courtesy of Southland Corp.; Ski boots by Rossignol Ski Co.
SPECIAL THANKS
More Merchandising/George Fenmore; Brad Bauner; Paul J. Botchis; David W. Caldwell; Sarah Eddy; E. Maria Flotta; Theseus Gerard; Fraser Morrison; Niclas Nagler; Jason Pelusio; Carl Smith; Joe Watson; Fiona Wilkes; Derek Worley
DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2025/26 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
Mark Anthony
Perry Elliott
Kiko Marra
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
Albert Sainz Sr.
Josh Thurman
Derek Tovar
David A. Wilson
Allen Olmstead
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
Jen Morris, Deputy Executive Director
Tariana Navas-Nievas, Deputy Executive Director
Denver Arts & Venues, Arts Complex Operations
Jody Grossman, Venue Director
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
We Fund Culture. SCFD.org
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
SFROM POOKIESNACKENBURGER TO BEER TO TRASH: THE JOURNEY TO
Stomp is the product of the long-time collaboration between two men, Luke Cresswell and Steve McNicholas. Though the show group was developed in Brighton, England (1991), its history begins ten years earlier when the two first worked together.
Prior to Stomp, Luke and Steve met in 1981 when they were members of the street band Pookiesnackenburger and the theatre group known as Cliff Hanger. These two organizations produced musical comedies for the Edinburgh Festival. After experiencing success at the Festival throughout the 1980s, Pookiesnackenburger developed a commercial for Heinken, which would become the model of the notorious dustbin dance audiences recognize from the show.
In 1986, Luke and Steve produced a short, percussivebased movie for Bette Midler’s HBO special program “Mondo Beyondo” — it was a success! For the rest of the 1980s and early 1990, the duo staged several large-scale, outdoor events that demonstrated their talent for putting together percussive orchestrations.
In 1991, Luke and Steve financed and directed the original Stomp production. The show began a series of previews at the Bloomsbury Theatre in London followed by a premiere in Edinburgh where it was met with great success. With a cast of eight performers, the production toured around the world from 1991-1994 to critical acclaim. The show ended its three-year tour in London where it received an Olivier nomination for Best Entertainment Award.
In 1994, Stomp began its long-running production at the Orpheum Theatre in New York where it won an Obie and
Drama Desk Award for Most Unique Theatre Experience. With a new cast in place for the New York run, the original cast commenced a tour of North America which became so popular that in 1995, the group launched two more companies to tour the United States.
You’re probably thinking to yourself, “I must have seen this group somewhere!” Well you probably have! Stomp has appeared in numerous commercials, including ads for Coca-Cola, Target and Toyota. The group became so worldrenowned that in 1996 they performed at the Academy Awards. In 1997, Luke and Steve created and directed Stomp Out Loud — an HBO special that featured the group’s stage routines with new material made specifically for TV — which was nominated for four Emmys including Best Direction and Best Art Direction.
After 29 years on Broadway, Stomp lit a zippo lighter and swept up the dust for the final time. The long-running show closed in January 2023 after 13 previews and 11,475 performances. Despite its finale in New York, the tour continues to this day, performing to sold out audiences around the world and currently celebrating its thirtieth anniversary. Who knows how long the beat will go on?
STOMP
NOV 19 – 22 • BUELL THEATRE
Audio Described performance: Nov 22 at 2pm
GOODNIGHT MOON: DESIGNING THEATRE FOR YOUNG AUDIENCES
BY LISA BORNSTEIN
TThey come reaching up to hold the hands of giants, wearing their best dresses and bunny costumes. These children probably aren’t aware, however, that when they come to see Goodnight Moon, they are taking part in one of the Denver Center for the Performing Arts’ foundational outreach programs.
Goodnight Moon is a production by the DCPA’s Theatre for Young Audiences program, which pulls out all the stops to make theater meaningful for children.
“It is really made with them in mind,” says Allison Watrous, Executive Director for Education and Community Engagement.
As children enter the space, themed decor draws them in. Performers move through the aisles. Laughing and speaking are expected. “We encourage their engagement and response,” Watrous says.
Chad Henry wrote both the book and music for his adaptation of Margaret Wise Brown’s 1947 picture book (illustrated by Clement Hurd), which contains only 130 words. Henry transformed those words into a full theatrical event, in which the room comes to life, allowing children to explore what was previously a two-dimensional space.
“The magic is ever-present,” Watrous says. “It’s the power of wonder for a young person, that they can be in awe.”
“I really believe in honoring a young person at the highest level of their intelligence, so that’s what I look for [in a script],” Watrous says. “What I really love about Chad’s work on Goodnight Moon is the music is highly sophisticated.”
This season, the DCPA is providing 4,800 full and partial scholarships to Goodnight Moon, a value of $45,000. Scholarships are provided to Title 1 schools, and additional pricing is tiered based on a school’s percentage of students eligible for free and reduced lunch.
Every group is provided with a post-show workshop on-site or in their classroom. In the workshop, students step into the role of Bunny, following the character’s journey of saying goodnight and going to bed. “We make it very, very tactile,” Watrous says. “They also get to sing a song and step into one of the dances.”
All of these aspects are in service to the central pursuit of Theatre for Young Audiences. “For young people of any age...how do we instill in our young people curiosity about the world, and that happens both within and outside your classroom.”
Mercedes Perez, Rakeem Lawrence, Susannah McLeod and Marco Robinson.
Photo by Adams VisCom.
As a mission-driven non-profit organization, the Denver Center for the Performing Arts knows firsthand how to craft memorable events that raise money for a cause — and work within your budget. Take advantage of our special non-profit rates for your organization’s next breakfast, luncheon, black-tie gala, or retreat. Partnering with our theatrically trained, in-house Event Services team, you can select from our spectacular spaces, including the Seawell Ballroom, Lobby Atrium, and Directors Room. Packages include professional labor plus your choice of:
• Seven caterers
• Customized bar package from Sodexo Live!
• Dramatic lighting, staging, and A/V technology
Cheeseman, Bhavesh Patel,
DCPA TEAM
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, Accounting
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
Sarah Darlene Manager, Grants & Reports
Julia Dunn Manager, Donor Engagement & Legacy Giving
Kara Erickson-Stiemke Manager, Annual Giving & Stewardship
Emily Kettlewell Director, Operations
Caitie Maxwell Senior Director, Major Gifts
Marc Ravenhill Director, Donor Relations
Sarah Smith Coordinator
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 Walvoord Teaching Artist & Manager, Shakespeare in the Parking Lot
Samuel Wood Director, Education & Curriculum Development
EVENT SERVICES
Danielle Levine, Blair Quiring Senior Sales & Event Managers
Stori Heleen-O’Foley Event Technical Manager
Shane Hotle
Audio Engineer
Phil Rohrbach, Jacob Noon Sales & Event Managers
Tara Miller
Event Sales & Operations Director
Brook Nichols Event Technical Director
Benjamin Peitzer Event Technical Lead
Savannah Singleton, Kris Lawan Event Captains
Michael Harris Lighting Designer
Kaden Richter Audio Engineer
Aidan Gagner Video Engineer
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
Communications
Suzanne Yoe Director
Heidi Bosk,
Brittany Gutierrez Associate Directors
Todd Metcalf Media Producer
Creative Services
Kyle Malone Director, Sofia Contreras, Lucas Kreitler Graphic Designers
Paul Koob Senior Graphic Designer
Noelle Norris Traffic Coordinator
Digital
Michael Ryan Leuthner Director
Erin Bunyard Senior Strategist
Harper Anne Finch Manager, Social Media
Hannah Selwyn Manager, Email
Sergio von Kretschmann Manager, Web
Insights & Strategy
Emily Kent Director
Dan McNulty Analyst
Marketing
Claire Graves Director
Emily Lozow Associate Director
Emmy VanLangevelde, Julie Whelan, Maddie Young Managers
Mikayla Woods Coordinator
Ticketing & Audience Services
Jennifer Lopez Director
Jessica Alverson*, Zeah Edmonds*,
Lauren Estes*, Amanda Foust, Jen Gray*, Noah Jungferman*, Oliver Knight, Brett O’Neill, Claudia Ruiz, Holly Stigen*, Asheala Tasker*, Bronwen VanOrdstrand*, Rob Warner* Ticket Agents
Kirsten Anderson*, Scott Lix*,
Liz Sieroslawski*, Greg Swan* Subscription Agents
Jon Collins Manager, Subscription
D.J. Dennis*, Edmund Gurule*, Hayley Solano*, Sam Stump*, Andrew Sullivan*, Alfonso Vazquez*, Max McCord* Counter/Show Leads
Billy Dutton Associate Director, Operations
Katie Davis, Claire Hayes, Ella Mann,
Lane Randall Managers, Box Office
Chris Leech VIP Ticketing Associate
Katie Spanos Associate Director, Subscriber Services
Group Sales
Jessica Bergin Associate Director
Elias Lopez, Valery Owen Associates
OFF-CENTER
Charlie Miller Executive Director & Curator
OPERATIONS
Sarah Arzberger,
Danielle Freeman Managers
Aaron Chavez Lead
Ruben Cruz, Jordan Latouche Engineers
Simone Gordon Director
Kyle Greufe Senior Analyst
Maria Herwagen Junior Analyst
Brandon LeMarr Associate Director
Alison Orthel, Tara Perticone Analysts
Joseph Reecher Senior Engineer
PEOPLE & CULTURE
Laura Maresca CPCO
Equity & Organization Culture
Seán Kroll Specialist
Human Resources
Brian Carter Senior Business Partner
Andrew Guilder Recruiter & HR Generalist
Michaela Johnson 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
Jessica Eckenrod Line Producer
Alex Koszewski Company Manager
Ann Marshall General Manager
Artistic
Chris Coleman Artistic Director
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+, Dave Mazzeno+, Kyle Moore+, Heather Sparling+,
Matt Wagner+ Stagehands
Joseph Price+, Kelley Reznik+ Technicians
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 Production Manager
Prop Shop
Meghan Markiewicz Supervisor
Sara Pugh Associate Supervisor
Bennet Goldberg, Ashley Lawler Artisans
Adena Rice.
Scene Shop
Eric Moore Technical Director
Albert “Stub” Allison, Robert L. Orzolek, Josh Prues Associate Technical Directors
Jeremy Banthoff, Tyler D. Clark, Kyle Scoggins Scenic Technicians
Wynn Pastor Scenic Technician & Purchasing Agent
Louis Fernandez III Lead Scenic Technician
Brian “Marco” Markiewicz Lead Carpenter
Scenic Design
Lisa Orzolek Director
Nicholas Renaud Assistant
Sound Design & Technology
Alex Billman Supervisor
Meagan Holdeman+, Timothy Schoeberl+, Dimitri Soto+ Technicians
Stage Management
Anne Jude Supervisor
Chandra R.M. Anthenill, Wayne Breyer, Corin Davidson, Kristin Dwyer, Elizabeth Ann Goodman, Harper Hadley, Sage Hughes, Nick Mason, Melissa J. Michelson, Christine Rose Moore, Nick Nyquist, Brooke Redler, Malia Stoner Stage Managers
Sage Goetsch, Dylan Hudson, Hannah Iverson, Casey Pitts 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^ Hair/Wig Technicians
VENUE OPERATIONS
Glen Lucero Vice President
Kristi Horvath Director
Merry Davis Financial Manager
Jane Deegan Administrator
Samantha Egle Manager, Event Operations
Facilities
Craig Smith Director
Dwight Barela, Mark Dill, Bryan Faciane, John Howard, Iver Johnson Engineers
Saleem As-Saboor, Abraham Cervantes, Carmen Molina, Judith Primero Molina, Juan Loya Molina, Blanca Primero Custodians
Michael Kimbrough Manager, Engineering
Oscar Fraire Manager, Custodial
Brian McClain Supervisor, Custodial
Patron Experience
Kaylyn Kriaski Manager, Patron Experience
LeiLani Lynch, Aaron McMullen, Stacy Norwood, Wendy Quintana, Valerie Schaefer Managers on Duty
Kelly Breuer, Nora Caley, Amy Howard, Robin Lander, Melanie Mason, Barbara Pooler, Ayden Smith House Managers
Safety & Security
Quentin Crump Director
Timothy Allen, Jodi Benavides Lead Security Officers
David Bright, Ariana Cuevas, Ethan Kemberlin, Jack Leatherwood, Ian Nelson, Ashley Skillman, Zach Stemley, Pamela Winston, Tori Witherspoon Security Specialists
Prop Carpenter
T H E S H O W G O E S O N .
When creator/per former Todd Danielson was 44 years old, he had a seizure, the result of a tumor in his frontal lobe. Now, he’s taking on his second ac t
Learn more about Todd’s stor y at uchealth org/tomorrow
DENVER LANGUAGE SCHOOL
PROUD CORPORATE MEMBER OF THE DENVER CENTER FOR THE PERFORMING ARTS
DDenver Language School is the only Denver Public School K-8 charter school offering Spanish and Mandarin immersion (K-8) and French (6-8). DLS is committed to providing students with a diverse and globally oriented education, encouraging them to be curious, critical thinkers, and preparing them for the workforce of tomorrow. Its unique model enhances problem-solving and critical thinking; strengthens cognitive ability, flexibility, and creativity; and builds cultural understanding. The curriculum fosters empathy, adaptability, and open-mindedness, and DLS’s holistic approach combines academic rigor.
DLS is proud to be the number one charter school in Denver on the state School Performance Framework and 28th of 1,825 schools in Colorado, placing DLS in the top 1.5% of all Colorado schools.
“Choosing Denver Language School has been one of the best decisions we’ve made for our children,” said Monica W., parent of DLS students. “Not only are they becoming fluent in another language, but they are also developing a deep appreciation for different cultures. We see their confidence, curiosity, and problem-solving skills growing every day, and we know they are being prepared to thrive in a global world.”
The Denver Center for the Performing Arts (DCPA) provides Denver with access to world-class theatrical performances and arts programming. These experiences expand creativity, encourage selfexpression, and foster cultural awareness, offering opportunities to engage with the arts in meaningful ways. As a Denver community member, DLS is highly invested in supporting the arts and the DCPA, working to nurture a diverse and interconnected world.
We see [our children’s] confidence, curiosity, and problem-solving skills growing every day, and we know they are being prepared to thrive in a global world.
— MONICA W. PARENT
We believe that the arts have the power to connect and inspire our neighbors, and we are proud to support the DCPA.
— STEVE PEATE, VICE PRESIDENT AND GENERAL MANAGER OF AMERISTAR CASINO RESORT SPA
PROUD CORPORATE MEMBER OF THE DCPA
AAmeristar Casino Resort Spa in Black Hawk is proud to continue its partnership with the Denver Center for the Performing Arts. This collaboration highlights a dedication to supporting the arts and enriching the local community. Together, Ameristar and the DCPA aim to bring the magic of live theatre to the entire Denver community by offering the opportunity to experience world-class performances right in their backyard.
Steve Peate, Vice President and General Manager of Ameristar Casino Resort Spa, shared his excitement about the partnership: “Partnering with the Denver Center for the Performing Arts is another fantastic opportunity to positively impact the community. At Ameristar, whether through charitable or civic organizations, supporting our community is part of our culture. We believe that the arts have the power to connect and inspire our neighbors, and we are proud to support the DCPA.”
It’s about having a passion not only to entertain, but to also change lives. It’s about wanting to foster a vibrant community of giving and contribute to causes which seek to create a better tomorrow. When the curtain falls, Ameristar will be standing with the DCPA.
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
