Applause -- The Notebook, December 16-28, 2025

APPLAUSE

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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

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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

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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

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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

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303.446.4812

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One room. 650 incredible hats. Supporting the DCPA’s Women’s Voices Fund.

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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

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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

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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.

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SEASON SPONSOR

KEVIN McCOLLUM KURT DEUTSCH

JAMIE WILSON PRODUCTIONS GAVIN KALIN PRODUCTIONS NICOLE EISENBERG

NEDERLANDER PRESENTATIONS LAMS PRODUCTIONS HUNTER ARNOLD

SING OUT LOUISE! PRODUCTIONS TIMOTHY LACZYNSKI LTD THEATRICALS JOHN GORE BOB BOYETT PAM & STEPHEN DELLA PIETRA SCOTT ABRAMS/JONATHAN CORR/LESLIE MAYER  INDEPENDENT PRESENTERS NETWORK/EMILY BOCK LUCAS MCMAHON in association with CHICAGO SHAKESPEARE THEATER

present

Based on the novel by NICHOLAS SPARKS with

SHARON CATHERINE BROWN BEAU GRAVITTE ALYSHA DESLORIEUX KEN WULF CLARK CHLOË CHEERS KYLE MANGOLD

ANNE TOLPEGIN CONNOR RICHARDSON NICK BROGAN JESSE CORBIN JEROME HARMANN-HARDEMAN RAYNA HICKMAN MAKENA JACKSON CALEB MATHURA AARON RAMEY SHARI WASHINGTON RHONE SAMANTHA RIOS GRACE OHWENSADEYO RUNDBERG EMILY SOMÉ JOE VERGA

Scenic Design

Costume Design

Lighting Design

Sound Design

DAVID ZINN & BRETT J. BANAKIS PALOMA YOUNG BEN STANTON NEVIN STEINBERG

Hair & Wig Design

Video Design

Associate Director

Associate Choreographer MIA NEAL LUCY MACKINNON ASMERET GHEBREMICHAEL EMILY MADIGAN

Orchestrations

Co-Vocal Arrangements

Music Direction

Music Contractor JOHN CLANCY & INGRID MICHAELSON & TINA FAYE KIMBERLEE WERTZ CARMEL DEAN CARMEL DEAN

Casting

Co-Producer

Production Manager

Associate Producer THE TELSEY OFFICE HUDSON THEATRICAL JACK EIDSON WARNER BROS. THEATRE VENTURES PATRICK GOODWIN, CSA ASSOCIATES

Tour Marketing & Press

Tour Booking Agency

Social Media THE BOOKING GROUP ALLIED GLOBAL MARKETING AND THAT’S SHOWBIZ

MEREDITH BLAIR & KARA GEBHART KATHARINE QUINN

Production Stage Manager

General Manager

Company Manager JUSTIN MYHRE THEATER MATTERS MICHAEL CAMP

JOHN E. GENDRON & ASHLEY BERMAN

Music Supervision & Arrangements by CARMEL DEAN

Choreography by KATIE SPELMAN

Directed by

MICHAEL GREIF & SCHELE WILLIAMS

The Notebook received its World Premiere at The Yard at Chicago Shakespeare Theater on September 28, 2022, Rick Boynton, Creative Producer; Barbara Gaines, Artistic Director; Criss Henderson; Executive Director

music and lyrics by INGRID MICHAELSON

book by BEKAH BRUNSTETTER

CAST

Older Noah BEAU GRAVITTE

Middle Noah KEN WULF CLARK

Younger Noah KYLE MANGOLD

Older Allie SHARON CATHERINE BROWN

Middle Allie .................................................................................................................. ALYSHA DESLORIEUX

Younger Allie CHLOË CHEERS

Mother/Nurse Lori ANNE TOLPEGIN

Johnny CONNOR RICHARDSON

Lon/others JESSE CORBIN

Father/Son/others JEROME HARMANN-HARDEMAN

Nurse Joanna/others RAYNA HICKMAN

Sarah/Granddaughter/others MAKENA JACKSON

Fin/Grandson/others CALEB MATHURA

Georgie/Concierge/others GRACE OHWENSADEYO RUNDBERG

SWINGS

NICK BROGAN, AARON RAMEY, SHARI WASHINGTON RHONE, SAMANTHA RIOS, EMILY SOMÉ, JOE VERGA

UNDERSTUDIES

Understudies are in alphabetical order and never substitute for the listed performers unless a specific announcement is made at the time of the appearance.

For Older Allie—RAYNA HICKMAN, SHARI WASHINGTON RHONE; for Older Noah—JEROME HARMANN-HARDEMAN, AARON RAMEY; for Middle Allie—GRACE OHWENSADEYO RUNDBERG, EMILY SOMÉ; for Middle Noah—NICK BROGAN, JESSE CORBIN, JOE VERGA; for Younger Allie—MAKENA JACKSON, SAMANTHA RIOS; for Younger Noah—NICK BROGAN, CALEB MATHURA; for Mother/Nurse Lori—RAYNA HICKMAN, SHARI WASHINGTON RHONE; for Johnny—NICK BROGAN, CALEB MATHURA.

DANCE CAPTAIN SAMANTHA RIOS

TIME/PLACE

A coastal town in the Mid-Atlantic. The late 1960s, the late 1970s, the present.

THERE WILL BE ONE 15-MINUTE INTERMISSION.

In loving memory of John Beasley

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, beepers and watches

MEET OUR ALLIES

CAST

MEET OUR NOAHS

ANNE TOLPEGIN

CONNOR RICHARDSON

NICK BROGAN

JESSE CORBIN

SHARI WASHINGTON RHONE

SAMANTHA RIOS

GRACE OHWENSADEYO RUNDBERG

EMILY SOMÉ

JOE VERGA

JEROME HARMANNHARDEMAN

RAYNA HICKMAN

MAKENA JACKSON

CALEB MATHURA

AARON RAMEY

SHARON CATHERINE BROWN

ALYSHA DESLORIEUX CHLOË CHEERS

BEAU GRAVITTE

KEN WULF CLARK

KYLE MANGOLD

MUSICAL NUMBERS

ACT I

“Time” .................................................... Older Noah, Middle Allie, Middle Noah, Younger Allie, Ensemble

“Dance With Me” ........................................................................................................ Fin, Younger Noah, Georgie

“Carry You Home” ................................................................................................... Younger Noah, Younger Allie

“Blue Shutters” ....................................................................................................................................... Younger Noah

“I Paint” ....................................................................................................................................................... Younger Allie

“Sadness and Joy” ................................................................................................... Younger Allie, Younger Noah

“Leave the Light On” ......................................................................................................... Middle Noah, Ensemble

“What Happens” Middle Allie

“I Wanna Go Back” Middle Allie, Younger Allie

“If This Is Love” Middle Allie, Younger Allie

“Kiss Me” Younger Allie, Younger Noah, Middle Allie, Middle Noah, Ensemble

“Home” Ensemble, Younger Allie, Younger Noah, Middle Allie, Middle Noah

ACT II

“We Have To Try”

Younger Allie, Younger Noah, Middle Allie, Middle Noah

“Forever” Middle Allie, Middle Noah, Younger Allie, Younger Noah, Ensemble

“Sadness and Joy Reprise” Middle Allie

“Iron in the Fridge” Older Noah, Middle Noah, Younger Noah

“Don’t You Worry” Allie’s Mother, Middle Allie

“It’s Not Easy”

Middle Noah, Middle Allie

“My Days” Middle Allie

“I Love You More” ..........................

Middle Noah, Middle Allie, Younger Noah, Younger Allie, Ensemble

“I Know” ..............................................................................................................

Older Allie, Older Noah, Ensemble

“Coda” .......................................................................................................................................................... The Company

ORCHESTRA

Conductor/Keyboard—TINA FAYE

Associate Conductor/Keyboard 2—MARY GRACE ELLERBEE

Violin/Viola—GIOIA GEDICKS; Harp—SARAH FULLER; Reeds—QUINTEN HANSEN; Guitar—MICHAEL KARCHER, MICHIKO EGGER; Percussion—CHRIS SUTHERLAND

Music Coordinator—KIMBERLEE WERTZ

Electronic Music Design—BILLY JAY STEIN and HIRO IIDA for STRANGE CRANIUM

Mainbrain/Ableton Programming—CHRISTOPHER PETTI and HARRISON ROTH

Tour MainStage Programming—ADAM WIGGINS for STRANGE CRANIUM

Music Preparation—MEGAN SPERGER for J&J MUSIC PREPARATION

SHARON CATHERINE BROWN (Older Allie) has been in show business since she was 3 and made her Broadway debut at 5, but they only allowed her 65 words to tell you all about it so please go to sharoncatherinebrown.com, Instagram and TikTok to see what all the fuss is about. Sharon’s heart is her son Elijah and the greatest love story ever—her parents.

BEAU GRAVITTE ( Older Noah ). Broadway: The Light in the Piazza, The Best Little Whorehouse in Texas . Off-Broadway: Everybody’s Ruby, The Cherry Orchard, BAFO, Broadway ’68 . TV credits include “Doctor, Doctor,” “Hope and Gloria,” “Trapper John, MD,” “Law & Order,” “Gossip Girl.” Beau was the artistic director of The Actors Studio in New York (2017–2023). He remains a proud lifetime member and serves on the board of directors.

ALYSHA DESLORIEUX ( Middle Allie ). Most recently seen starring in Hamilton on Broadway (Eliza Hamilton), and is a member of the original Broadway cast. Other Broadway: Once on This Island (Andrea, original revival cast), Hamilton (Peggy/Maria), Beautiful: The Carole King Musical (original Broadway cast), Sister Act. TV: “Only Murders in the Building,” “The Marvelous Mrs. Maisel” Season 3, “Younger,” “Lincoln Rhyme.” National tours: Hamilton (Eliza) first national and Chicago, Sister Act @alysha_des.

KEN WULF CLARK (Middle Noah). Broadway: The Great Comet…, Jagged Little Pill, Shucked, Water for Elephants. Off-B’way: February House, The Great Comet…, Titanique Regional: So, so many, but a few include Rent, Guys and Dolls, Urinetown, Burn All Night, Camelot Film/TV: The Irishman , “Gotham,” “Sneaky Pete,” “Law & Order,” others. B.M. University of Miami. Massive thanks to S3 and A&R. Love to pie. For mom and dad.

CHLOË CHEERS ( Younger Allie ). NYC native and LaGuardia Performing Arts Drama grad, 2023 National YoungArts Theatre winner, U.S. Presidential Scholar in the Arts semi-finalist and Paper

WHO’S WHO

Mill Playhouse Conservatory alum. Credits: Amanda in Because of Winn Dixie (Goodspeed), Natalie in Next to Normal (Greenbrier Valley Theatre). She’d like to thank her team at CESD, Kogen Management and her mom for unwavering love and support. @chloecheers.

KYLE MANGOLD ( Younger Noah ) is over the moon to be making his national tour debut! Education: Shenandoah Conservatory. OffBroadway: Stranger Sings! The Musical Parody (Steve/Jonathan). Regional: This Is Tom Jones! (Tom Jones), Pippin (Pippin). Kyle would like to thank Clear Talent Group, his buddy Joe and dedicate this performance to his grandparents, parents, siblings and partner Alexis. Follow Kyle’s Journey on Instagram: @kyle_mangold.

ANNE TOLPEGIN ( Mother/Nurse Lori ). Broadway: A Tale of Two Cities, Les Misérables. Off-Broadway: Carrie, Sweeney Todd . National tours: Ragtime, Mamma Mia!, Billy Elliot, Kinky Boots. Regional: Sting’s The Last Ship (premiere), Next to Normal, The Prom, Passion, Murder… Orient Express. TV: “Mr. Robot,” “Iron Fist.” International: Disney on Classic, Tokyo Philharmonic. Northwestern. For Mom and Dad and Blake. IG: annieteeeeeee.

CONNOR RICHARDSON ( Johnny ). National tour debut! Nashville native. Coastal Carolina B.F.A. ’24. Select credits include Million Dollar Quartet, Merrily We Roll Along, Kinky Boots Huge thanks to his team at DGRW, The Telsey Office and the entire Notebook family! Love to his parents, Baba, Brennan and Carson. Mom, watch this!

NICK BROGAN (Swing, u/s Younger Noah, u/s Middle Noah, u/s Johnny). National tour debut! Originally from Ellicott City, Md. and a recent grad from Penn State University. Regional: Rent (New London Barn), Escape to Margaritaville (Cortland Rep). Endless thanks to his friends, family, Daniel Hoff team, Mom and Dad, and Sara <3. @nick.brogan.

JESSE CORBIN ( Lon/others, u/s Middle Noah ). Pittsburgh boy and everyday rockstar! Select credits: The Lion…and the Wardrobe (OffBroadway), A Comedy of Tenors (Florida Rep), Memnon (CTH), Grease (Stages), Bayard Rustin (People’s Light), and The Boy Band Project . Also a writer/composer (@lemonadethemusical). 1 John 4:8. @thejessecorbin.

JEROME HARMANN-HARDEMAN (Father/Son/others, u/s Older Noah). Broadway/tours: The Notebook, Swing, Dirty Dancing, Kiss of the Spider Woman . Regional favorites: Morning After Grace, Waitress, Romeo and Juliet. TV: CBS’s “FBI,” NBC’s “Law & Order,” Showtime’s “Let the Right One In,” Adult Swim’s “Teen Aged Euthanasia,” TBS’s “The Last O.G.” Love to BATA.

RAYNA HICKMAN (Nurse Joanna/ others, u/s Older Allie, u/s Mother/ Nurse Lori) is thrilled to be on the first national tour of The Notebook! Tours: Come From Away (Beverley Standby). Other: Bright Star (Mamma), Urinetown (Pennywise), Smokey Joe’s Cafe (Pattie), Villains Tonight! (Yzma). “Thanks to Auty! David A., S & D, family and my love.”

MAKENA JACKSON ( Sarah/ Granddaughter/others, u/s Younger Allie) is thrilled to be touring with The Notebook ! Additional credits include Dear Evan Hansen (nat’l tour) and “Up Here” (Hulu). She would like to thank her family, friends, Rikki and the StewCrew for their infinite support. @makenajacksonn.

CALEB MATHURA ( Fin/Grandson/ others, u/s Younger Noah, u/s Johnny ). First national tour: Mean Girls . Off-Broadway: David . Select regional: The Old Globe, Marriott Theatre, Music Theatre of Madison. TV/film: Motherland (MPI Original Films). Immense gratitude to the entire Notebook team, DGRW, his incredible mom and God. For Papa and Eishe. @caleb.mathura.

AARON RAMEY (Swing, u/s Older Noah). Broadway: The Visit (OBC), The Bridges of Madison County (OBC), Jekyll & Hyde (orig. revival cast), Young Frankenstein, Curtains, …Millie (OBC). Tours: South Pacific,

Jekyll & Hyde, Sweet Charity, Disney’s Beauty and the Beast Many regional credits and some TV appearances. @nycawr.

SHARI WASHINGTON RHONE (Swing, u/s Older Allie, u/s Mother/ Nurse Lori). Nat’l tours: Tina: The Tina Turner Musical, The Lion King. L.A. company: The Lion King. Principal dancer Jazz Antiqua. Asst. dir. Gregory Hancock Dance Theatre. Principal Lula Washington Dance Theatre. Maintenance choreographer Disneyland resort. Proud Mary, Bella Donna, Soulicious. Love to Dan, Morgan and Mayumi.

SAMANTHA RIOS ( Dance Captain, Swing, u/s Younger Allie). National tour debut! Regional: Narrator in Joseph and the Amazing Technicolor Dreamcoat (Alabama Shakespeare Festival). Washington, D.C. native and proud UMich MT alum. “God is so good! Endless thanks to DGRW and Ikigai Management. Para mi familia.” @samantharioss.

GRACE OHWENSADEYO RUNDBERG ( Georgie/Concierge/others, u/s Middle Allie ) recently graduated from Pace University’s musical theater program and is excited to be making her national tour debut! Love and gratitude for her family, friends, teachers and agents at Nicolosi & Co. @gracerundberg.

EMILY SOMÉ ( Swing, u/s Middle Allie) is thrilled to join The Notebook Touring: Les Misérables (Ensemble). Many thanks to the Telsey Office and Gray Talent Group. Northwestern University ’22! Grateful for wonderful friends and family. Special shoutout to her parents—thanks for believing in the dream.

JOE VERGA ( Swing, u/s Middle Noah ) is making his national tour debut with The Notebook. TV: “Evil”. Theater: Rock of Ages (Wolfbane Productions), Grease (SSMT). Proud Shenandoah Conservatory alum. Thanks to his team at DGRW, his buddy Kyle and his family for their unwavering support. Instagram: @joeverga_.

INGRID MICHAELSON ( Music and Lyrics ). An accomplished singer/ songwriter, Michaelson has released nine studio albums, including mul-

tiple gold and platinum singles. Garnering an Emmy nomination for her original song in Hulu’s “Little Fires Everywhere,” Michaelson has also scored, served as executive music supervisor and had her songs used for multiple film and television projects. The Notebook marks her Broadway debut as composer and lyricist, for which she received a Grammy nomination for Best Musical Theater Album. @ingridmichaelson. ingridmichaelson.com.

BEKAH BRUNSTETTER ( Book ).

The Notebook marks her Broadway debut as book writer—Tony nomination for Best Book of a Musical. Plays include The Cake (MTC), Be a Good Little Widow (Ars Nova, The Old Globe) and Oohrah! (The Atlantic). Her musical A.D.16 premiered at the Olney Theatre. TV credits: NBC’s “This Is Us,” Netflix’s “Maid,” “Sirens” and upcoming “The Five Star Weekend” for Peacock. M.F.A. the New School for Drama, B.A. UNC Chapel Hill. For Grandpa Joe.

NICHOLAS SPARKS ( Author of Original Novel) is one of the world’s most beloved storytellers with over 130 million books sold worldwide in more than 50 languages. Sparks wrote one of his best-known stories, The Notebook, over a period of six months at age 28. Since then, he’s gone on to write 24 additional novels, 11 of which were adapted into films. Sparks lives in North Carolina with his family.

MICHAEL GREIF ( Director ). Fivetime Tony Award nominee for Best Direction of a Musical for Rent, Grey Gardens, Next to Normal, Dear Evan Hansen, Hell’s Kitchen Additional Broadway: Never Gonna Dance, War Paint, Days of Wine and Roses, The Notebook. He made Broadway history in 2024 by directing three musicals in a single season. Notable productions: The Low Road, Fucking A, Dogeaters, The Intelligent Homosexual’s Guide (The Public); Landscape of the Body, Angels in America (Signature Theatre); Make Believe (Second Stage).

SCHELE WILLIAMS ( Director ) is committed to cultivating work with authentic representation. Other productions: The Wiz (2024 Broadway

revival and 50th anniversary tour), Aida (Disney Theatrical Group). Schele has a long history of work on Broadway in Rent, Aida and Motown: The Musical. She is a founding member of Black Theatre United and the award-winning author of Your Legacy: A Bold Reclaiming of Our Enslaved History and Your Legacy Begins She dedicates this show to her mom and dad. schelewilliams.com. @schelewilliams.

KATIE SPELMAN ( Choreographer ) made her Broadway debut with The Notebook . Selected regional: Huzzah! (Old Globe, world premiere), The Great Comet… (Writers Theatre), Waitress (Paramount), The Music Man (Marriott Theatre), Cabaret (Barrington Stage), An American Tail (CTC, world premiere), Once (Writers Theatre), Swearing in English (Ars Nova), AD 16 (Olney Theatre), The Beautiful Game (Tokyo), The Who’s Tommy (DCPA) and Oklahoma! (Goodspeed). TV: “School Spirits,” “Jessica Jones,” “Rent: Live.” Associate choreographer: Moulin Rouge!, Amelie, American Psycho and Once (Broadway).

DAVID ZINN ( Scenic Design ). Broadway: Stereophonic, Jaja’s African Hair Braiding, Kimberly Akimbo, Funny Girl, The Minutes, Diana, Torch Song, The Humans, SpongeBob SquarePants, Fun Home, Choir Boy, Amelie and The Last Ship Off-Broadway: Playwrights Horizons, NYTW, Roundabout, Second Stage, Public Theater. UK/international: National Theatre, Young Vic, West End, Berlin Staatsoper, Theater Basel. He’s received Tony, Drama Desk, Hewes and Obie awards for his work.

BRETT J. BANAKIS (Scenic Design). Brooklyn-based designer for theater, opera, film and environments. Co-founder of AMP Scenography, a design collective created to amplify emerging and underrepresented designers by engaging in equitable collaborations. Broadway: The Outsiders (as AMP, Tony nom.), John Proctor Is the Villain (as AMP), The Cher Show . International scenic supervisor for all worldwide productions of Harry Potter and the Cursed Child. Faculty at NYU Tisch. brettjbanakis.com. @brettjbanakis.

PALOMA YOUNG (Costume Design). Broadway: Peter and the Starcatcher (Tony Award); Natasha, Pierre & the Great Comet of 1812 (Tony nomination); & Juliet (Tony nomination); Bandstand (Drama Desk nomination); Real Women Have Curves; Lempicka; and others. West End: & Juliet (Olivier nomination); Clueless Off-Broadway: Natasha, Pierre… (Lortel Award; Drama Desk nomination); Alice By Heart (Lortel Award); Moscow Moscow Moscow Moscow Moscow Moscow; The Pain of My Belligerence; Preludes; Fly By Night

BEN STANTON ( Lighting Design ). Five-time Tony Award nominee as well as an Obie, Lortel, IRNE and Ovation award-winner. Ben is currently represented on Broadway by Maybe Happy Ending . Broadway credits include The Notebook; Mary Jane; Days of Wine and Roses; Goodnight, Oscar; The Collaboration; A Christmas Carol; The Rose Tattoo; Derren Brown: Secret; Junk; Six Degrees of Separation; Deaf West Theater’s Spring Awakening; Fully Committed; and Fun Home.

NEVIN STEINBERG (Sound Design). Broadway: Sweeney Todd 2023 revival (Tony Award), Tina: The Tina Turner Musical (Tony nomination), Hadestown (Tony Award), Hamilton, Dear Evan Hansen, Freestyle Love Supreme, The Cher Show, Bandstand, Bright Star, It Shoulda Been You, Mothers and Sons, Rodgers + Hammerstein’s Cinderella (Tony nomination), The Performers. Over 30 other Broadway productions with Acme Sound Partners and five additional Tony nominations.

MIA NEAL (Hair & Wig Design). Gary, Indiana. Select awards: Academy Award for Best Makeup and Hairstyling and BAFTA Film Award for Ma Rainey’s Black Bottom; Emmy for “Annie Live!,” Emmy nomination for “Pose” and Drama Desk Awards for Shuffle Along… and Ain’t No Mo’. Select Broadway: Audra Gypsy, Hell’s Kitchen, The Last Five Years, Shucked, KPOP, 1776, West Side Story, The Iceman Cometh and A Raisin in the Sun

LUCY MACKINNON (Video Design). Broadway: All In: Comedy About Love, The Notebook, Kimberly Akimbo, A Christmas Carol, How

I Learned to Drive, Jagged Little Pill, The Rose Tattoo, Lifespan of a Fact, Six Degrees of Separation and the Deaf West revival of Spring Awakening . Recent regional credits include The Heart (La Jolla Playhouse), The Thing About Jellyfish (Berkeley Rep), and Sarah Silverman’s The Bedwetter (Arena Stage).

CARMEL DEAN ( Music Supervision, Co-Orchestrations, CoArrangements ). Broadway: Funny Girl, If/Then, Hands on a Hardbody, American Idiot, …Spelling Bee. OffBroadway: Really Rosie, Everyday Rapture, Vanities, Elegies . West End: Clueless. Compositions: Maiden Voyage (Off-West End), Renascence (Off-Broadway), Well-Behaved Women (multiple international productions). Education: M.F.A. in musical theater writing (NYU), BMI Lehman Engel Musical Workshop. Awards: Grammy nominee, Fulbright Scholar, Sydney Theatre Award, Off-Broadway Alliance Award, Billie Burke Ziegfeld Award.

JOHN CLANCY (Co-Orchestrations). Broadway: Queen of Versailles, Kimberly Akimbo (Tony/Grammy noms.), Mean Girls (Tony nom.), 1776 (2022 revival), Fun Home (Tony nom.), Diana, The Prom, Tuck Everlasting, Shrek the Musical (Tony nom.), Cats 2016 (dance arr.). OffBroadway/regional: Dolly: A True Original Musical, A Transparent Musical, The Karate Kid, The Secret Life of Bees, Gun & Powder, Cornelia Street, Soft Power (dance arr.), The Fortress of Solitude, Jasper in Deadland

TINA FAYE ( Music Director ). Canadian expat, NYC-based Yamaha keyboard artist. Recent credits: Some Like It Hot (AMD first national tour); Treemonisha (Canadian Opera Company); Cuphead & Cuphead DLC (Studio MDHR); Baltimore, Broadway & Beyond with Felicia Curry (Everyman Theatre). Strives to always remember we are all just walking each other home.

KIMBERLEE WERTZ ( Music Coordinator ). Broadway: Maybe Happy Ending; Good Night, and Good Luck; Once Upon a Mattress; The Notebook; Stereophonic; Funny Girl; Into the Woods; Parade; The

Lehman Trilogy. Television: The Tony Awards, The Academy Awards, The Kennedy Center Honors. “Enjoy our wonderful Notebook orchestra!”

STRANGE CRANIUM ( Electronic Music Design ). Billy Jay Stein and Hiro Iida. Over 30 Broadway credits including Just in Time; Dead Outlaw; The Great Gatsby; MJ: The Musical; Redwood; The Notebook; Shucked; Parade; Kimberly Akimbo; Caroline, or Change; Tootsie; Mean Girls; 1776; The Band’s Visit; Beautiful: The Carole King Musical (Grammy Award as music producer/mixer); Fun Home; Amélie; Diana; Spider-Man: Turn Off the Dark; Jekyll & Hyde. strangecranium.com. strikeaudio.com

CLAIRE WARDEN ( Intimacy Director) works in theater, TV and film across America and the world. Broadway: Othello, Romeo + Juliet, Slave Play, The Notebook, Frankie and Jonny in the Clair de Lune, Jagged Little Pill, The Inheritance, Company, Death of a Salesman, West Side Story

JUSTIN MYHRE ( Production Stage Manager ). Broadway and national tour: The Wiz, Girl From the North Country, Jagged Little Pill, The Prom, Jersey Boys, Summer: the Donna Summer Musical, The Great Society. Off-Broadway: Roundabout Theatre Company, The New Group, New York Theatre Workshop, Page 73. Regional: Weston Playhouse, Barrington Stage. B.A.: Vassar College. @justcatsinspace.

MELISSA RICHTER (Stage Manager). National tours: Back to the Future, Funny Girl, Jagged Little Pill, Jersey Boys and Pretty Woman . Other credits include Reefer Madness (L.A. revival); The Three Musketeers and Romeo and Juliet (The Acting Company); Fiddler on the Roof in Yiddish (NYTF); and The Mountaintop (Weston Theater Company).

EGYPT DIXON ( Assistant Stage Manager ). Tours: Parade . Select Off-Broadway: Dreaming Zenzile, Fefu and Her Friends, Julius Caesar. Regional Productions at The Weathervane: Everybody’s Talking About Jamie, Skeleton Crew, Little Shop of Horrors, The Story Goes On: The Songs of Maltby & Shire.

ASMERET GHEBREMICHAEL

(Associate Director). Broadway: Six, The Notebook. Nat’l tour: Six. OffBroadway: Table 17 (MCC). Regional: Two Strangers (ART), Williamstown Theatre Festival (Consultant), The Notebook , Big Sky Summer Theatre Festival (artistic director). TV: “South Park: Pandemic Special” (consultant).

EMILY MADIGAN ( Associate Choreographer ). Broadway: The Notebook . Regional: Children’s Theatre Company: An American Tail; Ford’s Theatre: Shout Sister Shout; Chicago Shakespeare Theater: The Notebook; Olney Theatre Center: AD 16; Marriott Theatre: Grease, Footloose; Seattle Rep: Shout Sister Shout.

THE TELSEY OFFICE ( Casting ).

With offices in both New York and Los Angeles, The Telsey Office casts for theater, film, television and commercials. The Telsey Office is dedicated to creating safe, equitable and anti-racist spaces through collaboration, artistry, heart, accountability and advocacy. Please visit thetelseyoffice.com for credits.

NEURO TOUR ( Physical Therapy ).

Founded by CEO Carolyn Lawson. Global leaders in live entertainment and performing arts medicine. Honored to be a part of this brilliant touring production of The Notebook Neuro Tour, keeping performers happy, healthy and on stage.

HUDSON THEATRICAL ASSOCIATES

(Production Management). Over 100 Broadway productions and tours. Recent: Waiting for Godot; Suffs tour; Maybe Happy Ending; Oh, Mary!; Six; Hadestown; Hamilton; Aladdin. HTA is led by Stephen M. Kaus and includes Bridget Van Dyke, Sean Gorski, Brianna Stankiewicz, Brianne Tabak and Irene Wang.

THEATER MATTERS ( General Management) manages live entertainment globally. It is represented on Broadway and across North America by Six . Recent productions include The Play That Goes Wrong, Mrs. Doubtfire, The Devil Wears Prada, Peter Pan Goes Wrong, Days of Wine and Roses and The Notebook

MICHAEL CAMP (Company Manager) has traveled the world with such shows as Wicked, Jersey Boys, Fun Home, What the Constitution Means to Me, Riverdance, Charlie and the Chocolate Factory, The 25th Annual Putnam County Spelling Bee, Forbidden Broadway and, most recently, with both the first and second national tours of Six. Thank you for supporting live theater!

THE BOOKING GROUP ( Tour Booking Agency ) has represented 28 Tony Award-winning Best Musicals and Plays. Current tours include Boop!; Buena Vista Social Club; Hamilton; Harry Potter and the Cursed Child; Just in Time; Mamma Mia!; MJ; Oh, Mary!; Operation Mincemeat; Six; Some Like It Hot; Suffs; and The Wiz

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 85+ Broadway shows over three decades. Current tours: Back to the Future, Beetlejuice, The Book of Mormon, Elf The Musical, Hadestown , Kinky Boots , Mamma Mia!, Mrs. Doubtfire, The Outsiders, Some Like It Hot, Suffs, The TwentySided Tavern. Upcoming tours: The Great Gatsby, Operation Mincemeat, Riverdance

AND THAT’S SHOWBIZ ( Social Media) is a digital-first, fan-forward Broadway marketing and media company that amplifies theater beyond traditional spaces. Through viral content, video production, influencer activations, partnerships and fan events, ATS extends the theatrical experience online. Clients include The Great Gatsby, Maybe Happy Ending, national tours and productions worldwide.

KEVIN McCOLLUM ( Producer ) received the Tony Award for Best Musical for Rent (1996), Avenue Q (2004) and In the Heights (2008). Current: Six (Broadway, North American tour); Oh, Mary! (Broadway); The Devil Wears Prada (West End); Mrs. Doubtfire (West End); The Play That Goes Wrong (Off-Broadway). Past credits include The Notebook (Broadway), Days of Wine and Roses (Broadway), Peter

Pan Goes Wrong (Broadway), Mrs. Doubtfire (Broadway). Upcoming: Black Swan, Night at the Museum, 42 Balloons

KURT DEUTSCH ( Producer ). Grammy and Tony-winning producer. Founder of Sh-K-Boom/ Ghostlight Records, with a catalog of 200+ recordings of acclaimed musicals and Broadway artists. Grammy Awards for In the Heights, Beautiful, The Book of Mormon and The Band’s Visit. Producer of Tina, Beetlejuice, Here Lies Love, Alice by Heart, The Wrong Man, American Utopia and The Last Five Years film. Honored with a special Drama Desk Award for excellence in theater.

LUCAS McMAHON ( Producer ). Broadway/national tour: Oh, Mary!; Six; The Play That Goes Wrong; Days of Wine and Roses; The Play That Goes Wrong; Mike Birbiglia: The New One; Something Rotten!; Hand to God; Mrs. Doubtfire (also previous West End). Off-Broadway: Oh, Mary!; Leo Reich: Literally Who Cares?!; Mind Mangler. Thanks to his parents for the unconditional love, his daughter Pippa for the unbridled joy and his wife Ellie who will always be home.

JAMIE WILSON PRODUCTIONS (Co-Producer) is a leading UK theater production company. Jamie featured in the top 20 most influential people and organisations in The Stage 100 list. Recent and current West End productions include Two Strangers, Sister Act, Ain’t Too Proud. Just For One Day, The Devil Wears Prada, Mrs. Doubtfire and The Last Laugh

GAVIN KALIN PRODUCTIONS (Co-Producer) is an award-winning theatrical production company. Select Broadway: A Doll’s House, Plaza Suite, The Lehman Trilogy. Select West End: Cabaret, Betrayal, The Ferryman gavinkalinproductions.com.

NICOLE EISENBERG (Co-Producer). Co-Producer: Sunset Blvd. (Tony); Appropriate (Tony); The Notebook (Broadway); Oh, Mary!, Gypsy; Into the Woods; Indecent; Cabaret; Gutenberg! The Musical!

NEDERLANDER PRESENTATIONS, INC. (Co-Producer) is a production division of the multinational the -

atrical entities owned by James L. Nederlander. It has produced innumerable plays, musicals, operas, ballets and concerts.

LAMS PRODUCTIONS (Co-Producer) is founded by producers Bradley Reynolds and David Siesko. They are currently represented on Broadway with Oh, Mary! and The Devil Wears Prada in the West End.

HUNTER ARNOLD ( Co-Producer ). Select Broadway: Maybe Happy Ending (Tony), Hadestown (Tony), The Inheritance (Tony), Dear Evan Hansen (Tony), Kinky Boots (Tony). Select Off-Broadway: Little Shop of Horrors. @huntercarnold.

SING OUT, LOUISE! PRODUCTIONS

( Co-Producer ). Hadestown (Tony), & Juliet (Tony nom.), Mrs. Doubtfire, Days of Wine and Roses, The Inheritance (Tony), Slave Play (Tony nom.), Allegiance, Catch Me If You Can (Tony nom.). singoutlouise.broadway.

TIMOTHY LACZYNSKI (Co-Producer). Tony and Olivier nominee. Select credits: Broadway: Othello, Swept Away, The Notebook, Something Rotten!, Hand to God . Upcoming (London): The Hunger Games, Kinky Boots

LTD THEATRICALS (Co-Producer). Cody Lassen, Jason Turchin, Matthew D’Arrigo. Select current: The Wiz, Hadestown, The Outsiders, Suffs . Select previous: How I Learned to Drive, Indecent, Spring Awakening. ltdtheatrical.com.

JOHN GORE (Co-Producer). 25-time Tony-winner and owner of the John Gore Organization (including Broadway Across America and Broadway.com). Recent credits: The Outsiders; Purpose; Good Night, and Good Luck

BOB BOYETT ( Co-Producer ). Broadway (partial): Oh, Mary!; Sunset Boulevard; Spamalot; Purlie Victorious; Sweeney Todd . Named Commander of the British Empire by Queen Elizabeth II for services to drama.

PAMELA HURST-DELLA PIETRA & STEPHEN DELLA PIETRA ( Co-Producer ). Avadon Broadway LLC. Two-time Tony winners. Lead

producers: Maybe Happy Ending Co-producers: Sunset Boulevard, Buena Vista Social Club, Gypsy, The Lost Boys and more.

SCOTT ABRAMS/JONATHAN & RAE CORR/LESLIE MAYER

( Co-Producer ). Friends and Tony Award-winning producers who are passionate about making a positive impact through the arts. We are thrilled to bring this beautiful musical to audiences across North America. Credits include Sunset Blvd. (Tony); Oh, Mary!; Operation Mincemeat;The Devil Wears Prada; Merrily We Roll Along (Tony); Gutenberg!; A Beautiful Noise: The Neil Diamond Musical; Suffs; Harmony; and Company (Tony).

INDEPENDENT PRESENTERS

NETWORK ( Co-Producer ). Consortium of over 30 leading presenters of touring Broadway in the U.S., UK and Asia. Recent/upcoming: Hadestown, The Outsiders, Hell’s Kitchen, Buena Vista Social Club

EMILY BOCK ( Co-Producer ). Broadway: Days of Wine and Roses, The Notebook . Investor: & Juliet Regional theater (stage management, technical direction): Spotlight Musical Theatre, Los Altos Youth Theatre.

WARNER BROS. THEATRE

VENTURES (Associate Producer) is currently represented on Broadway by The Outsiders and Beetlejuice Prior to that, the division produced Good Night, and Good Luck; Charlie and the Chocolate Factory; Misery; The Curious Incident of the Dog in the Night-Time; and Elf. Upcoming projects include The Lost Boys, Crazy Rich Asians and Dog Day Afternoon

CHICAGO SHAKESPEARE THEATER

(Originating Theater). The nation’s largest year-round Shakespeare theater and champion of contemporary new work. Led by Artistic Director Edward Hall and Executive Director Kimberly Motes, the Regional Tony recipient is committed to creating vivid, entertaining theatrical experiences that invigorate and engage people of all ages and identities by illuminating the complexity, ambiguity and wonder of our world. Recent Broadway/tours: Six, The Lord of the Rings, Illinoise. chicagoshakes.com.

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STAFF FOR THE NOTEBOOK

GENERAL MANAGEMENT

THEATER MATTERS

John E. Gendron

Ashley Berman Eric Rothstein

Rachel Bonner Bella Cordova Royce Matthews

Katie Pope Stephanie Smith Annie Van Nostrand

Michelle Yard

COMPANY MANAGER

Michael Camp

Assistant Company Manager Arella Flur

PRODUCTION MANAGEMENT

HUDSON THEATRICAL ASSOCIATES

Stephen M. Kaus Bridget Van Dyke

Sean Gorski Brianna Stankiewicz

Frank Swann Brianne Tabak Irene Wang

TOUR BOOKING AGENCY THE BOOKING GROUP

Meredith Blair Kara Gebhart

Laura Kolarik Stephanie Ditman

Sophie Tiesler Kelsey Ballard thebookinggroup.com

TOUR MARKETING & PRESS

ALLIED GLOBAL MARKETING

Andrew Damer

Jennifer Gallagher Scott Praefke

Jessica Cary Davis Anne Waisanen

Adina Hsu Emily Toppen

Maria Bonucchi Amenkha Sembenu Kate Wyman

SOCIAL MEDIA AND THAT’S SHOWBIZ

Katharine Quinn

Connor Macchi

Grace Murrell

Mason Bray Olivia Kuan-Romano

CASTING THE TELSEY OFFICE

Patrick Goodwin, CSA Crysilyn Childs

LEGAL COUNSEL

LEVINE PLOTKIN LLP

Loren Plotkin Conrad Rippy Susan Mindell

Daniel Watkins Emily Erstling Kevin Hess Cris Criswell

Production Stage Manager Justin Myhre

Stage Manager Melissa Richter

Assistant Stage Manager Egypt Dixon

Associate Director Asmeret Ghebremichael

Associate Choreographer Emily Madigan

Associate Scenic Designer Matthew Buttrey

Associate Costume Designer Annie J. Le

Wardrobe Assistants Kamilah Bryan, Alex Rockey

Associate Lighting Designer Wilburn Bonnell

Assistant Lighting Designer Erica Lauren Maholmes

Moving Light Programmer Marc Polimeni

Associate Sound Designer ..................... Jarrett M. Krauss

Assistant Sound Designer Jamie Davis

Associate Hair Designer Mark Bailey Capalbo

Makeup Consultant Kirk Cambridge-Del Pesche

Associate Video Designer Ridley Walker

Assistant Video Designer Dylan Uremovich

Video Programmer Brian McMullen

Intimacy Director Claire Warden

Production Carpenter Andrew Sullivan

Head Carpenter Blair Carper

Asst. Carpenter/Automation Operator Chris “Lucky” Haugh

Asst. Carpenter/Flyman .......................... Andrew Boucher

Production Electrician Ron Schwier

Production Video Chelsea Zalikowski

Head Electrician/Board Operator Randall Baptiste

Asst. Electrician/Lead Spot Operator Caitlin Brown

Asst. Electrician/Deck Electrician Austin Luchak

Production Sound Nick Borisjuk

Associate Production Sound Kevin Thurber

Sound Engineer Chase Nichter

Assistant Sound Macy Kloville

Production Props Supervisor Ray Wetmore, JR Goodman

Associate Props Supervisor Vicki Ayers

Head Props Tom Perrin

Assistant Props Andrew Davila

Wardrobe Supervisor Matthew Daugherty

Assistant Wardrobe Supervisor Shannon Oliver

Hair & Wig Supervisor Brittanie Cruz

Crew Swing ............................................... Kayla Stillman

Production Assistants Abby VandenBrul, Lucy Houlihan

Vocal Coach Roberta Duchak

Ticketing Manager Annie Van Nostrand

Human Resources Consultant .................... K+K Reset LLC

Accounting WithumSmith+Brown, PC

Controller Galbraith & Co./Emma Gorin

Payroll Services Checks and Balances Payroll Inc

Banking Customers Bank/ Margaret Monigan, Stephanie Krauss

Insurance The Arts Insurance Program, LLC/ Bob Middleton, Meghan Coleman, Toni Preto

Travel Agent The A Team/Tzell Travel Services

Housing Debco Travel/Debbie Greenfield

Physical Therapy

DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2025/26 BROADWAY SEASON

Neuro Tour/ Randee Seevers PT, DPT, ATC

Merchandise Creative Goods/Sara Feldman

Production Photographer Roger Mastroianni

ALCHEMATION

Kevin McCollum

Lucas McMahon

John Ban Jack Eidson Evan Shalat

Lyndsay Borko Breanne Jackson Owen Sullivan

BROADWAY MUSIC GROUP

Kurt Deutsch

MEMORY VOICES

Shaunice Alexander Casey Erin Clark Allen Louis

Benjamin Moore Niya Norwood Ben Roseberry

Jenifer Thigpen Andrew Turner Helen White

CREDITS

Scenery built, painted, and electrified by Hudson Scenic Studios. Automation and show control featuring Hudson Motion Control by Hudson Scenic Studios. Lighting & Video equipment by Production Resource Group. Sound equipment by Sound Associates. SFX by J&M Special Effects. Props provided by More Good Productions, Prop & Paint Creative Studio, BrenBri Properties, Jerard Studio, River of Dreams Inc, R. Ramos Upholstery, Arnold Levine. Allie’s Paintings by Jenny Stanjeski. Costumes executed by A Pick Fashion Inc, Gilberto Design Inc, Luvi Fashion Corp, SINO Silk. Select distressing by The Breakdown Shop. Trucking provided by Clark Transfer.

Rehearsed at the New 42nd Street Studios

SPECIAL THANKS

Richard Levi; Anna Bridges Hutchins; Carol Ann DuBose; Mark Kaufman

For all tour booking inquiries, please contact The Booking Group thebookinggroup.com

Stream the Original Broadway Cast Recording released by Atlantic Records

To learn more about the production, please visit Notebookmusical.com

Follow us on X, Facebook, TikTok, BlueSky and Instagram: @NotebookMusical

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 Directors, Choreographer and Associates are members of the Society of Stage Directors and Choreographers, Inc., an independent national 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 Press Agents and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

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

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 Appleton, Robin Asselin, Lauren Bassignani, Julie Clough, Vonnie Cory, Craig Cory, Cyndie Davies, Steve Davis, Anne Dore, Carolyn Elwood, Liz Guess, Deborah Gunter, AnnSue Holabird, Judy Holabird, William Knabb, Amoreena Krimbel, Amber LaCasse, Lauren Lambert, Kelsey Lambert, Leslie Lambert, Sarah Martin, Loren Millikan-Hale, Sharon Morrow, Callie Nelson, Timothy Parsons Wagner, Lisa Payne, Laura Poole, Dave Richards, Alan Sorce, Marisa Spadi, Elisa Tepel, Amy Vlasova, Eliza Watts, Nicole Williams, Kami Wilson, Barbara

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

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

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

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