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Letter from our EXECUTIVE & ARTISTIC DIRECTOR For 12 years, Revival Theatre Company has stood as Iowa’s premier professional musical theatre company, blending local passion with national excellence. We launch our 12th season by celebrating the nation’s 250th birthday with the Tony Award-winning musical 1776, followed by another Tony Award-winning masterpiece, Falsettos, my personal highlight of our
BRIAN GLICK
comedy triumph, Company. Enhance your season subscription with tickets to our fourth annual Cameron Sullenberger Overture Series, featuring the incomparable Elena Shaddow. Elena is an eight-time Broadway veteran—and wife of Cedar Rapids native Michael Harrington. History, gripping drama, and sophisticated comedy—our 2026–27 lineup has it all. Season after season, we bring the signature “Revival touch” to the stage, combining bold artistic vision with a proud history of theatrical excellence. Secure your subscription today and experience the very best of professional musical theatre right here in Iowa. PS: ONE MORE THING! In the fall of 2027 we will bring West Side Story to the Paramount stage in an epic, fully staged collaboration with Orchestra Iowa! This isn’t just a show—it is going to be an unforgettable theatrical event.
BOARD OF DIRECTORS
Executive & Artistic Director
season. We then close our season with Stephen Sondheim’s musical
OFFICERS
David Lawrence | President
Ryan Buresh | Treasurer
Vannessia Klinsky | Vice President
Janet Shepherd-Meier | Secretary
DIRECTORS
Nina Brundell
Casey Prince
IN MEMORIAM
Greg Kanz
Abby Scheitlin
Carma Lou Beck
Cathy Koebrick
Terry Strait
Cameron Sullenberger
Julie Kraft
Jill Wilkins
Lorelle Lindo 1
STAFF Brian Glick Executive & Artistic Director
Hilery Livengood Development Adviser
Trisha Cornwell with ESG
June Schumacher
KZIA Inc.
Executive & Artistic Administrative Coordinator
Advertising & Promotions
Barb Colehour
Dennard Lacey & Associates
Front of House
Graphic Design
Bookkeeper
FRIENDS OF REVIVAL
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GUILD CHAIR
GUILD MEMBERS
Karen Delaney
Darcy Bemus
Sara Hofer
Daphne Neuhaus
Jacki Bergen
David Maier
Susan Scharnau-Schultejans
Nina Brundell
Tina March
BEFORE
AFTER
Call and get your estimate today!
Maverick Guyer 319-440-0250 • maverickguyer1@gmail.com
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CONTENTS
p.
1
p.
6
Presenting 1776
p.
10
Our Creative Team
p.
16
Musical Numbers
p.
18
Cast Biographies
p.
29
Our Donors & Sponsors
p.
30
Upcoming Shows
p.
32
Directors Note
p.
36
The World of 1776
p.
40
Invest in Revival
From Artistic Director Brian Glick
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Revival Theatre Company Presents
REVIVAL THEAT
R
OM E C
PANY
BOOK by PETER STONE MUSIC & LYRICS by SHERMAN EDWARDS BASED on the CONCEPT by SHERMAN EDWARDS ORIGINAL PRODUCTION DIRECTED by PETER HUNT ORIGINALLY PRODUCED on the BROADWAY STAGE by STUART OSTROW CREATIVE TEAM KEYBOARD PROGRAMMER: Tracie Price
ORCHESTRATOR/ORCHESTRATIONS: Kim Scharnberg
ADDITIONAL ARRANGEMENT: Brent C. Mauldin HAIR & MAKEUP DESIGNER: Sarah Fried
SOUND DESIGNER: Darin Ulmer
SCENIC & LIGHTING DESIGNER: Scott Olinger COSTUME DESIGNER: Melonie Stoll
ASSISTANT STAGE MANAGER & PROPS MANAGER: Sophie Young TECHNICAL DIRECTOR: Brad Goetz
PROJECTIONS DESIGNER & ASSISTANT TECHNICAL DIRECTOR: Kristin Olinger
STAGE MANAGER: Grace Neil
MUSICAL STAGING by ELLEN WELCH
MUSIC DIRECTION & CONDUCTED by BRENT C. MAULDIN
DIRECTED by BRIAN GLICK
HOST FAMILIES JILL AND DOUG BEARDSLEY
GAYLE GLICK
BEN FASHIMPAUR & HILERY LIVENGOOD
ROGER AND COLLEEN CASSILL
VANNESSIA AND DAVE KLINSKY
THOMAS PEFFER & CARROLL REASONER
{ PLEASE BE ADVISED: THIS SHOW CONTAINS PROJECTIONS, HAZE AND LOUD SOUNDS } Produced with special agreement through Music Theatre International (MTI) • www.mtishows.com 6
7
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CAST MATT BEARY / James Wilson
PAIGE KENNEDY / Abigail Adams
ARTHUR BEUTEL / John Dickinson
DAVE MEDIN / Caesar Rodney
JOHN BRODA / Thomas Jefferson
JONATHAN NESWICK / Dr. Lyman Hall
BRANDON BURKHARDT / Robert Livingston
NATE PETSCHE / Joseph Hewes
KARRISA BURKHARDT / Martha Jefferson
CASEY PRINCE / Richard Henry Lee
IAN BUTLER / Samuel Chase
ISAAC RIPLEY / Courier
KEVIN DOLAN / Dr. Josiah Bartlett
JUSTIN SANDS / Lewis Morris
BEN FASHIMPAUR / Rev. John Witherspoon
AIDAN SMITH / Charles Thomson
STEVE GINSBERG / Benjamin Franklin
GREG SMITH / John Hancock
AUSTIN GORDLEY / Leather Apron
NATHAN DAVID SMITH / John Adams
GARY HEBL-BENSER / Stephen Hopkins
SETH TURNER / Roger Sherman
MATTHEW HOMMEL / Edward Rutledge
RISHI WAGLE / George Read
JORDAN JONES / Colonel Thomas McKean
STEVE WEISS / Andrew McNair
BAND TROMBONE / David Anderson
PERCUSSION / Nathan Ortiz
BASS / Ken Dekyser
TRUMPET & FLUGELHORN SUB / Ignacio Pérez
TRUMPET & FLUGELHORN / Anna Kelly
KEY 2 / Benjamin Schmidt-Helm
REED 1 / Mike Livingston
VIOLIN / Andrew Steffen
PIANO & CONDUCTOR / Brent C. Mauldin
PRODUCTION TEAM SCENIC CHARGE ARTIST / Leslie Delevan
PRODUCTION COORDINATOR / Jason Millsap
COSTUME ASSOCIATE / Rachel Edsill
ORCHESTRA MANAGER / Jason Shadrick
COSTUME CONSTRUCTION / Chas Lane, Loesje Shema,
SOUND DESIGNER / Darin Ulmer
Kit Hersey, Dawn Grulke
LIGHT BOARD OPERATOR / Sara Ulmer
HAIR & MAKEUP ASSOCIATE / Lauren Galliart
MASTER ELECTRICIAN / Jim Vogt
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REATIVE TEA
and La Boehme, Carmen, Don Giovanni,
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SARAH FRIED
{Hair & Makeup Designer} This is Sarah Fried’s thirteenth show as Wig and Makeup Designer for Revival Theatre Company. She also designs for Cedar Rapids Opera Theatre and is on call for wigs at Theatre Cedar Rapids. For 15 years, Sarah was Wig and Makeup Designer for Arizona Opera before moving back to Mount Vernon, Iowa. Sarah also has worked for several Midwest theatre and opera festivals.
and La Traviata with Cedar Rapids Opera Theatre. Brian spent nine seasons with Starlighters Theatre as resident director – Forever Plaid, Oliver, Some Enchanted Evening, Last Five Years, My Way, Scrooge, Anything Goes and Honk! His work with Theatre Cedar Rapids and Orchestra Iowa on The Music Man won a collaboration award, and he’s directed multiple concerts and fundraisers. Brian has also worked with the Cedar Rapids Follies as a designer and stage manager. Brian was honored to work with The New York Drama League and Tony-nominated
BRIAN GLICK
{Executive & Artistic Director} Brian is the Executive and Artistic Director of Revival Theatre Company. During the past 12 years he has directed
director Marcia Milgrom Dodge. He also collaborated on Opal with Broadway composer and lyricist Robert LindseyNassif and served as an Academy and First Stage teacher with the Omaha Playhouse.
more than 30 stage productions, earning
Brian's strong leadership and vision
him high praise for his dynamic and
has caught the attention of industry
richly layered productions. The Gazette
professionals across the region. In 2019
wrote, "Artistic Director Brian Glick has
Brian staged a world premiere of the
a knack for his wonderful elite talent
musical Chaplin before its London debut.
for his productions on stage and behind
In 2020, Brian was the recipient of the
the scenes..." In recent seasons, Brian
Corridor Business Journal’s Forty Under
has directed the Midwest premiere of
40 of most influential leaders.
Dogfight and staged the Iowa premieres
Brian is the founder, creator, and
of White Christmas and Grey Gardens. Brian has developed musical pieces in non-traditional spaces, creating intimate and contemporary experiences for actors and audiences.
producer of Iowa Concert of Hope, a relief concert to benefit those who suffered loss from the 2020 derecho that hit Cedar Rapids and the state of Iowa. Concert performers included, most
As a freelance director, Brian has
notably, Ron Livingston, Tim Shew, Linda
worked on operas, musicals, and plays.
Eder, Betty Buckley, Edwin McCain, Kim
Brian produced and directed Side Show
Scharnberg, Elena Shaddow, and Chris
as a fundraiser for Families Helping
Brubeck.
Families and Baby for The Young Parents Network. Most recent credits include: Jim McDonough's Holiday Grande tour; Victor/Victoria, Parade In Concert, Evita, and Funny Girl with RTC; Amy at the Opus; A Sondheim Cabaret and Brucemorchestra with Orchestra Iowa;
BRAD GOETZ {Technical Director}
Master Carpenter and Technical Director
BRUCE NESMITH
for 1776, marking his debut production
{Dramaturge}
Brad Goetz is thrilled to serve as the
with Revival Theatre Company. Brad has been the Technical Director at Mount Vernon High School since 2021 and Tipton High School since 2010. He holds an Industrial Engineering degree from the University of Iowa. Recent design and technical credits include Hadestown, Matilda, and Mary Poppins with Mount Vernon High School.
Bruce Nesmith is Professor Emeritus of political science at Coe College, where he taught courses on American government and political theory. He is author of the Holy Mountain blog; his current projects deal with public policies relating to cities and other places. In days of yore, he appeared as Sidney Lipton in God's Favorite and Detective Sergeant Trotter in The Mousetrap. He learned the word
BRENT C. MAULDIN {Music Director & Conductor}
Brent C. Mauldin – NYC Music Director
"dramaturg" shortly before becoming one.
SCOTT OLINGER {Lighting Designer}
Scott Olinger serves as the Chair of Theatre and Dance at Cornell College where he has worked since 2000. He has
KRISTEN OLINGER
designed scenery, lights, costumes and projections for over 300 productions all over the United States in his 30-year
Conductor, Pianist), A Charlie Brown
{Projection Designer/Assistant Technical Director}
Christmas, Live! (Music Supervisor,
Kristen Olinger is the Director of Design
theatre, concerts, film and television and
Schroeder). Regional (selected): My Fair
and Production at Iowa Conservatory in
Lady (Red Mountain Theatre, AL), Tommy
Iowa City. Her local work includes Video
(Seven Angels Theatre, CT), The Robber
and Lighting Design for Theatre Cedar
Bridgeroom
(Jenny Wiley Theatre, KY).
Rapids, Revival Théâtre Company, Cedar
BM Piano Performance from University of
Rapids Opéra Théâtre, Riverside theatre,
Montevallo and MM in Music Direction
and more. Her National credits include
from Arizona State University. Teaching
Tampa Bay Opera, Lexington Children’s
artist with National Dance Institute and
theatre, Triad Stage Company, North
accompanist with Young People’s Chorus
Carolina Stage company, The Clarence
of NYC. @brent_mauldin
Brown Theatre, Jobsite theatre and more.
and Pianist. Touring: Chicago (Assistant
She would like to thank her husband
GRACE NEAL {Stage Manager}
Grace is a San Luis Obispo, CA based stage manager and excited to be making her RTC debut. Regional: Waitress, Holmes and Watson (PCPA), The Play That Goes Wrong, A Christmas Carol (Lyric Theatre of Oklahoma). Cruise Line: ELTON: A Celebration of Elton John, Hiko: Innovation Meets Wonder (Norwegian Cruise Line). She holds a BFA in Stage Management from Oklahoma City University. IG @_graceneal_
and family for all the late nights and the endless love and support.
theatre career. His work has spanned live he has lit artists as diverse as Roberta Flack, George Clinton, The Turtles and Polo G. He worked onsite at Super Bowl XLVII in New Orleans, serving as the Best Boy/ Board Operator for The Dan Patrick Show; he assisted with live music broadcasts for Jimmy Kimmel Live, and provided production support for The Itunes Festival in London and the Artie Lange Show in NYC. During the pandemic shutdown, he took up filmmaking and shot more than a half dozen film projects at Cornell College, including Houseparty, which he wrote and directed. Most recent projects include We’ll Get Back to You with Crooked Path Theatre at the Edinburgh Fringe Festival, Verdi's Macbeth at Opera Tampa, Guys and Dolls and Noises Off with TCR, and Next to Normal and Come From Away with Revival. Upcoming projects include Mary Poppins and The Producers with TCR, Sweeney Todd with Cedar Rapids Opera, Henry III with Crooked Path, Christmas with Wartburg 2026, and Falsettoland with Revival. MFA Penn State University.
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ELLEN WELCH {Musical Staging}
Ellen Welch is an Iowa based choreographer and performer who can often be seen on and off the stage. Ellen graduated from the University of Iowa with a Bachelor of Arts in Dance. Her recent choreography includes Finding Nemo and Naked Mole Rat Gets Dressed, as well as being Assistant
MELONIE STOLL {Costume Designer}
Melonie Stoll is in her sixth season as costume designer for Revival Theatre Company. She is a freelance designer who has worked with many area theatres, including TCR, RHCR, and Riverside Theatre. Favorite shows include Honk! (RTC), Chaplin (RTC), Mamma Mia (TCR), A Doll’s House (TCR), The Rocky Horror Picture Show (RHCR) The Wizard of Oz Jr. (RHCR), and Comedy of Errors (Riverside Theatre).
Choreographer for Mary Poppins, Frozen, and Beauty and the Beast at Theatre Cedar Rapids, Ellen trained with the Verdon Fosse Legacy Program in the New York City and Chicago Intensive Programs. Ellen assisted in teaching Samba: Brazilian Social Dance at the University of Iowa and currently teaches the Samba at Des Moines Ballroom and throughout the Iowa City community. During her time at the University of Iowa, she was a leading member of the traveling Iowa Dance Company, a multi-year performer in Dance Gala, Hancher Illuminated, and the Iowa Dance Festival. She has taught dance at various dance studios in the Cedar Rapids and Iowa City areas,
DARIN ULMER {Sound Designer}
This is Darin’s ninth season with Revival Theatre Company. Previous sound design work has been with Theatre Cedar Rapids, City Circle, and Jim McDonough’s Holiday Grande tour.
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choreographed for local school show choirs, and Voices Electric at Mount Mercy University.
Merrily We Roll Along, photo by Seth Walters 13
Fiddler on the Roof, photo by Seth Walters 14
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NUMBERS
MUSICA 16
ACT I
SIT DOWN, JOHN - JOHN ADAMS AND THE CONGRESS PIDDLE, TWIDDLE, AND RESOLVE - ADAMS TILL THEN - JOHN AND ABIGAIL ADAMS THE LEES OF OLD VIRGINIA - LEE, FRANKLIN, AND ADAMS BUT, MR ADAMS - ADAMS, FRANKLIN, JEFFERSON, SHERMAN, AND LIVINGSTON YOURS, YOURS, YOURS, - JOHN AND ABIGAIL ADAMS HE PLAYS THE VIOLIN - MARTHA JEFFERSON, FRANKLIN, AND ADAMS COOL, COOL, CONSIDERATE MEN - DICKINSON AND THE CONSERVATIVES MOMMA, LOOK SHARP -- COURIER, MCNAIR, AND LEATHER APRON
ACT II THE EGG - FRANKLIN, ADAMS, AND JEFFERSON MOLASSES TO RUM - RUTLEDGE REPRISE: YOURS, YOURS, YOURS - ABIGAIL ADAMS IS ANYBODY THERE? - ADAMS
{THERE WILL BE A 15-MINUTE INTERMISSION.}
AL 17
CAST ARTHUR BEUTEL {John Dickinson}
Arthur Beutel is excited to make their debut with
MATT BEARY {James Wilson}
James is thrilled to be coming home to Iowa and making his RTC debut! He was most recently seen performing as Laurie in Riverside CPA’s production of Little Women alongside his beautiful wife, Ashlee. Other professional credits include Florida Studio Theater (Jersey Boys), Riverside CPA (Little Women, Beautiful, Jersey Boys), Norwegian Cruise Line (Jersey Boys), and StageWest TC (Hand to God). Matt received his BFA in Musical Theatre from Drake University You can find him at www. mattbeary.com or @thatmattbeary on Instagram.
Revival Theatre Company. They are excited to return to Cedar Rapids after 12 years! In 2014, they were seen as Ko-ko, the Lord High Executioner, with Cedar Rapids Opera Theater. Arthur is a classically trained singer based in New York City. Their dynamic, high-energy approach to performing in both musical theater and classical styles brings their unique brand of humor to the stage for all to enjoy. They received their Bachelor of Music in Opera from Colorado State University and a Graduate Certificate in Vocal Performance from the University of Connecticut. Favorite roles include: Come From Away (Claude/Nick standby), The Sound of Music (Max Detweiler), 42nd Street (Julian Marsh/Pat Denning), Cabaret (Ernst Ludwig), She Loves Me (Steven Kodaly), Mamma Mia! (Bill Anderson/Harry Bright u/s), and Jersey Boys (Bob Crewe & others). Arthur can also be seen on The Metropolitan Opera stage and in Met HD for the last five seasons. Thank you to Jason, Mom & Dad, Izzy & Ryan, plus the wiener dogs, for their endless love and support. Follow on IG for more @iarearthur
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BRANDON BURKHARDT {Robert Livingston}
Brandon Burkhardt is happy to be performing again with Revival, where his previous shows have
JOHN BRODA {Thomas Jefferson}
included Fiddler on the Roof (Perchik), Merrily We Roll Along (Frank), Eliot Ness in Cleveland (Eliot Ness), La Cage Aux Folles (Jean-Michel), Parade (Young Soldier), Titanic (Charles Clarke/
John Broda is thrilled to be making his Revival
Stevedore), Honk! (Greylag), and a soloist in
debut. John recently earned his MFA in Acting
An Evening of Rodgers and Hammerstein with
from SMU: Meadows School of the Arts. His
Revival Theatre at /Brucemorchestra. Other area
most recent credits include: Fred in A Christmas
performances include Frozen (Hans), Hairspray
Carol (Dallas Theater Center), Tommy Ross in
(Corny Collins), Beauty and the Beast (Gaston),
Carrie (Theatre Three), and Carter Smith in John
Carrie (Tommy), Something Rotten! (Nick Bottom),
Proctor is the Villain (SMU). Many thanks to Brian,
The Wizard of Oz (Tin Man), Meet Me in St. Louis
everyone at Revival, and this wonderful cast and
(Lon), Cinderella (Prince), The Sound of Music
crew! His deepest love and gratitude to God, his
(Rolf), Newsies (Race), Little Mermaid, Mamma
family, friends, his agent Kara, and every mentor
Mia, and SpongeBob with Theatre Cedar Rapids;
he has had along the way. @johnrbroda
A Little Night Music (Henrik), Bright Star (Billy Cane), and The Light in the Piazza (Giuseppe) with TCR at Brucemore; Something Rotten ((Nick), HMS Pinafore (Captain Corcoran) and Sunday in the Park with George (Soldier) with UI Theatre; Camelot (Lancelot), Beauty and the Beast (Beast), Side Show (Terry), and 1776 (Courier) with City Circle; and Young Charles in a musical adaptation of Jane Austen’s Persuasion with Chamber Opera Chicago tours to England, Scotland, Wales, Canada, and NYC. Love and thanks to Brian, Brent, Ellen, and the entire cast and team!
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IAN BUTLER {Samuel Chase}
Ian is classically trained with a degree in Music from Iowa State University. At ISU he studied
KARISSA BURKHARDT {Martha Jefferson}
Karissa Burkhardt is thrilled to perform with Revival Theatre! Recent roles include Sarah Brown/Guys and Dolls, Andrina/Little Mermaid, Queen Iduna/Frozen, Tammy/Hairspray, Mary Delgado/Jersey Boys, Babette/Beauty and the Beast, Esther/Meet Me in St. Louis, Frenchie/ Cabaret, Mrs. Anderssen/A Little Night Music (Brucemore), and Featured Dancer/Ensemble/ Dance Captain in Carrie, Light in the Piazza,
with Dr. Mary Creswell and performed extensively in such noted roles as Tamino (The Magic Flute), Rinuccio (Gianni Schicchi), and Orpheus (Orpheus in the Underworld). Locally, Ian has been on stage in several roles with Revival Theatre, the Cedar Rapids Opera Theatre, Theatre Cedar Rapids, and as an invited tenor with the Cedar Rapids Concert Chorale. Most significantly, though, Ian’s current role is dad to Elroy the Cat. Delighted to return to the Revival Theatre stage, Ian hopes you have an enjoyable time with the Revival’s production of 1776.
Something Rotten!, Wizard of Oz, Mamma Mia, Cinderella, and SpongeBob with Theatre Cedar Rapids; Barbarina (Susanna cover)/Marriage of Figaro with Bellissima Opera; Bewick/Winter Soloist in Honk! (Revival); Catch Me if You Can, Legally Blonde, Camelot, Beauty and the Beast, Newsies with City Circle; Elisetta/Il Matrimonio Segreto and HMS Pinafore with UI Opera; Maria/ The Sound of Music, Johanna/Sweeney Todd, Agnes/She Kills Monsters with Theatre West; and Amahl/Amahl and the Night Visitors, Cassandra/ Persuasion with Chamber Opera Chicago. Karissa is completing degrees in vocal performance,
KEVIN DOLAN
theatre, dance, and elementary education at the
{Dr. Josiah Bartlett}
University of Iowa and choreographs in the area.
This is Kevin’s first play in 25 years. He started
Love and thanks to Brian Glick and the entire cast
with Cedar Rapids Community Theatre in 1979,
and crew!
and this is my third experience with 1776. I’m very excited to do a show with Revival after seeing Fiddler this summer.
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BEN FASHIMPAUR {Rev. John Witherspoon}
Ben Fashimpaur is a Cedar Rapids native and father of three daughters who have all made music and theater a vital part of their lives. He met his wife, Hilery, through the arts and they still occasionally participate in performances
AUSTIN GORDLEY
together. Ben is grateful to the arts community
{Leather Apron/Painter}
and patrons for establishing a vibrant scene and
Austin Gordley is a multi-faceted singer, actor,
making it thrive with talent, enriching so many
dancer, and choreographer nested in North
lives around us.
Liberty, IA. He recently choreographed Jesus Christ Superstar with City Circle Theatre Company and began his sixth season as a show choir choreographer. Past credits include: SCA at Millikin University and Augustana College, Fiddler on the Roof! (Revival Theatre Company), White Christmas (City Circle), Rocky Horror Picture Show (Rich Heritage), Anastasia (City Circle), Catch Me If You Can (City Circle), Follies (Iowa City Community Theatre), and Teaching Artist (Footliters Traveling Playhouse). “Laissez les bon temps rouler!” FB/IG @austingordley
STEVE GINSBERG {Benjamin Franklin}
Steven Ginsberg has served behind the scenes on the Revival Theatre Company founding board of directors, and he has been making a scene for 50 years on stages and in front of cameras with various theaters in Iowa, Indiana, and New York. He thanks Revival for providing the required inspiration to make a scene again, and thanks YOU the audience for participating in live theater and attending this ever-important story. 21
MATTHEW HOMMEL {Edward Rutledge}
Matthew Hommel is grateful for his third 1776 in this, his Revival debut! Previously: Edward
GARY HEBL-BENSER {Stephen Hopkins}
Gary Hebl-Benser is newly married to Sharon Hebl, a paratransit bus driver and retired teacher. He first appeared on stage at age 6 as an "urchin" and has been going strong for over six decades. A USAF Veteran, he moved to Iowa in 1986, performing with the Chorale Midwest and the Cedar Rapids Concert Chorale, and serving as Executive Director of the Cedar Rapids Chorale Association. This is Gary's fifth production with Revival, including: Titanic (Isidor Strauss), Parade (Old Soldier/Judge Roan/Stage Chorus), and Evita. His numerous Corridor productions include Driving Miss Daisy (Booley Worthan) with Rich Heritage of Cedar Rapids; The Sound of Music (Max Detweiler), The Music Man (Marcellus), Starmites (Shakra), Jesus Christ Superstar 1986 (Simon Zeolite), with TCR; Jesus Christ Superstar 2014 and 2026 (High Priest), 1776 (Ben Franklin), Annie Get Your Gun (Buffalo Bill Cody), Annie (Bill Healy), and Matilda (Serge the Russian) with City Circle; and Follies (Ben Stone) and Gypsy (Herbie) with ICCT.
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Rutledge, 1776 (Maine State Music Theatre); Winston Lee, Always Something There; Harold Bride/Wallace Hartley, Titanic; Edward Rutledge, 1776 (Marriott Theatre); Bryan, The Mermaids; Michael, The Bridges of Madison County; Willard, Footloose; Spit, Anything Goes (Timber Lake Playhouse); Fred, A Christmas Carol; Ensemble, The Wedding Singer (Metropolis Performing Arts); Ensemble/u/s Ryder/Chase/Marshall/Rubble, Paw Patrol Live! Heroes Unite (VStar Entertainment). Love and gratitude to DDO, my family, partner, and cat! IG: @matthewhommelactor
PAIGE KENNEDY {Abigail Adams}
Paige Kennedy is thrilled to be back on the Revival stage! You may have recently seen her in Revival’s
JORDAN JONES
{Colonel Thomas McKean} Jordan Jones graduated with a degree in Acting from The University of Connecticut, with further training from Shakespeare & Company in Lenox, MA, as well as The Globe Theater in London. Recent credits include Cinderella's Prince in Into The Woods (Tybee Post Theater), Monty Navarro in A Gentleman's Guide to Love and Murder (Savannah Performing Arts Festival), and Richard Hannay in The 39 Steps (Savannah Repertory Theater). Jordan will be seen next starring in Savannah Repertory Theater's production of Popcorn Falls. Some favorite credits are Oberon in Midsummer (Shakes & Co.), Silvius in As You Like It (Shakes & Co.), Lancelot in Camelot (Palm Canyon Theater), and Fred Graham/ Petruchio in Kiss Me Kate (North Street Playhouse). He is thrilled that his first ever visit to Iowa is to work on such a unique and engaging show!
production of Fiddler on the Roof (Tzeitel). She is a 2024 graduate of the University of Iowa with an M.A. in Vocal Performance. In 2025, Paige toured with Missoula Children’s Theatre’s “Sleeping Beauty” throughout the U.S. & Canada. Other credits include: Merrily We Roll Along (K.T./Mrs. Spencer/Auditionee), Honk! (Penny/Snowy), and Titanic (Caroline Neville) with Revival; White Christmas (Betty Haynes), School of Rock (Rosalie Mullins), Mary Poppins (Winifred Banks), and The Secret Garden (Lily) with City Circle Theatre; Beauty & the Beast (Madame de la Grande Bouche/Enchantress) and The Sound of Music (Sister Sophia/Frau Zeller) with TCR; and Light in the Piazza (Signora Nacarelli) and A Little Night Music (Charlotte Malcolm) at TCR/Brucemore. Many thanks to family and friends for their love and support!
DAVE MEDIN {Caesar Rodney}
Dave Medin hails from the Cedar Rapids metro area, where he has appeared on local stages in both music and dramatic roles since 2008. He’s looking forward to his first character role with Revival Theatre, although he is often backstage performing technical support. Dave has had many varied opportunities unbefitting of a physics major, from soloing with the St. Olaf Choir, performing at Carnegie Hall and Kennedy Center under the baton of the late Sir Neville Marriner,
{Dr. Lyman Hall}
to local performances with Revival Theatre,
Jonathan Neswick is excited to perform in
TCR, Giving Tree, Cedar Rapids Opera Theatre, Starlighters II, ICCT, and City Circle Theatre in Coralville, along with independent productions, of Children of Eden (Father), Carousel (Craigin), and The Sound of Music (Captain) at both Starlighters II and the Englert Theatre. Dave has studied voice with Ginger Beazley in Huntsville, AL; Virginia Zeani and Nicola Rossi-Lemeni at Indiana U; and Kecia Ashford, and Dr. Brad Barrett in Cedar Rapids, where he is currently a member of Chorale Midwest. He treasures his role as Caesar Rodney, who ultimately gave the literal Caesar’s thumbs-up to the Declaration after riding a horse 80 miles overnight while desperately ill, in the rain, to tip the balance of passage. And Dave was gratified to add not only to his knowledge of this great piece of history, but also to find that his stage nemeses, Mr. Reade and Mr. Dickenson, were also his friends, both preceding and succeeding him as Governor of Delaware. Off of the stage, Dave and his wife are often out pursuing new edible fungi and plants, as well as traveling more, now that their son is flying for Delta and they get a free ride (or rather, “unscheduled tuition repayment installments”). 24
JONATHAN NESWICK his first show with RTC as Dr. Lyman Hall in 1776! Jonathan is the Director of Vocal Music and Drama at Taft Middle School and enjoys choreographing and accompanying for different schools and ensembles outside of the school day. Jonathan has gotten involved quite a bit with Theatre Cedar Rapids with some of his most recent credits including Don't Let the Pigeon Drive the Bus (Music Director), Little Shop of Horrors (Skip Snip), Frozen (Pabbie), The Little Mermaid (Ensemble), and Finding Nemo (Professor Ray/ Bruce/Gill). In his free time, Jonathan enjoys golfing, playing pickleball, going on hikes, and spending quality time with his family and friends. Jonathan wants to thank you all for coming to our show today and supporting art in Cedar Rapids!
CASEY PRINCE {Richard Henry Lee}
Casey is excited to be performing in 1776. This is his fifth Revival show, having played Tateh
NATE PETSCHE {Joseph Hewes}
Nate Petsche (Hewes) is excited to be joining RTC for his second production! Joining last season in the ensemble of Merrily We Roll Along, Nate is so happy to be back in such a wonderful theatre with faces both old and new. Nate is a graduate of the University of Nebraska-Lincoln with a Bachelors of Music in Vocal Performance currently living in Iowa City, Iowa. During his time at UNL, Nate’s highlight roles were Edward in Big Fish, Kaspar in Amahl in the Night Visitors, and Arpad in She Loves Me. Post graduation, Nate has been fortunate enough to be in the company of the Ohio Light Opera as Rolf in the Sound of Music, and play Pequillo in Offenbach’s La Pericole in Redding CA. Recently, he dusted off his tap shoes to play Tulsa in Gypsy with ICCT. When he isn’t performing, Nate loves going on long bike rides and reading even longer books.
in Ragtime, Albin in La Cage Aux Folles, Oz in Come From Away, and Joe in Merrily We Roll Along. His most consistent role is stage dad for his two performer daughters, Eloise and Phoebe. Past favorite roles – in addition to Tateh, Albin and Oz – include Harold Hill in The Music Man (in concert), Billy Crocker in Anything Goes, Joe Sutter in Spitfire Grill, Drake/Greylag in HONK!, Dr. Frank-N-Furter in The Rocky Horror Show, Shoeless Joe Hardy in Damn Yankees, Kenickie Murdoch in Grease, Tom Watson in Parade (in concert), and a variety of musical turns in Follies at the Paramount. As board president for Patrons of the Performing Arts (PPA) and a board member with Revival Theatre Company and Four Oaks, he would gladly discuss your financial support for those nonprofits. ;) He hopes you thoroughly enjoy 1776.
JUSTIN SANDS ISSAC RIPLEY {Courier}
Isaac Ripley is thrilled to be joining Revival for the first time! Regional: 1776, A Christmas Carol (Walnut Street Theatre) Rock of Ages, Clue: on Stage (Maples Rep). Thank you to Brian and everyone at Revival for this amazing opportunity! @isaacripley_
{Lewis Morris}
Justin Sands is excited to join this outstanding cast and creative team for his debut production with Revival Theatre Company! Previous roles include Mr. Pinky in Hairspray and George in Kinky Boots, both at Theatre Cedar Rapids. By day, Justin plays the roles of Director of Choirs and Music Department Chair at Cedar Rapids Prairie High School, where he directs choirs and show choirs of various levels. However, Justin's greatest role is that of husband to Meghan and Dad to August and Finlee.
AIDAN SMITH {Charles Thompson}
Aidan Smith is excited for his first production with Revival Theatre Company. Recent productions include Dear Evan Hansen (Jared), Noises Off (Gary), Guys and Dolls (Nicely-Nicely Johnson), and Little Shop of Horrors (Orin/Others). He is very thankful for his friends, family, acting professors, and girlfriend for always supporting him and his passions. 26
NATHAN DAVID SMITH {John Adams}
Nathan David Smith is a NYC-based performer, originally from Grinnell, Iowa. National Tours/ Cruise: Come From Away (Principal Standby), Beetlejuice (Ensemble U/S Beetlejuice), The Office! A Musical Parody (Principal Standby). Off-Broadway: Friends! The Musical Parody (Chandler Bing), The Office! A Musical Parody
SETH TURNER
(Dwight Schrute). Select Regional: American Idiot
{Roger Sherman}
(American Stage), Dirty Rotten Scoundrels (Arizona
Seth is an actor based out of New York City,
Broadway Theatre), Come From Away (Forestburgh Playhouse). He holds a Bachelor of Fine Arts in Musical Theatre from Drake University. He also studied at The National Musical Theatre Institute at the Eugene O’Neill Theatre Center. nathandavidsmith.com / @nathan.david.smith
recently he lived in New England and was performing as a resident artist at a theatre and performed in shows such as Forever Plaid (Francis), Spelling Bee (Chip), Mean Girls (Damien), and Grease (Sonny). Previously he was in Spelling Bee here at Revival, where he played one of his favorite roles in William Barfee.Outside the theatre he loves the gym, board games, and raising canes. Thank you to everyone involved here at Revival for making great art and reminding me why I love doing what I do.
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GREG SMITH {John Hancock}
Greg is thrilled to be playing the role of John Hancock and flourish his signature! He was last seen on the Revival stage in La Cage Aux Folles (George), Come From Away (Nick) and Fiddler on the Roof (Lazar Wolf). He thanks his wife, Marcia, his four kids, his parents and his in-laws for their continual support of his story telling passions.
STEVE WEISS {Andrew McNair}
Steve is thrilled to be back on stage with Revival Theatre Company. He previously appeared in Revival’s Fiddler on the Roof as Rabbi. Steve began his theatre endeavors in 1976 at Matthew’s Opera House in South Dakota doing melodrama four days a week and Black Hills Passion Play the other three days a week. Steve continued in theatre after moving to Iowa, performing at
RISHI WAGLE
Cedar Rapids Community Theatre (now Theatre Cedar Rapids). After that he moved to Texas and
{George Read}
performed with Texas Playwright Company and
Rishi Wagle is a musician, theatremaker, and
Wimberley Players at Wimberley Resort. Steve
educator based in Cedar Rapids. He is excited to perform in his first show with Revival Theatre Company. Recent area credits include The Mystery of Edwin Drood (John Jasper), Metamorphosis (Apollo), The Fantasticks (Matt), and Jesus Christ Superstar (Music Director). Outside of theatre, Rishi serves as one of the choir directors at Cedar Rapids Washington High School and as the Director of Music Ministry at People’s Church Unitarian Universalist. He holds a BA in Music from Brown University and an MA in Music Education from the University of Iowa.
then moved back to Iowa and after auditioning for The Old Creamery Theatre Company, he worked with them for fourteen seasons. He also spent one season with the Arkansas Repertory Theatre Company. Steve has also performed with theatres across the corridor such as Starlighters II, MVLCT, Giving Tree Theater, TCR, Mirrorbox Theatre, RHCR Theatre and Bear Pit Dinner Theatre. Favorite roles include: Jimmy in The Rainmaker; Bo Decker in Bus Stop; Arthur in Superior Donuts; Willie in Sunshine Boys; Bert in Proposals; Scanlon in One Flew Over The Cuckoo’s Nest; and, Norman in On Golden Pond. Steve wants to thank Kathleen for her support and encouragement.
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Fiddler on the Roof, photo by Seth Walters 29
Come From Away, photo by Seth Walters 30
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Fiddler on the Roof, Photo by Seth Walters
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DIRECTOR NAVIGATING THE DEL ICATE BALANC E By Brian Glick, Executive & Artistic Director
1776 is a brilliant, unconventional masterpiece that subverts the traditional musical theatre structure. It contains massive, multi-page book scenes without a single note of music, and yet
to feel that true change is desperately needed yet entirely out
it must maintain an extraordinary, ticking-clock momentum to
of reach. Amid this friction, 1776 serves as a powerful reminder
keep modern audiences engaged. I think it’s safe to say, if there
that the Founding Fathers only achieved the impossible by
wasn't 1776, there would not have been a Hamilton.
coming together through agonizing compromise. They fought bitterly, yet ultimately chose what was best for the collective
As a director, the primary challenge is to strip away the
future.
marble veneer of the Founding Fathers and present them as flawed, passionate, and deeply human individuals. They were
That was entirely John Adams’s driving force. He was fueled
not statues; they were politicians, radicals, and pragmatists
by the fierce desire to leave behind a vibrant, thriving nation
trapped in a sweltering room, trying to pull off a political
where his children—and future generations—could grow and
miracle. Their loves were literally on the line. If they had failed,
prosper. That vision is something to deeply admire.
they could have been killed. Ultimately, the musical offers us a glimmer of hope. It provides Celebrating 1776 in 2026 naturally brings up mixed feelings in
a profound understanding of what can happen when we actually
this 250th year of the United States of America . We live in a
choose to listen to one another and fight for basic decency.
time when the country feels constantly at odds, where facts are
For me, this message reaches its absolute climax in the final
frequently up for debate, and where the very foundations we
tableau. As the curtain falls on that haunting, frozen image of
once took for granted seem to be crumbling around us. It is easy
the actors, the sheer weight of their sacrifice and the fragility of their experiment completely moves me to tears.
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NOTE
R'S
35
THE WORL D OF
Signing of the Declaration of Independence, WikiCommons
By BRUCE N ESM I T H , Dra m a t u r g
1776 is set during a pivotal moment in world history,
Continental Congress. He left teaching in 1959 and spent
the discussions and debate that led to a commitment to
years writing the songs and promoting the idea, meeting
seek American independence. The concept originated
with much rejection, until finally he caught the attention
with Sherman Edwards (1919-1981), a high school history
of producer Stuart Ostrow, who in turn talked Peter Stone
teacher who sought to dramatize the debates in the
into writing the book. At last, it opened on Broadway March 16, 1969.
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The play does not pretend to be security camera footage direct from Independence Hall – though there are no transcripts or even good notes of the proceedings, so
All political and economic power was in the hands of
who knows what might have been on that footage? It is a
educated white men. All colonies had black slavery,
(mostly) light-hearted depiction of events that began the
although it was fading rapidly in the north, and even free
American project, in which we are all participating today.
blacks were decidedly second-class citizens. Women
It is also somewhat telescoped, incorporating events that occurred outside its May-to-July 1776 time period. (Abigail Adams’s request for pins was in a letter written in June 1775, and John dutifully brought her “heaps of” pins on his return home in August of that year. John’s urging her to try
lacked the vote, and in many cases, the right to own property independent of their husbands. Death was a constant presence: both Adams and Franklin lost children, and Jefferson’s wife (who had herself lost her first husband, Bathurst Skelton) died young.
to make saltpeter for gunpowder purposes came in March
By early 1776, not only was there military activity
1776. Benjamin Franklin’s skepticism about the eagle as a
throughout the colonies, but Britain had cut off trade with
national symbol came in a private letter in 1782).
the colonies.
What Was 1776 America Like?
British Rule: What Went Wrong?
The American colonies, like much of the West in the
The American colonists who settled along the Atlantic
18th and 19th centuries, had a rather pronounced social
coast in the 17th century at first identified strongly with
structure. The upper class was made up of merchants,
Mother England. They generally tried to recreate in
large landowners, lawyers, royal agents, and lawyers.
America the British way of life, including its hierarchical
All of the delegates to Congress with spoken roles in
social structure, locally focused government, and
1776 were from this class. Small farmers, shopkeepers,
Protestant religion. Early colonists were motivated by
merchants, and master workmen were the middle class,
a combination of the search for commercial profit, land
followed by subsistence farmers, laborers, fishermen,
for agriculture, and/or religious freedom. At the risk
sailors, and mechanics. This last bunch had very
of oversimplifying, we can say the southern colonists
difficult lives: long workdays, not enough food, and
were mostly motivated by land, the middle colonists by
precarious health.
commercial profit, and the northern colonists by
Long-distance travel was rare and dangerously difficult.
religious freedom.
Letters, such as those exchanged by Abigail and John Adams, took weeks to get to their destinations, particularly since John was hesitant in fraught times to use the regular
John Adams, WikiCommons
mail service.
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The British government wanted to expand and secure its empire, and recruiting colonists was key to that. At first, then, it governed the colonies permissively, allowing them to handle most matters in their own way. Britain also was convulsed all century long by domestic struggles between religious factions that included the execution of one king (Charles I, in 1649) and the panicked flight of another (James II, in 1688). Clearly London had bigger fish to fry than whatever was going on in Boston or Philadelphia.
British government responded with increasing harshness to try to bring their American subjects to heel, beginning
Come the 18th century, however, Britain attempted to
with the suspension of the New York colonial assembly in
reassert some control over colonial affairs, particularly in
1766 and sending troops to keep order in Boston in 1768.
the wake of the French and Indian War (1756-1763). From Britain’s perspective, the two biggest policy problems relative to the colonies were:
As Parliament began to demand more from the colonists, the colonists discovered they missed the old days when they were left alone to govern themselves. Many of
1. Too much smuggling, which undercut imperial economic regulation; and Benjamin Franklin, WikiCommons
2. Too little tax revenue, which it needed to pay for the costly war with France, a war that had arguably increased Americans’ security. In 1761, Britain began to issue writs of assistance — allpurpose search warrants intended to catch smugglers. Next Parliament began to pass a series of acts intended to raise revenue to pay for the war: navigation acts restricting exports to British ships; prohibitions on colonial trade with the French and Dutch colonies; revenue stamps required on all legal documents; new taxes on imported
them found that they no longer felt common cause with
commodities like sugar and tea; and increasing the number
the people or government in faraway Britain. They had
of customs agents to make enforcement of the taxes
gotten used to taxing and governing themselves through
more sure.
elected colonial assemblies (legislatures) and did not look
Other acts of Parliament sought to regulate settlement of the newly won western lands, prohibit colonial issuance of paper money, and compel quartering and supply of those
with favor on giving that prerogative back to the distant Parliament. Gradually, somewhat to their own surprise, they had ceased to think of themselves as British.
British troops stationed in America after the war. When all
The colonies had evolved since their English/Protestant
these measures met with resistance in the colonies, the
founding. They had become more ethnically and religiously diverse, including settlers from other European countries who held no particular allegiance to England — not to mention increasing numbers of African slaves (who tended not to be asked about their political opinions). During the Great Awakening (roughly 1730-1760), a period of widespread Christian evangelism and religious fervor, the Church of England, with the King at its head, lost its leading role in society to denominations more
38
oriented to the common people. The colonists had moved beyond farming to start commercial businesses and even some manufacturing operations. By way of cultural life, newspapers were widespread, as well as societies devoted to art, music, theater, and scientific research. In sum, slowly but surely during the 155 years between the settlement of Jamestown and the end of the French and Indian War, the colonists had stopped attempting to replicate the British way of life and had developed their own. Now, Americans saw British attempts to reinsert the role of King and Parliament into their lives as unjustified intrusions. More to the point, they felt their individual rights were being endangered. The first step towards building a common American consciousness — above and beyond attachments to specific colonies or local communities — had come in the summer of 1754, in the run-up to the French and Indian War, when delegates from seven colonies (not all 13) met in Albany, New York, to coordinate plans. (This included firming up their alliance with the Iroquois nation.)
representatives, while the states thought it gave too much power to the appointee of the Crown. Progress towards American unity was slow. In October 1765, more than a decade after Albany, nine colonies (not all 13) sent delegates to the Stamp Act Congress in New York City to protest the new taxes levied by the British in the wake of the French and Indian War. Next, in the fall of 1774, a group called the Continental Congress met in Philadelphia; it was a gathering of representatives selected by the assemblies of 12 of the 13 British colonies south of Canada – all except for Georgia. This group attempted to formulate a unified colonial stance toward the Mother Country. That was the First Continental Congress; the Second Continental Congress convened in May 1775, by which time open fighting had begun at
Thomas Jefferson, WikiCommons
Lexington and Concord, Massachusetts. It is the Second Continental Congress that is depicted in 1776. This group articulated colonial grievances in a series of petitions sent to King George III, named George Washington as head of what became known as the Continental Army in July 1775, voted for independence in July 1776, and proceeded as well as it could to manage the war effort thereafter. Colonies/states were allowed to send anywhere from two to seven delegates. No delegate was empowered to cast his state’s vote by himself. Voting At that meeting, Benjamin Franklin, representing Pennsylvania, proposed a colonial confederation, which would feature a royally appointed executive along with a Grand Council elected by state legislatures. This Albany Plan of Union went nowhere; Franklin said later the London
was by states, not by individuals, so the majority of each state’s delegates determined that state’s one vote on any motion. If the delegates from any state were evenly split, the state was recorded as “divided,” counting toward neither column.
government thought it gave too much power to the state
39
Why Was It So Difficult to Commit to Independence?
Most Americans at this time never traveled more than 30 miles from their birthplace during their entire lifetimes, so even adjacent colonies seemed a world away. As
By 1776, some congressional delegates, like John Adams,
they ceased to think of themselves as “British,” even
Thomas Jefferson, and Benjamin Franklin, had become
elite Americans did not start thinking of themselves as
convinced that further appeals to Britain were useless,
“Americans.” Instead, their primary identity was with
and there was no honorable alternative to declaring
their colony or state, and they differed in many important
independence. Others, like John Dickinson and James
ways: size (meaning smaller states would fear domination
Wilson, were no less alienated from British rule, but
by larger ones in a unified country), economic base
approached the break with much greater caution. There
(commerce, trade, agriculture), the importance of slavery
was good reason for this: Britain was the foremost military
in the economy, social structure, and dominant religion.
power of the era and that made a favorable outcome highly uncertain; anyone associated with rebellion would be subject if captured to hanging as a traitor; and even a successful war would disrupt everyone’s lives and bring many deaths.
There were also important differences across the states in what people believed about politics. There were different understandings of the meaning of citizenship, the purpose of government, and the desired extent of liberty and equality. Historians and political scientists
American rebels would need financial and military support
have identified three broad subcultures in early America,
from Britain’s rivals in order to prevail. Moreover, even
each found throughout the country but associated with a
the American people were not uniformly supportive of
particular region.
independence: John Adams later estimated support for independence at about one-third of the general public, with roughly equal numbers opposed or undecided. The Declaration of Independence, written primarily by Jefferson, attempted to justify the radical step to the American people as well as potential international allies. The 13 American colonies, which were about to become the original 13 states, were not used to working together.
The six New England states were dominated by a moralistic political culture derived from the first Puritan settlers in which politics was a common effort to build a good (mostly local) society in which everyone was expected to participate. The people of the middle Atlantic states, from New York to Maryland, were more individualistic, valuing entrepreneurship, competition, and a more national outlook. They saw government as another way to get ahead. Finally, the South evolved a very hierarchical society with wealthy planters at the top and slaves at the bottom. Politics in southern states was traditionalistic, used to justify and preserve this social structure. Note that the three principal protagonists in 1776 — Adams, Franklin, and Jefferson —represented these
Old Liberty Bell, WikiCommons
three regional subcultures.
40
Bruce Nesmith is Professor Emeritus of political science at Coe College, where he taught courses on American government and political theory.
s relationships WHERE
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Merrily We Roll Along, Photo by Seth Walters
REVIVAL THRIVES THANKS TO GENEROUS CONTRIBUTIONS FROM THEATRE LOVERS LIKE YOU. Revival exists because of people like you. Less than half of Revival’s $330,000 annual operating budget comes from ticket sales. So how do we pay actors, musicians, technical crew, royalties, rent, and other bills? The answer Fiddler onthe Roof
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public partnerships help to support outstanding theatre experiences for Cedar Rapids audiences. The generosity of our philanthropic community ensures that Revival Theatre Company is part of Cedar Rapids vibrant cultural landscape. Revival Theatre Company is thrilled to be celebrating its 12th season! Now is the time to
Come From Away
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Advocacy. Then. Now. Always. In 1776, voices united to shape a nation. Today, advocates continue to help individuals, families, businesses, and communities navigate important challenges. Simmons Perrine is proud to support 1776 and the transformative power of live theater.
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