Rodgers + Hammerstein's CINDERELLA Program

MUSIC BY RICHARD RODGERS LYRICS BY OSCAR HAMMERSTEIN II NEW BOOK BY DOUGLAS CARTER BEANE BOOK BY OSCAR HAMMERSTEIN II DIRECTED BY JUSTIN LUCERO CHOREOGRAPHED BY KYLE WEILER MUSIC DIRECTION BY WESLEY FRYE

NOV 20, 2024 - JAN 5, 2025 • THE RITZ THEATER

CINDERELLA - 1

Artistic Director JUSTIN LUCERO

Managing Director ELISA SPENCER-KAPLAN

PRESENTS RODGERS + HAMMERSTEIN’S

CINDERELLA Music by RICHARD RODGERS Lyrics by OSCAR HAMMERSTEIN II New Book by DOUGLAS CARTER BEANE Book by OSCAR HAMMERSTEIN II Orchestrations by DANNY TROOB Music Adaptation & Arrangements by DAVID CHASE

Directed by JUSTIN LUCERO Choreographed by KYLE WEILER Music Direction by WESLEY FRYE Scenic Designer

Costume Designer

Lighting Designer

Sound Designer

ELI SHERLOCK

MATHEW J. LEFEBVRE^

MARCUS DILLIARD^

KEVIN SPRINGER

Hair, Wigs & Makeup Designer

Props Designer & Supervisor

Assistant Choreographer

Music Supervisor

MADELAINE FOSTER

PRISCILLA BRUCE

Director of Production

ALLEN WEEKS

HANNAH BENDITT

JASON HANSEN

Technical Director

BETHANY REINFELD

With gratitude to our Production Partners TOM & JULIANNE YOUNGREN This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

CINDERELLA is presented by arrangement with Concord Theatricals on behalf of The Rodgers & Hammerstein Organization. www.concordtheatricals.com

THEATER LATTÉ DA - 2

CAST Marie / Ensemble Gabrielle / Ensemble & Understudy Ella Jean-Michel / Ensemble & Understudy Sebastian Ensemble & Understudy Jean-Michel Topher / Ensemble Ensemble Ella / Ensemble Charlotte / Ensemble & Understudy Madame Sebastian / Ensemble Ensemble / Fox Ensemble / Raccoon Lord Pinkleton / Ensemble Madame / Ensemble

DEIDRE COCHRAN ISA CONDO-OLVERA PO CUSHMAN JAMES DELAGE THEO JANKE-FURMAN ABBY MAGALEE*+ NAMBI MWASSA* HOPE NORDQUIST TOD PETERSEN* JON MICHAEL STIFF* GABRIELLA TRENTACOSTE EVAN TYLER WILSON* SALLY WINGERT*

STAGE MANAGEMENT

UNDERSTUDIES for Marie & Lord Pinkleton CARNETHA ANTHONY

Stage Manager JOELLE COUTU*

for Gabrielle, Charlotte & Ensemble CAMRYN BUELOW

Assistant Stage Manager AUSTIN SCHOENFELDER*

for Topher & Ensemble CALEB MICHAEL*

Assistant Stage Manager AJAH WILLIAMS

ORCHESTRA Drums Conductor & Keyboard Upright Bass Violin Winds French Horn

Jarod Bendele† Wesley Frye† Jenessa Iverson† Aja Majkrzak† Jenny Slivinski† Anthony Stanley†

PRODUCTION TEAM Associate Technical Director Production Stage Manager Casting Supervisor Associate Production & Company Manager Lighting Supervisor & Light Board Operator Audio Supervisor & Sound Board Operator Costume Supervisor Costume Shop Assistant, Wardrobe Maintenance & Dresser Swing

Lead Carpenter Scenic Charge Carpenters Scenic Artists Props Artisan Lighting Design Assistant Electricians

Wig, Hair, & Makeup Design Assistant Costume Design Assistant & Draper/Stitcher Stitchers Dresser Stage Management Swing Light & Sound Board Operator Swing

Eric Charlton Shelby Reddig Sheena Janson Kelley Christian Erben Andrew Norfolk Nicholas Tranby Amber Brown Ash Kaun Whitley Cobb Sara Herman Jay Claire, Calvin Friedman, Kris Schmidt Erika Soukup Kris Schmidt Jacqulin Stauder Lane Bode, Wesley Cone, Bevibel Harvey, Evelyn Kelly, Jenna Lory, Ada Packiewicz, Kate Peters, Corinne Steffens, Carl Swanson, Tristan Wilkes Emma Gustafson Caroline Zaltron Dakota Blankenship, Hannah Fiedler, Laura Jones, Bronson Talcott Laura Jones Chloe Volna-Rich* Corinne Steffens

+Dance Captain *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers **Associate Member of SDC, the Stage Directors and Choreographers Society, a national theatrical labor union ^Member of the United Scenic Artists, a national union that represents designers and scenic painters for the American theater † Member of Twin Cities Musicians Union, American Federation of Musicians

CINDERELLA - 3

RUN TIME: 2 hours including one 15-minute intermission

MUSICAL NUMBERS ACT ONE “Prologue” - Ella & Company “Me, Who Am I?” - Topher, Sebastian, Lord Pinkleton, Knights “In My Own Little Corner” - Ella “Your Majesty” - Lord Pinkleton & Topher “The Prince Is Giving a Ball / Now Is the Time” - Sebastian, Jean-Michel, Lord Pinkleton, Ella, Crowd “Fol-de-Rol” - Marie “In My Own Little Corner (Reprise)” - Ella & Marie “Impossible / It’s Possible” - Marie, Ella, Company “Ten Minutes Ago” - Topher, Ella, Company ACT TWO “Entr’Acte” - Orchestra “Stepsister’s Lament” - Charlotte & Ladies of the Court “Call To Arms” - Lord Pinkleton & Topher “When You’re Driving Through the Moonlight” - Ella, Charlotte, Gabrielle, Madame “A Lovely Night” - Ella, Charlotte, Gabrielle, Madame “A Lovely Night (Reprise)” - Gabrielle & Ella “Loneliness of Evening” - Topher & Ella “The Prince Is Giving a Ball (Reprise)” - Sebastian, Lord Pinkleton, Heralds “There’s Music In You” - Marie “Do I Love You Because You’re Beautiful?” - Topher & Ella “Eight O’Clock and All Is Well” - Lord Pinkleton “The Proposal” - Ella, Topher, Company “The Wedding (Finale)” - Marie & Company

Additional Lyrics By Douglas Carter Beane, David Chase and Bruce Pomahac THEATER LATTÉ DA - 4

Compose yourself your way.

However your day unfolds, let YourClassical MPR meet you where you are.

TUNE IN OR STREAM AT YOURCLASSICALMPR.ORG

CINDERELLA - 5

NOTES ON RODGERS + HAMMERSTEIN’S CINDERELLA CINDERELLA is referred to by many as one of the most recognizable fairy tales in history, one that continues to stand the test of time. Also continuing to stand its own test of time is Theater Latté Da’s tradition of reinventing the musical idiom and championing the artform. Interestingly, as influential as the creators of our musical, Richard Rodgers & Oscar Hammerstein II, were on the trajectory of the medium and the industry, Latté Da has not until now produced any of their canonical work. Latté Da and I gravitate toward work that emphasizes theatricality, imagination, engagement, and the calculated fusion of elements. Rodgers and Hammerstein’s version of CINDERELLA provides a depth of opportunity in all of these.

Add to that, Douglas Carter Beane’s fresh take highlights humor and offers contemporary resonance in a libretto stuffed with iconic songs.

For these reasons, of course I would elect to make my company and Twin Cities directorial debut with this treasure-work.

When having conversations as a team in crafting our production, we realized that particularly perfect for our theater—and particularly during the holiday season— Cinderella intersects such pertinent themes of magic, transformation, community, and music. These, in isolation or blended together, have the power to create a resonating theatrical experience. Searching for an ideograph that captures the essence of these intersections that could serve as an ever-present, unifying detail, we found ourselves repeatedly drawn to a single, vibrant image: the mirror ball. An iconic symbol that also embodies the magic and joy Cinderella brings to any stage. A mirror ball, with its reflective surfaces, captures the essence of our shared experience —spreading light, color, and celebration.

Also, a mirror ball is theater magic. In my work, I gravitate towards the uniquenesses— the “magic qualities”— inherent to live theater, particularly when it comes to recruiting an audience to activate their imaginations to co-create with us. I often liken what I’m describing to our early experiences of being read a fairy tale and using our mind’s eye to visualize and paint a picture. In true Latté Da form, our brilliant team have taken this approach for this fairy tale, employing a small corps of performers and a few abstract elements (in addition to lights, costumes & movement) to facilitate the journey with suggestion, offering you, our audience, the opportunity to complete the picture—animals, forests, palaces, and everything in between—with your own activated imagination.

Our wink to the mirror ball as a visual embodiment of both theater magic and the magic central to the tale itself, I feel, is a dazzling testament to the power of kindness, the beauty of community, and the enchantment of music. Not to mention the spirit of the season.

I dedicate this performance to every single one of my generous collaborators who have so graciously and trustingly given of themselves and their talents to making the impossible possible.

Yours,

Justin Lucero Artistic Director

THEATER LATTÉ DA - 6

Theater Latté Da is in our 27th season of presenting original and reimagined musical theater.

Theater Latté Da is the leading nonprofit professional theater in the Twin Cities that exclusively produces musical theater. Since our inception, TLD has presented 95 Mainstage productions, including 17 world premieres and 15 area premieres. Each has garnered critical acclaim and earned its artists and TLD a host of awards, including: seven IVEY Awards for overall excellence, National Endowment for the Arts, the Gabriel Award for Broadcast Excellence, the American Theater Wing National Theater Company Award, and the 2019 Drama Desk Award for Unique Theatrical Experience.

Our Mission

Our Commitment to IDEA

Theater Latté Da creates new and impactful connections between story, music, artist, and audience—exploring and expanding the art of musical theater.

Theater Latté Da is committed to recognizing, addressing, and opposing racism and discrimination in our work, art, community, and industry. We affirm our resolve to actively create an anti-racist arts organization demonstrating our commitment through action. We believe in the power and impact of equitable, inclusive environments and value the lived experiences of our collaborators. We will hold each other accountable to honor this commitment, in the rehearsal room, the office, the theater and the board room.

Our Values We believe in work that is bold, inclusive and collaborative; we act with integrity and gratitude.

BOLD We make bold choices in support of

our mission and vision, both on and off stage.

By illuminating the unseen, giving voice to the unheard, and empathizing with the unknown, we open eyes, ears and hearts.

INCLUSIVE We believe in creating an

environment where a diverse group of voices are welcomed to fully participate. We are inspired and strengthened through equitable partnerships. We actively work to make musical theater accessible to everyone.

Our Land & People Acknowledgement The Ritz Theater sits on the ancestral homelands of many First Nations Tribes, including most recently the Dakota, and the Anishinabe People.

We gratefully, and humbly acknowledge the Native Peoples on whose Ancestral Homelands we gather, as well as the diverse and vibrant Native Communities who make their home here today.

COLLABORATIVE

We believe musical theater to be the most collaborative of art forms, incorporating music, drama, poetry, dance and design. We are inspired and strengthened through inclusive partnerships with artists, organizations and our diverse community, and embody a collaborative spirit in all we do.

INTEGRITY We hold ourselves to the highest

Scan the QR code to learn more about Theater Latté Da’s commitment to IDEA (Inclusion, Diversity, Equity, and Access).

standards of artistic and fiscal integrity. We are committed to honesty, equality and transparency in all aspects of our administration and art.

GRATITUDE We are grateful for our artists,

audiences, donors, board and staff. We recognize that each individual plays an important role in this organization’s success, and we actively seek out opportunities to acknowledge each person’s contribution.

CINDERELLA - 7

CINDERELLA: THERE’S MUSIC IN YOU On the first day of rehearsal for Theater Latté Da’s production of RODGERS & HAMMERSTEIN’S CINDERELLA, director Justin Lucero shared the following overview of the place Cinderella holds in our cultural imagination.

When we think of “Cinderella” and musical and popular culture infiltration, it’s both Walt Disney and Rodgers & Hammerstein that created what are now considered the quintessentials.

Disney’s now-classic animated feature film was released in 1950 and even included a title screen attributing it as, “Cinderella, from the Original Classic by Charles Perrault”, and of course, famously included songs. Disney turned to Tin Pan Alley songwriters Mack David, Jerry Livingston, and Al Hoffman who wrote in total six songs that were in the film, such as the Oscar-nominated “Bibbidi-Bobbidi-Boo”. The film also marked the launching of the Walt Disney Music Company with its soundtrack and a children’s album which hit number-one on the Billboard pop charts. I’d venture a guess that most Americans conjure an image of the pale-blue-dressed cartoon figure when they hear the name Cinderella.

The iconic blue dress of Walt Disney’s 1950 animated film

And then, of course…A mere few years after Disney’s release, the original Rodgers & Hammerstein musical aired on television in 1957.

In his book, Something Wonderful: Rogers’ and Hammerstein’s Broadway Revolution, Todd S. Purdum describes that momentous night. At the stroke of 8:00 p.m. on the rainy Sunday evening of March 31 in a converted vaudeville house on Upper Broadway in Manhattan, timpani rolled, herald trumpets blared a fanfare, and soon a chorus sang out, “The prince is giving a ball!” The crowded old theater at the corner of West 81st Street was the CBS Television Network’s smallest color studio, No. 72, but the program was beaming live over the largest network ever assembled of hundreds of stations coast to coast. Richard & Oscar, the reigning impresarios of the modern musical theater, were also two of the most influential producers of mass popular entertainment in Eisenhower-era America.

The evening’s production was Cinderella, a ninety-minute original musical created especially for television, with a massive budget of $385,000, a live orchestra of thirty-three pieces, and an all-star cast. The special broadcast was ballyhooed in full-page newspaper advertisements across the country and even letters were sent to the principals of public schools, urging them to encourage their students to watch the program.

This level of interest, attention, and dominance was par for the course for Rodgers and Hammerstein.

After all, as we know, this was the team that had revolutionized the American musical theater only 14 years earlier with their blockbuster Oklahoma! in 1943, and then went on to create the beloved and enduring hits Carousel, South Pacific, The King and I, and The Sound of Music.

THEATER LATTÉ DA - 8

CINDERELLA: THERE’S MUSIC IN YOU Now in 1957 they were aiming even higher, bringing Cinderella to CBS in an effort to top NBC’s highly successful live production from the previous year of a musical version of Peter Pan, starring Mary Martin.

They scored their own casting coup: Julie Andrews, then the hottest star on Broadway, moonlighting from her role as Eliza Doolittle in My Fair Lady.

Hammerstein kept the Cinderella story simple and sweet: no modern touches, no anachronisms. Just rigor of writing and producing, as well as a rigorous rehearsal schedule, including two full-scale dress run-throughs that the producers referred to as the Julie Andrews on set with Rodgers and Hammerstein preparing for the 1957 broadcast on CBS New Haven and Boston out-of-town tryouts. Because of the technical limitations of the time, viewers on the West Coast would not see the full-color production at all, only a black-&-white kinescope shot off a television monitor, which is the record of the evening that survives today. Because videotape had not yet been perfected, the show could never be rebroadcast, but Oscar told journalists he hoped to see it in the legitimate theater one day soon.

The final run-through ended at 4:30 p.m. on the afternoon of the broadcast, which would be, essentially, their closing night.

There were a few glitches, yes. But the audience!!

More people watched Cinderella than had ever collectively watched any event in the history of the planet to that point. At least 107 million people saw part of the program, a viewership that would have filled a typical Broadway theater seven nights a week—for 165 years.

Jump to 1965, when CBS produced an inferior videotaped version of Cinderella starring an 18-year Leslie Ann Warren in the title role, and Ginger Rogers as the Queen, to be rebroadcast annually over the next decade. And then, in 1997, ABC remade R&H’s Cinderella for TV yet again, this time starring Brandy and Whitney Houston as Cinderella and the Fairy Godmother respectively and taking the magic to new heights.

Much like the two previous versions it was a significant Filming Cinderella for live TV (1965) television musical milestone, but unlike the other two, it was a cultural moment, one that embraced inclusion, diversity, and progress. This version wasn’t just a remake; it was a reimagining that stayed true to the heart of the fairy tale while updating its values to reflect a more contemporary world.

CINDERELLA - 9

CINDERELLA: THERE’S MUSIC IN YOU The journey of this production began with Houston, originally set to play the title role. However, by the time the project was greenlit by Disney, Houston felt she had outgrown the part and instead offered it to Brandy. This casting decision, once seen as a risk, became a historic moment, pushing the boundaries of what was then known as “color-blind casting” and redefining what a princess, and a cast more generally, could look like. And although by this point both Rodgers and Hammerstein had passed, it continued the tradition that they’d established with every major project of pushing ideals and making major cultural ripples.

Brandy and Whitney Houston in the 1997 broadcast of Cinderella

And here they were trailblazing again, even posthumously. The casting was not only groundbreaking, but it also maintained the integrity of the story. James Hammerstein said his father would have wondered why it took so long for such inclusive casting to become a reality.

The Whitney (Houston) / Brandy production was a triumph not only because of its cast but also due to the way it modernized the beloved fairy tale. The screenwriter aimed to make the characters more relevant to the 90s audience. Cinderella was no longer a passive dreamer waiting for rescue; she was a strong heroine seeking independence and standing up for her beliefs. Similarly, the prince was portrayed as more than just a romantic lead—he was a leader who wanted to understand his people, adding depth to the character that resonated with modern viewers.

The changes were subtle yet powerful. The “love at first sight” trope was softened by allowing Cinderella and the prince to meet and converse before the ball, emphasizing that their connection was based on more than physical attraction. This was no fairy tale where a woman’s only goal was to find a prince. As Cinderella herself said, women deserve to be treated “like a person. With kindness and respect.” These feminist undertones were woven throughout the film, offering young girls—and all children—a more empowering message: they have the power to shape their own destinies.

This Cinderella became a ratings juggernaut and it was a commercial and critical success, becoming the most profitable television film of its time, and earning multiple Emmy nominations. More importantly, it left a lasting impact on a generation. For young children of THEATER LATTÉ DA - 10

CINDERELLA: THERE’S MUSIC IN YOU color, it was a moment of visibility and validation, seeing themselves/ourselves reflected in a classic story that had, for so long, been closed to them/us.

In the years that followed, Rodgers & Hammerstein’s Cinderella continued to inspire. Its legacy was finally seen on Broadway in 2013 with an updated book by the Broadway great, Douglas Carter Beane. An Associated Press review praised Beane’s script and wrote that it “crackles with sweetness and freshness, combining a little Spamalot with some Les Misérables.

Douglas Carter Beane’s version takes the baton of feminism and empowerment, and makes a bold step further into the modern, including the humor and anachronisms Rodgers and Hammerstein seemed to want to avoid. There are a few major changes that particularly excite me, however.

First is the inclusion of the concept of democracy and voting and elected representation. The new character of Jean-Michel, and his romantic subplot with one of the stepsisters, Gabrielle, are brand new and marvelous. And even more welcome is the pronounced commentary on the separation of the haves and have-nots, and the idea that everyone deserves respect and a life of dignity.

The other really great new thing isn’t really new at all, and not Beane’s either. In the 1997 Whitney Houston/Brandy version, songs were altered, including the addition of a song that is NOT a part of the original score. Instead, the team looked to the 900+-title songbook of Rodgers & Hammerstein, for something to feature Whitney with. Few songs were deemed suitable until they re-discovered “There’s Music in You”, a little-known song from the film “Main Street to Broadway” (1953) in which the songwriters play themselves. I remember distinctly, both with the 1997 version and the 2013 Broadway version, finding the song to stick out like a sore thumb. But programming it for us at Latté Da, a company that does “theater musically”, it’s become my favorite. A song that uses music as a metaphor for inner worth and inner capability – outstanding.

CINDERELLA - 11

THE CINDERELLA STORY ACROSS THE WORLD AND THROUGH THE CENTURIES The story of Cinderella has been known by many names. Aschenputtel in German, Cendrillon in French, Yeh-Shen in Chinese. Researchers believe there may be over 800 versions of Cinderella around the world, with origins dating back as far as 850.

Rhodopis (Egypt)

In the Greek story of Rhodopis, which translates to “Rosy-Cheeks,” a Greek slave girl marries the king of Egypt after an eagle steals one of her sandals and drops it in his lap. This version, which dates back to the first century CE, is one of the earliest recorded Cinderella variants.

Yeh-Shen (China)

Yeh-Shen is a Chinese tale that was collected in Youyang zazu by Duan Chengshi during the Tang Dynasty. In the story of Yeh-Shen, the protagonist is persecuted by her stepmother but ends up marrying the king. With some magical assistance, she dresses up for a party-like activity and loses a shoe that only her small feet can fit into.

The Rough-Faced Girl (North America - Algonquin)

The story takes place in a village by Lake Ontario, where an invisible being lives.

It features three sisters, the youngest of whom is named the Rough-Face Girl because of scars on her face and arms from tending fires. Her two older sisters are beautiful but cruel. The Invisible Being is looking for a wife, and all the girls in the village want to marry him. To win his hand, the women must prove they can see him to his sister. The older sisters fail, but the Rough-Face Girl succeeds by seeing the Invisible Being in nature. The Invisible Being appears to her, reveals her true beauty, and marries her.

Cendrillon (France)

Charles Perrault’s 17th Century Cendrillon is the version that still inspires adaptations today. Cendrillon features the fairy godmother who transforms a pumpkin, mice, a rat, and a lizard into carriage and coachman. She also gives Cinderella a magical dress from rags. This version would inspire filmmakers, with Georges Méliès making Cendrillon in 1899, and animators charming audiences with Walt Disney’s Cinderella in 1950.

Aschenputtel (Germany)

The Brothers Grimm’s Cinderella, Aschenputtel, features the motherless heroine go from beloved daughter to hated servant when her father takes a new bride. Her father asks what he can bring one day back from the fair, and the two stepdaughters ask for riches, but Aschenputtel only asks for the first branch that knocks her father’s hat. She plants the branch near her mother’s grave, where she weeps so much that a tree grows in the spot. From the tree comes a little white bird who throws down whatever she wishes. The little bird and his friends help her do her chores, and even give her a magnificent dress for the ball. The rest of the Grimms’ Cinderella follows the same pattern as most Cinderella stories, with the prince looking for the maiden who left her slipper – in this story, the slipper is golden, and the stepsisters result to drastic measures to get the slipper to fit.

THEATER LATTÉ DA - 12

BACK BY POPULAR DEMAND: A HILARIOUS & HEARTFELT HOLIDAY CELEBRATION This will be either a page for ads or a call for donations?

Potentially a space to feature some of Mathew J. LeFebvre’s artwork? I’ll have to see how the spacing on bios shakes out tomorrow!

NOV 30 - JAN 5

PAY AS YOU ARE TICKETS START AT $15 612.822.7063 JUNGLETHEATER.ORG

CINDERELLA - 13

BIOGRAPHIES DEIDRE COCHRAN (MARIE / ENSEMBLE) THEATER LATTÉ DA: Scotland, PA, The Color Purple, Hello, Dolly!, Jelly’s Last Jam. THEATER: Artistry: Some Enchanted Evening, Shrek the Musical, Songs for a New World, The Music Man, Legally Blonde, Mary Poppins; Children’s Theatre Company: Morris Micklewhite and the Tangerine Dress, An American Tail; Theatre Elision: In the Green, Islander, Ruthless; The Hive Collaborative: First Lady of Song: Ella Sings; Ordway: Ordway Cabaret: Rise Up; Old Log Theatre: A Gentleman’s Guide to Love and Murder.

TRAINING: B.A in Acting, Brenau University. Website: deidrecochran.com IG: @deidreonstage ISA CONDO-OLVERA (GABRIELLE / ENSEMBLE & UNDERSTUDY ELLA) THEATER LATTÉ DA: Debut. THEATER: Ten Thousand Things: Iphigenia at Aulis, Ten Thousand Voices; Guthrie Theater: A Christmas Carol, The Tempest; An Opera Theatre: The Cradle Will Rock; Yellow Tree Theatre: Toil and Trouble; Wonderlust Productions: Hidden Herald; Milwaukee Chamber Theatre: Laughs in Spanish; Illinois Shakespeare Festival: The Book of Will, The Tempest, The Comedy of Errors; Texas Shakespeare Festival: The Music Man, Nell Gwynn, The Taming of the Shrew.

READINGS/WORKSHOPS: Playwrights’ Center, History Theatre, Guthrie Theater, Texas Shakespeare Festival. TRAINING: University of Minnesota Guthrie Theater BFA Acting.

Gracias a mi familia biológica y escogida, and thanks to the Twin Cities theatre community for welcoming this Costa Rican girl with open arms.

PO CUSHMAN (JEAN-MICHEL / ENSEMBLE & UNDERSTUDY SEBASTIAN) THEATER LATTÉ DA: Debut, Next Festival: She’s Come Undone. THEATER: Artistry: Rent, Newsies; Guthrie: Hamlet; EPE: Rent (Roger); Lyric Arts: A Chorus Line; Pipe Dreams: Cruel Intentions, The Guide to Being Single; Millikin University: Romeo and Juliet (Romeo), Julius Caesar, Medea. TRAINING: B.F.A. Musical Theatre from Millikin University. When Po is not on stage you can find them at art fairs across Minnesota showing their original paintings & drawings. See more @Poliewog JAMES DELAGE (ENSEMBLE & UNDERSTUDY JEAN-MICHEL) THEATER LATTÉ DA: Debut. THEATER: Ordway Center for Performing Arts: Beauty and the Beast (Ensemble, U/S Gaston); Collide Theatrical: SKOL (Knut); Blue Barn Theatre: Heathers (Ensemble); Creighton University: Bonnie & Clyde (Frank Hamer/Ensemble), Sunday In The Park with George (Ensemble), Cabaret (Bobby). James is grateful to be working with Latté Da for the first time, and wants to thank his family for their support. ig: @jamesdelage THEO JANKE-FURMAN (TOPHER / ENSEMBLE) THEATER LATTÉ DA: Debut. THEATER: Lyric Arts: 9 to 5, Kinky Boots, Peter and the Starcatcher.

TRAINING: Northwestern University. Theo would like to thank Jean Del Santo and Melissa Hart for their guidance and support.

THEATER LATTÉ DA - 14

BIOGRAPHIES ABBY MAGALEE (ENSEMBLE & DANCE CAPTAIN) THEATER LATTÉ DA: Debut.

THEATER: Ordway: Disney’s Beauty and The Beast, West Side Story, In The Heights, Irving Berlin’s White Christmas, Mamma Mia!; History Theatre: Blended (Harmony): The Kim Loo Sisters; Chanhassen Dinner Theatres: Footloose, The Prom; Old Log Theater: The Wedding Singer. Also Broadway Jazz Dance Teacher at Hothouse Studios and certified yoga instructor. TRAINING: B.F.A. in Dance Performance; B.S. in Deaf Studies, Towson University- Baltimore, Maryland.

NAMBI MWASSA (ELLA / ENSEMBLE) THEATER LATTÉ DA: The Color Purple.

THEATER: Geva Theatre: The Color Purple; Children’s Theatre Company: Dr. Seuss’ The Sneetches; Ashland Productions: Oklahoma!, All Shook Up!; AMDA College: Ruined, The Pajama Game and multiple cabaret shows. TRAINING: B.F.A. in Performing Arts, AMDA College of the Performing Arts / The American Musical and Dramatic Academy - Los Angeles & New York.

IG: @bambimufasa HOPE NORDQUIST (CHARLOTTE / ENSEMBLE & UNDERSTUDY MADAME) THEATER LATTÉ DA: Debut. THEATER: The Duluth Playhouse: Peter and The Starcatcher, The Sound of Music, Young Frankenstein, Kinky Boots, Into The Woods, Footloose; History Theatre: The Defeat Of Jesse James; Park Square Theatre: The Rocky Horror Show. TRAINING: The Stella Adler Studio.

TOD PETERSEN (SEBASTIAN / ENSEMBLE) THEATER LATTÉ DA: Merrily We Roll Along, A Christmas Carole Petersen, Gypsy, A Man of No Importance, King of Hearts, Parade, The 25th Annual Putnam County Spelling Bee, Oh $#!% I’m Turning Into My Mother!. THEATER: Chanhassen Dinner Theatres: The Prom, The Music Man, Footloose, Mamma Mia!; Ordway: The Sound of Music; Children’s Theatre Company: Diary of a Wimpy Kid; Artistry: The Drowsy Chaperone, Spelling Bee; History Theatre: Sweet Land, Teen Idol; Theatre L’Homme Dieu: Once, I’m Proud of You. UPCOMING: History Theatre: Whoa, Nellie!.

JON MICHAEL STIFF (ENSEMBLE / FOX) THEATER LATTÉ DA: Debut.

THEATRE: Guthrie Theater: South Pacific, A Midsummer Night’s Dream, The Government Inspector; The Ordway: Beauty and the Beast; Artistry: Shrek The Musical; Chanhassen Dinner Theatres: The Music Man, Newsies, Mary Poppins, Hello, Dolly!, The Little Mermaid, Fiddler on the Roof; Jungle Theater: Urinetown.

GABRIELLA TRENTACOSTE (ENSEMBLE / RACCOON) THEATER LATTÉ DA: Debut. THEATRE: Collide Theatrical: The Great Gatsby; Lyric Arts: 9 to 5 (Ensemble, u/s Maria and Missy), A Chorus Line (Val, Dance Captain); Artistry: The Pajama Game (Mae, u/s Gladys); Chicago College of Performing Arts: A Chorus Line (Connie); Disney+: Encore! Summer Lyric at Tulane: Pirates of Penzance, James and The Giant Peach; Porchlight Music Theatre: Minnie’s Boys; Jefferson Performing Arts Society: West Side Story. TRAINING: BFA in Musical Theatre (Emphasis: Dance) from Chicago College of Performing Arts at Roosevelt University. Gabriella CINDERELLA - 15

BIOGRAPHIES is thankful for the endless support of her family and friends. www.gabriellatrentacoste.com IG: @Gabriella.Trentacoste

EVAN TYLER WILSON (LORD PINKLETON / ENSEMBLE) THEATER LATTÉ DA: Sweeney Todd, C., All is Calm: The Christmas Truce of 1914, Five Points, Assassins, NEXT Festival. THEATER: Chanhassen Dinner Theatres: Grease, The Music Man, Footloose; History Theatre: The Boy Wonder; Artistry: A New Brain; Phoenix Theatre: Rent, Spamalot, Hairspray, Gypsy, Les Misérables. Evan has a BM in Musical Theatre from Arizona State University. Proud AEA Member.

Evantylerwilson.com SALLY WINGERT (MADAME / ENSEMBLE) THEATER LATTÉ DA: Cabaret, Sweeney Todd, Master Class, Six Degrees of Separation, Underneath The Lintel, A Little Night Music, Hello, Dolly!, My Antonia (NEXT Festival). Recent work: Guthrie Theater: Murder On The Orient Express, The Importance of Being Earnest; Asolo Rep: Inherit the Wind; The Alley Theater: The Emporium by Thornton Wilder (world premiere); Dorset Theater Festival: Native Gardens. Sally is a proud 42-year member of Actors’ Equity and she is thrilled to be part of Justin Lucero’s inaugural season as Artistic Director.

CARNETHA ANTHONY (UNDERSTUDY FOR MARIE & LORD PINKLETON) THEATER LATTÉ DA: The Color Purple. THEATER: Geva Theatre: The Color Purple; Artistry: Memphis, The Best Little Whorehouse in Texas; Sidekick Theatre: Little Shop of Horrors; Highland Theatre: Hairspray, Avenue Q, Spamalot; Sight & Sound Theatre: Samson; Minneapolis Musical Theatre: Big River, Bare: A Pop Opera, Dirty Rotten Scoundrels, Happy Days; Theatre Under The Stars: Like You Like It; Stages Rep. Theatre: The Toys Take Over Christmas; Virgin Voyages Entertainment: The Foodie & The Bounce; MNSU: The Drowsy Chaperone, Crumbs from the Table of Joy, Rent, Legally Blonde, A Chorus Line. Also an Actor/Educator for C.L.I.M.B. Theatre and Entertainment Host/Performer/Cast on Disney Cruise Lines, Virgin Voyages and Cunard Cruise Line. TRAINING: B.F.A Musical Theatre/Dance, Sam Houston State University.

M.F.A. Musical Theatre Minnesota State University Mankato.

CAMRYN BUELOW (UNDERSTUDY FOR CHARLOTTE, GABRIELLE & ENSEMBLE) THEATER LATTÉ DA: Merrily We Roll Along. THEATER: History Theatre: I Am Betty; Artistry: Little Women; Theatre L’Homme Dieu: Beautiful: The Carole King Musical; Sidekick Theater: The Wonderettes; Lyric Arts: Smokey Joe’s Cafe. Also a choreographer and instructor for youth education programs and community theaters. TRAINING: BFA in Musical Theatre and Dance - The University of Minnesota Duluth.

CALEB MICHAEL (UNDERSTUDY FOR TOPHER / ENSEMBLE) THEATER LATTÉ DA: Debut. THEATER: Artistry: Rent (Roger), Godspell, Victor/Victoria.

Chanhassen Dinner Theaters: The Music Man, Footloose; Thingamajig: The Who’s Tommy, Jekyll & Hyde, Mamma Mia!; Thunder Bay Theater: The Addams Family, West Side Story, Oklahoma!, Hairspray. SilverSea Cruises. Director at Osseo Senior High School. TRAINING: BFA in Musical Theatre, Viterbo THEATER LATTÉ DA - 16

BIOGRAPHIES University. www.calebmichael.org, @calebmichael094

JOELLE COUTU (STAGE MANAGER) THEATER LATTÉ DA: Stage Manager: Scotland, PA, Johnny Skeeky, NEXT Festival 2023 & 2024, Stage Manager Swing: Next to Normal, Christmas at The Local, Stones in His Pockets, The Color Purple. THEATER: Lyric Opera of the North: Cavalleria Rusticana; Skylark Opera Company: Three Decembers, Eugene Onegin, Amahl and the Night Visitors; Illusion Theater: We Take Care of Our Own, Present; History Theatre: Runestone! A Rock Musical, Not in Our Neighborhood; Gilbert and Sullivan Very Light Opera Company: Pirates of Penzance. TRAINING: B.A in Theater and Television Design, Valparaiso University.

AUSTIN SCHOENFELDER (ASSISTANT STAGE MANAGER & DECK CHIEF) THEATER LATTÉ DA: Scotland, PA, Johnny Skeeky, The Color Purple, Falsettos, Hello, Dolly!, Christmas At The Local, Merrily We Roll Along, Jelly’s Last Jam. THEATER: Chanhassen Dinner Theatres: (Spotlight Operator) Beautiful: The Carole King Musical, Jersey Boys, The Prom, Footloose, The Music Man; Park Square Theatre: (Asst. Stage Manager) Holmes and Watson, (Run Crew) The Rocky Horror Show.

AJAH WILLIAMS (ASSISTANT STAGE MANAGER) THEATER LATTÉ DA: NEXT Festival 2024, The Color Purple, We Shall Someday, NEXT Festival 2023.

THEATER: Artistry (Stage Manager): Rent; Geva Theatre: The Color Purple; Lyric Arts (Stage Manager): The Last Five Years,The SpongeBob Musical; Stages Theatre Company (Stage Manager): The Day You Begin, Once on This Island Jr., Maybe; Theater Mu (Stage Manager): New Eyes Festival 2023; Ten Thousand Things: Iphigenia at Aulis; Yellow Tree Theatre: In the Next Room, Sherwood. TRAINING: B.A. in Theatre, Hamline University.

JAROD BENDELE (DRUMS) THEATER LATTÉ DA: Debut. Theater: Lyric Arts: 9 to 5 the Musical, A Chorus Line, The Wedding Singer; Lake Shore Players Theater: La Cage aux Folles, Singin’ in the Rain; Training: B.M. in Music Performance, Indiana University; M.M. in Music Performance, University of Minnesota.

JENESSA IVERSON (UPRIGHT BASS) THEATER LATTÉ DA: PIT PERFORMANCE: History Theatre, Theatre L’Homme Dieu, Hidden Gem productions. Jenessa also works locally as an actor, choreographer, and vocal coach. STAGE PERFORMANCE: Old Log Theatre: Escape to Margaritaville, Once Upon a Mattress; History Theatre: I Am Betty; Theatre L’Homme Dieu: Once; MN Opera: Cruzar la Cara de la Luna; Nymphs, Spinners, and Witches (upcoming); Duluth Playhouse: Spamalot. VOCAL DIRECTION: Children’s Theatre Company: The Garden; Theatre L’Homme Dieu: Once. Instructor of private voice with Kramer’s School of Music. CHOREOGRAPHY: Lakeshore Players Theatre, 4CT, CVFT, Theatre L’Homme Dieu. TRAINING: BFA Musical Theatre, University of Minnesota, Duluth. Much love to Kyle and my family for their endless support! jenessaiverson.com.

CINDERELLA - 17

BIOGRAPHIES AJA MAJKRZAK (VIOLIN) THEATER LATTÉ DA: Debut. THEATER: Artistry: Newsies, The Pajama Game; Lakeshore Players Theatre: Singin’ in the Rain. ORCHESTRA: East Metro Symphony Orchestra: Concertmaster; Sioux City Symphony Orchestra: Section violin. Also performs with Charanga Tropical, Stone Arch String Quartet, is an Artist Member of Thursday Musical, and freelances in the Twin Cities area. TRAINING: B.M. in Music Performance, University of Minnesota - Twin Cities, M.M. in Violin Performance, Louisiana State University.

JENNY SLIVINSKI (WINDS) THEATER LATTÉ DA: Debut. THEATER: Artistry: Newsies; History Theatre: Blended Harmony; Lyric Arts: 9 to 5 the Musical, A Chorus Line; Lakeshore Players Theatre: Little House on the Prairie the Musical, Singin’ in the Rain, The Little Mermaid; Minnetonka Theatre: Cabaret, Guys and Dolls, Grand Hotel, Chicago, Alive and Kickin’. TEACHING: Sarah Jane’s Music School, K&S Conservatory of Music, St. Paul Conservatory of Music, and MacPhail Center for Music. TRAINING: BA in Music and Business Administration, University of Minnesota Duluth. jswoodwinds.com ANTHONY STANLEY (FRENCH HORN) THEATER LATTÉ DA: Debut. THEATER: Lubbock Moonlight Musicals: Suor Angelica, Phantom of the Opera; ORCHESTRA: Civic Orchestra of Minneapolis: Principal; TRAINING: B.M. in Music Performance, Texas Tech University, M.M. in Horn Performance, University of Cincinnati, A.D. in Brass Studies, University of Cincinnati.

RICHARD RODGERS (MUSIC) One of Richard Rodgers’ contribution to the musical theatre of his day was extraordinary, and his influence on the musical theatre of today and tomorrow is legendary. His career spanned more than six decades, his hits ranging from the silver screens of Hollywood to the bright lights of Broadway, London and beyond. He was the recipient of countless awards, including Pulitzers, Tonys, Oscars, Grammys and Emmys. He wrote more than 900 published songs and forty Broadway musicals. Richard Rodgers (19021979) and Lorenz Hart (1895-1943) wrote their first shows together when both were still students attending Columbia University. Their breakthrough came with the score for a 1925 charity show, The Garrick Gaieties, which introduced the classic valentine to their hometown, “Manhattan.” Over the next five years they wrote fifteen musical comedies for Broadway and London’s West End before relocating to Hollywood in 1930, where they contributed songs and wrote the scores for several movie musicals, most notably Love Me Tonight starring Maurice Chevalier. In 1935 they returned to New York to write the score for Billy Rose’s circus musical Jumbo, launching a golden era that included On Your Toes, Babes in Arms, I’d Rather Be Right, I Married An Angel, The Boys From Syracuse, Too Many Girls, Higher And Higher, Pal Joey and By Jupiter. In 1943 the partnership disbanded temporarily when Rodgers collaborated with Oscar Hammerstein II on Oklahoma!, but it resumed with a revision of their 1927 hit A Connecticut Yankee, which opened on November 17, 1943 – less than a week before Lorenz Hart’s death.

For the next two decades Richard Rodgers collaborated exclusively with Oscar Hammerstein II on such musicals as Carousel, Allegro, South Pacific, The King And I, Pipe Dream and The Sound of Music. Collectively, their musicals have garnered dozens of awards including: Pulitzer Prizes; Tonys, Oscars, Emmys, and Grammys; and Drama Desk, Drama Critics’ Circle, Outer Critics’ THEATER LATTÉ DA - 18

BIOGRAPHIES Circle, Laurence Olivier and Evening Standard Awards. After Hammerstein’s death in 1960, Rodgers continued to write for the musical stage, including No Strings, and collaborations with Martin Charnin, Stephen Sondheim and Sheldon Harnick. His fortieth, and final, Broadway musical, I Remember Mama, opened on Broadway less than eight months before his death on December 30, 1979.The Richard Rodgers Theatre on Broadway was renamed in his honor, and Rodgers and Hart were each commemorated on a US postage stamp at the end of the last century.

OSCAR HAMMERSTEIN II (ORIGINAL BOOK & LYRICS) Oscar Hammerstein II was born on July 12, 1895 in New York City. His father William was a theatre manager and, for many years, director of Hammerstein’s Victoria, the most popular vaudeville theatre of its day. His uncle, Arthur Hammerstein, was a successful Broadway producer and his grandfather, Oscar Hammerstein, a famous opera impresario. Hammerstein started writing lyrics for the Columbia University Varsity shows while studying law. His earliest works included musical comedies written with a Columbia undergraduate seven years his junior named Richard Rodgers. (The 1920 varsity show, Fly With Me, was composed by Rodgers with lyrics by both Hammerstein and a fellow classmate of his named Lorenz Hart.) Withdrawing from Columbia Law School after his second year to pursue a career in theatre, Hammerstein took a job with his uncle as an assistant stage manager. In 1919 Hammerstein’s first play, The Light, was produced by his Uncle Arthur; it lasted four performances. Undaunted, he continued to write both lyrics and librettos, principally with Otto Harbach as his collaborating author. His first success, with Harbach, Vincent Youmans and Herbert Stothart, was Wildflower in 1923. Hammerstein found his niche with some of the greatest composers of his day, breathing new life into the moribund artform of operetta with such classics as Rose-Marie (music by Rudolf Friml), The Desert Song (Sigmund Romberg), The New Moon (Romberg), and Song of the Flame (George Gershwin). With Jerome Kern, Hammerstein wrote eight musicals, including Sweet Adeline, Music in the Air and their masterwork, Show Boat. His last musical before embarking on an exclusive partnership with Richard Rodgers was Carmen Jones, the highly-acclaimed 1943 all-Black revision of Georges Bizet’s tragic opera Carmen. During the years that Hammerstein was redefining the terms of operetta, Richard Rodgers and Lorenz Hart were challenging the accepted norms of musical comedy with shows that set new standards for wit, sophistication and innovation. The Rodgers & Hammerstein partnership began with Oklahoma! (1943). Like Hammerstein’s Show Boat and Rodgers & Hart’s Pal Joey, the first Rodgers & Hammerstein musical was a groundbreaking milestone, blending musical comedy and operetta into a whole new genre – the musical play. Oklahoma! was also the start of the most successful partnership in Broadway history, and was followed by Carousel, Allegro, South Pacific, The King And I, Me And Juliet, Pipe Dream, Flower Drum Song and The Sound of Music. Rodgers & Hammerstein wrote one musical specifically for the big screen – State Fair – and one for television – Cinderella. Collectively, their musicals have garnered dozens of awards, including: Pulitzer Prizes; Tonys, Oscars, Emmys, and Grammys; and Drama Desk, Drama Critics’ Circle, Outer Critics’ Circle, Laurence Olivier and Evening Standard Awards. As producers, Rodgers & Hammerstein presented plays, musicals and revivals, including John van Druten’s I Remember Mama, Anita Loos’ Happy Birthday, Irving Berlin’s blockbuster Annie Get Your Gun, the national tour of Show Boat (1947-49) and six of their own stage musicals (from the Pulitzer-winning South Pacific in 1949 to the Tony-winning The Sound of Music ten years later). They also produced the motion picture version of Oklahoma! and founded their own CINDERELLA - 19

BIOGRAPHIES music publishing firm, Williamson Music (basing the name on the fact that both of their fathers were named William). Oscar Hammerstein II was a member of the board of directors of many professional organizations, including the Dramatists Guild and the Screen Writers’ Guild. He received many personal honors and awards, including five honorary degrees, two Pulitzer Prizes, two Academy Awards and five Tony Awards. His last musical was The Sound of Music, written with Richard Rodgers in 1959; his last song was “Edelweiss,” written for that musical during its Boston tryout. Oscar Hammerstein II died at his farm in Doylestown, Pennsylvania, on the morning of August 23, 1960. In 1995 Hammerstein’s centennial was celebrated worldwide with commemorative recordings, books, concerts and an award-winning PBS special, Some Enchanted Evening. The ultimate tribute came the following season, when Oscar Hammerstein II had three musicals playing on Broadway simultaneously: Show Boat (1995 Tony Award winner, Best Musical Revival); The King and I (1996 Tony Award winner, Best Musical Revival); and State Fair (1996 Tony Award nominee for Best Score.) “The Careful Dreamer,” a Time Magazine cover story on Oscar Hammerstein II, was published on October 20, 1947. A biography, Getting to Know Him by Hugh Fordin, was first published by Random House in 1977. A revised edition of Hammerstein’s Lyrics, edited by his son William Hammerstein and containing an introductory essay by the lyricist, plus a preface by his protege Stephen Sondheim, was published by Hal Leonard Publishing in 1985.

DOUGLAS CARTER BEANE (NEW BOOK) As director/writer his current projects include the musical Hood (score by Lewis Flinn, Dallas Theater Center), Noel Coward’s Me and The Girls (reading at Roundabout, being developed for Michael Urie), Star-Spangled (score by Lewis Flinn, workshopped at the Vineyard) To Wong Foo (score by Lewis Flinn), The Big Time (score by Douglas J. Cohen, concert at McCarter Theatre Center with Santino Fontana) and Rodgers and Hart’s Babes in Arms. As a sole playwright/librettist, he has earned five Tony nominations and one Olivier nomination. Beane’s plays are The Little Dog Laughed, As Bees in Honey Drown, The Nance, Shows For Days, Music From A Sparkling Planet, The Country Club, Advice From A Caterpillar and The Cartells. His musicals are Rodgers + Hammerstein’s Cinderella, Lysistrata Jones, Sister Act and Xanadu. He has written the libretto for the Metropolitan Opera’s Die Fledermaus, which is currently in their repertory, and the summer show at Radio City Music Hall. He wrote the film adaptation of his play Advice From A Caterpillar, as well as the screenplay of To Wong Foo, Thanks For Everything, Julie Newmar.

JUSTIN LUCERO (DIRECTOR) Prior to serving as Artistic Director for Theater Latté Da, Justin was a professor of Directing and Associate Chair for The John Wells Directing Program and Artistic Director for El Paso Opera for seven of his fourteen seasons there. He is the recipient of prestigious engagements such as a Directing Fellowship with Asolo Repertory Theatre (Florida), a Stage Directors and Choreographers Foundation Observership at South Coast Repertory (Los Angeles), a FAIR Assistantship with Oregon Shakespeare Festival, and a Directing Attachment at Regent’s Park Open Air Theatre (London’s West End). He was named to the 2021-2022 BIPOC Leadership Circle by artEquity/David Geffen School of Drama at Yale, is a 2022-2023 Theatre Communications Group Rising Leaders of Color awardee, and was selected as a member of the 2023 OPERA America Leadership Intensive cohort, a highly selective program which identifies and develops “leaders who will move opera forward for years to come.” He served on the Blue Ribbon Panel with The American Theatre Wing THEATER LATTÉ DA - 20

BIOGRAPHIES and the Broadway League to select the 2023 Tony Award winner for Excellence in Theatre Education, and continues to be a grants evaluator for the Texas Commission on the Arts, the National Alliance for Musical Theatre, and the National Endowment for the Arts. In addition, Justin serves as a member of TCG’s board-level governance in the inaugural Next Generation Taskforce, Co-Chair of NAMT’s New Works Committee, and has been voted to join NAMT’s Board of Directors. Training: London’s East 15 Acting School (MFA in Directing with Distinction).

KYLE WEILER (CHOREOGRAPHER) THEATER LATTÉ DA: Next to Normal (Gabe, Choreographer), Hello, Dolly!. BROADWAY: Hamilton (Universal Swing, Dance Captain) TOURS: West Side Story International. REGIONAL: Ordway, Theater Aspen, Children’s Theatre Company, Guthrie. SELECT CHOREOGRAPHY: Artistry: Godspell, Crazy For You; GREAT Theater: White Christmas, Legally Blonde; Daleko Arts: Bright Star. DIRECTING: MN Opera: Trouble in Tahiti/Service Provider; Lakeshore Players: She Loves Me; Ashland Productions: Company; Chicago Opera Theater: Assistant Director: Life and Death(s) of Alan Turing. TEACHING: U of M, SPCPA, PIMS, national and international masterclass series.

BFA The Juilliard School. @kyle__weil.

WESLEY FRYE (MUSIC DIRECTOR, CONDUCTOR & KEYBOARD) THEATER LATTÉ DA: Debut.THEATER: Lyric Arts: Peter and the Starcatcher, A Chorus Line, The Wedding Singer; Lakeshore Players: La Cage aux Folles, Singin’ in the Rain.

Also music director and freelancer for numerous high schools throughout the Twin Cities. TRAINING: B.A. in Voice Performance, Luther College; M.M. in Voice Performance, University of Minnesota - Twin Cities ELI SHERLOCK (SCENIC DESIGNER) THEATER LATTÉ DA: The Color Purple, Hello, Dolly!, Jelly’s Last Jam, Chicago, Assassins. THEATER: Jungle Theater: Dinner for One; Mixed Blood Theater: The Ally; The 5th Avenue Theatre: The Wiz; Geva Theatre: The Color Purple; Flint Repertory Theater: Spring Awakening, Little Shop of Horrors, Ragtime; The Hangar Theatre: Ragtime; Antaeus Theatre Company: She. Additionally in the Twin Cities, Eli has designed with History Theater, Artistry, Park Square Theater, 7th House Theater, Yellow Tree Theater, Walking Shadow Theater Company, Lyric Arts, Theater in the Round, Concordia University, and the University of Minnesota. FILM/TV: Art Dept. Assistant for Spiderman: No Way Home (AP), Doctor Strange in the Multiverse of Maddness: LA Unit, Moon Knight (AP).

TRAINING: UCLA, University of Michigan. Eli is currently a guest lecturer and designer-inresidence for the year at the University of Michigan. www.elisherlock.com MATHEW J. LEFEBVRE (COSTUME DESIGNER) THEATER LATTÉ DA: Next to Normal, Twelve Angry Men, Once. THEATER: The Jungle Theater: A Doll’s House Part 2, The Children, The Nether, The Mystery of Irma Vep, and Hamlet; Guthrie Theater: More than 20 productions since 1998 including A Christmas Carol, The Music Man and Pride and Prejudice; Penumbra Theater: More than 20 productions since 2000 including Sugar in our Wounds, Jitney, Fences, Ma Rainey’s Black Bottom and Pipeline. Other regional credits include Signature Theatre Company, New York Theatre Workshop, Milwaukee RepertoryTheatre, Arizona Theatre Company, The CINDERELLA - 21

BIOGRAPHIES Minnesota Opera, Cincinnati Playhouse in the Park, Indiana Rep, Arkansas Rep, and Mixed Blood Theatre. AWARDS: 2014-2015 McKnightTheatre Artist Fellowship,2012 TDF-Irene Sharaff Award, and a 2015 Ivey Award. Professor of Costume Design at the University of Minnesota.

MARCUS DILLIARD (LIGHTING DESIGNER) THEATER LATTÉ DA: Stones in His Pockets, Christmas at the Local, A Little Night Music, Assassins, Man of La Mancha, Peter and the Starcatcher, C., All is Calm, Our Town, Cabaret, Steerage Song, Aida, Song of Extinction, Violet, The Full Monty, Old Wicked Songs, Susannah. THEATER: Guthrie Theater, Minnesota Opera, The Jungle Theater, Penumbra Theater, The Moving Company, Theatre de la Jeune Lune, Children’s Theatre Company, Ordway Music Theater. AWARDS: Sage Award, Ivey Award, McKnight Foundation Theater Artist Fellowship. TRAINING: M.F.A. in Lighting Design from Boston University.

KEVIN SPRINGER (SOUND DESIGNER) THEATER LATTÉ DA: Scotland, PA, Johnny Skeeky, Bernarda Alba, Hello, Dolly!, Man of La Mancha, Once, To Let Go And Fall. OPERA: Minnesota Opera: Dead Man Walking, Dinner at Eight.

THEATER: Daleko Arts: The Thin Place; In the Heart of the Beast: Make Believe Neighborhood; New Native Theater: 2012 The Musical, The Unplugging; Penumbra Theater: Dutchman, The Owl Answers, This Bitter Earth; Red Eye Theater: Sounds Inside; Theater Mu: peerless; Trademark Theater: The Hollow; zAmya: A Prairie Homeless Companion. TRAINING: MFA in Theatre Design and Technology, University of Minnesota - Twin Cities.

PRISCILLA BRUCE (WIG, HAIR & MAKEUP DESIGNER) THEATER LATTÉ DA: Debut. THEATER: MN Opera: Fellow Travelers, The Fix, Elektra, Carmen, Daughter of the Regiment, Don Giovanni, La Bohème, Romeo and Juliet; Washington National Opera: Il Trovatore; Kennedy Center: The Mortification of Fovea Munson*, Acoustic Rooster’s Barnyard Boogie*, The Dragon Kings Daughter*; Boston Lyric Opera: Bluebeard’s Castle | Four Songs, Alma Mahar; Wolftrap: Faust; University of Maryland: Don Giovanni, Men in Boats, Emma, Florencia en el Amazonas; Annapolis Opera: Elixir of Love, Into the Woods, La Bohème, Glory Denied, la Traviata. (*world premiere) TRAINING: BA Theatre Arts: Salisbury University. Cosmetology: Aveda Institute, Chicago.

JASON HANSEN (MUSIC SUPERVISOR) THEATER LATTÉ DA: The Color Purple, Stones in His Pockets, Falsettos, Next to Normal, Hello, Dolly!, Christmas at the Local, Merrily We Roll Along, Jelly’s Last Jam, Bernarda Alba, Hedwig and the Angry Inch, A Little Night Music, Once, Assassins, C., Into The Woods, Our Town, Aida; NEXT Festival: She’s Come Undone, The Last Babushka, A Child’s Christmas In Wales; THEATER: Children’s Theatre Company: An American Tail, Cinderella, Dr. Seuss’ How The Grinch Stole Christmas!, Dr. Seuss’ The Sneetches; Guthrie Theater: A Christmas Carol, Little Shop Of Horrors, Into The Woods, Guys and Dolls, Othello; Mixed Blood Theatre: Passing Strange, Next to Normal, Avenue Q; History Theatre: Blended Harmony, I Am Betty, Sweet Land; Stages Theatre Company: Once on This Island, Tuck Everlasting; Theater Mu: Twelfth Night, A Little Night Music; Chanhassen Dinner Theatres: THEATER LATTÉ DA - 22

BIOGRAPHIES Newsies; Ten Thousand Things: Romeo & Juliet; Arkansas Repertory Theatre: The Gift Of The Magi; Northern Sky Theater, Illusion Theater, Artistry, TigerLion Arts, Open Eye Figure Theatre, Jungle Theater, the MN Fringe Festival, the Hennepin Theatre Trust; Alive & Kickin’; AWARDS: 2018 MN Theater Award (Latté Da’s Assassins).

HANNAH BENDITT (ASSISTANT CHOREOGRAPHER) THEATER LATTÉ DA: Debut. OPERA (Dancer/Actor/Super): MN Opera: Trouble in Tahiti, Don Giovanni, Daughter of the Regiment, Flight, La Traviata; An Opera Theatre: Lucretia, The Consul. DANCE: Hatch Dance/Honeyworks: AU, La Dolce Vita, BoleroBolero/MN Orchestra; Common Thread Contemporary Dance Company: Anonymous by Jessica Lang, One by Uri Sands; Kansas City Ballet: The Nutcracker. TRAINING: BFA in Dance Performance and Choreography, University of Missouri- Kansas City Conservatory of Music and Dance, Minnesota Dance Theatre. Hannah is honored to join Cinderella for her first production at Theatre Latté Da. Big thank you to Kyle Weiler and the cast/creative team for sharing this beautiful process.

CAROLINE ZALTRON (COSTUME DESIGN ASSISTANT) THEATER LATTÉ DA: Debut. THEATER: History Theatre: Blended (Harmony): The Kim Loo Sisters, I am Betty. Costume Designs: Stages Theatre Company: Señorita Mariposa; Univeristy of Minnesota Theatre Arts & Dance: Fucking A, Silent Sky. Roseville Area High School: Twelfth Night, She Kills Monsters. NEXT: Roseville Area High School: Alice by Heart; University of Minnesota Theatre Arts & Dance: The Ferryman. EDUCATION: MFA in Design & Technology at University of Minnesota.

Undergrad in Fashion Design at UNISINOS (Brazil).

JACQULIN STAUDER (ASSISTANT LIGHTING DESIGNER) THEATER LATTÉ DA: NEXT Festival 2024, NEXT Festival 2023 - Love Them First. THEATER: The Capri: Kumbayah the Junteenth Story; University of Minnesota: Fucking A, Roe, The Aliens, Describe the Night. Also scenic designer for Theatre L’Homme Dieu: Once. TRAINING: B.S. in Entertainment Design & Technology, Eastern Michigan University; M.F.A in Design & Technology, University of MinnesotaTwin Cities (expected graduation: May 2025) EMMA GUSTAFSON (WIG, HAIR & MAKEUP DESIGN ASSISTANT) THEATER LATTÉ DA: Fun Home*, Scotland, PA, Johnny Skeeky, The Color Purple, Next to Normal, Hello, Dolly!, Merrily We Roll Along. THEATER: MN Opera: Snowy Day*, Elixir of Love, Cruzar la Cara de la Luna, Song Poet, Daughter of the Regiment, Rinaldo, Anonymous Lover; Geva Theatre Center: A Christmas Carol*; Park Square Theatre: Holmes/Poirot; Theater Mu/History Theatre: Blended Harmony; Jungle Theater: Cambodian Rock Band; Open Eye Figure Theatre: Chinese Lady; Ten Thousand Things: Emilia, Thunder Knocking On The Door; Children’s Theatre Company: Diary of a Wimpy Kid, Bina’s Six Apples, Annie; Mixed Blood: Roe. TRAINING: B.A. in Theatrical Design, Augsburg University; Wig Apprentice, Santa Fe Opera; Cosmetology License, Aveda Institute Minneapolis. (* Denotes upcoming production)

CINDERELLA - 23

BIOGRAPHIES MADELAINE FOSTER (PROPS DESIGNER/SUPERVISOR) THEATER LATTÉ DA: Scotland, PA. THEATER: Peninsula Players: I Oughta Be In Pictures, The Angel Next Door, Million Dollar Quartet, Mary’s Wedding, The Stranger; Indiana Repertory Theatre (Assistant Prop Supervisor and Carpenter): Little Shop of Horrors, The Folks at Home, Fannie, A Christmas Carol, Frankenstein, Clue, Shakespeare’s Will, Oedipus, Flyin’ West, Sense and Sensibility, The Paper Dreams of Harry Chin, The Reclamation of Madison Hemings, Fahrenheit 451, The Book Club Play, The House That Jack Built, Mrs. Harrison, Cyrano, No. 6, Tuesdays with Morrie, This Wonderful Life, Murder on the Orient Express, The Watsons Go to Birmingham - 1963, Morning After Grace, And So We Walked, The Little Choo-Choo That Thinks She Can; Theater at Monmouth: The Story of My Life, An Iliad, Richard II, The Importance of Being Earnest, As You Like It. TRAINING: B.A. in Theatre, William & Mary.

ELISSA ADAMS (DIRECTOR OF NEW WORK) THEATER LATTÉ DA: C., Lullaby, Assassins, Five Points, Underneath the Lintel, Once, A Little Night Music, Hedwig and the Angry Inch, To Let Go And Fall, Chicago, Bernarda Alba, Jelly’s Last Jam, Twelve Angry Men: A New Musical, Merrily We Roll Along, Christmas At The Local, Hello Dolly!, Next to Normal, Falsettos, Stones in His Pockets, The Color Purple, Johnny Skeeky, Scotland, PA, NEXT Up & NEXT Festival (Producer).

THEATER: Director of New Play Development at Children’s Theatre Company (19982017); Sundance Theatre Lab; Playwrights’ Center; TRAINING: MFA in Dramaturgy, UC San Diego.

BETHANY REINFELD (TECHNICAL DIRECTOR) describes Technical Direction as “Building worlds for characters to come to life in”. She has done 30 plus productions and 5 NEXT Festivals with Latte Da. She holds a M.F.A in Theater and Drama with a specialization in Technical Direction from UW Madison. She also has a B.F.A. in Design Tech with an emphasis in Technical Direction and Scenic Design from UMD. She has worked with Mixed Blood Theatre, Normandale Community College, Yellow Tree Theatre, Jungle Theater and Sesame Street Live/VEE Corporation to list a few.

SHEENA JANSON KELLEY (CASTING SUPERVISOR) THEATER LATTÉ DA: 2023-2024 Season (The Color Purple, Stones in His Pockets), 2024-2025 Season (Cinderella, Fun Home) THEATER CASTING: Artistry: Godspell, Shrek: The Musical; Children’s Theatre Company: Casting Director 2014-2018; Ordway Center for Performing Arts: 42nd Street, Smokey Joe’s Café, Dolly Parton’s Smoky Mountain Christmas Carol (staged reading); OTHER: A Queen’s Ball: A Bridgerton Experience (Netflix, Shondaland).

NICHOLAS TRANBY (AUDIO SUPERVISOR & SOUND BOARD OPERATOR) THEATER LATTÉ DA: Scotland, PA, Johnny Skeeky, The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, Hello, Dolly!, Merrily We Roll Along, Twelve Angry Men, Jelly’s Last Jam, La Bohème, All is Calm, Once, Chicago, Hedwig and the Angry Inch, Candide, A Little Night Music, Man of la Mancha, Peter and the Starcatcher, Ragtime, Gypsy, Assassins, Five Points.

THEATER: Sound, Video and Lighting Associate at Children’s Theatre Company for 4 years including Shrek the Musical, Pinocchio, Alice in Wonderland and Robin Hood; Head Audio THEATER LATTÉ DA - 24

BIOGRAPHIES Engineer for international tours of The Wedding Singer and Wizard of Oz; Other venues have included Guthrie Theater, Williamstown Theatre Festival, and Cincinnati Playhouse in the Park. TRAINING: The College-Conservatory of Music at University of Cincinnati.

ANDREW NORFOLK (LIGHTING SUPERVISOR & LIGHT BOARD OPERATOR) THEATER LATTÉ DA: Scotland, PA, Johnny Skeeky, The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, We Shall Someday, Hello, Dolly!. OPERA: The Santa Fe Opera: Carmen, The Barber of Seville, Falstaff, Tristan und Isolde, M. Butterfly. LIGHTING DESIGN: Lyric Arts: The Pavilion, 9 to 5 - The Musical; UMD Theatre: MAXA - The Maddest Woman In The World, The Little Prince; Stage 2 Theatre Company: Firebringer, The Spoon River Project, The Trail to Oregon. TRAINING: B.F.A. in Theatre, Lighting Design Emphasis, University of Minnesota - Duluth.

AMBER BROWN (COSTUME SUPERVISOR) THEATER LATTÉ DA: Johnny Skeeky, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, We Shall Someday, Hello, Dolly!, Merrily We Roll Along, Twelve Angry Men, Jelly’s Last Jam, La Bohème, All is Calm. THEATER: Mixed Blood Theatre: Interstate, Autonomy, CorazÓn Eterno, Agnes Under the Bigtop; Old Log Theatre: The Play That Goes Wrong; Pillsbury House Theatre: Great Divide III: She Persists, West of Central, Great Divide II: Plays on the Politics of Truth, Almost Equal To, The Great Divide: Plays for a Broken Nation; Park Square Theatre: Aubergine; Gremlin Theatre: Journey’s End; Bucket Brigade: Life Goes On; Full Circle Theater: Under This Roof; Loudmouth Collective: Testament of Mary; 7th House Theater: Rhinoceros; Macalester College: Letters Home, Distracted, 12 Ophelias, Accidental Death of an Anarchist.

ASH KAUN (COSTUME SHOP ASSISTANT, WARDROBE MAINTENANCE & DRESSER SWING) THEATER LATTÉ DA: Scotland, PA, Johnny Skeeky, The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, We Shall Someday, Hello, Dolly!, Merrily We Roll Along, Twelve Angry Men, La Bohème, To Let Go and Fall. THEATER: Guthrie: Shakespeare’s History Plays; Exposed Brick Theatre: Muyehpen; Jungle Theater: 5, Christmas at Pemberley (series); Mill City Summer Opera: Carmen; North Hennepin Community College: She Kills Monsters; Park Square Theatre: Airness, Jefferson Township Sparkling Junior Talent Pageant, Romeo and Juliet, The Agitators; Penumbra Theatre: Benevolence, This Bitter Earth; Ten Thousand Things Theater: Thunder Knocking on the Door; Theater Mu: Fast Company. TRAINING: B.F.A. in Directing/Design/Playwriting, Augsburg University.

SARA HERMAN (SCENIC CHARGE) THEATER LATTÉ DA: Scotland, PA, Johnny Skeeky, The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, We Shall Someday, Hello, Dolly!, Merrily We Roll Along, Twelve Angry Men, La bohème, Jelly’s Last Jam, Chicago, Peter and the Starcatcher. THEATER: Minnesota Opera: Dinner At 8; Mill City Opera: Così fan tutte; Jungle Theater: Fly By Night; Circus Juventas: Twisted, Hugge, Steam, Nordrsaga, Alice in Wonderland, 1001 Nights. TRAINING: B.A. University of MN Morris, Colbalt Studios.

CINDERELLA - 25

LAURA JONES (DRESSER) THEATER LATTÉ DA: Scotland, PA. THEATER: MN Opera: La Bohème, Trouble in Tahiti & Service Provider, The Song Poet, Edward Tulane, Carmen; Guthrie Theater: A Christmas Carol (‘23, ‘22, ‘21), Murder on the Orient Express, Sweat; Orpheum Theatre: Cats, Moulin Rouge!: The Musical; Chanhassen Dinner Theatres: Beautiful: The Carole King Musical; Artistry: RENT, Newsies, The 25th Annual Putnam County Spelling Bee,Godspell; Pangea World Theater: Hecuba.

CHLOE VOLNA-RICH (STAGE MANAGEMENT SWING) THEATER LATTÉ DA: THEATER LATTÉ DA: Hello, Dolly!, Christmas At The Local, NEXT Festival 2022, Jelly’s Last Jam. THEATER: Illusion Theater: Present (Tour), Real Stories/One Stage; The Moving Company: Anamnesis:, What If?; Children’s Theatre Company: Glow-a-GoGo Curtain Call Ball (Production Asst.), Sideways Stories from Wayside School, Carrie the Musical; The Guthrie: Twelfth Night (Production Asst), BFA Senior Showcase, Production Management Fellow; Walking Shadow Theatre Company: Cabal: A Play with Puzzles; Lakeshore Players Theater: Beehive; Hennepin Theatre Trust: Spotlight Showcase. FILM: [Do Not Air] Productions, RK Productions (Production Asst and Stand-In), Super Bowl LVII (Credentialing Coordinator), Food Baby (Production Asst.) UPCOMING: Ten Thousand Things: Emilia.

CORINNE STEFFENS (TECH SWING) THEATER LATTÉ DA: Scotland, PA, Johnny Skeeky, The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, We Shall Someday, Hello, Dolly!, Merrily We Roll Along, NEXT Festival, Twelve Angry Men, Jelly’s Last Jam, La bohème. THEATER: US National Tour: All is Calm 2022, Emojiland; Guthrie Theater: Shane, Into the Woods, Vietgone; Jungle Theater: Cambodian Rock Band; Lyric Arts: The Last 5 Years, A Chorus Line; as well as Twin Cities Fringe, Twin Cities Horror Fest, and teaching & designing for school theater programs across the cities. TRAINING: Bachelors of Music and Bachelors of Arts in Sound Physics, Ithaca College.

Special Thanks MN Opera

THEATER LATTÉ DA - 26

Your gift makes an

impact

Your gift to Theater Latté Da this holiday seaon makes it possible for us to provide our audiences with world-class theater experiences and give our artists the resources they need to create the best possible work with the highest standards of excellence.

Donate today to support original and re-imagined musical theater.

CINDERELLA - 27 The cast of All Is Calm: The Chrismas Truce of 1914. Photo by Dan Norman

THEATER LATTÉ DA DONORS Theater Latté Da is one of only a few theaters in the country dedicated solely to producing and presenting new and adventurous musical theater that speaks to contemporary audiences and advances the art of musical theater. We truly could not do this without the generosity of our many individual and institutional donors. Thank you for your commitment to our 24/25 season.

INSTITUTIONAL SUPPORT This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

The Nara Fund

Prospect Creek Foundation

Elizabeth C. Quinlan Foundation Inc.

The Carlson Family Foundation

INDIVIDUAL SUPPORT Theater Latté Da’s mission is to create new and impactful connections among story, music, artist, and audience by exploring and expanding the art of musical theater. We are guided by our values that our work be bold, inclusive and collaborative, and strive to act with integrity and gratitude both on and off the stage. By illuminating the unseen, giving voice to the unheard, and empathizing with the unknown, Theater Latté Da strives to open eyes, ears, and hearts.

Please consider a tax-deductible contribution to Theater Latté Da today and join us in bringing great musical theater to life.

Learn more about support opportunities at latteda.org/ways-to-give or email Director of Development Sara Huelle sarahuelle@latteda.org for more information.

Encore ($100,000 and above) Joyce G. Gordon*

Grand Finale ($25,000 and above) C. Curtis Dunnavan Fund Kathy and Allen Lenzmeier The Morfitt Family Charitable Fund Rita and Ben* Olk THEATER LATTÉ DA - 28

*In remembrance

Curtain Call ($10,000–$24,999) Nancy Albrecht Carol and Kim Culp Penny Meier Dr. Deanna Oliveira Lisa Meyer and Sam W. Grabarski Sr. James R. Olson Cara Sjodin and Scott Stensrud John Sullivan Fremajane Wolfson Alex Wright Margaret V.B. Wurtele The Thomas and Julianne Youngren Foundation

Eleven O’Clock Number ($5,000–$9,999) Albrecht Family Foundation John Arechar Les Bendtsen and Rick Buchholz Ray DeSpiegler and Michael Birch Jane and Ogden* Confer Joe and Lois Duffy David Feroe and Linda Svitak The Dean Greenberg Family Fund Nicole Hanover Lisa and Dan Hoene

Dennis and Nora Hunchar Dr. Tom Knabel and Kent Allin Peggy and Dave Lucas Curt D. Nelson Colleen C. Ryan and Tom Merz Ann and Pat Ryan Bonnie Scott Lorri Steffen and Paul Zenner The LTC Janis Verruso Charitable Fund Tom and Carol Watzke Windfelt Patricia Zalaznik

Show Stopper ($1,500–$4,999) Anonymous Theresa Alewine Annette Atkins John Bale E. Thomas Binger and Rebecca Rand Fund of The Minneapolis Foundation Jeffrey D. Bores and Michael Hawkins Allan Bradley and Derrill Pankow Stephen Bubul and Lee Lewis Jimmy Burnett William and Andrew Collis-Prather John Cook and Carolyn Burnett Edward and Kathryn Craig Tanner Curl and Emily Dussault Julie A. Darst Charitable Giving Account Fran and Barb Davis David and Margaret Dines Carol M. Downie and Gregory J. Thomas Mary Anne Ebert and Paul Stembler Meghan and Sean Elliott Steve Euller and Nancy Roehr John Fishpaw and Kim Krohn Keith and Betsy Ford Ron Frey and Steven Thompson Dr. Lynn Glesne Andrew and Tina Grzeskowiak Jean and Jim Hartman

Margie and Tom Hebig Bill Jones Judy and Frank Jossi Deirdre and Wes Kramer Arline Lansangan Datu Jane Lansing Christine Larsen and Scott Peterson David and Sheila Lein Mac and Mary Lewis Carol Lichterman Jeff Lin and Sarah Bronson Pat and Sara Mack Mary and Mark Maher Margery Martin and Dan Feidt* Kristin and Jim Matejcek James Lockhart and Janie Mayeron Bridget and Sam Morehead Tom and Conchy Morgan Nicholas Naumann and Joe Chadwick Dr. Katherine J. Nevins Judy Nobles Glyn Northington and Stan Kolden Sandra Overland Steve Passeri Patti Pinkerton John Polta and Anne Tuthill Polta Prospect Creek Foundation of Bruce and Martha Atwater CINDERELLA - 29

Maria and David Reamer Gary Reetz Miriam Seim Daniel and Emily Shapiro Kris Lang-Shasky and John Shasky Ted and Mary Jo Shen Russell Kaplan and Elisa Spencer-Kaplan Neil Neumann and Sandy Spidel Neumann Jon and Kristine Stevens Dana and Stephen Strand John Sullivan Brian and Carrie Svendahl Michael and Terri Uline Ka Vang

Erin and Mark Vannelli Bill Venne and Douglas Kline Paula Vesely Gregory L. Vilmo Ruth and David Waterbury Betsy Weiner Marjorie and Irving Weiser Kevin Winge and Kevin Shores Dick and Diane* Wright Adam Yust Peter Zenner Jeanne and Jeff Zlonis

Entr’acte ($500 - $1,499) Anonymous Frank and Barb Abramson Addicks Hoch Fund of The Minneapolis Foundation Mary Alberts Grant Amadio Ward and Kathleen Armstrong Marcia Aubineau Michael Bahr and Morrie Hartman Richard Beens Patricia Benson and Phil Strait Marjolijn Bielders-Vries David Bjork and Jeff Bengtson Chris Boppre Susan S. Boren and Steve King William and Rita Bourne Mary Brady Judith and Arnie Brier Barbara Brin and John Beal Dawn Brintnell and Andrew Wattenhofer Cheryl Brown Lucinda Brown Virginia and Stuart Campbell Jane Carlstrom Cynthia Case and John Foley Cynthia Chapman Carol Chomsky and Steve Liss Cinda Collins Michael and Mary Conklin Tiffany Cooper-Allen and Torrie Allen Jeanne and David Cornish Marguerite Cowles Gretchen and David Crary Peggy Crosby and David Pederson Ingrid and Chris Culp Loretta Dakin John and Linda Darcy McCormick Mary Lou and Thomas* Detwiler JaNelle Dexheimer Elaine and Fred Dietrich THEATER LATTÉ DA - 30

Gerald Dove Nathan Dungan and Susan Hawks Heidi and Patrick Edwards Sharon Engel Doris Engibous and Cathy Ryan John J. Erickson Lucas Erickson Fund of The Minneapolis Foundation Chris Estee Becky and Damon Farber David Ferris Dennis and Joyce Findley Barbara Frame Matt Fulton Elaine Gaston and Mark Scannell Mary Beidler Gearen Lisa Gehrig Janice Gepner and Eric Newman Christa and Chris Getchell Brian Gilligan and Steve Pospisil Bob and Becky Glesne Renee Goodell Clifford and Karen Greene Kathy Gremillion Peggy Hall and Lee Barry Helen and Bruce Halverson Kath Hammerseng and Mo Kennedy Richard Hamson Dr. Jo-Ida C. Hansen Jay Harkness and Jean Storlie Roxanne Hart and Scott Nelson Kate Haugen and Carlton Hunke The Hedman Connelly Fund Sandy and John Hey Joanne and Allen Hinderaker Nanette Hoover Richard Ihrig and Colleen Cooper Mark and Jeanne Innerbichler Bernadette and Jeffrey Janisch Sandi and Jim Jensen *In remembrance

Mike Jereczek and Jan Sigmund Denise Johnson and Karl Erickson Steve Johnson and Susan Iverson Ed and Martha Karels Kurt and Gina Kastel Miriam and Erwin Kelen Cyndi and Greg Klaus James Kunz Al Kvaal Greg Kvam and Pat Johnson Andrew Leshovsky and Louis Berg-Arnold Meg Lewis and David Sebberson David and Susan Lima Anna and David Linder Mary and Doug Logeland Jim Macknick and John Pemberton Duayne and Dianne Malewicki Susan L. Maples Keith Martinsen Drew Mattson Paul and Julie Mattson Kevin Mayo Peg McKee and Dean Adams Gretchen Alberts Mellies Douglas and Cindy Merrigan Tyler and Emily Michaels King Lisa Michaux David Miller Sonny and Amy Miller Jodi and Mike Mooney Peter D. Moore Richard Moore, Jr. Katherine Murphy Peter and Karla Myers Dirk and Laura Nelson Amy and Mike Newton Nicholson Family Foundation, Pondie and Mark Taylor Karle and Diane Nolte Ben Olk III and Kris Berggren Philip Oxman and Harvey Zuckman Mary Ann Palmer Daniel Peterson and Mark Nelson Shannon Pierce and Rachael Kroog Patricia Ploetz Nancy and James Proman Denise Prosek and Milton Ferris Quiring Family Fund of The Minneapolis Foundation Pat and Gene Radecki Megan Reardon

John Seeger Reay and Karen Hanson Sadie Reiners Jonathan Riehle and Angela M. Bohmann Kenneth and Beth Roering Tom and Molly Rothstein Family Peggy and Bill Roush Susan and John Ryan Kenneth and Kathy Sabota Mary and Peter Sandberg Linda and Steven Sandvig Noel Schenker Paul Schumann The Schwantes Family Singers Judy Schwartau Don Helgeson and Sue Shepard Fund of Central Minnesota Community Foundation Rolf* and Janet Skjei Steven and Karen Sonnenberg Roxanne and Bill Soth Ann and Eldon Spencer Lynne Stanley Cheryl Stever Toya Stewart Downey Marcia and John Stout Sulasalmi Fund of The Minneapolis Foundation MJ Sullivan Kari Groth Swan Ron and Margaret Tabar Lezlie and Louis Taylor Gar Hargens and Missy Thompson Marlo and William Turcotte Bill Underwood and Chris Everett Libby and John Utter Jeanne Voigt Michael Wagner Cathy and Stan Waldhauser David C. Warner Margaret Weber Corliss Weeks Sue and Jim Westerman Robert Whitlock Jim and Martha Williams Gayle Woodbury Peter and Sue Wyckoff Ann Wynia Jodi and Jim Young Abby Zimmer and Sean O’Brien Nancy Zingale and Bill Flanigan

Overture ($250 - $499) Anonymous (4) Tom and Cindy Adamson Albrecht Family Foundation Stuart Appelbaum and Jean King *In remembrance

Mary Bahneman Daniel Barnes and Elaine Wilson Sarah and Mick Bauer Judy Bearman and Ken Kaffine CINDERELLA - 31

Timothy Beekman Brad Betlach and Peter Carlson Tim and Beth Beutell Chris Bewell Scott Cabalka Karen and Richard Carney Clara Caruso Patricia Contag Jeanne Corwin Kenneth and Gwen Crabb Kathryn and Larry Decker Shauna Dee Virginia and John Dell Dennis and David Delude-Nafus Nicole Demario Holly Denis Sunny Didier Dennis and Nickie Dillon Larry Espel and Cyndi Hasselbusch John J. Feigal Dr. Patricia Ferrieri Sara and Karl Fiegenschuh Brad and Kathy Fisher Gerald Foley Jinnet Fowles Ron and Barb Fraboni Family Fund Heather and Bill Froehlich David Gardner and Ronda Willsher Robin Gillette John and Joanne Gordon Mark and Mary Jo Hallberg Christie Hammes Dr. Shannon Harris Robb Heckmann Martha P. Hoffman Jim and Mary Holland Joe Holmers Donald and Pamela Jakes Suzanne Jebe Paul Amann and Cory Johnson Scott and Julie Kammer Jeremiah and Pamela Kearney Dr. Thomas Kelly Matt Kiser and Chris Nichol Dodie and John Kostishack Bert Kritzer John Kruse Marcia C. Leatham Judy and Steve Lewis Kathleen S. Lindblad Beth and Mike MacDonald Bob and Deb Mans Connie Manske

THEATER LATTÉ DA - 32

Ruth B. Markowitz Lisa McLean Alice Medley Dan and Mary Miesle Laura Migliorino Linda and Jim Milow David and Leni Moore Family Foundation Bonnie Mulligan and Charlie Greenman Katie Nelsen Joan Nelson Sandra, Andrew, and Rick Penning Tina Ham Peterson and Ric Peterson Pike Willett Family Fund David Pote and Linda Tapsak Anne Pudas Debra and Lawrence Que John and Elizabeth Quinn Fred Quirsfeld and Linda Campbell Tom Renshaw John F. Riehle Julie Robbins Marilyn and Jim Rosenbaum James Roth Peter Rothstein and Omar Guevara Soto Sue Salmela and Paul Burnett Carol B. Schirmers Gale Sharpe Rosemary Soltis Ann and Tom Stanley Lisa Stevens and Jeffrey Hatcher Craig and Janet Swan Julie A. Sweitzer Jean Taylor Tammy Taylor Jennifer, Daniel, Raina, and Zoey Tenenbaum Teresa and Mike Tennis Urbanski Katherine and Martijn van de Ruijtenbeek Jennifer Van Wyk Wendell Vandersluis and Cynthia Marsh Tammi Veale Daniel Vogel Lynn and Chuck Wallin Lisa Weisman Daniel Weninger Elisabeth Wierum Travis Wilson Sally Wingert and Tim Danz Jeanette Woessner Carol A Woodbury David Young and Edward Williams, Jr. Jane Zilch

Honor and Memorial Gifts In honor of Sandy Hey Mary Freeman

In honor of Just Tischleder Ka Vang

In honor of Lane 3 at Latté Da’s Local Legends Bowling Classic Reece Gray

In honor of Jean Hartman Kevin Winge and Kevin Shores In memory of Patricia Faunce Pamela and Frederick Lott

In honor of Fremajane Wolfson The Dean Greenberg Family Fund In honor of Bridget Morehead Medtronic Christie Morehead and Alan Zimmerman In honor of Peter Rothstein Tom and Molly Rothstein Family

In memory of Peter Rothstein’s mother, Jean Elizabeth Ryan Rothstein Gretchen Albert Mellies In memory of Mary Dew David Miller

In honor of Cara Sjodin The Schwantes Family Singers

In memory of Dorris Rose Jesseli Moen Carol Peterson

In honor of Timothy Thomas Cheryl Thomas

In memory of Gay and Carl Prosek Charlene Washburn

In honor of Bernadette and Jeffrey Janisch Andrea Tichy and Dan Muck

On behalf of Steven Bergerson Anonymous

Legacy Circle We gratefully recognize the following individuals who have chosen to include Theater Latté Da in their estate plans. These estate gifts will sustain our artistic excellence and fiscal health for years to come: Mary Anne Ebert and Paul Stembler Stephen Fischer Joyce G. Gordon* Dr. Jo-Ida C. Hansen John Hemann

Dr. Tom Knabel and Kent Allin Carol Lichterman Patti Pinkerton Bill Venne and Douglas Kline Kevin Winge and Kevin Shores Jane Zilch

If you have included Theater Latté Da in your estate plans but are not listed here, or if you would like to learn more about legacy giving to Theater Latté Da, please contact Development Director Sara Huelle at sarahuelle@latteda.org.

CINDERELLA - 33

Theater Latté Da was envisioned by Co-Founder Peter Rothstein as a home for the future of the American musical.

Latté Da has lived this vision since our beginning, with 15 of our 26 mainstage seasons including world premieres.

Theater Latté Da is embarking on an ambitious milestone: supporting the development of 25 new musicals or plays with music by 2025. Through NEXT 25x25, we will invest in the future of the great American Musical and its playwrights, composers, and lyricists through world premieres, the annual NEXT Festival, our NEXT Up development program, and NEXT Generation commissions.

To make a gift in support of NEXT 25x25, please contact sarahuelle@latteda.org

NEXT 25x25 Supporters Elissa Adams and Michael Margulies Addicks Hoch Fund of The Minneapolis Foundation Nancy Agneberg Theresa Alewine Jan and Greg Aplin John Arechar Abby Areshenko Peter Bachman John Bale Oby Ballinger Les Bendtsen and Rick Buchholz Ray DeSpiegler and Michael Birch David Bjork and Jeff Bengtson Betsy Bonestroo Chris Boppre Jeffrey D. Bores and Michael Hawkins Andrea Brennan Dawn Brintnell and Andrew Wattenhofer Jeffrey Brockman and Shane Swanson Cynthia Brown Jimmy Burnett Suzanne Butzow William and Andrew CollisPrather Margie Commerford Anita Cook Tiffany Cooper-Allen and Torrie Allen Carol and Kim Culp Ingrid and Chris Culp

THEATER LATTÉ DA - 34

Pam and Tim Dagoberg Audrey Dammer and Jim Boyer Fran and Barb Davis Michael DiMucci Gerald Dove Charla and Jeffrey Eccles Matt Erickson Kittie Fahey David Ferris Stephen and Lynn Filipas Gloria Freeman Mary Freeman Ron Frey and Steven Thompson Matt Fulton Patrick Gage Jim and Sonja Gindorff Bradley Greenwald and John Novak Nancy Guldberg Roger and Pam Hamilton Kath Hammerseng and Mo Kennedy Ryan Hanson Jay Harkness and Jean Storlie Marlys and Norman Harris Jean and Jim Hartman James Haskins Peter and Emily Hebig Kim Heckmann John Hering and Matt Vonk Sandy and John Hey Lisa and Dan Hoene Wyn Huynh and Bob Zehrer Birdie Jackson Mary Jacobson Sandi and Jim Jensen

Martin Johansen Jim Johnson Bill Jones Kathryn Culp Kerfoot and Mike Kerfoot Paul Kluge Dr. Tom Knabel and Kent Allin Allison Knigge Jonna Kosalko and Dan Rabin Mark Kraus Rebecca and Andrew Lahl Christine Larsen and Scott Peterson Kate and Greg Lawson Ariane Laxo Roger J. and Yvonne E. Leick Jeff Lin and Sarah Bronson Elisabeth Loeffler Mary Lundberg-Johnson Pat and Sara Mack Mary and Mark Maher Kristin and Jim Matejcek Kevin Mayo Penny Meier Jennifer Melin Miller and David Miller Gretchen Alberts Mellies Douglas and Cindy Merrigan Barb and Kevin Minnerath Beth Mitchell Laurie Mount Mark Nelson Nancy Nelson Glyn Northington and Stan Kolden Sharon O’Connor

Rita and Ben* Olk Ben Olk, III and Kris Berggren Cindy Olk Mary Olk Michael Ostrem Jim Payne Daniel Peterson Shannon Pierce and Rachael Kroog Maria and David Reamer Jaime A. Roman and Jim Bernier Peter Rothstein and Omar Guevara Soto Kristin and Harps Singh Mary Rothstein David and Liz Rudrud Jean Ryan Sheryl Saterstrom Rachel Schachter Bradley Schmeling Judy Schwartau Gayle Severson Daniel and Emily Shapiro

Wendy Short Hays Jacob Sirek Cara Sjodin and Scott Stensrud Hilary and Peter Smith Jim Smith Susan Snyder and Tom Westlund George and Mary Kay Fortier Spalding Russell Kaplan and Elisa Spencer-Kaplan Neil Neumann and Sandy Spidel Neumann Ann and Tom Stanley Lorri Steffen and Paul Zenner Cheryl Stever Tim Strand John L Sullivan Fund of the Minneapolis Foundation Brian and Carrie Svendahl Kari Groth Swan Dennis Tkach Christine Tommerdahl

Chris Van Klei Kathryn Vann Erin and Mark Vannelli Carolyn Vanous Jennifer VanWyk Bill Venne and Douglas Kline The LTC Janis Verruso Charitable Fund Carol Wahl Daniel Weninger Beth Wiggins Frank and Frances Wilkinson Jim and Martha Williams Laurie Windisch Kevin Winge and Kevin Shores Gayle Woodbury David Young and Edward Williams, Jr. Adam Yust Josh Zenner Peter Zenner

Corporate Matching Gifts

In-Kind Supporters

Ameriprise Financial Intel Foundation Medtronic Microsoft NewRez UnitedHealth Group US Bank Voya Financial Wells Fargo

Cornerstone Copy Center Stagetime Productions

Listings reflect donations made between between November 1, 2023 to October 31, 2024. Please accept our apologies for any errors or omissions.

*In remembrance

CINDERELLA - 35

Board of Directors Glyn Northington, Chair Les Bendtsen, Secretary Bridget Morehead, Treasurer Theresa Alewine Tiffany Cooper-Allen John Arechar Marcia Aubineau Ethan Berke Stephen Bubul Jimmy Burnett Tanner Curl Carol Chomsky Toya Stewart Downey Keith Ford Judy Jossi Tom Knabel Jeff Lin Justin Lucero, ex-officio Elisa Spencer-Kaplan, ex-officio Lezlie Taylor Ka Vang Fremajane Wolfson Adam Yust

Staff Justin Lucero Artistic Director

Elisa Spencer-Kaplan Managing Director

Elissa Adams Associate Artistic Director & Director of New Work

Brittany Wallman Director of Marketing

Allen Weeks Director of Production & Operations

Sara Huelle Director of Development

Production Amber Brown Costume Supervisor

Marketing & Guest Services Connor Berkompas Box Office Associate

Eric Charlton Associate Technical Director

Naomi Brecht Box Office Manager

Whitley Cobb Carpenter

Morgan Gray Marketing Associate

Christian Erben Associate Production & Company Manager

Tre’ Miller Front-Of-House Associate

Sara Herman Scenic Charge

THEATER LATTÉ DA TH E ATE R M US I CAL LY

Ash Kaun Costume Shop Assistant Andrew Norfolk Lighting Supervisor Shelby Reddig Production Stage Manager Bethany Reinfeld Technical Director Nicholas Tranby Audio Supervisor Accounting Chris Hagen Legal Counsel Michael Sinder Co-Founders Peter Rothstein Denise Prosek

THEATER LATTÉ DA - 36

Allison Nahr Box Office Associate Madeline Schulz House Manager Jeremiah Stich Guest Services Manager Kathleen Sullivan Concessions Lead Connor Berkompas, Casey Haeg, Jennica Kruse, Janet Lewis and Courtney Rust Concessionaires Development Gillian Constable Development Associate & Access Coordinator

THINGS TO KNOW

RESTROOMS

We have fully remodeled our lobby restrooms to make them All Gender restrooms. Each contains five fully private stalls with ADA accessible facilities.

ACCESSIBILITY

Accessible Seating: Accessible seating is available at the Ritz Theater in Row E, Sidebar P, and Sidebar Q. All other seating requires stairs for access.

Courtesy Wheelchairs: Courtesy wheelchairs are available for use for patrons who may have mobility challenges. Please see our House Manager or Box Office Manager for use.

Bariatric Chairs: Bariatric chairs are available at the Ritz Theater in Sidebars P and Q. ASL Interpreted Performances: We offer ASL-interpreted performances for every production during our season. These performances are usually offered the second Thursday in each production.

Audio Described Performances: Professional audio describers provide narration of on-stage action, costumes, and scenery during the performance. Listening devices are available for patrons to use during the AD scheduled performances.

Open Caption Performances: We offer open captioning for select weekend performances.

Captions of the text are displayed on a screen near the stage, more easily read from our sidebar seats. Check the performance calendar for the open captioning dates or call the Box Office at 612.339.3003 for details.

Assistive Listening Devices: We offer assistive listening devices for all performances. Please stop at the Box Office to check one out for use during the performance.

Braille Programs: Please see an usher or our Guest Services Manager to request a braille program for any performance.

Large Print Programs: Large print programs are available upon request. Please see the Box Office or request a copy from an usher.

AUDIENCE INFO & POLICIES COVID-19 Policy: As of the start of this season at the Ritz Theater, we are no longer requiring proof of vaccination or a negative COVID-19 test result. Masks are welcome but optional, EXCEPT for select Sunday matinee performances when they are required. This policy is subject to change.

Photos & Video: Photos of the set are allowed before or after the show and during intermission, but not when artists are onstage. Video or audio recording of any kind is strictly prohibited.

Phones: The ringing of cellular phones or texting is highly disruptive during a performance.

These devices should be turned off during the performance.

CINDERELLA - 37

Looking for a BUILD space?

Theater Latté Da’s Scenic Studio was established with a vision of a shared scene shop, in which not only Latté Da’s set construction could occur, but other Twin Cities theater companies and individuals could utilize the space for productions and projects big and small.

Space Rental:

Rent the shop or rent our build or paint areas. Daily and weekly rental Rent the are shop or rent our build orprojects paint areas.

Dailyfrom andwoodworking, weekly rental rates rates available to support ranging arewelding available to support projects ranging from woodworking, welding (Mig), painting, and carpentry. The Scenic Studio rental in-(Mig), painting, and carpentry.

The Scenic Studio rental includes the space to work cludes the space to work and use of tools. and use of tools.

Project Services: TLD Scenic Studio has worked on projects for Mixed Blood Theater, Lucent Blue Events and hasServices rented out thefrom Scenic Studio to(build), Jungleinstallation Theater and(loadS.O.A.R. Production range fabrication in), notes, and removal (strike) based on project.

TLD Scenic Studio has worked on projects for Mixed Blood Theater, Lucent Blue Events in and has rented out the Scenic Studio our to Jungle If you are interested knowing more, please review rental price Theater and S.O.A.R. guide and please contact TLD Technical Director

Bethany Reinfeld at bethany@latteda.org about your project goals.

If you are interested in knowing more, please review our rental price guide and please contact TLD Technical Director Bethany Reinfeld at bethany@latteda.org about your project goals.

THEATER LATTÉ DA - 38

Fully authentic fish & chipper dishing up all fresh ing redients with Fully authentic fish & Alaskan Cod & chipper dishing up all fresh hand-cut chips. ing redients with Alaskan Cod & Pies, Also enj enjoy Shepherds hand-cut chips. g rass-fed burgers, meat &

veg gie pasties, and more.

Also enj enjoy Shepherds Pies, g rass-fed burgers, meat & ser ving Liber ty Proudly se veg gie pasties, and more.

School & Sean Minor Caber net & Chardonnay along Proudly se ser ving Liber ty withSchool some g&reat Irish beers: Sean Minor Guinness: Smithwicks: Caber net & Chardonnay along Magners, Harp & more. with some g reat Irish beers:

Guinness: Smithwicks: Magners, HarpREQUIRED & more.

RESERVATIONS

302 13th Ave NE

RESERVATIONS REQUIRED Minneapolis, MN 55413 www.theanchorfishandchips.com

CINDERELLA - 39

WRITTEN & PERFORMED BY MILO CRAMER DIRECTED BY MORGAN GREEN New York Magazine’s choice for Best Play of 2023, a “completely wonderful” musical portrait of modern school life is “as riveting as it [is] sweetly funny.”

FEB 5 - MAR 2, 2025 • THE RITZ THEATER THEATER LATTÉ DA - 40