SCHOOL PICTURES Digital Program - 2-8

WRITTEN & PERFORMED BY MILO CRAMER DIRECTED BY MORGAN GREEN

FEB 5 - MAR 2, 2025 • THE RITZ THEATER

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Artistic Director JUSTIN LUCERO

Managing Director ELISA SPENCER-KAPLAN

PRESENTS

SCHOOL PICTURES Written & Performed by MILO CRAMER* Directed by MORGAN GREEN Scenic & Costume Designer

Lighting Designer

JEAN KIM

MARCUS DILLIARD^

Props Designer & Supervisor

MADELAINE FOSTER Director of Production & Operations

ALLEN WEEKS

Technical Director

BETHANY REINFELD

With gratitude to our Production Partner Annette Atkins

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.

Developed and Produced by The Wilma Theater, Philadelphia: Yury Urnov, James Ijames, Morgan Green, Co-Artistic Directors Leigh Goldenberg, Managing Director

Playwrights Horizons, Inc, New York City, produced the NY Premiere of “School Pictures” in 2023

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PRODUCTION TEAM Production Stage Manager Assistant Stage Manager Associate Technical Director Associate Production & Company Manager & Stage Management Swing Lighting Supervisor, Light Board Operator & Assistant Lighting Designer Audio Engineer Audio Consultant Costume Supervisor & Wardrobe Technician Lead Carpenter Scenic Charge Carpenters Scenic Artists Electricians

Stage Management Swing Lighting & Audio Swing

Shelby Reddig* Ajah Williams Eric Charlton Christian Erben Andrew Norfolk Corinne Steffens Nicholas Tranby Amber Brown Whitley Cobb Sara Herman Kris Schmidt, Carl Swanson Katie Cornish, Abbey Ortiz, Erika Soukup Lane Bode, Andy Glischinski, Evelyn Kelly Kate Peters, Austin Schoenfelder, Jacqulin Stauder, Carl Swanson, Sabrina Wertman, Tristan Wilkes Joelle Coutu* Richard Graham

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers ^Member of the United Scenic Artists, a national union that represents designers and scenic painters for the American theater

RUN TIME: 75 minutes with no intermission Any audio or video capture of the performance is strictly prohibited

A NOTE FROM MILO CRAMER In the 1 hour a tutor spends with a kid, while mom and dad drink wine or work late or eavesdrop in the next room, while paying a prohibitive amount for this tutoring service, in a desperate attempt to buy something that cannot be bought (a happy future for their child) and while the teenaged student can’t focus because they’re busy wrestling with their unspeakable depression, their friendlessness, their hair, their shame, their video game addiction, their crush and while their looming homework assignment is either asinine (conjugate 100 verbs) or overwhelming (what is Virginia Woolf trying to say?) (describe the causes and consequences of the Civil War) - in those 60 minutes, what’s at stake is: the student’s grade, the tutor’s job, the family’s happiness - BUT ALSO - the life-or-death of the humanities, the plausibility-or-myth of meritocracy, our ability-or-inability to genuinely connect with each other across age and within the gig economy, education-as-enrichment (precious) vs education-as-ladder (reductive), family as-corporation vs family-ashug, our hope or despair about future generations, and the enduring mystery of love, love which you cannot help but feel for even the most awkward or obnoxious or eerily perfect child.

I’m trying to say that becoming a tutor, for me, amounted to a kind of crisis of faith in the liberal arts, a religion I inherited from my mother. Like: what are we teaching, to who, and why? These questions and feelings, percolating over 5 years, lead to SCHOOL PICTURES. Thank you so much for watching.

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Compose yourself your way.

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TUNE IN OR STREAM AT YOURCLASSICALMPR.ORG

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MUSIC BY JEANINE TESORI BOOK & LYRICS BY LISA KRON BASED ON THE GRAPHIC NOVEL BY ALISON BECHDEL DIRECTED BY ADDIE GORLIN-HAN MUSIC DIRECTION BY JASON HANSEN CHOREOGRAPHY BY KATIE ROSE MCLAUGHLIN SCHOOL PICTURES - 5

A NOTE FROM JUSTIN LUCERO The timing of this production has been surreal. In the span of just a few days—literally within hours of our dress rehearsals—several events converged in surprising ways.

First, an episode of This American Life investigated the when and why people ask loaded questions that are a proxy for something else, circling back to a profile Ira Glass did of writer-performer Milo Cramer and School Pictures. (And not only did the segment reflect on Milo’s work, but it also plugged our production of it. What are the odds?)

Then, in announcing the Special Citation Obie Award for Milo (he/they) and director Morgan Green, the American Theatre Wing said: “A playwright picked up a ukulele, composed, and performed a poignant recitative about their experience tutoring children. Intriguing, uproarious, and heartbreaking vignettes of their students’ educational and personal hurdles were sung with incisive dramatic flair, complemented by a startling riff on educational inequities in New York City. The event was shaped by pitch-perfect direction that imbued lightning-flash clarity to each vignette, unifying the whole in a cohesive and sublime production.” In his acceptance speech, Milo said, “The show’s about students and teachers, so I want to thank all of my students and all of my teachers,” and Morgan added, “The show’s about how we can thrive despite the unfair systems we create for ourselves.”

And then, scrolling through my news feed, I read such headlines as “White House preparing executive order to abolish the Education Department” and “Trump administration drafting executive order to initiate Department of Education’s elimination.”

When we chose to program School Pictures a year ago, we were drawn to a work that felt both deeply moving and movingly genre-pushing. But never could I have imagined how powerfully timely the piece would feel in this moment. It makes me even prouder that you’re here to experience this modern masterwork. What was already moving and shocking now feels even more poignant, and its heartfelt, soothing quality, too, feels exactly right for the moment.

So, how is it “movingly genre-pushing”? Well, once you’ve experienced it, I’m sure you’ll understand.

But for a company that does “theater musically,” whose mission is to expand the boundaries of music theater, I knew that my very first season of programming needed to include something that didn’t fit neatly into the traditional musical theater mold. Or, ideally, blew the mold right open.

One detail from the Obie description that I keep coming back to is the choice of the word “recitative.” As an opera director, I immediately think of recitativo, a style used in opera where a singer delivers lines in the rhythm of ordinary speech, not repeating phrases as a formal song would. In other words, it’s sung speech, much different than a traditional musical composition. Milo himself in his bio for this playbill refers to School Pictures as an opera. When I first experienced it, I, too, found the music difficult to categorize. (At one point, I even test drove the label “postmodern Gregorian chant”—but this piece truly defies categorization. And yet, it feels so categorically right for Latté Da.) So, is School Pictures a musical? An opera? Or something else entirely? I find myself asking even bigger questions: What is singing? What is a song? Do these characters need to be characters? The writer is the THEATER LATTÉ DA - 6

A NOTE FROM JUSTIN LUCERO performer, presenting his own work. Is he a character, too? What if someone else were performing it? A piece like this, which challenges us to ask questions related to its specific content but also challenges us to ask questions about the very nature of theater. This is precisely the kind of work I personally seek out and champion.

I am immensely grateful to Elissa Adams for recommending this piece as part of our list of “expansive” works of music theater to consider. And to Milo and Morgan for accepting our invitation to create a new production for us—and for you. Most of all, I want to thank you for being here, for expecting boldness from us, for being open to new experiences, and for embracing this work with us.

As Morgan said in her Obie acceptance speech: “I see making theater as a compulsion… we make it, whether or not anybody comes to see it or likes it at all.” Thank you for coming. And thank you, in advance, for liking it.

Justin Lucero Artistic Director

MORE FROM MILO CRAMER I had a speech impediment as a child and couldn’t pronounce half the alphabet. “T,” “Th,” and “S” were daunting; “R” and “K” were impossible. Girl came out guwuwuhll - humiliating - cookie was something like dwudwy.

I was often taken out of class and brought to the padded blue room at the end of the hall, where well-meaning ladies pointed at incomprehensible diagrams of the human throat.

To make an R sound, they said: “form a U-shape with your tongue at the back of the roof of your mouth and release forward as you exhale.” What? I was 6. They thought that something was wrong with me; I learned that something was wrong with me; nothing was wrong with me.

If you asked me, then, as a frustrated and friendless kid, struggling to communicate with anyone beyond my parents, who understood me only via magic osmosis, what I wanted to be when I grew up, I would have said I wanted to be an agduh ow a poweh - an actor or a poet. I craved a facility with language that I really, really didn’t have. In a bittersweet twist, though, my mom tells me the day I first pronounced cookie “correctly” was like the saddest day in the world. I was maybe 10 and I had finally assimilated, but it cost something - something special was lost.

You can’t help but think about all that when you unexpectedly become a (kind of ) teacher: what are we teaching? What are we scrubbing out? What’s “correct”? Who decides? How am I a “teacher” when something is obviously (still) wrong with me? Am I passing it down?

The thing that got me talking, ultimately, was not diagrams or exercises, but my siblings Max and Phoebe, who played with me and everything. Max taught me how to open packets of cafeteria silverware (he found me tugging desperately at the baggie) by poking the fork prongs through the plastic (so simple! so brilliant); Phoebe taught me how to dance. During the pandemic, Max and Phoebe listened to 900 midnight drafts of SCHOOL PICTURES; it wouldn’t exist without them.

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MORE FROM MILO CRAMER You think about all that while teaching, too: what cannot be taught? What can only be modeled? What can only be cultivated? Via magic osmosis? Via community? Who is secretly struggling to open silverware and doesn’t want anyone to know and can’t concentrate on anything else?

In American school systems today, the thing we’re modeling and cultivating is a vicious, sycophantic obsession with status and a brutal, even deadly cruelty to those without it. This is not news, it’s obvious, and I am not above it. I personally have profited off our baroquely segregated education systems and all I can offer as salve or penance in return is SCHOOL PICTURES - a goofy handful of simple songs I can barely sing. I don’t have kids because I’m too whimsical and broke, but gee I’d sure like to, and if I did I’d want them to be in spaces where they could work through speech impediments - and all the other horrors - with curiosity and love. Not sure how we get there when we relentlessly tell our children and each other, in ten thousand ways both insidious and explicit, in business and in academia and even in the arts: BE NORMAL, WIN, OR ELSE. Being “an actor or a poet,” turns out, is tricky. Do you know how many vocal cords there are?

The phrase “vocal cords,” for me, always conjured an image of 100 fragile angel hairs, arrayed in a complex harp down our narrow necks. How did they all fit? I was afraid if I sang the way I wanted to, i.e. cRaZiLy, I would “rip” one. A few workshops of this show were cut short because I was having intense anxiety and losing my voice, my dumb voice I’ve worked so hard to have, and our intrepid director Morgan brought on our emergency singing teacher Michael and suddenly I was back in the padded blue room at the end of the hall. Practicing sounds. I cried, actually cried, when Michael taught us that there aren’t 100 vocal cords: there are 2. And they’re not vertical and they don’t get plucked like a harp, they’re horizontal and they flutter like a butterfly in a flute. Think of it - all our sounds - just 2 little chords!

Enough to write a punk song.

Milo Cramer in School Pictures at The Wilma. Photo by Johanna Austin.

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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 96 Mainstage productions, including 17 world premieres and 16 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

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.

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

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AN INTERVIEW WITH MILO CRAMER Tell me the “origin story” of School Pictures.

How did you come to write it?

Playwrights Horizons (one of the most prominent and important theater companies in New York City) commissioned me. And I found it crippling. I felt like, if I write something and they do it, I’ll have a career and if I write something and they don’t do it, I won’t have a career. So, I became incapable of writing because it was too much pressure. And writing songs was a way to trick my brain. I’d always written songs in secret, but I’d been told that I can’t sing, so it’s been a kind of personal, idiosyncratic thing that, when I was under pressure, was freeing.

Playwright Milo Cramer, in 2018, around the time he was working as a tutor. And trying to write a play about it.

And then I became a tutor and I had such imposter syndrome, because I really didn’t know what I was doing. So, I was having all of these experiences and writing songs became a way to process them. Then, I showed them to my friend, (School Pictures director) Morgan, and we started to try to figure out what they should be. We weren’t sure. It took a long time, actually, to arrive at the kind of simple theatricality of the show.

We started doing research and we talked to an education journalist from The New York Times. She was very busy and impatient when we reached her on the phone and we asked, “So what is the deal here with the schools and these tests?” And she basically unloaded and said to us, in one breath, what became the lecture–the “Big Reveal” section - in the show. After talking to her, we felt like we were on to something bigger than just my experiences.

Did you always plan to be the person who performed School Pictures?

The representation in the show is very careful. I tried to write some scenes between kids and teachers, but then, it was like, are there kid actors? Playwriting is a big responsibility. You’re putting words in people’s mouths and there’s often a creepy or puppeteering quality to that that can be problematic when writers are writing from positionalities that are not their own. So, I Milo Cramer performing in School Pictures.

Photo from The New York Times. really wanted to ground myself in this show–especially because some of the topics are so weighty–in who I am. The fact that it’s just me is not a narcissistic impulse, it’s actually just the best way I could find to answer the question: “What is the gesture I could make that would be healing in this world?”

Do you retain any relationships with any of the students you talk about in School Pictures?

Well, the stories are very “collaged.” So, I had a lot of students I tutored and these portraits are really an eclectic assemblage of a bunch of students.

Being a teacher is such an intimate thing. There’s a way in which, fundamentally, you can’t help another person. But, you sure want to. It’s emotionally complicated. Like, I’m here to teach you how to use a comma, but what to do with all of the circumstances that affect your life?

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THE TEST THAT CHANGED THEIR LIVES

By Amy Zerba and Gabrielle Guz Sept. 4, 2018 The New York Times

The SHSAT, a grueling one-day exam, is considered a golden ticket into one of New York City’s eight prestigious schools, if you score high enough. But the test is not perfect and has been the subject of public debate over its role in school segregation.

The experience of taking the Specialized High Schools Admissions Test — the sole means of getting into eight elite public schools in New York City — is one that students aren’t likely to forget. For some, it meant months or years of demanding test prep courses and practice drills. For others, it meant just showing up on the day of the exam — because, well, everyone else was taking it.

We asked readers to share their experience with the exam and if they would change the admission process, which has been criticized for not being representative of the overall student population in the city’s school system. The schools, like Stuyvesant High School and the Bronx High School of Science, have a low number of black and Hispanic students and an overrepresentation of white and Asian students.

What we learned from the more than 700 responses we received was that the experiences and memories were as varied as the backgrounds of the students who took the test. However, there was one consistent theme — regardless of one’s score: Students took the test for the opportunity for a brighter future.

With regard to changing the admissions process, the answers were split. Most readers did acknowledge there was a diversity problem at the schools, but few offered ways to solve it. As a new school year begins on Wednesday, we offer a selection of past stories and opinions about what should happen in the future.

‘A Competitive Drive’ I took the Specialized High School exam in 2004 and ultimately gained admission to the Bronx High School of Science.

Like many Asians, I went to a prep school that my parents paid $1,600 for a summer session. For that summer, I wanted to be practically anywhere else but that classroom.

Eventually over the first and second week of taking prep courses, something happened; people took mock exams and compared scores, sparing a competitive drive even though there were no prizes to be had at the end. That’s an attitude that carried forward into my time at Bronx Science; that no matter how lazy my initial inclination may be, there was a social pressure to succeed, that at times felt like a need to succeed.

Photo by An Rong Xu for The New York Times.

Having parents and teachers who want you to succeed is highly important, but having peers who are driven to succeed is what really set the experience apart. I personally believe that drive needs to be instilled early, and that may be part of why student screening has trickled down from high school to middle school.

— Hao Diep, 26, Woodside, Queens

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‘More ‘Levers to Pull’ to Prepare for Test’ I’m African-American. My parents met at Bronx High School of Science and my older brother went to Stuyvesant, so I’m not sure that I ever really anticipated not going to one of the specialized high schools. It’s been almost 30 years since I took the test and can’t quite remember the test itself, but I came from a pretty academically strong junior high school.

My time at Brooklyn Tech (Class of ’95) created lifelong friendships, reinforced my hunger for learning and exposed me to a great degree of diversity. What changed?

Photo by An Rong Xu for The New York Times.

While it is likely true that preparatory programs existed in the early ’90s, I don’t recall this being a huge focal area. I don’t remember seeing the same number of for-fee programs or study guides available. Perhaps that ultimately made for more balanced competition, with everyone approaching the test more equally prepared.

Today, there are more levers to pull to prepare for the test, and everyone isn’t equally aware of, or able to access, these same preparatory tools. Gone are the days of young impressionable eighth grade kids just waking up on a Saturday morning and walking into a big intimidating building to take the same test with limited or no preparation. That combined with varying degrees of middle school quality have certainly influenced the changes that we see today.

— Nyota Wright, 40, Crown Heights, Brooklyn

‘There Isn’t Enough Outreach’

Photo by An Rong Xu for The New York Times.

When the test day came, I panicked and almost didn’t take the test.

Despite all my prep, I felt like I wasn’t ready. My father physically had to put me in the car and I remember not being able to breathe well. I walked in with a male cousin of mine, who was the same age, and I sat behind him. I remember this because we were the only brown kids in a room full of white and Asian middle schoolers. I had initially put Bronx Science as my top choice and a few moments before the test was over, switched it out with Stuyvesant. Months later, I was stunned when I was accepted to Stuyvesant.

I was one of the few kids of Caribbean descent in Stuyvesant and I knew plenty of people who deserved to be there but didn’t test well or didn’t even know about the test.

The fact that my mother didn’t want me to go because she genuinely didn’t know what the specialized high school test was or what a specialized high school was, is indicative of the larger problem at hand— that there isn’t enough outreach done in these communities that they want to pull “diverse” students from, and that the public and elementary schools serving these communities are underfunded and woefully under-prepare students for high school, much less a specialized one.

— Shannon Cornelius, 24, Bellerose, Queens

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‘Exam Shouldn’t Determine a Student’s Potential’ I am a Haitian-American student and I came from a predominantly black middle school that offered SHSAT prep. However, it was not very good. We simply did questions from the book that specialized high schools provided. I also studied on my own for the exam, but clearly this was not enough. When I got my score back, I received a 472 when the cut off was 480, I believe. I was devastated.

I was a student who got a 95+ average almost every semester and I was considered one of the “smart” kids in my school. But I was not able to get into my dream school, Brooklyn Technical High School, because of this one exam.

Photo by An Rong Xu for The New York Times.

I didn’t feel that this one score reflected my work ethic nor did it reflect the types of grades that I would receive in high school.

When I entered high school, another predominantly black institution, I graduated as the valedictorian with a 98 average, an advanced Regents diploma, and four AP classes. But I believe, I could have done better if I had the opportunity to go to Brooklyn Tech where there were more opportunities to take college-level courses because my school lacked in this area.

Although I am happy with where I am now — I’m a second-year college student with a 4.0 G.P.A. on my way to becoming a physician in a seven-year B.S./M.D. program — it is still disappointing that there are students of color who are not able to reach their full potential because of a single exam, or a single score.

There are many factors that make a great and successful student, and the SHSAT is not one of them.

— Rose Gedeon, 20, Flatlands, Brooklyn

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BIOGRAPHIES MILO CRAMER (WRITER & PERFORMER) Milo Cramer is a writer and performer.

School Pictures, their one-person opera about the broken New York City school system, premiered at The Wilma in Philadelphia and Playwrights Horizons in New York, where it was featured on NPR’s This American Life (“best theater of 2023... absolutely wonderful” - New York Magazine). Other works include Cute Activist at the Bushwick Starr (“a brilliant match of material and theater… a fable for our times” - NYT), and Business Ideas at The Alliance Theater in Atlanta (winner of the 2024 Kendeda Award). With New Saloon Theater Company, Milo spent 5 years devising and touring Minor Character: Six Translations Of Uncle Vanya At The Same Time, a kaleidoscopic riff on Chekhov’s greatest hit, ultimately seen at The Public Theater’s Under The Radar Festival (“delightful… a spring-green forum on youth’s discontents” - The Village Voice).

Milo is a MacDowell Fellow, a recent graduate of Naomi Iizuka’s MFA playwriting program at UC San Diego, a grateful middle child, and an Aries. Milo is writing a musical about three old-fashioned sailors who are trying hard to have a Meaningful Life in their last 24 hours onshore before they’re shipped to die in an offstage war, but the Big Problem is these sailors Never Do Anything Right because they’re Just Too Silly.

MORGAN GREEN (DIRECTOR) Morgan Green is a director of plays, films, and dinnertime. She is currently a Co-Artistic Director at the Wilma Theater in Philadelphia where she recently premiered HILMA by Kate Scelsa and Robert M. Johanson, Eternal Life Part 1 by Nathan Alan Davis, School Pictures by Milo Cramer and the Pulitzer Prize winning Fat Ham by James Ijames (digital version). She was a co-founder of the award-winning theater company, New Saloon, best known for Minor Character: Six Translations of Uncle Vanya at the Same Time (The Invisible Dog, The Public Theater, Sharon Playhouse). Other credits include: Staff Meal by Abe Koogler (Playwrights Horizons), The Music Man (The Sharon Playhouse), The Wolves by Sarah DeLappe (Marin Theatre Company), and Cute Activist by Milo Cramer (The Bushwick Starr). Her short film One More Time With Feeling premiered at the Raindance Film Festival in London October 2023. Morgan has developed new work at the Lower Manhattan Cultural Council, Bric, Baryshnikov Art Center, Mabou Mines, and Mercury Store. She is a New Georges Affiliated Artist and proud member of SDC. MorganClaireGreen.com SHELBY REDDIG (PRODUCTION STAGE MANAGER) THEATER LATTÉ DA: The Color Purple, Stones in His Pockets, Christmas at the Local, Falsettos, Next to Normal, We Shall Someday, Hello, Dolly!, Merrily We Roll Along, Jelly’s Last Jam, La Bohème, Puttin’ on the Ritz. THEATER: Children’s Theatre Company: Dr. Seuss’ How the Grinch Stole Christmas!, Snow White, The Hobbit, Corduroy; Geva Theatre: The Color Purple; MN Opera: Albert Herring; Mixed Blood Theatre: Prescient Harbingers, The Mermaid Hour: Remixed; Perseverance Theater: A Christmas Carol; Jungle Theater: Fly By Night: The Musical; Stages Theatre: Charlotte’s Web. TRAINING: BA in Theater and English from St. Olaf College.

AJAH WILLIAMS (ASSISTANT STAGE MANAGER) THEATER LATTÉ DA: Rodgers + Hammerstein’s Cinderella, 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): THEATER LATTÉ DA - 14

BIOGRAPHIES 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.

JEAN KIM (SCENIC & COSTUME DESIGNER) THEATER LATTÉ DA: Jean is excited to make her debut at Theater Latté Da this year. Trained as an Illustrator at Rhode Island School of Design (RISD), and as a Set Designer at Yale School of Drama (YSD), she is always eager to explore her caliber in the realm of tales. Her upcoming shows include; Clyde’s at St. Louis Rep, The Importance of Being Earnest at Portland Center Stage and The Merry Wives of Windsor at Shakespeare Theater Company. To check out her designs and illustration work, please visit www.jeankimstudio.com.

MARCUS DILLIARD (LIGHTING DESIGNER) THEATER LATTÉ DA: Rodgers + Hammerstein’s Cinderella, 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.

MADELAINE FOSTER (PROPS DESIGNER/SUPERVISOR) THEATER LATTÉ DA: Rodgers + Hammerstein’s Cinderella, 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.

CORINNE STEFFENS (AUDIO ENGINEER) THEATER LATTÉ DA: Corinne currently works all across the Twin Cities as a freelancer in all things theater tech, with an emphasis on sound and musical theater. Credits include: Theater Latté Da: School Pictures, Rodgers + Hammerstein’s Cinderella, Scotland, PA, Johnny Skeeky, The Color Purple, Christmas At The Local, Falsettos, Hello, Dolly!, Jelly’s Last Jam; US National Tour: All is Calm, Emojiland the Musical; Guthrie Theater: Little Shop of Horrors, Into The Woods, Vietgone; Lyric Arts: The Rainmaker, Peter And The Starcatcher. Corinne is also the Tech Director for the MN Fringe Festival.

NICHOLAS TRANBY (AUDIO CONSULTANT) THEATER LATTÉ DA: Rodgers + Hammerstein’s Cinderella, 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 SCHOOL PICTURES - 15

BIOGRAPHIES 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 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.

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 Latté 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.

ANDREW NORFOLK (LIGHTING SUPERVISOR/ LIGHT BOARD OPERATOR & ASSISTANT LIGHTING DESIGNER) THEATER LATTÉ DA: Rodgers + Hammerstein’s Cinderella, 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 SUPERVISOT & WARDROBE TECHNICIAN) THEATER LATTÉ DA: Rodgers + Hammerstein’s Cinderella, 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.

SARA HERMAN (SCENIC CHARGE) THEATER LATTÉ DA: Rodgers + Hammerstein’s Cinderella, 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.

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BIOGRAPHIES JOELLE COUTU (STAGE MANAGEMENT SWING) THEATER LATTÉ DA: Stage Manager: Rodgers + Hammerstein’s Cinderella, 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.

CHRISTIAN ERBEN (STAGE MANAGEMENT SWING) (SHE/HER) THEATER LATTÉ DA: Heaven Can Wait - Workshop (Stage Manager); Scotland, PA (Stage Management Swing); NEXT Festival 2024 (Production Manager). THEATER: Ordway Center for the Performing Arts: Beauty & the Beast (Covid Safety Manager & Company Management Assistant); Artistry MN: The Sound of Music (Assistant Stage Manager); Theater Mu: Again - A New Musical (Assistant Stage Manager); Lyric Arts: A Taste Of Things To Come (Stage Manager), The Servant of Two Masters (Assistant Stage Manager); Lakeshore Players: She Loves Me (Stage Manager).

UPCOMING: Lakeshore Players: Anything Goes (Stage Manager). TRAINING: B.A. in Theatre, Southwestern University in Georgetown, TX. christianerben.com

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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

James B. Linsmmayer 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.

Grand Finale ($25,000 and above) C. Curtis Dunnavan Fund Dr. Tom Knabel and Kent Allin Kathy and Allen Lenzmeier The Morfitt Family Charitable Fund Rita and Ben* Olk Margaret V.B. Wurtele

THEATER LATTÉ DA - 18

*In remembrance

Curtain Call ($10,000–$24,999) Carol and Kim Culp David Feroe and Linda Svitak Joyce G. Gordon* Penny Meier Jennifer Melin Miller and David Miller Lisa Meyer and Sam W. Grabarski Sr. Dr. Deanna Oliveira James R. Olson Cara Sjodin and Scott Stensrud John Sullivan Fremajane Wolfson Alex Wright The Thomas and Julianne Youngren Foundation

Eleven O’Clock Number ($5,000–$9,999) Nancy Albrecht Albrecht Family Foundation John Arechar Les Bendtsen and Rick Buchholz Ray DeSpiegler and Michael Birch Stephen Bubul and Lee Lewis Jane and Ogden* Confer Fran and Barb Davis Keith and Betsy Ford The Dean Greenberg Family Fund Nicole Hanover Lisa and Dan Hoene Dennis and Nora Hunchar

Nancy Jones Katherine Murphy Curt D. Nelson Jennifer and Jay Novak Gary Reetz Colleen C. Ryan and Tom Merz Ann and Pat Ryan Linda and Steven Sandvig Bonnie Scott Lorri Steffen and Paul Zenner The LTC Janis Verruso Charitable Fund Patricia Zalaznik

Show Stopper ($1,500–$4,999) Anonymous (2) Elissa Adams and Michael Margulies 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 Jimmy Burnett Marguerite Cowles Edward and Kathryn Craig Tanner Curl and Emily Dussault Julie A. Darst Charitable Giving Account David and Margaret Dines Carol M. Downie and Gregory J. Thomas Joe and Lois Duffy Meghan and Sean Elliott Steve Euller and Nancy Roehr John Fishpaw and Kim Krohn Ron Frey and Steven Thompson Andrew and Tina Grzeskowiak Diane Harder and Thomas Eckstein Jay Harkness and Jean Storlie Jean and Jim Hartman Kate Haugen Margie and Tom Hebig *In remembrance

Sandy and John Hey Bill Jones Judy and Frank Jossi Deirdre and Wes Kramer Christine Larsen and Scott Peterson David and Sheila Lein Mac and Mary Lewis Carol Lichterman David and Susan Lima Peggy and Dave Lucas Pat and Sara Mack 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 John Polta and Anne Tuthill Polta Prospect Creek Foundation of Bruce and Martha Atwater Maria and David Reamer Daniel and Emily Shapiro SCHOOL PICTURES - 19

Ted and Mary Jo Shen Rolf* and Janet Skjei Russell Kaplan and Elisa Spencer-Kaplan Neil Neumann and Sandy Spidel Neumann Jon and Kristine Stevens Brian and Carrie Svendahl Michael and Terri Uline Dianne Van Tasell and Steven Eggimann Ka Vang Erin and Mark Vannelli Bill Venne and Douglas Kline Paula Vesely Gregory L. Vilmo Ruth and David Waterbury

Tom and Carol Watzke Windfelt Betsy Weiner Marjorie and Irving Weiser Frank and Frances Wilkinson Kevin Winge and Kevin Shores Dick and Diane* Wright Adam Yust Peter Zenner Jeanne and Jeff Zlonis

Entr’acte ($500 - $1,499) Anonymous (2) Addicks Hoch Fund of The Minneapolis Foundation Robert Allen and Timothy Anderson Grant Amadio Stuart Appelbaum and Jean King Ward and Kathleen Armstrong Marcia Aubineau Michael Bahr and Morrie Hartman Richard Beens Patricia Benson and Phil Strait Dr. Ethan Berke David and Janet Berry 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 Lucinda Brown Scott Cabalka Virginia and Stuart Campbell Jane Carlstrom Cynthia Case and John Foley Cynthia Chapman Carol Chomsky and Steve Liss Tom Clausen and Chris Ulrich John Cook and Carolyn Burnett Tiffany Cooper-Allen and Torrie Allen Gretchen and David Crary Peggy Crosby and David Pederson Ingrid and Chris Culp Loretta Dakin John and Linda Darcy McCormick Meredith Dayton Olson Mary Lou and Thomas* Detwiler JaNelle Dexheimer Russell Doby THEATER LATTÉ DA - 20

Gerald Dove Nathan Dungan and Susan Hawks Meghan and Sean Elliott Sharon Engel Paula Engelking and JW Peck Doris Engibous John J. Erickson Lucas Erickson Fund of The Minneapolis Foundation Nancy Evert Linnea Fahnestock 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 John and Joanne Gordon Clifford and Karen Greene Kathy Gremillion Thomas and Mary Gross Joan Growe Peggy Hall and Lee Barry Richard Hamer Kath Hammerseng and Mo Kennedy Christie Hammes Richard Hamson Phillip Handy Roxanne Hart and Scott Nelson The Hedman Connelly Fund Joanne and Allen Hinderaker Martha P. Hoffman Nanette Hoover Richard Ihrig and Colleen Cooper *In remembrance

Bernadette and Jeffrey Janisch Sandi and Jim Jensen Mike Jereczek and Jan Sigmund Denise Johnson and Karl Erickson Jeraldin and Steven Johnson Steve and Debra Johnson Steve Johnson and Susan Iverson Ed and Martha Karels Kurt and Gina Kastel Miriam and Erwin Kelen Cyndi and Greg Klaus James Kunz Greg Kvam and Pat Johnson Arline Lansangan Datu Marcia C. Leatham Andrew Leshovsky and Louis Berg-Arnold Meg Lewis and David Sebberson Jeff Lin and Sarah Bronson Mary Lincoln and Mark Schneider David A. MacNaughton and Gayle R. Zoffer Katherine Majkrzak Duayne and Dianne Malewicki Susan L. Maples Keith Martinsen Paul and Julie Mattson Drew Mattson Kevin Mayo Gretchen Alberts Mellies Douglas and Cindy Merrigan Cynthia Meyer Tyler and Emily Michaels King Lisa Michaux David Miller Sonny and Amy Miller Jodi and Mike Mooney Richard Moore, Jr. Peter and Karla Myers Dirk and Laura Nelson Amy and Mike Newton Nicholson Family Foundation, Pondie and Mark Taylor Carol Nietz Karle and Diane Nolte Ann and David O’Fallon Ben Olk III and Kris Berggren Philip Oxman and Harvey Zuckman Mary Ann Palmer Jaime Pedraza and Stephen Gronewold Daniel Peterson and Mark Nelson Karlyn Peterson and Gavin Wilkinson Shannon Pierce and Rachael Kroog Patti Pinkerton Patricia Ploetz Nancy and James Proman Quiring Family Fund of The Minneapolis Foundation Fred Quirsfeld and Linda Campbell *In remembrance

Pat and Gene Radecki Megan Reardon John Seeger Reay and Karen Hanson Sadie Reiners Jonathan Riehle and Angela M. Bohmann Barbara Roen Kenneth and Beth Roering Robert Rosenbaum and Maggie Gilbert Tom and Molly Rothstein Family Peggy and Bill Roush Susan and John Ryan Kenneth and Kathy Sabota Mary and Peter Sandberg Mark Sateren Noel Schenker Paul Schumann The Schwantes Family Singers Judy Schwartau Miriam Seim Don Helgeson and Sue Shepard Fund of Central Minnesota Community Foundation Kathryn Sherwood Steven and Karen Sonnenberg Roxanne and Bill Soth Ann and Eldon Spencer Lynne Stanley Anne Steinfeldt Cheryl Stever Toya Stewart Downey Marcia and John Stout Dana and Stephen Strand MJ Sullivan Kari Groth Swan Ron and Margaret Tabar Lezlie and Louis Taylor Jean Taylor Marlo and William Turcotte Libby and John Utter Daniel Vogel Jeanne Voigt Michael Wagner David C. Warner Margaret Weber Corliss Weeks Dorene and Alan Wernke Sue and Jim Westerman Jim and Martha Williams Gayle Woodbury Peter and Sue Wyckoff Ann Wynia Jodi and Jim Young Jane Zilch Abby Zimmer and Sean O’Brien Nancy Zingale and Bill Flanigan

SCHOOL PICTURES - 21

Overture ($250 - $499) Anonymous (5) Tom and Cindy Adamson Albrecht Family Foundation Dan Avchen and David Johnson Kurt Bachmayer and Lisa Dalke Paul and Mary Bacigalupi Mary Bahneman Daniel Barnes and Elaine Wilson Daniel Baseman and Raymond J. Ottman Judy Bearman and Ken Kaffine Timothy Beekman Joan Berg Tim and Beth Beutell Chris Bewell Cheryl Brown Julie Bubul Sheryl and Mike Burkhardt Kathryn and Winston Cahill Angela and Neil Christy Patricia Contag Kenneth and Gwen Crabb Kathryn and Larry Decker Virginia and John Dell Dennis and David Delude-Nafus Nicole Demario Holly Denis Sunny Didier Dennis and Nickie Dillon Sandy Doll and Ron Christenson Kate Donaldson Tina Edstam Marsha Eisenberg Larry Espel and Cyndi Hasselbusch Chris Estee John J. Feigal Dr. Patricia Ferrieri Brad and Kathy Fisher Sarah Fjelstul Kim Ford Ron and Barb Fraboni Family Fund Heather and Bill Froehlich David Gardner and Ronda Willsher Erin George Donna H. Gies and Richard Hamer Robin Gillette Jerry Girton Barbara Golden Karen and John Gray Dolores Gutierrez Mark and Mary Jo Hallberg Dr. Jo-Ida C. Hansen Dr. Shannon Harris Robb Heckmann John and Diane Herman Hugh Huston Diane and Paul Jacobson THEATER LATTÉ DA - 22

Mark and Jeanne Jacobson Donald and Pamela Jakes Bonita Janda 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 Kathleen Kraemer John and Nanciann Kruse Pat Laulainen Susan Law Judy and Steve Lewis Kathleen S. Lindblad Dennis Louie Beth and Mike MacDonald Ruth B. Markowitz Kimberly McDevitt Peg McKee and Dean Adams Kathleen McLaughlin and Daryl Skobba Lisa McLean Laura Migliorino David and Leni Moore Family Foundation Bonnie Mulligan and Charlie Greenman Katie Nelsen Marcia and Russ Palma Sandra, Andrew, and Rick Penning Tina Ham Peterson and Ric Peterson Pike Willett Family Fund David Pote and Linda Tapsak Nick and Judy Priadka Anne Pudas Debra and Lawrence Que John and Elizabeth Quinn Bonnie Reiland Tom Renshaw Marilyn and Jim Rosenbaum James Roth Peter Rothstein and Omar Guevara Soto Sue Salmela and Paul Burnett Carol B. Schirmers Betsy Schmiesing Gale Sharpe Tonia and Mike Shupien Pamela Sjodin Rosemary Soltis Lisa Stevens and Jeffrey Hatcher Michele Stowers Sulasalmi Fund of The Minneapolis Foundation Craig and Janet Swan Julie A. Sweitzer Rabindra Tambyraja, MD Tammy Taylor Jennifer, Daniel, Raina, and Zoey Tenenbaum

John and Jennifer Urbanski Katherine and Martijn van de Ruijtenbeek Jennifer Van Wyk Tammi Veale Lynn and Chuck Wallin Lisa Weisman Daniel Weninger Elisabeth Wierum

Travis Wilson Missy and Kent Wilson Sally Wingert and Tim Danz Jan Withiam Jeanette Woessner Donna and Mike Wolsted Carol A Woodbury David Young and Edward Williams, Jr.

Honor and Memorial Gifts In honor of Sandy Hey Mary Freeman

In honor of Jean Hartman Kevin Winge and Kevin Shores

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

In memory of Patricia Faunce Pamela and Frederick Lott

In honor of Fremajane Wolfson The Dean Greenberg Family Fund

In memory of Jean Elizabeth Ryan Rothstein, Peter Rothstein’s mother Gretchen Albert Mellies

In honor of Bridget Morehead Medtronic Christie Morehead and Alan Zimmerman

In memory of Mary Dew David Miller

In honor of Peter Rothstein Tom and Molly Rothstein Family

In memory of Dorris Rose Jesseli Moen Carol Peterson

In honor of Cara Sjodin The Schwantes Family Singers

In memory of Gay and Carl Prosek Charlene Washburn

In honor of Timothy Thomas Cheryl Thomas

On behalf of Steven Bergerson Anonymous

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

On behalf of Elizabeth Hobbs Anonymous

In honor of Just Tischleder Ka Vang

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. *In remembrance

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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 Anonymous Elissa Adams and Michael Margulies Mark Addink Joelle Allen Barry and Cynthia Alper Cynthia Anderson Lynn Anderson Joe Andrews and Scott Benson Angelica Family Charitable Fund Constance Archea Marcia Aubineau Michael Austin Maria Bales Franny Barry Cheryl Bates Leah Battin Jane Bauman Joe and Elizabeth Bayer Les Bendtsen and Rick Buchholz Ruth Ann and Jim Benson Katie Berg Chris Bewell Bonnie Birnbaum Paul and Marcia Bjerke David Bjork and Jeff Bengtson Marjie Blevins Jean Borgerding Joan and David Bowlin Steven Boyer Carol and Richard Brozic Stephen Bubul and Lee Lewis Helen Burke Colleen Byrne Amy Carlson Nancy L. Carroll

THEATER LATTÉ DA - 24

Daniel Castle Patricia Clarke Tiffany Cooper-Allen and Torrie Allen Theodore Cornwell Marguerite Cowles Don and Nancy Creighton Elisa Cross Teri Cuddy Joanne and Frederick Czeswik Randall Davidson Lisa Denninger Amy Dillahunt Elizabeth Docherty Cecelia Dodge Peter Donohue Natalia Dreizin Dan Dressen Mary Duffy Dorothy Dunn Kevin Ekue David Feroe and Linda Svitak Sara and Karl Fiegenschuh Donald and Rosalyn Fineran John Fishpaw and Kim Krohn Matt Fulton Gerald and Jeanne Furst Sue Gillman and Linda Ireland Bob and Becky Glesne Harry Greenberg Peggy Hall and Lee Barry Jay Harkness and Jean Storlie Kathy and Michael Harrington Roxanne Hart and Scott Nelson Jean and Jim Hartman Phebe Haugen

David Haugland Jelan and James Heidelberg Brett and Maia Hendel Madeleine Henry Susan Hitchner Elizabeth Hobbs Jill Hogan Margaret and Mark Hottinger Jay and Beth Jackson Sandy Jacobsen and Dean Hedstrom Diane and Paul Jacobson Mary Jaeb Suzanne Jebe Rhonda Jenkins Denise Johnson and Karl Erickson Jeraldin and Steven Johnson Nancy Jones Judy and Frank Jossi Ann Juergens and Jay Weiner Mary M. and James R. Kaster Michael Kearney Madeleine Kerr Becky Kleager and David Rusterholz Leslie Koepke Mary Jean Korsmo Paul Kovacovic Sara Ellen Kuether John Kulstad and Lisa Mayotte Deb Lauer Sally Leighninger Judith O’Keefe Lester John and Anne Levin Kathryn Lien Charles and Linda Lincoln

Anna and David Linder Brenda and Ted Litman Laura Kelly Lovdahl Kathleen Lowry Jim Macknick and John Pemberton Jennifer Marshall and Matthew Haines Kristin and Jim Matejcek Drew Mattson Anne McLarnen Penny Meier Jennifer Melin Miller and David Miller Alli Mertins James Miner Kristin Monson Jean Montgomery Jodi and Mike Mooney Warren and Daniel Mosier Richard Murray Joan Naymark Randy and Joy Nelson Sarah Nelson Dolores Noah Andrea Nordick-Stone Glyn Northington and Stan Kolden Samantha O’Connor Lynn and Ben Oehler Gary Oftedahl Carol and Keith Ottoson Sandra Overland Bonnie Palmquist Joann Parker

Suzanne Perrry Karlyn Peterson and Gavin Wilkinson Pike Willett Family Fund Susan B Plimpton Barbara Pogoler Dionette and Tom Polacek Debra and Lawrence Que Margaret Rasmussen John Seeger Reay and Karen Hanson Carolyn Roby Leeann Rock Barbara Roen April Rog Martha Rosen John Ross James Roth Barb Ruble Deborah Ruf Anne Russell Marjorie Schaffer Helen Schlosser Suzanna Schneider Robert Schuette Paul K. Schulte Paul Schumann Steven R. Schwagel Nicole Sexe Amy Showers-Stone and Alexander Stone Lisa Sinclair Rolf* and Janet Skjei Linnea Sodergren Sally Sonday-Gaines

Elisa Spencer-Kaplan and Russell Kaplan Chuck Spitzack Lisa Stevens and Jeffrey Hatcher Katie Stites Donna Stoering Cherie Stofer Nathan Stohlmann Nicole Stretar John Sullivan Sandra Swami Tobi Tanzer Teresa and Mike Tennis Penny and Thomas Tesarek Bob and Carol Thomas Ruby Thomasson Stephani Tikalsky Jerome Tiller Elizabeth Tisel Duane Tvenge John and Jennifer Urbanski Lynn and Chuck Wallin Betty Wass Gregory Weyandt Elisabeth Wierum Amy Willette Lori-Anne and Eva Williams Winnie Williams Fae and Roy Wilson Kevin Winge and Kevin Shores Fremajane Wolfson Wymond Wong Mary Wrobel Henry Young Jr.

Corporate Matching Gifts

In-Kind Supporters

Ameriprise Financial Crowe Consulting The Dorsey & Whitney Foundation General Mills Intel Foundation Medtronic Microsoft UnitedHealth Group US Bank Voya Financial Wells Fargo

Cornerstone Copy Center Stagetime Productions

Listings reflect donations made between between February 1, 2024 to February 1, 2025. Please accept our apologies for any errors or omissions.

*In remembrance

SCHOOL PICTURES - 25

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 Fremajane Wolfson Adam Yust

Staff Justin Lucero Artistic Director

Elisa Spencer-Kaplan Managing Director

Elissa Adams Associate Artistic Director & Director of New Work

Sara Huelle Director of Development

Allen Weeks Director of Production & Operations

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 Accounting Chris Hagen Legal Counsel Michael Sinder Co-Founders Peter Rothstein Denise Prosek

THEATER LATTÉ DA - 26

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.

SCHOOL PICTURES - 27

Your gift makes an

impact

Your gift to Theater Latté Da 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.

THEATER LATTÉ DA - 28 Nubia Monks as Celie in The Color Purple. Photo by Dan Norman.

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SCHOOL PICTURES - 29