KC Rep, Cyrano de Bergerac (2023)

SEP 5 - SEP 24, 2023 spencer

theatre

WRITTEN AND DIRECTED BY TERENCE O'MALLEY MUSIC BY DANIEL DOSS DIR. OF PHOTOGRAPHY JON TROZZOLO STARRING JULIE POPE, T. ERIC MORRIS AND TIM AHLENIUS

COSTUMES BY LINDA FLAKE AND SARAH OLIVER CHOREOGRAPHER AMY HURRELBRINK PRODUCTION DESIGNER SCOTT MURRAY

Welcome to Spencer Theatre for KCRep's 2023 production of

PHOTOGRAPHY

You may take photographs inside the theatre before and after performances only. If you post a photo of the set on social media, please add the following credits to your post:

Scenic Design: RIW RAKKULCHON

Lighting Design: MARIE YOKOYAMA

Note: Videotaping, photography, or other video or audio recording of and during this production is strictly prohibited

Please remember to turn off all cell phones or any other devices that could make noise and distract audience members around you.

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The first issue of The Independent was published on March 11, 1899. The magazine was the brainchild of Arthur Grissom and George Creel. Young Mr. Grissom soon returned to New York, where he was a founder of The Smart Set prior to his death at the age of 31. George Creel continued to run The Independent until 1909. (In later years, Mr. Creel would serve as chairman of the Committee for Public Information under President Woodrow Wilson. He devised much of the propaganda that encouraged Americans to support World War I.) The next owners of the magazine were Clara Kellogg and Katherine Baxter of the Kellogg-Baxter Printing Company, who lived and worked together. After Miss Baxter’s death from pneumonia at the age of 43 in 1924, Miss Kellogg published an annual tribute to her. Martha Nichols Gaylord (Mrs. Gleed Gaylord) became the editor and owner in 1939, a decade after she joined the staff. Mrs. Gaylord headed the magazine during a time when the arts were proliferating in Our Town: The Kansas City Ballet was founded in 1957, the Lyric Opera of Kansas City in 1958 and the Kansas City Repertory Theatre in 1964. Mrs. Gaylord sold The Independent to Robert P. Ingram in 1983. Laureen Ingram, Mr. Ingram’s daughter-in-law, purchased the magazine from him in 1996. Rachel Lewis Falcon became the new owner and publisher in 2017.

The Independent Magazine Publisher Director of Program Guide Operations Graphic Design

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The Independent Magazine 2400 West 75th Street, Suite 120 • Prairie Village, KS 66208 • 816.471.2800

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Kansas City Repertory Theatre program guides are a publication of the Performing Arts Division of The Independent magazine. Information in this publication was carefully compiled to ensure accuracy. However, the publisher does not assume responsibility for accuracy. Editorial program content was provided by the Kansas City Repertory Theatre. Copyright by The Independent magazine. No part of this publication may be reproduced in any form without written permission of the publisher.

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The 2023 Rogue

The 2023 QX80

INFINITI of Kansas City

In Honor of DR. PATRICIA A. M cILRATH

In 1964, Dr. Patricia A. McIlrath founded Missouri Repertory Theatre with the belief that theatre could change the world and could change our town. Over the past 60 years, we’ve changed our name, but not our purpose: we’re still dedicated to creating transformative theatre experiences for our community.

All year long, to celebrate our Diamond Anniversary, we will be traveling down memory lane and honoring many of those who have made these last 60 years possible. Thank you to Dr. Mac, and to all of our patrons, artists, and staff that have held KCRep in good stead for the last 60 years. We dedicate this season to you!

Where Love Takes Center Stage: KC’s Leading Engagement Ring Store

AIZURI QUARTET

Sep. 23 | 1900 Building

“NEW HORIZONS”

Oct. 7 | 1900 Building

VOCES8

Oct. 21 | Village Presbyterian

QUARTETTO di CREMONA

Oct. 28 | Grace & Holy Trinity

SIR ANDRÁS SCHIFF

Nov. 14 | Kauffman Center

ALESSIO BAX & LUCILLE CHUNG

Dec. 5 | The Folly Theater

“EXTRAORDINARY IMAGINATIONS”

Chamber Music Society of Lincoln Center

Jan. 20 | The Folly Theater

APOLLON MUSAGÈTE QUARTET

Feb. 2 | The Folly Theater

JEREMY DENK

Feb. 13 | The Folly Theater

LE CONSORT

Mar. 1 | Grace & Holy Trinity

QUICKSILVER

Apr. 5 | Grace & Holy Trinity

“SPARK OF GENIUS”

Apr. 26 | The Folly Theater

CHANTICLEER

May 3 | Atonement Lutheran

Withour 2023/24 Season, Kansas City Repertory Theatre (KCRep)/Missouri Repertory Theatre (MRT) , is celebrating 60 years of transformative theatre!

During our time, KCRep has been a source of inspiration to thousands of our nation’s best artists and to millions of Americans in Kansas City and beyond. Missouri Repertory Theatre was founded in 1964 by Dr. Patricia A. McIlrath, who is among a select few pioneers of the regional theater movement who believed that theater could change the world and could change our town. Kansas City’s citizens continue to benefit from Dr. Mac’s passionate commitment to artistic excellence, innovation, education, and community transformation. Under her direction, KC’s theatre fans enjoyed many memorable shows, including an unforgettable 1983 production of The Life and Adventures of Nicholas Nickleby. Dr. Mac’s vision for providing professional experience to early career artists continues today through our partnership with UMKC.

Following Dr. Mac’s retirement in 1985, George Keathley was appointed as Artistic Director. During his tenure, and through his partnership with Executive Director James D. Costin, MRT was established as the pinnacle of artistic achievement for local theatre artists, creating a legacy of excellence through work in the civic community and with legendary MRT productions such as Dracula and Richard III.

In 2000, Peter Altman joined MRT as Artistic Director for a seven-year tenure. His vision included laying the groundwork to promote the city more aggressively as a center for nationally recognized theatre artists, and he spearheaded changing the theatre’s name to Kansas City Repertory Theatre in 2006 to help achieve this goal. He also helped create KCRep’s second permanent

performance venue, Copaken Stage, in downtown Kansas City’s Power & Light District.

Eric Rosen was hired as Producing Artistic Director in 2007. During his tenure, he was instrumental in cultivating a national reputation and brand for KCRep and the city as a destination for reimagined classics such as Into the Woods and Evita, and critically acclaimed new works, including Clay, Venice, and Between the Lines

In 2013, KCRep returned to the co-CEO structure when Rosen was partnered with Executive Director Angela Lee Gieras. Together, they led the company through a successful campaign for, and renovation of Spencer Theatre, crafted a five-year, $5 million campaign that increased investment in audiences, new works, and education, and rebranded the organization.

In 2019, director, producer, and educator

Stuart Carden joined KCRep as its fifth Artistic Director. Deeply committed to centering KCRep in this region, Stuart believes the arts play a crucial role in strengthening communities. With an eye towards creating transformative theater experiences for all, Stuart brought KCRep productions to the grounds of the World War I Museum and Memorial and the Nelson-Atkins Museum of Art, the latter of which was the origin of Ghost Light: A Night of Haunted Songs and Stories from KC’s Cultural Crossroads, which is now an annual, two-day, free family festival.

In 2022 Stuart launched KCRep for All, our expansive community tour that takes KCRep to community centers, libraries, and other public spaces all over the region. He strives to provide greater access to our art form and to reflect the passions, curiosities, and stories of the diverse communities that make KC such a vibrant city.

Stuart Carden

Dr. Mac Peter Altman Eric Rosen

James D. Costin (left) & George Keathley

Angela Lee Gieras

CONTACT US | QUESTIONS

Box Office: 816.235.2700

Email: tickets@kcrep.org

SINGLE & SEASON TICKETS

Visit KCRep.org

Call 816.235.2700

Ask about Season Ticket Holder benefits!

BOX OFFICE HOURS

KCRep’s Box Office is open Monday thru Friday, 10am-4pm, and until curtain time on performance days.

ACCESS

Both of KCRep’s theatres — Spencer Theatre and Copaken Stage — are ADA accessible and parking spaces are readily available. Infrared hearing systems and large-print and Braille programs are available free of charge at the lobby coat check counter in both of our theatres. One performance of each show is interpreted in American Sign Language. Please visit our website at KCRep.org for dates. Live Audio Description may be requested in advance of a production. Please contact the Box Office to learn more.

LATE SEATING

When possible, latecomers will be seated toward the back of the house, at the discretion of KCRep’s House Management staff.

CELL PHONES & CAMERAS

Please turn off all cell phones/electronic devices during the performance. For the safety of the actors and in accordance with the rules of Actors’ Equity Association,

the use of all cameras and recording devices in the theatre during the performance is strictly prohibited.

VOLUNTEER AT KCREP

Volunteers are the backbone of KCRep, providing valuable services such as ushering and helping with special events. Please call 816.235.2780 if you are interested in joining our volunteer team.

THE MORE THE MERRIER!

Discounts are available for groups of nine or more, and many additional perks are offered, including private party spaces, assistance planning your special group event, and prime seating in the theatre. To schedule an event or for more information, please contact Group Sales at tickets@kcrep.org or call 816.235.5771.

EDUCATORS

Are you a teacher interested in bringing your class to a student matinee performance or participating in a customdesigned classroom workshop created around your curriculum? Call Melinda McCrary at 816.235.2707 or email mccrarym@kcrep.org for more information.

MAKE A GIFT TODAY!

KCRep is a non-profit 501(c)(3) organization, which means we rely on the generosity of our fans and friends. If you are inspired by what you see on stage today, please consider making a donation by calling 816.235.5420 or online at KCRep.org/Support.

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IDENTIFY AND ADDRESS BARRIERS TO IDEA PRACTICES

Review all policies and practices with an IDEA lens, makingrecommendations for appropriate revisions.

ENSURE INCLUSIVE REPRESENTATION

Invite and share stories that reflect the identities of our entire community across all touchpoints (e.g., programming, marketing, production, audiences).

BUILD ADEQUATE FUNDING FOR IDEA PRINCIPLES

Establish budget planning policies and practices that support the IDEA work while also creating a plan for socializing our work in the community.

CULTIVATE IDEA PARTNERSHIPS

Cultivate partnerships throughout the theatre community that demonstrate our commitment to equity and representation.

COMMIT TO IDEA LEARNING AND AWARENESS

Implement a comprehensive development plan that supports ongoing IDEA learning and awareness for staff, board, artists and audiences.

EXPECT ACCOUNTABILITY

Hold ourselves accountable for driving the intended actions and the desired outcomes set by the IDEA framework.

We operate from a place of courage and curiosity to bring about an equitable environment and sense of belonging for everyone in every aspect of our theater. We foster empathy and understanding and believe in opportunity and justice for all. Our IDEA Committee’s charge is to identify barriers and change practice and policies to create a KCRep culture of Inclusion, Diversity, Equity and Anti-Racism. We are using the framework at left to guide us toward our goal.

An important part of our inclusion effort is recognition of the local Native American tribes and cultures whose lands we currently inhabit. We open our meetings with the following:

LAND ACKNOWLEDGEMENT

We would like to acknowledge that our theatre sits on the traditional, ancestral, and current home of Native Americans, Indigenous, and First Nations people. We ask you to join us in acknowledging the many tribal groups from our area, including the Osage, Kaw, Missouria, Shawnee and Wyandot tribes.

We honor the elders, both past and present, and this calls us to commit to continuing to learn their stories as well as how to be better stewards of the land that we occupy.

Q: Classics have long been a part of your work as a director and you have said CYRANO is a “bucket list” show for you, one that you have wanted to direct for quite some time. What is it about this piece of theatre that you are so drawn to?

The romance, the language, the insecurity, the war, the swashbuckling/sword fighting, the — [spoiler alert ] — tragic ending. This play is incredibly EPIC! It is romantic in the true sense, emblematic of the Romance period, the individual over the classic societal ideal, the seed of a societal rebel — that is Cyrano. This play has so much to offer, and that is part of the reason it has endured for so long, but those elements are parts of theater that I love as a maker.

I was exposed to scenes from this play very early in my career, and they made a huge impression on me from a formal point of view. In revisiting it now for KCRep, I can see the humanity, the pain, and the drama hidden underneath the gorgeous poetry that permeates the world of this play. It’s a massive challenge for any director, and I have waited a long time for the resources and for my artistry to be mature enough to accept this challenge.

This version of CYRANO DE BERGERAC is billed as being “freely adapted” by Martin Crimp. What does it mean for a piece of theater to be adapted in this way?

Crimp has kept all the elements of CYRANO — the

KCRep's Associate Artistic Director

NELSON T. EUSEBIO III talks about CYRANO de BERGERAC.

Nelson T. Eusebio III

battle of the 100, the balcony scene, the man in the moon bit, the beautiful poetic soul of the play, but “freely adapted” means that he’s updated this to reflect the gender/sexuality norms of the current generation. He’s put the classic values in conversation with today’s societal norms. It’s very exciting because these are fresh, surprising takes on scenes that are still true to the spirit of what Rostand (the original author) intended. I feel like this is how you re-invent a classic; keeping what is great that has allowed it to endure, while bringing a contemporary bridge, or lens, to the work. These are not museum pieces, meant only to be read. They are living performance documents, and once you start acting them out, you discover the context within which the writer is creating. In this case, Crimp is writing about a Cyrano who lives in the now.

Q: Tell us about the world that Cyrano de Bergerac lives in. What will seem familiar to audiences? What will seem new?

A: Technically, it’s 17th Century France. But we’ve taken some storytelling liberties. What will seem familiar to audiences is the setting and the story. We’re in a theatre, we’re in Paris. There’s a curtain for the theatre. The architecture evokes the Arc de Triomphe, the trappings of war will be very familiar to our audiences — it’s extremely contemporary. The café of

Madam Ragueneau will feel exactly like those Parisian cafes, right down to the chairs and tables.

The costumes are a bit different; they reflect the character and the identity of the actor. So, they add a new, contemporary take on these Parisians. I told our costume designer to think of the design as if Prince (the late rockstar) was designing the show. The clothes evoke the psychology of the character rather than the period.

What will seem the newest to our audiences is the language. Crimp has really updated it. One of the twists that I love is that the entire play is in verse, except for the love language in the balcony scene. Usually it’s the other way around; the balcony scene is traditionally in verse. There are also a few other things in the story that are different, but I don’t want to ruin the surprises!

Q: There are also a lot of firsts happening with this production, most notably around your cultural identity and the cultural identity of the cast. Can you talk a bit about that?

A: That’s true. This is not only a bucket play for me, but we’re also literally making history here. It doesn’t seem like this should be true, but it is. I am the first Asian American director to direct this show at the professional regional theatre level. James Chen will be the first Asian-American Cyrano

in a major production — ever. (There was a workshop production that ran at Baltimore Center Stage for three shows, but this is the first full production.)

When I first approached the designers, I explained that we were casting very specific identities for very specific reasons. I wanted to center Black female beauty as the standard in this Paris; I wanted to play against the idea of the Latino lover who is effortless with women; and I wanted to use Cyrano’s nose and poetic skills as a metaphor for the internal racism of the Asian American male experience. The identities of the actors inform their costumes, which evoke Africa, China, etc. It extends to the fighting as well. When we see Cyrano cut loose, there are elements of wuxia films like Crouching Tiger, Hidden Dragon because our Cyrano is played by a Chinese American. I discovered this idea during last season’s production of Shakespeare’s TWELFTH NIGHT and now it informs so much of the work I make. I want to fit the classics to the people who are making them right now — which is no different than what Shakespeare did in his time. He wrote for the acting company and the theatre he had; we’re trying to do the same.

Q: Cyrano is known for his exceptional wit and intelligence. How do you think Cyrano’s poetic skills benefit him? How do they hold him back?

A: Cyrano's poetry is an extension of his ego. It is a double-edged sword

(pun slightly intended). It enchants and charms Roxane, the audience, and all of Paris; but it also serves to wound others and protect him from pain. It’s dazzling, dizzying, intoxicating to experience; it allows him to say in verse what he would never dare in real life to speak. And that is the rub; the best writer in the play doesn’t get the credit he deserves. Not because he’s not a great writer, but because he believes that if Roxane knew the truth, she would find him unworthy as a lover. He believes in his skills as a poet but not in his worth as a person to be loved. There’s something so deeply sad and true about that.

Q: What excites you most about sharing this version of CYRANO DE BERGERAC with our patrons?

A: We’re bringing you an incredibly unique version that encapsulates both what makes this story great (the fights, the romance, the epic battles) and what makes this story relevant to our time (new adaptation, fresh design, multi-identity casting). I like to think of it like Cyrano: The Remix.

Crimp calls it “freely adapted,” and that is one of my strengths as a director— bringing a group of disparate elements together and fusing them with a classical story structure. We’re borrowing from a lot of different influences, but they are all in service to this story. I think we’ve got a little something for everyone, and I am delighted with this incredible group of artists that we are working with on this production.

CYRANO de BERGERAC COMPANY

THE CAST

(In Alphabetical Order)

ITO AGHAYERE* Roxane

JAMES CHEN* Cyrano de Bergerac

KHALIF J. GILLETT * Lignière/Montfleury

ADRIENNE (DRI) HERNAEZ Ensemble

NICO HOLGUIN Ensemble

JIMMY KIEFFER* De Guiche

CRAIG MARCUS LINDSAY Ensemble

WILL PORTER Ensemble

CHRISTOPHER RIVAS* Christian

EILEEN RIVERA* Lelia Ragueneau

* Denotes Members of Actors’ Equity Association, the Union of Professional Actors & Stage Managers in the United States.

BRADLEY J. THOMAS* Le Bret

(Alliance Theatre); Pseudolus in A Funny Thing Happened on the Way to the Forum (Pittsburgh Public Theater); Ed in The Curious Incident of the Dog in the Night-Time (Repertory Theatre St. Louis and Cincinnati Playhouse in the Park); Luther Billis in South Pacific (Guthrie Theater); Squash in Victor/ Victoria (Theatre Under the Stars); Brian in Avenue Q (Arkansas Repertory Theatre); Charles Dickens/John Allan in The Completely Fictional-Utterly True-Final Strange Tale of Edgar Allan Poe, Bob Acres in The Rivals (Baltimore Center Stage); Amadeus, Ross in Macbeth (Chautauqua Theatre); Pap Finn in Big River, Frank Lubey in All My Sons, Lane/Merriman in The Importance of Being Earnest, Touchstone in As You Like It, Carl in Opus, Wickham in Pride and Prejudice, John Browdie/ Sir Mulberry Hawk in Nicholas Nickleby (PlayMakers Repertory Company). Film/TV: Ocean’s Eight, Ricki and the Flash, A Place Apart, Criminal Minds, among others. Education: MFA in Acting, UNC Chapel Hill. AEA Member jimmykieffer.com

SOLOMON LANGLEY

(U/S Le Bret) (He/Him) KCRep: debut. Local: The Tempest, Romeo and Juliet (Heart of America Shakespeare Festival). Regional: Choir Boy (Zeider’s American Dream Theater); A Soldier’s Play (The Virginia Arts Festival); The Wiz, The Tempest, A Christmas Carol (Virginia Stage Company). Educational: Topdog/Underdog, Fixing King John, TMFWTH, Thinner Than Water, Cymbeline (UMKC Conservatory); Once on This Island, Ruined, Fences (Norfolk State University Theatre Company). Education: BA in

Drama and Theatre, Norfolk State University; 3rd year MFA acting candidate at UMKC.

CRAIG MARCUS LINDSAY

(Ensemble) (He/Him) KCRep: The Royale. Regional: The Tempest (Virginia Stage Company); A Soldier’s Play (The Virginia Arts Festival). Local: Topdog/ Underdog, Fixing King John, The Motherfu**er with the Hat (UMKC). Educational: Gem of the Ocean, Once on This Island (Norfolk State University Theatre Company). Education: BA in Drama and Theatre, Norfolk State University; 3rd year MFA candidate, UMKC.

WILL PORTER

(Ensemble) (He/Him) Recent: Legally Blonde (Starlight).

KCRep: Peter Pan & Wendy. New York: Bells Are Ringing (Off-Broadway). National Tour: CATS, Bye Bye Birdie. Tokyo: A Chorus Line. Regional Favorites: Little Mermaid, All Shook Up (MUNY); How To Succeed (Theatre Under The Stars); HAIR (Berkshire Theatre Company); A Christmas Carol (McCarter Theatre); Shrek, Mary Poppins (North Shore Music Theatre); Spamalot, CATS (Pittsburgh CLO); Hello Dolly, A Christmas Story (Fulton Opera House); Little Shop of Horrors (New London Barn Playhouse); Hairspray (Florida Studio Theatre). UMKC: Fixing King John (Bishop), The 39 Steps (Hannay), Thinner Than Water (Gary), Cymbeline (Queen/ Guiderius). Education: 3rd year MFA candidate, UMKC.

CHRISTOPHER RIVAS

(Christian) (He/Him) KCRep: debut. New York: The Real James Bond… Was Dominican

(Geva Theatre Center, HERE).

Regional: Seven Spots on the Sun (The Theatre @Boston Court and Rattlestick Playwright Theater, Boston Court Performing Arts Center). Pang! (world premiere, Studio 501 UCLA Little Theater), Legion Arts, Cedar Rapids, Miami Light Project; OZ 2.5 (South Coast Repertory Theatre for Young Audiences, South Coast Repertory Julianne Argyros Theater); Villon (Padua Playwrights Productions, Odyssey Theatre Los Angeles, world premiere; Death of a Salesman (Stanley, South Coast Repertory Theatre, Segerstrom Stage); The Assassination of Leon Trotsky: A Comedy (Theatre Planners, Odyssey Theatre Los Angeles, world premiere); Rituals: A Bacchanalia 2013 (The Vagrancy Casa 0101, Los Angeles); Helen (Playwrights’ Arena, The Barbara and Lawrence Fleischman Theater at the Getty Villa); Songs of Bilitis (Rogue Artists Ensemble, The Barbara and Lawrence Fleischman Theater at the Getty Villa); Camino Real (The Theatre @ Boston Court, California Institute of the Arts, Boston Court Performing Arts Center Pasadena); Langston & Nicolás (Young Nicholás Guillén, Towne Street Theatre, The Stella Adler Theatre Hollywood). TV: Call Me Kat (Fox). Rivas recently released his debut book Brown Enough and podcasts with SiriusXM’s Stitcher: Brown Enough and Rubirosa AEA Member ChristopherRivas.com.

EILEEN RIVERA

(Leila Ragueneau) (She/Her)

KCRep: Twelfth Night. Regional: Tiger Style! (TheatreSquared in NW Arkansas and Olney

Paris, which presented four of his works in their 2006 season, including his first text for opera, Into the Little Hill, written for George Benjamin. His second collaborationwith Benjamin, Written on Skin, had its world premiere at the Aix-enProvence Festival in 2012, and the third, Lessons in Love and Violence, opened at London’s Royal Opera House in 2018. In 2020 he was awarded the Nyssen-Bansemer Theatre Prize.

NELSON T. EUSEBIO III (Director/Casting) (He/Him)

Nelson T. Eusebio III is the Associate Artistic Director of Kansas City Repertory and is thrilled to be the first Asian American to direct a production of Cyrano de Bergerac. Nelson is also a freelance director, producer, and award-winning filmmaker. He has directed and developed work at theaters throughout the country, including the Public Theater/ NYSF, Oregon Shakespeare Festival, Baltimore Center Stage, Westport Country Playhouse, The Old Globe, and St. Louis Repertory Theatre. Nelson has been a resident artist at Ensemble Studio Theatre, Target Margin Theatre Institute, and Mabou Mines. He is a member of the Society of Stage Directors & Choreographers, Lincoln Center Directors Lab, and the Rhodopi International Theatre Collective. Nelson was a recipient of the 2009-11 NEA/TCG Career Development Program for Directors, and the Phil Killian Directing Fellowship at the Oregon Shakespeare Festival. nelsoneusebio.com

RIW RAKKULCHON

(Scenic Design) KCRep: debut. Regional (selected): The XIXTH (The Old Globe); The Mousetrap (Hartford Stage); Clyde's (George Street Playhouse); Eureka Day (Asolo Rep); Twelfth Night (Yale Repertory Theatre); “Master Harold” ...and the Boys (Syracuse Stage); Slashes of Light (The Kitchen Theatre with Civic Ensemble Ithaca). Associate Set Design (selected): Parade (Broadway, New York City Center); &Juliet and Pass Over (Broadway); Long Day's Journey Into Night (Off-Broadway, Audible Theatre); Trevor: The Musical (Off-Broadway, Disney+). Upcoming: Cinderella (Drury Lane Theatre); Christmas Carol (Maltz Jupiter); Mexedous (Baltimore Center Stage); Angel Island (Brooklyn Academy of Music). Riw is a scenic designer from Bangkok, Thailand. Education: BFA in Theatrical Production Arts, Ithaca College; MFA, Yale School of Drama. Affiliations: United Scenic Artists USA-829. IG @ riwrdesign riwrdesign.com

PAUL KIM

(Costume Design) (He/Him)

KCRep: Flood, Ms. Holmes & Ms. Watson – Apt. 2B. Selected Credits: Mad Forest (OU University Theatre); EthiopianAmerica (Definition Theatre); Fast Food Chain (Adventure Stage); FLIES! THE MUSICAL! (Pride Films and Plays); The Explorers Club, Sex with Strangers, Scrooge and the Ghostly Spirits, Light Up the Sky (Citadel Theatre); Assassins, Dontrell Who Kissed the Sea, The Grapes of Wrath, 1984 (Illinois Theatre); Shakin’ The Mess Outta Misery (Pegasus Theatre); The Light in the Piazza (Lyric @ Illinois). Associate

Costume Designer: for colored girls who have considered suicide/ when the rainbow is enuf (Court Theatre). Assistant Costume Designer: Sense and Sensibility (American Players Theatre); Blood Ride (RabbitBandini Productions, Film); Thaddeus and Slocum (Lookingglass Theatre). Awards: Jeff Equity Award – Costume Design

Midsize; KCACTF Doug Getzoff Award; KCACTF

Region III National Playwriting Program, Ten Minute Play Festival Finalist; USITT SW Certificate of Excellence in Costume Design; Focal Press Rafael Jaen Showcase Award. Education: MFA in Costume Design, University of Illinois Urbana- Champaign; BFA in Drama-Theatre Costume Design, University of Oklahoma. pbawuk.com

MARIE YOKOYAMA

(Lighting Design) (She/Her)

KCRep: debut. Off-Broadway: Do You Feel Anger (Vineyard).

Regional: Kim’s Convenience (Westport County Playhouse, Theatre Squared); Mystery of Irma Vep (St. Louis Repertory Theatre); Rinaldo (Minnesota Opera); La Bohème (Music Academy West); note to a friend (Tokyo Bunkakaikan); Searching for Mr. Moon (Portland Stage); Testmatch (American Conservatory Theater San Francisco); Tiny Beautiful Things (Merrimack Repertory Theatre); Pillowtalk (Kyoung's Pacific Beats); Macbeth, Fences, God of Carnage, On Golden Pond, By the Way Meet Vera Stark, Angel’s in America Part I (Redhouse Arts Center). Upcoming: Madame Butterfly (Virginia Opera); Orphée et Eurydice (University of Michigan). Affiliations:

A Tale of Two Cities OffBroadway: White Noise; Measure for Measure, The Vagrant Trilogy, Troilus and Cressida (The Public Theatre); What the End Will Be (Roundabout); Blues for an Alabama Sky, This Space Between Us (Keen Co); Peerless, Harbour (Primary Stages). Regional: Yale Repertory Theatre, Westport Country Playhouse, Goodspeed Musicals, Paper Mill Playhouse, Asolo Rep, The Old Globe, TheaterWorks (Hartford), Princeton University, The Acting Company, Soho Rep, The Geffen Playhouse, Long Wharf Theatre, McCarter Theatre, Carnegie Mellon University, and others. Other: Resident Fight and Intimacy Director for Yale Rep, Lecturer in Acting and Stage Management at David Geffen School of Drama, The Combat and Intimacy Supervisor for Yale College. Nominated for a 2017 Drama Desk Award for his work on Troilus and Cressida for The Public Theater. Upcoming: Bones (People's Light), Sally and Tom (The Public Theater).

JZ CASTING

GEOFF JOSSELLSON, CSA

KATJA ZAROLINSKI, CSA

(New York Casting) Geoff Josselson, CSA and Katja Zarolinski, CSA are New York-based casting directors, handling productions for theatre, film and television. Recent work includes productions for Arena Stage, Actors Theatre of Louisville, Baltimore Center Stage, Cape Playhouse, Denver Center, The Irish Repertory Theatre, Merrimack Rep, Oregon Shakespeare Festival, Paper Mill Playhouse, Pittsburgh CLO, Pittsburgh Public Theatre, Repertory Theatre of St.

Louis, Round House Theatre, Seattle Repertory Theatre, Theaterworks Hartford, Weston Playhouse. jz-casting.com

ANDI MEYER

(Kansas City Casting) (She/ Her) Based in Osage/Kikapoo/ Kansa/Sioux/Otoe Missourria ancestral territory (Kansas City), Andi is an award-winning Kanaka Maoli/Asian American theatre maker/activist, arts educator, and parent. She is the Producing Artistic Director of Tradewind Arts, a boutique arts organization devoted to illuminating, motivating, and amplifying the voice of Native Hawaiian, Oceanic, and Asian American artists. Andi was a 2017-18 Charlotte Street Foundation (CSF) Studio Resident. Her work has been recognized with support from ArtsKC, TCG, Asian Arts Initiative, The Kauffman Foundation, Charlotte Street Foundation, JOCO libraries, InterUrban ArtHouse, and the Dramatists Guild Fund, as well as two NEA award winning projects in partnership with The Coterie Theatre including Hana’s Suitcase and the upcoming Justice at War. Andi has appeared in productions at The Unicorn Theatre, The New Theatre, The Coterie, The Kansas City Repertory Theatre, Disney’s Spirit of Aloha, with voice and on-camera clients including Hallmark, H&R Block, Sprint, and McDonald’s.

AEA Member

RACHEL M. DYER

(Production Stage Manager)

(She/Her) KCRep: Production Stage Manager: Flood, Twelfth Night, Brother Toad, Man In Love, Lot’s Wife. Assistant Stage

Manager: Peter Pan and Wendy, The Old Man and the Old Moon, Ms. Holmes & Ms. Watson Apt. 2B, A Christmas Carol (2021, 2022 and 2014-2019). Mary’s Wedding, Ghost Light 2021, Fun Home, Cat On A Hot Tin Roof, Pride & Prejudice, Last Days of Summer, The Curious Incident of the Dog in the Night-Time, Between the Lines, Side by Side by Sondheim, Evita, The Diary of Anne Frank, Sunday in the Park with George, Hair: Retrospective, An Iliad. Head Production

Assistant: Vanya and Sonia and Masha and Spike, Romeo and Juliet, The Foreigner, The Living Room Theatre’s production of Carousel, Death of a Salesman, Mystery of Irma Vep; Production

Assistant: Little Shop of Horrors, Great Immensity (world premiere). Local: Romeo & Juliet (Production Stage Manager, Heart of America Shakespeare Festival); Morning’s at Seven (Production Stage Manager, Kansas City Actors Theatre); High School Musical, The Wedding Singer, The Wizard of Oz (Assistant Lighting Designer, Shawnee Mission Theatre in the Park). Education: BS in Theatre Design and Technology, Northwest Missouri State University. AEA Member

JORDAN CANON-KRUIS

(Assistant Stage Manager)

KCRep: Peter Pan and Wendy, Flood, A Christmas Carol, Twelfth Night, The Royale, What Would Crazy Horse Do?, Fire in Dreamland, Constellations, The Invisible Hand Local: Doctor Dolittle (Coterie Theatre).

Regional: Noir, Describe the Night, 1984, Quixote Nuevo, Quack, Skeleton Crew, Murder on the Orient Express, Satchmo at the Waldorf, A Christmas Carol (Alley Theatre, Houston);

CYRANO de BERGERAC COMPANY

Joseph and the Amazing Technicolor Dreamcoat, Legally Blonde (Lees-McRay Summer Theatre); Hairspray, Smokey Joe’s Cafe (Hope Repertory Theatre). Education: BA in Theatre Arts, New Mexico State University; MFA in Theatre Design and Technology – Stage Management, UMKC. AEA Member

CONCORD THEATRICALS

(Licensor) Concord Theatricals is the world’s most significant theatrical company, comprising the catalogs of R&H Theatricals, Samuel

French, Tams-Witmark and The Andrew Lloyd Webber Collection, plus dozens of new signings each year. Our unparalleled roster includes the work of Irving Berlin, Agatha Christie, George & Ira Gershwin, Marvin Hamlisch, Lorraine Hansberry, Kander & Ebb, Kitt & Yorkey, Ken Ludwig, Lin-Manuel Miranda, Dominique Morisseau, Cole Porter, Rodgers & Hammerstein, Thornton Wilder and August Wilson. We are the only firm providing truly comprehensive services to the creators and producers of plays and musicals, including

theatrical licensing, music publishing, script publishing, cast recording and firstclass production. Concord Theatricals is passionate about cultivating theatre and making it accessible for all. Beginning in 2020, a portion of our commission from every license will be set aside to create a fund for significant annual donations to nonprofit organizations whose emphasis is to support theatre writers and composers, and music and theatre education. With offices in New York, London and Berlin, we have the most expert staffers in the industry.

By HEIDI SCHRECK

OCT 24 thru NOV 12

4th annual haunted night of songs and stories from kc's cultural crossroads rsvp

CORCORAN

Directed by AMY ANDERS

spencer theatre

STUART CARDEN

(Artistic Director) (He/Him) is in his fifth season as Artistic Director of KCRep. An arts leader, director, deviser, producer, educator and new play specialist, Stuart has worked across the United States building new plays, ensemble generated projects, reimagined classics, multidisciplinary performance, and actormusician driven theatrical storytelling. Including creating theatrical experiences with The Old Globe, Lyric Opera of Chicago, The Goodman Theatre, Lookingglass Theatre, Actors Theatre of Louisville, The Second City, New Victory Theatre, Williamstown Theatre Festival, Silk Road Rising, Victory Gardens, People’s Light, Northlight Theatre, The Repertory Theatre of St. Louis, ArtsEmerson, The Wallis Annenberg Center, Philadelphia Theatre Company, Chicago Children’s Theatre, Virgin Voyages and PigPen Theatre Co. He is a member of the Society for Stage Directors and Choreographers and represented by Beth Blickers and the Agency for Performing

Arts. Stuart is married to public art curator Neysa PageLieberman and dad to elevenyear-old twins, Dashiell and Griffin.

ANGELA LEE GIERAS

(Executive Director) (She/Her) is in her eleventh season leading KCRep’s business operations. She co-leads with the artistic director to fulfill the company’s artistic vision and mission. She is a performing arts leader, executive coach, strategist, and fundraiser. During her career, she has overseen the production of over 55 plays including thirteen world premieres with three artistic directors. A former commercial banker, Gieras began her career in theatre administration at the Warehouse Theatre in Greenville, South Carolina, and went on to serve as the associate managing director of the Dallas Theater Center, where she led finance and operations and oversaw the acquisition of a new production facility. Just prior to joining KCRep, she served as director of development at Florida Theatre in Jacksonville, where

she executed fundraising strategies that nearly doubled annual giving in three years. Gieras earned an MBA and MA in arts administration from Southern Methodist University (SMU) in Dallas and a BS in finance with a minor in theatre from the University of Florida. She has guest lectured at the University of Florida, Southern Methodist University and at the University of Missouri-Kansas City. Ms. Gieras actively serves the national theatre field. She is frequent guest and speaker on podcasts and webinars about theatre, leadership, and change management. She serves on the board of directors for the League of Resident Theatres (LORT), is the Treasurer of the board for Theatre Communications Group (TCG) and is a past co-chair of the LORT Equity, Diversity, and Inclusion Committee and the Nominating Committees. She has served as a panelist for the NEA, and the Alumni Board for SMU’s Cox School of Business. She is a founding board member for Theatre Alliance of Kansas City (TAKC) and a past member of the Executive Women’s Leadership Council at the KC Chamber. Angela is married to mortgage banker, John Gieras, and is mom to daughter Brett Lee Gieras, who is a freshman in college.

STUDENTS & EDUCATION

“This is the first time that I have ever gotten to see professional actors in a professional theatre, and it was AWESOME! I have never experienced anything like this before.” — Student response, Twelfth Night

“I absolutely loved it! Especially the storyline with the three powerful women and how Wendy was interested in the sciences. ”

— Student response, Peter Pan and Wendy

“SYTE taught me, and is still teaching me, amazing skills for the acting world and the social world in general. It’s a very interactive and fun experience from Day One.”

— SYTE High School Student

“The past two years of SYTE have been such a light in my life. The opportunity to create and share a fullyformed theatrical piece was nothing short of transformative. It gave me a voice.”

—Summer Youth Theatre Ensemble Member

“[the ripple, the wave that carried me home} was so gorgeous and meaningful to me. I’m also inspired by the playwright, Christina Anderson, who went to my school.” — Schlagle High School Student

EDUCATION

SUMMER YOUTH THEATRE ENSEMBLE

‘22 triumphed with their original play, ROOMMATES: A NEW SITCOM. Led by our terrific teaching artists and supported by KCRep staff, the play was created in 20 days by talented teens from across the city. The free four-week session highlights creative and life skills through theatre while generating bold imaginations and inspiring fearless teamwork as creativity soars in our rehearsal hall.

The energy of SYTE 22, a depth project, broadened into the Student Matinee Series, which was attended by over 6,500 students from 97 schools. Over 60% stayed for a post-show Q & A. The theatre shook with the applause from our smart and responsive young audiences and it was inspiring to hear.

Pause for a moment and imagine the value of a live theatre experience for a young person today. Imagine turning your gaze away from a screen and feel the joy that self-expression, confidence, learning and losing yourself in a live story can be at that age, as a creator or an audience member. Or imagine finding yourself in a live play with actors that look like you. Imagine this as you are evolving into who you will be. Inspiring. Our spaces are filled with that joy all year. And earns KCRep best field trip of the year!

To support our programs, learn more or schedule an in-school workshop or matinee, contact Melinda, Director of Education, at mccrarym@kcrep.org.

Photo Credits (Clockwise from top): Don Ipock, Kelly Michale; Don Ipock; Carolyn Wilson.

- Dwight D. Eisenhower

"The art challenges the technology, and the technology inspires the art."

- John Lasseter

MORE THAN JUST A STAGE

FOR SIX DECADES,

KCRep supporters have helped to inspire, entertain, and connect the people of our vibrant community by making the life-changing power of live theatre accessible to all — both onstage and off. Here are just a few ways that you help to make Kansas City Repertory Theatre more than just a stage:

PRODUCTIONS, PERFORMANCE OPPORTUNITIES, & WORKSHOPS FOR STUDENTS

• Student Matinees

• Summer Youth Theatre

Ensemble (SYTE)

• Rep On The Road

COMMUNITY ENGAGEMENT

• GHOST LIGHT: A Haunted Night of Songs & Stories from KC’s Crossroads

• KCRep For All Community Tour

Discover transformative productions and programs at KCRep.org!

STAGE — Because of YOU!

DONATE TO SUPPORT KCREP TODAY!

Help foster wonder, curiosity, and understanding with a donation to KCRep during our 60TH ANNIVERSARY SEASON!

WAYS TO GIVE CLICK KCRep.org/support-us CALL 816.235.6106

MAIL KCRep, 4825 Troost Ave Suite 101 KCMO 64110-2030

Make Your Giving Go Further Gifts of Stock

IRA Charitable Rollovers

Planned & Estate Gifts

Corporate Matching Gifts

Kushi Beauchamp (l) and Harrison Bryan in KCRep’s 2023 production of PETER PAN AND WENDY. Photo: Don Ipock

When Stanislav loudenitch first started the Park International Center for Music, he began with a simple concept. Find exceptional music teachers, and give them the time, tools, focus, and dedication needed to transform exceptional students into masters themselves. An internationally-recognized Van Cliburn gold medalist, Ioudenitch assembled a team that shared his world-class skills and his passion for teaching. Other outstanding programs have great master instructors. But no other American conservatory lets those masters devote the time to their students like they do at Park ICM. Not even storied programs like Juilliard, Curtis, or Eastman.

Come experience the birth of our international stars. Visit ICM.PARK.EDU for our concert schedule today.

“These featured soloists from Park University’s International Center for Music represent not only the quality of performance in Kansas City, but the future of it, too.”

– THE KANSAS CITY STAR

$500 - $999

(continued)

George & Lisa Shadid *

Stan & Linda Shipman

Juliette & Ian Singer

T. J. & Willard Snyder

Brad & Gisele Sprong

Kitty Steffens

Greg Thurman & Don White

William & Nancy Topper *

Rev. Paul Turner *

Deb & Paul Turpin

Leeann & Mark Van Dyne

Barbara McMahon & Dennis Varble

Michelle & Cornell Webb

Diane & Roy Whitley *

Amy S. Winterscheidt

Debra S. Wood

Henry E. Wurst Family Foundation*

$250 - $499

Aloft Leawood-Overl & Park (in-kind)

Kathy Anderson Anonymous

Sara Anthony

Arvest Bank

Avek IP

Diane & Steve Azorsky

Debby & Gary Ballard

Sarah & James Barrows

Nancy Bean

Mary & Tom Bloch

Fred & Cindy Bodker

Dan & Jobeth Bradbury

Sue & George Brandt

Connor & Kara Brooks

Jerry & Meghan Carpenter

Arden & Mary Ann Carr *

Amy & Michael Castillo

James & Linda Cole

Sarah & Clayton Cook *

Don & Pat Dagenais

Dana & Bill Dunaway

Durkee Family Foundation *

Angie & Scott Eck

Douglas & Chris Fain

SuEllen Fried

Bernie Fromm

Jeff & Rhonda Fromm

Scott Giffen

Dr. James & Christine Morgan Glenski

Ronald & Susan Goldsmith

Philanthropic Fund

Grant Family Fund

Doreen & Norman Greczyn

Rishelle Greenlee

Don Grodecki & Cheryl Ricke

Allen & Gail Gutovitz

Charitable Fund

Desarae Harrah

Nancy Harrison

Joan L. Hartung

CONTRIBUTORS

Liz & T.J. Hawks

Bill Herdegen

Bill & Irma Lou Hirsch *

Mary & Eric Honour

Blair & Lyn Hosford *

Jay Howard

Justin Howard

Grace L. Hudson

Rita & Mark Hyde

Lance & Pat Jessee

Gary Neal Johnson & Lynne Beachner

Victoria Kandt

Stephen & Rachel Kropp

Jim Kustman

Maurine Lenahan

Marilyn & Bruce Lowrey

Debra & John Mahoney

P. Alan McDermott *

Sue McKee

Alan & Judy Michelson

Joe Morris & Kelly Harmon

Kathleen & Justin Nemechek

Network for Good

Carl & Pam Nitsche / Nitsche DAF

Jane & Charles Olsen

Aaron Osborne & Ashlee Parker

Wanda R. Perkins

Carolyn Phelps

Mary Ann Pinkerton

Maggie Presson *

Mike & Usha Rafferty

Rick & Tanya Ratliff

* Shooting Stars — Donors of 10 or more consecutive years

Reed Insurance & Financial Services, Inc.

Cindy Reynolds

Anne & Charles Rhoades

Charles & Cristine Roberts *

Paula & Jack Rowe

James & Kathy Sear *

Michelle & Darin Shank

Rosemarie Skivers

Elsie Smith *

Vicki & Thomas Smith

Gretchen & Jack Steadman

Adam & Sara Stein

Dr. Joy Stevenson

Amy & Jason Stubbs

Johnna Thomas

Russ & Maralee Thompson

Mark Thornhill & Maria Donigan

Linda S. Trout

Ratana & Oscar Tshibanda

Marcia Valera

David & Marie Voysey

Christine Waldschmidt

Sara Welsch

Michele & John Wilinski *

Elizabeth Hartley Winetroub

Geri Wise

Pam & Bill Wishon

Michael Wright & Christa Cavanaugh *

Judy Yi

Damon & Patricia Yurchak

Cathy Zitnik

Thank you to all of those who support KCRep with charitable donations via funds at the Greater Kansas City Community Foundation, Jewish Community Foundation of Greater Kansas City and United Way of Greater Kansas City, as well as other donor advised fund entities and programs. For a complete list of Friends of KCRep ($100+), please visit KCRep.org/contributors

GIFTS IN HONOR & MEMORY

In Memory of LAURA LANGHAUSER ADAMS from Rev. Susan Langhauser

In Memory of BRITA HOROWITZ from Marsha S. Pinson

In Honor of DOROTHEA & NATHAN JAGODA from the Jagoda Family Foundation

In Honor of the KCREP FOR ALL INITIATIVE from Melinda Morris Kearney

In Memory of CANDIS LOCHMAN from Jo Ann Sullivan

In Memory of WILLIAM LYNN from Paula Laverentz

In Memory of WILLIAM LYNN from George W. Rebeck

In Memory of MAXINE MEFFORD from The Sinrud Family

In Memory of CHRISTINA OBENSHAIN from KCRep Staff

In Honor of LAINNEY OBENSHAIN from KCRep Staff

In Honor of Gala Chairs

DRS. BENJAMIN & JESSICA STONE from Katherine & James Schorgl

In Honor of Gala Chairs

DRS. BENJAMIN & JESSICA STONE from Juliette & Ian Singer

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