Folly Theater 2023-2024

2023/2024 Season

BETTE SMITH – AMERICANA

SEPTEMBER 30 AT 8PM

SAMARA JOY – JAZZ

OCTOBER 14 AT 8PM

MARIACHI LAS ALTEÑAS – AMERICANA

OCTOBER 15 AT 5PM

ALEXA TARANTINO QUARTET – JAZZ

NOVEMBER 11 AT 8PM

THE HOT SARDINES – JAZZ

JANUARY 27 AT 8PM

MARTY STUART AND HIS FABULOUS SUPERLATIVES – AMERICANA

FEBRUARY 23 AT 8PM

DIANE SCHUUR – JAZZ

FEBRUARY 24 AT 8PM

NORMAN BROWN – JAZZ

MARCH 9 AT 8PM

PHOEBE HUNT – AMERICANA

MARCH 16 AT 8PM

MATTHEW WHITAKER QUINTET – JAZZ

APRIL 6 AT 8PM

ALEX CUBA – AMERICANA

APRIL 27 AT 8PM

Thank You

The Folly Jazz Series is made possible through generous support from:

The Folly Americana Series is made possible through generous support from:

This project* is supported in part by the City of Kansas City, Missouri Neighborhood Tourist Development Fund

RICHARD J. STERN FOUNDATION FOR THE ARTS, COMMERCE BANK, TRUSTEE

THE ESTATE OF JOAN HUBBARD

THE ESTATE OF JOAN HUBBARD

This project* is supported in part by the City of Kansas City, Missouri Neighborhood Tourist Development Fund

DEAR FOLLY FRIEND,

WELCOME, and thanks for joining us in North America’s 2023 Outstanding Historic Theater, as awarded by the League of Historic American Theaters!

The Folly Theater first opened her doors on September 23, 1900, then under the name The Standard Theater. Our history has been exciting and complex, as many institutions this age are. I am hopeful you will take a moment to read the timeline and “Imperfect History” narrative found later in this book. Through good times and bad, the Grand Lady of 12th Street has stood as a shining beacon of live entertainment on the corner of 12th and Central. (Literally. Have you see the light bulb-encrusted ball on our roof?)

As we continue writing our history, the Folly is committed to being a place that welcomes everyone. You belong here, in this Kansas City treasure. It is my intention and hope that, no matter who you are or what your background is, our programming fosters a community where you find yourself represented both on our stage and in our seats.

In addition to the diverse, world-class Jazz and Americana artists you’ll find in this program, we also proudly present our education-enriching Kids’ Series. And this year I am thrilled the Folly has commissioned a new choral work to be presented on the Series in May 2024: My Shadow Is Pink. This world premiere performance, a collaboration with Heartland Men’s Chorus, celebrates the power of finding, accepting, and loving your own voice and what makes you special.

We could not do this work without the generous support of our subscribers and donors. Thank you for helping us write the future of Kansas City performing arts. If you haven’t already, I invite you to sign your name to our history by making a contribution. The Folly Theater is a 501(c)3 organization, and donations are tax-deductible to the fullest extent allowed by law. A gift in any amount will have tremendous impact.

Thanks again for joining us. We’re honored you’ve chosen to enjoy great music in the Folly, our home. We look forward to seeing you again soon.

With appreciation,

RICK TRUMAN (he/him) Executive Director The Folly Theater

FIFTY YEARS AGO,

IN 1973, this beautiful theater that you are sitting in was slated for demolition to become a parking lot — a flat, paved lot with a singular purpose of temporarily storing empty vehicles. After seven decades of existence, the theater had devolved into redundancy for Kansas Citians and was not a viable venue where comedy and theater were experienced. Fortunately, thanks to the persistence of visionaries like Joan Kent Dillon and William Deramus III, it was not the Folly’s fate to be erased. From entertaining soldiers passing through Kansas City on their way to a second World War, to presenting performers like Gypsy Rose Lee in 1928 looking to begin a career, the Folly started out in many different forms, under many different names, and transitioned with the times: the Standard Theater housing burlesque and vaudeville performances; the Century Theater taking on theater productions; the Shubert Missouri Theater presenting acts on stage with the likes of Humphrey Bogart, Marx Brothers, and Shirley Booth; the Folly Burlesque providing entertainment to soldiers passing through Union Station; and dare we name it, a theater showing adult films on the stage in the late 1950s.

Why we gather – to laugh, to cry, to dream – is as important as where and how we gather. As our beloved city continues to evolve and we welcome new community members into the Greater KC region, the Folly will continue to be a sacred space where we come to celebrate the ebb and verve of life.

The Grand Lady of 12th Street continues to shine beyond 123 years of transformation. Despite her metamorphosis – or perhaps because of it – the Folly has endured thanks to the generosity of patrons like you who continue to see the value of celebrating the arts, and who recognize the importance of dedicating a communal space for connectedness and belonging.

On behalf of our Board of Directors, our Staff, and our Volunteer Corps, I thank you for choosing to preserve this historical treasure and for your ongoing support of the performing arts.

Your commitment helps the Folly endure and deliver programming that touches hearts and revitalizes our communities while paying tribute to the multitude of stories of being and becoming.

Thank you for being a part of the Grand Lady’s story.

With deep gratitude,

HOANG-ANH L. TRAN (she/her) President Folly Theater Board of Directors

SEPTEMBER 30 at 8pm

BETTE SMITH

CRITICALLY ACCLAIMED rock and soul singer Bette Smith traces elements of her life-affirming new album The Good, The Bad and The Bette to her childhood in rough Bedford-Stuyvesant, Brooklyn. Musically, it connects to the gospel music she heard in church and the soul music on the corners.

She remembers, “My father was a church choir director. I was singing since I was five years old. I take it to church. I just break out, start speaking in tongues.” She also heard gospel around the house every weekend. “My mother listened to nothing but gospel,” she recalls, citing Mahalia Jackson and Reverend James Cleveland. “Every Sunday morning, she would get up and put on these records while dressing and praising the Lord,” she says. Bed-Stuy block parties would also have revivalist-style gospel acts. “I’m steeped in it!” she adds.

This injection of soul music and gospel into rock & roll powered a breakout in 2017’s Jetlagger, which received raves from NPR, Paste, American Songwriter, Billboard, MOJO, and a feature in The New York Times. Not just a critics’ darling, the album rose to #1 on the Roots Music Report chart, and Smith topped off a banner year with a celebrated appearance at the Montreux Jazz Festival.

“It’s amazing, like a dream come true,” she says. “The fans are like family. I feel very loved. They are very present. I went through all of this so I could sing and now that I can sing I’m finding the love that I’ve been looking for all my life. It feels like a homecoming. It’s the same love in New York, Nashville, or Spain. When I sing these songs, it’s a connection of inner children. I’m singing to their inner child.”

Those are a bunch of rockin’ inner children, naturally.

“It’s amazing, like a dream come true.”

SAMARA

GRAMMY AWARD WINNER for both Best New Artist and Best Jazz Vocal Album in 2023. With her Verve Records debut, Linger Awhile, 23-year-old Samara Joy makes her case to join the likes of Sarah, Ella, and Billie as the next mononymous jazz singing sensation recorded by the venerable label. Her voice, rich and velvety yet precociously refined, has already earned her fans like Anita Baker and Regina King, appearances on the TODAY Show and millions of likes on TikTok — cementing her status as perhaps the first Gen Z jazz singing star. On Linger Awhile, Samara will introduce that massive audience to a slew of classic standards several times older than she is through her timeless, irresistible sound.

Joy is still relatively new to jazz. Growing up in the Bronx, it was music of the past — the music of her parents’ childhoods, as she puts it — that she listened to most. She treasures her musical lineage: her grandparents performed with Philadelphia gospel group the Savettes, and the lineage runs through her father, who toured with gospel artist Andraé Crouch.

Eventually, she followed in the family tradition, singing in church and then with the jazz band at Fordham High School for the Arts. That led to her enrolling in SUNY Purchase’s jazz studies program, where she fell deeply in love with the music.

Though she’s young, she relishes the process of digging through the music’s history and learning new standards. “I think maybe people connect with the fact that I’m not faking it, that I already feel embedded in it,” Samara says. The gatekeepers of the jazz world agree: in 2019, she won the Sarah Vaughan International Jazz Vocal Competition, and she’s since performed with legends like Christian McBride and Bill Charlap.

“I’m still very much a student, even though I’ve graduated,” Samara says. “So this is only the beginning… there is much, much more to come.”

“This is only the beginning.”

OCTOBER 15 at 5pm

MARIACHI LAS ALTEÑAS

AN ALL-WOMAN MARIACHI GROUP making waves across the United States. Their mission is to achieve excellence as musicians and performers and to raise the standards for women in mariachi music. Their name, Las Alteñas, is taken from the birthplace of mariachi music--Jalisco, Mexico. The higher region, Los Altos de Jalisco, is an area described as being near the top of the world, and fans say that’s exactly where Las Alteñas reside.

Directed by Valerie Vargas, Mariachi Las Alteñas consists of 10 members, with a complete instrumentation including five violins, two trumpets, a guitarron, vihuela, and guitar. Listeners are impressed with not only the group’s musicianship but also with their stage presence, and choreography plays a major role in the group’s performances. They don’t simply sing a song; they interpret the meaning and communicate that meaning to the audience. Their signature colorful Trajes de Charro (the attire of the cowboys of Jalisco), as well as their vocal harmonies, draw abundant crowds to their performances.

Celebrating 20 years as “Texas’ Finest Female Mariachi,” Las Alteñas is considered one of the genre’s premier all-woman groups, and they have built quite a name for themselves. In a predominantly male industry, Las Alteñas will change the way an audience thinks of mariachi music. They’re young, they’re driven—and with them, every night is ladies’ night.

Changing the way an audience thinks of mariachi music.

JAZZ SERIES

NOVEMBER 11 at 8pm

ALEXA TARANTINO QUARTET

AN AWARD-WINNING, VIBRANT, young jazz saxophonist, composer, and educator. She was recently named one of the “Top 5 Alto Saxophonists of 2019” by the JazzTimes Critics’ Poll and nominated as a “Rising Star - Alto Saxophone” by Downbeat Magazine’s 2020 and 2021 Critics’ Poll.

Currently residing in New York City, Tarantino leads the Alexa Tarantino Quartet, with whom she’ll perform at the Folly Theater. Her other recent projects include LSAT, the quintet that she co-leads with baritone saxophonist Lauren Sevian. In addition, Tarantino has enjoyed opportunities as an instrumentalist in musical theater, such as performing in The New Group’s Off-Broadway Production of Sweet Charity starring Sutton Foster and directed by Leigh Silverman. Prior to Sweet Charity, she spent a year with Maurice Hines and the DIVA Jazz Orchestra as part of Hines’ production Tappin’ Thru Life for the show’s runs in Delaware, Off-Broadway in New York City, and Philadelphia.

Tarantino holds a Master’s degree in Jazz Studies from The Juilliard School and Bachelor’s degrees in Jazz Saxophone Performance and Music Education from the Eastman School of Music. She is currently on the faculty for Jazz at Lincoln Center’s Youth Education Programs, and she directs one of their High School Jazz Academy big bands. She has also taken on a larger role in Jazz at Lincoln Center’s Jazz for Young People Program, bringing music to New York City schools.

Tarantino continues to visit colleges, high schools, and summer jazz programs across the globe virtually and in-person as a guest clinician, including the Rockport Jazz Workshop, of which she is Founder and Director.

“Alexa is a one-woman wrecking crew,” says Wynton Marsalis, Managing and Artistic Director of Jazz at Lincoln Center, “an indomitable force for expression, education, and absolute excellence.”

“An indomitable force for expression, education, and absolute excellence.”

JANUARY 27 at 8pm

THE HOT SARDINES

FOUNDED IN 2011 by Elizabeth Bougerol and Evan Palazzo over a mutual love of Fats Waller, the Hot Sardines skyrocketed from the wild underground parties of Brooklyn. Described by The New York Times as “potent and assured” and The Times of London as “simply phenomenal,” the Sardines have been touring their brand of reinvigorated classic jazz worldwide behind a string of celebrated albums and over 60 million digital streams.

This past August 4, The Hot Sardines released C’est La Vie, a bilingual affair of vintage jazz standards and originals, written by Bougerol and Palazzo. The title song, a Bossa nova original in French, is a timely ode to fully living each moment, even when you don’t know what the next will bring.  Unable to travel home in past years, Elizabeth spent time rediscovering and recording early French music, including the 1938 gypsy-jazz breezer “J’attendrai” (Dino Olivieri, Louis Poterat), the dark Django Reinhardt ballad “Si Tu Savais” (Georges Ulmer), and “I Wish You Love,” the 1942 standard by Charles Trenet and Léo Chauliac, with English lyrics by Albert Beach.

“We called our last album Welcome Home, Bon Voyage because we were literally always getting on a plane. We were so lucky to have that success, and we were finally able to reflect on it,” says Bougerol. Adds Palazzo, “So we said, what do we want to do now? It turned out we really wanted to write and record more music.” The pair focused on a stripped-down sound to record remotely, calling on collaborators from Los Angeles to Beijing, using very 21st-century technology to record songs written nearly 100 years ago.

The Hot Sardines will be touring throughout 2023-24, including a debut at Carnegie Hall on April 19, 2024, featuring special guest Alan Cumming.

“We were so lucky to have that success, and we were finally able to reflect on it.”

FEBRUARY 23 at 8pm

MARTY STUART and His Fabulous Superlatives

MARTY STUART HAS SPENT OVER FIVE DECADES captivating audiences with his heartfelt tunes, exceptional musical prowess, and unwavering dedication to the genre. Hailing from Philadelphia, Mississippi, he was born on September 30, 1958, and his journey from a small-town upbringing to a country music legend is a testament to his remarkable talents and enduring passion for music.

Marty’s affinity for music blossomed at a young age when he took it upon himself to master the mandolin and guitar. His remarkable musical talents quickly caught the attention of bluegrass legend Lester Flatt, who invited young Marty to join his band when he was just 13 years old. This early immersion into the world of professional music laid the cornerstone for an extraordinary career. By the late 1980s, Marty embarked on a solo career that would see him release a series of critically acclaimed albums. His unique fusion of traditional country, rockabilly, and honky-tonk, combined with his magnetic stage presence, rapidly endeared him to fans. Hits such as “Hillbilly Rock” and “Tempted” cemented his reputation as a formidable force in country music.

Marty’s contributions to the country music scene extend beyond performing. He is a prolific songwriter and producer, garnering numerous awards and recognitions throughout his career. His collaborations with country legends such as Johnny Cash, Travis Tritt, and Merle Haggard have left an indelible mark on the genre.

Marty’s commitment to conserving and advancing the roots of country music exemplifies his unwavering affection for the genre. As he continues to tour, create music, and inspire new generations of artists, Marty Stuart’s legacy in country music remains as vibrant and influential as ever. Through his timeless melodies and steadfast devotion, he has truly become a guardian of the heart and soul of country music.

“Marty Stuart’s legacy in country music remains as influential and vibrant as ever.”

FEBRUARY 24 at 8pm

DIANE SCHUUR

CONTEMPORARY JAZZ VOCALIST Diane Schuur is as eclectic as she is brilliant. Nicknamed “Deedles” as a child (her mother’s endearment), Tacomaborn Schuur grew up steeped in traditional American jazz, courtesy of her parents’ formidable record collection.

Dinah Washington is often listed as Schuur’s major vocal influence. Jazziz Magazine describes her approach as one that encompasses her whole lifetime of singing: “Schuur’s vocal chops move from little-girl innocence to bawdy-mama blues in a hair’s breadth, but always at the service of the song.” Schuur is also an accomplished pianist, accompanying herself onstage, whether leading her own small group, with big band or symphony orchestra.

Schuur captures the essence of Dinah Washington on her newest album, Running on Faith, with a reflective version of Washington’s well-known “This Bitter Earth.” With this project, the vocalist creates new versions of songs by performers ranging from Miles Davis to Carole King to Paul McCartney. According to the artist, “I’ve been focusing on the condition of our world and chose songs that make a statement about what is and also some songs of hope, about what can be.”

Schuur’s voice is bold and expressive, traversing a straight-ahead brand of jazz in her trademark style—simultaneously romantic and mischievous, radiating soulful passion. Schuur’s much-laureled career includes two GRAMMY Awards— each for Best Jazz Vocal Performance—for Timeless (1986) and Diane Schuur and The Count Basie Orchestra (1987).

Schuur’s music has explored almost every locale on the American musical landscape, and her studio collaborators—a who’s who of American originators in a plethora of styles—showcase her pitch-perfect execution and three-and-a-halfoctave vocal range. All About Jazz declares, “Schuur surely is among the very best jazz vocalists. Her mere presence is enough to make for a memorable evening.”

“Her mere presence is enough to make for a memorable evening.”

MARCH 9 at 8pm

NORMAN BROWN

THE JOY THAT EMANATES from guitarist Norman Brown while he is playing is palpable. The guitar is simply an extension of him. “I wish to be of service to my fellow men as I journey through life,” he explains. “I look upon my work as an opportunity to be overcome with joy and to make the most of it.  I want to inspire others to search inside themselves for the silver lining. We all have an opportunity to grow in gratitude for our lives and the blessings we have.”

With all of the accolades that Brown has amassed over the past three decades, including GRAMMY and Soul Train Music Awards, he has stayed the course for one reason. “Knowing that I’ve been commissioned by the Most High to channel a message of inspiration and motivation brings me happiness,” he says.

Born in Shreveport, Louisiana, and raised in Kansas City, Kansas, Brown has enjoyed a career longevity that is rare in this business. The Atlanta-based musician’s love affair with the guitar began at age eight. His technical wizardry, genre-bending facility, soulful finesse, and charisma have made him one of the most sought-after internationally-renowned musicians in Contemporary Jazz.

A musician’s musician, Brown has collaborated with everyone from George Benson, Brian McKnight, Kirk Whalum, and Miki Howard to Jeff Lorber, Gerald Albright, Rick Braun, Peabo Bryson, and Chanté Moore, to name a few. In March 2022, Shanachie Entertainment released Norman Brown’s 13th recording as a leader and fourth for the label, Let’s Get Away.

Brown’s own take on the perfect getaway involves “A joyful and peaceful mental state, surrounded by companionship in an atmosphere of inspiration and beauty that is illustrated by the colors of nature.” Let’s Get Away conjures the serenity, joy, and beauty that Brown wishes for us all.

“I want to inspire others to search inside themselves for the silver lining.”

MARCH 16 at 8pm

PHOEBE HUNT

DRAWING FROM THIRTY YEARS spent studying the violin/fiddle, Phoebe Hunt weaves her classical upbringing with Appalachian Old Time, Texas Swing, and a maturity of songwriting that creates an unfiltered, raw expression dripping with vulnerability.

It didn’t happen all at once. Her journey has taken her through myriad musical styles, beginning when Hunt was six years old. Through middle and high school she was a member of the Austin (Texas) Youth Orchestra, graduating as the concertmistress of the ensemble her senior year, when she was asked to perform Max Bruch’s Violin Concerto No. 1 in G minor, Op. 26 as a soloist.

In college at the University of Texas, Hunt joined a folk trio, The Hudsons, performing every Thursday night for four years. Hunt continued exploring the fiddle landscape when she attended the Mark O’Connor Fiddle Camp in San Diego in 2007, where she began to sink her bow into Texas Swing, Gypsy Jazz and improvisation.

When she graduated, a young band from New Orleans approached her to be their fiddle player, and what emerged was four years of heavy touring as a member of The Belleville Outfit. Hunt began to develop a love for songwriting during this time, and she was invited to record her first solo EP with producer Matt Rollings. In the next eight years, she released four additional full-length albums under the name Phoebe Hunt & The Gatherers.

Her songwriting path led her to explore other ways to give back, establishing the non-profit Fuel Our Fire, offering transformational songwriting experiences for at-risk communities, where she discovered that songwriting, at its foundation, can be used for healing.

Her latest release, Nothing Else Matters, was released this year, and it reflects Hunt’s range of experience. She’s spent those thirty years gathering, and now she’s giving back.

“Songwriting, at its foundation, can be used for healing.”

Get ready to groove as we celebrate the icons of male pop music! From Elton John to George Michael, Michael Jackson to Prince, our show will transport you through the evolution of pop over the decades. With powerful ballads, infectious dance beats, and unforgettable melodies, Princes of Pop is a nostalgic journey that pays tribute to the music that has shaped us all.

Step into the spotlight of the most fabulous holiday extravaganza ever! Join us as 125 singing contestants compete for the coveted crown, taking you on a theatrical journey through eclectic holiday favorites. With stunning vocal performances, high-energy dance numbers, and a heartwarming message, A Very Merry Christmas Pageant is a must-see event that will fill you with the festive spirit.

Just in time for PRIDE, we’ll take you on a musical journey through the spirit of activism and fight for equality. Through powerful storytelling and moving performances, we celebrate the inspiring individuals who have paved the way for a world of love and acceptance. From the Civil Rights Movement to the ongoing fight for LGBTQ+ rights, Rise Up! showcases music that empowers us to stand up for justice and equality.

HEARTLAND MEN’S CHORUS | 2023-2024 SEASON

The newly restyled Kansas City Marriott Downtown offers sleek conveniences like onsite parking, superb food and beverage offerings, and luxurious guest rooms –just steps away from the area’s prominent destinations and theaters. Extend your evening and be uniquely entertained by Kansas City’s largest indoor video wall in BarCentral or at the new VOO Lounge+Piano Bar.

APRIL 6 at 8pm

MATTHEW WHITAKER QUINTET

BORN IN 2001 IN HACKENSACK, NEW JERSEY, Matthew Whitaker grew up surrounded by music. His love for playing music first began at the young age of three after his grandfather gave him a small Yamaha keyboard.

At nine, Whitaker began teaching himself how to play the Hammond B3 organ. Four years later, he became the youngest artist to be endorsed by Hammond in its 80+ year history. He was also named a Yamaha Artist at 15, becoming the youngest musician to join the stellar group of jazz pianists.

Whitaker has performed on world-renowned stages, including Lincoln Center for the Performing Arts, the Apollo Theater, Carnegie Hall, and Jazz at Lincoln Center. He’s also performed at international venues in France, Italy, Germany, Indonesia, the UK, Australia, Japan, Spain, Morocco, and South Korea.

In 2010, Whitaker was a winning participant in the “Child Stars of Tomorrow” competition as part of Amateur Night at the Apollo. A year later, at just ten years old, he was invited to perform at Stevie Wonder’s induction into the Apollo Theater’s Hall of Fame. He returned to the Apollo for FOX TV’s revival of Showtime at the Apollo in 2016, where he won the audience over with his rendition of Stevie Wonder’s classic “I Wish.”

Whitaker has been on national and international radio and television, including the Today Show documentary series Boys Changing the World, The Harry Connick, Jr. Show, an appearance on the syndicated TV talk show Ellen, and a segment on the most-watched news magazine on television, 60 Minutes

According to Marion J. Caffey, producer of Amateur Night at the Apollo, “As a composer, arranger, and musician, Matthew Whitaker is beyond his years and focused on sharing his gifts and joy with the world. Enjoy, with the knowledge that there is more to come.”

“Matthew Whitaker is beyond his years and focused on sharing his gifts and joy with the world.”

APRIL 27 at 8pm

ALEX CUBA

ALEX CUBA IS A GRAMMY, Latin GRAMMY, and Juno winning singersongwriter/producer and musician, born Alexis Puentes in Artemisa, Cuba. He was immersed in music at a very young age, joining his father’s (guitarist and teacher Valentin Puentes) group of 24 guitarists. Alex went on to study electric and upright bass, touring and recording nationally and internationally. His sound is the unique confluence of tradition and global influences in articulate arrangements that convey emotions through melody and lyric. In 2022 he won a GRAMMY for Best Latin Pop for Mendó as producer, artist, and engineer.

In 1999, Alex moved to Victoria, Canada, where he recorded an album, Morumba Cubana, alongside his twin brother Adonis, as The Puentes Brothers. Alex went on to record his solo debut album Humo De Tobaco in which earned him a Juno award for “World Music Album of the Year” in 2006. Followed by Agua Del Pozo, in 2007 which also earned him another Juno award for “World Music Album of the Year” in 2008. From there, Alex released his third album, a self-titled project Alex Cuba in 2009. The album features his first ever English track titled “If You Give Me Love”. In 2010, Alex took home the award for “Best New Artist” at the 2010 Latin GRAMMY Awards.

In 2012, Alex released his fourth album Ruido En El Sistema, a year which Alex received his second Socan Hagood Hardy Award for outstanding achievement in Jazz and World Music. He also won his second Latin GRAMMY Award – this time as a songwriter, alongside co-writer Yoel Henriquez received the award for Best Tropical Song for the Milly Quezada’s single, “Toma Mi Vida” feat. Juan Luis Guerra. In 2013, he again brought home a Latin GRAMMY for the video “Eres Tu.”

Alex Cuba’s 5th studio album, Healer, also won him a Latin GRAMMY for “Best Singer-Songwriter”. In 2017, Alex completed his 6th album, Lo Unico Constante In 2019 Alex Cuba embarked on a completely self-produced collection of songs. In 2021, Alex began recording at home and added recording engineer to his credits along side musician, singer-songwriter, producer.

His musical evolution for years was all about searching for the simplicity and soul in Cuban music – taking apart the complex arrangements, mixing it with North American influences, adopting the melodic simplicity of pop music, looking to Cuban folk traditions for inspiration – he’s always exploring, always creating something fresh and new, and always, it seems, getting it just right.

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

JazzTalk

Starts at 7pm

Please join us for our special pre-concert discussion series, JazzTalk: The Artist in Context. This intimate conversation starts one hour prior to each Jazz Series performance.

A special guest interviewer will chat with the evening’s featured artist about their inspiration, career journey, and life in jazz.

The Folly Theater was named

“2023 OUTSTANDING HISTORIC THEATRE”

OUR HISTORY

The Grand Lady of Twelfth Street

STANDARD THEATRE

Opened in 1900 as a vaudeville and burlesque house, the theater was a showpiece of architect Louis Curtiss’ work. Built by Colonel Edward Butler for $250,000, audiences cheered for chorus lines of girls, acrobats, comedians, jugglers, singers and vaudeville acts. Many marveled at the beauty of the building and the use of electric lights, introduced to Kansas City only one year before.

CENTURY THEATRE

On January 31, 1901 Kansas City’s Coates Opera House suffered extensive damage from fire. Before the flames were doused, Coates’ performances were transferred to the Standard. Due to the switch, the Standards’ name changed to the Century Theatre.

SHUBERT’S MISSOURI THEATER

The Shuberts, a prominent family who ran a large theater conglomerate, acquired a lease on the Century. Renamed the Shubert’s Missouri, it became an island of legitimacy in the midst of the chaos of Twelfth- Street girlie shows and bars. Five years later, however, the theater was sublet to a burlesque troupe. On the Missouri’s stage in 1929, Gypsy Rose Lee debuted her burlesque act.

THE DEPRESSION YEARS

The advent of the talkie seriously impacted the popularity of live theater and by the 1930s, many venues could no longer afford to operate. Out of several well-known Kansas City theaters, only the Missouri was spared from the wrecking ball.

FOLLY BURLESQUE

After a decade of darkness, the theater opened in 1941 as Folly Burlesque. Shows featured male comics, skits, a lead showgirl and of course, strippers. Over the years, the acts transitioned into adult films, which played until January 23, 1974, when she died a quiet death. It was then sold to a property management company that intended to build a parking lot in the name of “progress”.

Continued on the next page

OUR HISTORY

The Grand Lady of Twelfth Street

RESTORATION OF THE FOLLY THEATER

NOVEMBER 1981

Rubble and trash filled the interior and nine and- a-half tons of pigeon droppings rested in the attic. Despite this, an effort led by Joan Kent Dillon and William Deramus III rallied around the theater. The Performing Arts Foundation of Kansas City, a dormant non-profit organization, was resurrected to generate income for the facility and placed it on the National Register of Historic Places. The Folly re-opened to great fanfare in 1981 with a committee chaired by Walter Cronkite.

C. STEPHEN METZLER HALL AT THE FOLLY THEATER

SEPTEMBER 2017

On September 16, 2017, The Folly Theater recognized longtime supporter C. Stephen Metzler by dedicating the hall in his honor. Steve’s legacy was to build a healthier, stronger, and more diverse community through the transformative power of the arts in the theater he loved so passionately.

SEPTEMBER 2018

LOBBY AND JOAN KENT DILLON LOUNGE RENOVATIONS

After an extensive fundraising campaign for Capital Funds in support of the Folly Theater, a new HVAC system was installed (the first since 1981). The Lobby spaces and Joan Kent Dillon Lounge were also renovated to create a better and more functional patron experience, while still maintaining the historic integrity of the Folly Theater.

FOLLY 2020 CAMPAIGN PHASE II

OCTOBER 2022

After reopening following disruptions from the COVID-19 pandemic, the Folly began the most consequential, impactful, and transformational revitalization project since 1981. New theater seating, orchestra flooring, carpet, upgraded lobby areas, refreshed dressing rooms, new stage curtains, beautiful art installations, and technology upgrades create an improved Folly Experience combining historical aesthetics with modern performance elements.

H ere’s to many more years!

THE FOLLY’S IMPERFECT HISTORY

AT THE END OF THE 19TH CENTURY, Colonel Edward Butler, a Saint Louis businessman, commissioned the design and construction of the Standard Theater, a project of generosity inspired by his son’s love for vaudeville. During its first 74 years, private ownership of the theater passed through several hands under different names. The Performing Arts Foundation of Kansas City, an existing 501(c)(3) nonprofit, acquired the building in 1974 and has operated it under the Folly Theater name since then.

From the beginning, the Grand Lady of 12th Street served a multitude of audiences seeking culture and catharsis through entertaining song and story. Any faithful recounting of her-stories must begin with the recognition of our culpability in the complicated growth and development of Kansas City. Ours is not an exhaustive account of the theater’s past, but a continual self-critical gaze on the Grand Lady’s very foundation.

The Folly Theater acknowledges this theater was constructed on the traditional land and ancestral home of many different Indigenous people. We acknowledge this theater was built in the Midwest during the height of the “Jim Crow” era, a period deeply marked by laws of prejudice and exclusion. For many years, prior theater operators implemented racist practices, including segregated seating, and presented entertainers who engaged in racist stereotyping. We acknowledge that, during its first 74 years, the theater routinely presented both live programs and movies that were degrading and demeaning to women. We do not recount these unjust and disreputable practices to shame or discredit our predecessors.

AS WE CONTINUE serving our increasingly diverse audiences in the 21st century, the Folly Theater strives to advance inclusion, diversity, equity, and accessibility in all aspects of our programming, governance, and operations. We model these objectives by booking extraordinary artists in our Folly Performance Series, with an emphasis on artists who are women, persons of color, and/or LGBTQ; creating authentic outreach with diverse community-based groups to ensure we hear and respond to our community’s artistic needs; securing grants to underwrite ticket and transportation costs to inspire students from Title I schools with Folly Kids’ Series performances; and allowing smaller arts organizations to perform at the Folly through the Metzler-Copaken Initiative. We believe embodying inclusion and equity in our vision and mission as a world-class theater will make our communities stronger.

Remembered histories are often the ones written by those like Edward Butler who have the means and resources to invest in reshaping architectural and cultural landscapes. Those of us who sit under the Grand Lady’s chandeliers and who gaze at the stage lights n ow have the responsibility to recount the alternative narratives of our artists, audiences, and performance artistry. We invite you to uncover the untold stories of our conscious past. Engage with new performances reflecting our lived histories.

Come experience the Folly of our times.

We simply accept ownership of the flaws and errors of our imperfect past and commit ourselves to pursuing a better path that honors and respects the humanity in each of us.

FACILITIES

NO SMOKING

The Folly Theater is a smoke-free facility, including vapes and electronic cigarettes.

PARKING passes providing free parking in the Block 89 Garage next door to the Folly are issued to patrons making a charitable contribution of $200 or more to the Folly Theater. For information about becoming a Folly supporter, please call 816-768-6886.

ADA AND COMPANION SEATING is available on the orchestra level. Look for the icon when ordering online or notify box office personnel of requirements when ordering tickets.

RESTROOMS are available on the mezzanine and lobby levels. Wheelchair accessible bathrooms are available on the first floor. The Folly also welcomes guests to use the restroom that aligns with your gender identity.

Please be sure to switch off all cell phones and other sound-emitting devices during performances.

LATECOMERS will be seated at the discretion of the House Manager.

BOX OFFICE Tickets for most events at the Folly Theater are available by calling 816-474-4444, visiting FollyTheater.org, or visiting The Folly Office at 1020 Central St., Ste 200, Kanas City, MO 64105. The office is generally open Monday through Friday 10am - 5pm apart from major holidays and seasonal schedules.

TICKETS are required for all patrons regardless of age.

LOST AND FOUND articles should be given to an usher. To claim an item, call 816-474-444 during business hours.

PROFESSIONAL

PHOTOGRAPHY OR RECORDING DEVICES of any kind are prohibited in the theater by artist contracts. Offenders are subject to removal from the theater.

FOLLY USHERS are volunteers who devote their dedicated services to the Folly theater. For more information about becoming an usher, please call 816-768-6883 or visit follytheater.org/volunteer.

RENTAL information can be found at FollyTheater.org/rent or by reaching out to the events manager at 816-768-6880

DONATIONS to the Folly are greatly appreciated and help preserve the historic structure for future generations. To make a pledge, or for more information, please contact the Development Director at 816-768-6886 or visit follytheater.org/support.

FOR MORE INFORMATION on upcoming performances at the Folly Theater, please refer to our website at FollyTheater.org or visit us on Facebook, Twitter, Instagram, Threads, or TikTok @TheFollyTheater

LEADERSHIP

BOARD OF DIRECTORS

Hoang-Anh Tran, President UMB Financial

Stacy Purvis, Vice President PNC Bank

Richard Starks, Treasurer Waddell & Reed (ret.)

Sara Welch, Secretary Stinson LLP

Anna Bazan-Munguia Big Brothers Big Sisters

David Bock

JE Dunn Construction

William Coughlin

George K. Baum & Co. (ret.)

Mark Eagleton Southern Bank

Michael Gonzales

NE&E Consulting

Kim Jones

Seyferth, Blumenthal, & Harris, LLC

Josue Montes

1 Dapper Latino

Fred Nelson

Andrews McMeel Universal

Steve Paddock

Nokia (ret.)

Jasmine Thompson

Café Sofrito and Manila Bay on Main

Megan Whitman BRR Architects

Debbie Scott Williams Community Volunteer

Karenbeth Zacharias

The University of St. Mary

MANAGEMENT AND STAFF

Ayron Hyatt, Finance Manager

Cassidy Manetta, Marketing Manager

Guy Martin, Accountant

Jennifer Smart, Ticketing and Administration Manager

Stephanie Spatz-Ornburn, Events Manager

Melissa Stan, Grants & Community Engagement Manager

Rick Truman, Executive Director

Mike Warren, Volunteer Coordinator

Brian Williams, Development Director

TECHNICAL

Simon Huntley, Lighting Director

Travis Ives, Sound Engineer

Lee Saylor, Technical Director

HOUSE MANAGERS

Angie Blaisdell

Matthew Briggs

Brandy Hersch

Rob Holland

Khalid Johnson

Kathy Stipek-Nehls

VOLUNTEER COUNCIL

Bob Martinez, President

Chris Elkins, Secretary

Andy McDonald, Treasurer

Dee Swindler, Vice President of Special Events

Carolyn Barnhart

Julie Conn

Jeannie Pike

Gene Wayenberg

Steve Wilhelm

Craig Richards Grant Hick

Photo by Kenny Johnson

GIVING REPORT

The Folly deeply appreciates each of these donors for their generosity and support.

The following gifts were gratefully received between July 1, 2022 and June 30, 2023, in support of the Folly’s general operations and capital improvement projects.

MAJOR BENEFACTORS ($10,000-$24,999)

Anonymous

Pete Browne & Julie Walker Browne

Bonnie & Herb Buchbinder

Sally Firestone*

C. Stephen Metzler & Brian D. Williams Fund

Tim & Libby Metzler*

Randell Sedlacek & Mary Ventura

William & Jo Ann Sullivan

BENEFACTORS ($5,000-$9,999)

Anonymous

Hugh & Cynthia Andrews

Bill & Jill Coughlin*

Angela & Cole Dimond

Kim Jones & Shelly Freeman

Bill & Paula Hankins

Stephen Hills & C.J. DiMarco

Mark Seely & Ross Haynes

Don & Jean Wagner

Sara E. Welch

PATRONS ($2,500-$4,999)

Anonymous

Robert Claassen

Marilyn Gaar

Mike & Debra Gerken

Dr. Alan Grimes

Donald J. Hall*

William & Julie Miller

Fred O. Nelson

Stephen & Alison Paddock

Philip & Nancy Reicher

Rick & Aimee Starks

SPONSORS ($1,000-$2,499)

Anonymous

Matt & Kristina Aberle

Sarah & Jonathan Baum

Chris & Tricia Benner

Kay & John Callison

Dr. Mark & Susan Carlson

Karen & Jim Carns

Robert J. Cody

Carrie & Jonathan Cohn

Bunni and Paul Copaken

Terry Crow

Bill Cutler*

Mark & Linda Eagleton

Joe & Sue Fahey

Paul Fingersh & Brenda Althouse

Jeffrey Foot

Michael & Carol Gonzales

James & Linda Hailey

Louanne Hein

Shirley & Barnett Helzberg

Joan J. Horan

Carol & Tom Hynek

Dan Hubbard & Ron Smith

Dr. Newton Jones & James Corrick

Russ Keller

Shawn & John Keller

Julie & Mike Kirk

Alice Kitchen

Bill & Peggy Lyons

Andrew McDonald

Jon & Wendy McGraw

Edward Milbank

Ann & Chad Milton

Josh Montes & Kyle Scott

GIVING REPORT

Sharon Mossman & Michael Seck

Bob Pauly

Douglas R. Peete

Daniel Petree

Chris Porter & Rorik Peterson

Danny Ramon & Kane Hosmer

John Rensenhouse

Palle & Dennis Rilinger

Ken & Roswitha Schaffer

Bob Shannon

Dale & Andrea Smith

TJ & Williard Snyder*

Dennis Sondker

Jasmine Thompson

Kathleen Tritsch

Rick Truman & Jerry Pope

Peggy & Jim Van Dyke*

Gerry & Frank Victor

Elizabeth Williams

Rick & Annie Zander

ADVOCATES ($500-$999)

Anonymous

Christine & Gary Adams

James W. Allen

Terry Anderson & Michael Henry

Emily & Richard O. Ballentine

Diane Botwin & Mike Vessels

Larry Braddy

Clifford & Jordan Brazen

Chris Coffey & Chuck Michel

Alan Corbet & Tina Sterling

Suzanne Crandall

Alice J. Creveling

Kathryn & Perry Culver

Doug & Terri Curran

Dean Dachenhausen

Don & Pat Dagenais

Rick Dodderidge & Vicki Johnson

Jennie & Tom Egan*

Mark Ensman & Fernando Rodriguez

Michael D. Fields

Paul Fingersh & Brenda Althouse

Barbara & Robin Foster

Ann Fitzpatrick & Robert Garcia

Linda McShann Gerber

Mike Goff

Pam & Gary Gradinger

Nathan Haley

Kelly & Robyn Hart

George Helmkamp

Chris Hernandez & Paul Monteil

Brad Johnson

Kay Johnson & Bill Koenigsdorf

Mark & Vicki Johnson

Steve Joss

Jolie Justus & Luciana Bardwell

Nathan Ladd

Siobhan McLaughlin Lesley

Trudy Longest

Stephan & Terrell Mann

Doreen Maronde

Jacob McMillian

Virginia McNeish

Barbara Koval Nelson

Steve & Kim Nelson

Sue & Lewis Nerman

Nikki Newton

Kevin O’Brien & Eddie Gladbach

Gregory Porter & James Townsend

George & Wendy Powell

Patrick & Jamie Pribyl

Stacy Purvis

Wayne & Rosetta Robins

Sandy Schermerhorn & Martha Boyd

Lisa & Charles Schellhorn

J. Michael Sigler and Greg Oborny

Sara & David O’Connell

Lonnie Shalton & Rita Leifhelm

Linda Stevens

GIVING REPORT

Kaye Summers & Dan Carpenter

Margaret Walker*

Paul Weber & Jennifer Wenzl

James & Sarah Weitzel

Clyde & Katie Wendel

Helen & Frank Wewers

Don White & Greg Thurman

M & John Wood

Mary Wurtz & Robert Thompson

SHAREHOLDERS ($250-$499)

Anonymous

Dennis J. Aguiar

Marcia H. Bailey

Alison Baker

Douglas Bartel

Robert & Kathleen Bender

Tom Bertoncin & Todd Hesher

Jordan Borrell

Lee & Kristina Brumitt

Wendy & Troy Burgess

Gerald & Susan Carlson

Melissa Carter

Danny Carmichael & Theresa Ryan

Bob C. Corbett

Steve DeWilde & Brad Pearson

Cheryl Dillard & Pat Titterington

Nathaniel DuBose

Ann M. Duer

George & Mary Edwards

Trask Engel

Scott Francis & Susan Gordon

Craig Gaskill & Greg Tobey

Sandy & Steven Geduldig

Carla Grant & Sharon McNulty

Vickie & Charlie Harris

Dee Henry

Kevin Hobbs & Jim Crist

Sharon & John Hoffman

Tom & Denise Holcom

Dave & Peggy Howe

Mark & Anne Jarboe

Barbara Jensen

Nancy Lee & Jonathan Kemper

Brad Johnson

Michelle Lapointe

Lisa Leonard

David Loftus

John B. Martin

Joan Maxwell

Heidi McIntyre

Anna Munguia

Ann & Dan Musser

Kate Nielsen

Lynn Norton & Tina Hacker

Dan Nilsen

Terrance & Carol Noland

Robert Olsen

Jean Parelman

Arthur Parks

John & Ann Readey

Jeffrey Remaley & Clint Frazee

Louis & Ruth Rephlo

Norma Riedel

Sarah Rowland

Robin & Doris Royals

Kyle Rumback

Lee Saylor

Philip Scaglia

Ellen Sheridan

Larry Sherwood

Stewart Smith & Matthew Stretz

Craig Sole

Charlie & Jeanne Sosland

Drs. Gregory Stump & Marcia Hurlow

Mark Thornhill*

Hoang-Anh Tran & Frank Diez

Jill Truitt

Robert & Sally West

Dr. Michael & Cindy Wurm

Eric Youngberg & Gary Krogh

GIVING REPORT

FRIENDS ($100-$249)

Anonymous

Chris Anderson & Lyn Buckley

Robert & Tish Anderson

David & Debbie Angotti

Ann Abercrombie & Genny Nicholas

Debby & Gary Ballard

Gregory D. Banken

Lee & Claudia Barewin

Cris Barnes

Carolyn Barnhart

Angela Bass

Hedy & Larry Beil

Dr. Irene Bettinger

Pat Boston & Joan Albright

Chad Boydston*

Michael Breeding

Mike & Kathy Briggs

Maureen Brown

Mary Jo Browne

Thomas Brusnahan

Arden & Mary Ann Carr

Gregory & Doris Wright Carroll

Christa Cavanaugh

Elise Johnson Chapline

David Cohn

Julie Conn

Victor Contoski

Dr. David A. Cooley

Betty Ann Cortelyou*

James Dobbie

Steve & Cathy Doyal

Christopher Draven

Kathy & Jim Dunn

Shay Elder

Beth Epley

Shera Farnham

Janie & Gary Foltz

Jennifer Fox

Clinton Frazee

Sandi & Ed Fried

Debbie Geraghty

Douglas & Ann Ghertner

Michael Glennon

Regina Glorioso

Olivier Griot & Kevin Madden

Jesse Hafterson

Laurie J. Hamilton

Charles Hampton

Pamela Hancock

Lona & Neil Harris

Ann Hauser

Carissa Healy

Shelley & Scott Hecht

Laura Henley

Ellen Woodward Henry

Dudley Hogue

Ann Hron

Cathy Jambrosic & Michele Stauffer

Bill Jennings & Richard Triggs

Linda & Topper Johntz

Richard F. & Sandra Jones

Mary Walker Jordahl

Lindsay & Joe Jurden

Jeffrey Keiser & Amy Peters

Ann & John Kenney

David & Lisa Klose

Herb & Nancy Kohn

Patricia Konopka

Dorothy Kurz

Christopher Leitch & Stuart Hinds

Shelby & Nik Lewer

Sharon M. Lundy

Dennis Maddux-Phillips

James Maiden

John & Rudena Mallory

Kent Maughan

Steve & Diane McClure

P. Alan McDermott

Michael McNeil

GIVING REPORT

Ann Mesle

Dr. Patricia Cleary Miller

Susan Moehl, Athena Heironimus, & Penni Johnson

James & Virginia Moffett

C. Michel Minor

Ann Mowery & Allan Powers

Drs. Carl & Janice Myers

Heidi & Nelson Nast

Marcy Nelson

Mallory Paddock

Timothy Pearcy

Lyla & Rory Perrodin

Suzanne Persson

Timothy Peters

Nancy Prantl

Susann L. Riffe

Paul Rocke

Charlotte & Bob Ronan

Matthew E. Rowland

Sally Ryan

Terry & Georgia Sandlin

John Schaefer

Debbie Scott Williams & Jerry Williams

Veronica & Jere Sellers

E. Crichton Singleton

Gaye McCarty Stevick

Peter Story

Dee Swindler

Linda Sybrant

Gale Tallis & Robert Hellweg

Terre Tepikian

Judith Tharp

Eric Thomas & Jonathan Gregory

Nancy Treu

Marjorie W. Vermillion

Joy Wheeler

Reeves W. Wiedeman

Anne & Keith Wiedenkeller

Ronald Williams

Marta & Stephen Williamson

Sheri & Bob Wood

Stuart Woody & Brian Partlow

Marty Yadrick & Eric Chapman

Karenbeth Zacharias

Bonnie Zimmerman

SUPPORTERS (UP TO $100)

Anonymous

Robert S. Adams

Chris Almvig & Jan Winters

Nathan Anderson & Patty Hayden*

Susan Belger Angulo

Virginia Lee Arnold

Eric Aufdengarten & Joe Nadeau

Beverly Bass

Carol Bates

Chris Beal & Tim Van Zandt

Kate & Dale Beckerman

Christopher Benson

Scott & Robin Boswell

Teresina Bradley

Jacques Bredius

Darrel Brenneke & Lance Orozco

Cherie Brown

William L. Brown Jr.

Kayla Burrell

Steve & Marti Chinn

Dan Cofran

Evie Craig

Tom & Margaret Cummings

Dan DeLeon & Jerry Katlin

SuEllen Dice

Scott Dorman

Zach & Julia Dunn

Elizabeth Eberle

Molly & Chuck Eberle

Paul Elo & Steve Dodge

Bev & Erik Elving

GIVING REPORT

Charles & Cheryl Farris

J. Travis Fischer & Scott Heffley

Jarrett Fladie

Susan & Bill Ford

Jeffrey French

Karen Garrett & Kevin Hennessy

Mikaela Garrett

Marianne & Ralph Getchell

Kyri Gorges

Ryan Gove & Doug Swink

MaryLee Guthrie

Brad Harris

Susan Houdek-Hazen*

Sandra Lee Irving

Charles Jenkins

Carolyn Jeter

Christine Ketterlin

June Kisker

Lee Kupfer

Judy Lanes

Patricia & Alan Lankford

Phyllis G. Leach

Simon Lee

Michael Lintecum

Margaret Lowe

David Martin

Bob Myers & Larry Burks

Gregory Nichols

Doug Obermann & Roger Dawson

Masae Parker

Michael Penner & Bob Slothower

Beverly Rehkop

Jim Scarborough

Tom Schad

Matt Schulte

Bernard Shondell

Jayne Siemens

Sloane Simmons

Jim Siress

Sarah Starnes

Kenneth Stewart

Sue Strickler

Tom Styrkowicz

Julia Tretbar

Katie Van Luchene

Charles M Weber

Sharon Wilson

Mitch Woolery

Tracy Young

CORPORATIONS & FOUNDATIONS

PRODUCERS ($100,000-$499,999)

Anonymous Economic Development Corporation of Kansas City*

Marion & Henry Bloch Family Foundation* State of Missouri*

IMPRESARIOS ($25,000-$49,000)

Anonymous

John W. and Effie E. Speas Memorial Trust, Bank of America, N.A., Trustee* City of Kansas City, Missouri, Neighborhood Tourist Development Fund

Richard J. Stern Foundation for the Arts- Commerce Bank, Trustee

MAJOR BENEFACTORS ($10,000$24,999)

Anonymous Catalyst

Copaken Family Fund

Feist Charitable Foundation

Francis Family Foundation

Kirk Foundation*

Lockton Companies, LLC

Spencer Fane LLP

GIVING REPORT

The Ronald D. Deffenbaugh Foundation

Theater League, Inc.

T-Mobile

Van Dyke Family Foundation*

BENEFACTORS ($5,000-$9,999)

Anonymous

Arts-KC Regional Arts Council

J.B. Reynolds Foundation

Lon Lane’s Inspired Occasions

Oppenstein Brothers FoundationCommerce Bank, Trustee

PNC Bank

Sherman Family Foundation

The Breidenthal-Snyder Foundation, Inc.*

UMB Financial Corporation

PATRONS ($2,500-$4,999)

Anonymous

Americo

Blue Cross & Blue Shield of Kansas City

BRR Architecture

Irwin Seating Company

Kansas City Winwater Company

PGAV Architects

R.A. Long Foundation

Richards Financial Services, Inc.

Staco Electric Construction Co.

SPONSORS ($1,000-$2,499)

Anonymous

Andrews McMeel Universal

Aspis, LLC

CCS Family Fund

Christensen Group Insurance

Delta Dental of Kansas

Folly Volunteer Council

Kansas City Kansas Community College

Kansas City Testing & Engineering, LLC

KBIZ, Inc. d/b/a Stretch Zone

KC Scaffold

Keller & Associates

Knotty Rug

Livers Bronze Co.

McCownGordon Construction

Miller Nichols Charitable Foundation

Missouri Humanities Council*

Moderna Therapeutics

Park University

Road Builders Machinery & Supply Co., Inc.

Solorio & Avila Law Firm, LLC

Star Signs, LLC

The Greensman, Inc.

The Ingram Family Foundation

Twin Financial, Inc.

ADVOCATES ($500-$999)

Anonymous

Advocates for Seniors LC

Big Brothers Big Sisters Kansas City

Bistro 303

CHES, Inc.

ECCO Select Corporation

J.E. Dunn Construction Co.

Kissick Construction Company

Miller-Mellor Association

PNC Foundation

Skyline Salon

SHAREHOLDERS ($250-$499)

Anonymous

Arthur J. Gallagher & Co.

Citizens Bank & Trust

Craig Sole Designs

Dutzel’s Catering

Emerick & Company PC

Fountain Haus

LMCG Investments, LLC

GIVING REPORT

Next Page, Inc

Padgett Family Foundation, Inc.

Randy Curnow Automotive Group

State Farm

Village Shalom

FRIENDS ($100-$249)

Anonymous

Knapstein Design, LLC

Sun Life Financial

MEMORIAL GIFTS

In Memory of Cerner Associate

Friends

Timothy Peters

In Memory of Mary Alice Corbett

Bob C. Corbett

In Memory of Barbara Fossati

Jill Truitt

In Memory of Samuel Graham

Nikki Newton

In Memory of Hans Johannson

Dennis J. Aguiar

In Memory of Joan Hubbard

Julie & Mike Kirk

Trudy Longest

Gale Tallis & Robert Hellweg

In Memory of Gus Leimkuhler

Julie Conn

Kathy & Jim Dunn

In Memory of Stephen Metzler

Ann Abercrombie & Genny Nicholas

Robert S. Adams

Chris Almvig & Jan Winters

Terry Anderson & Michael Henry

Virginia Lee Arnold

Marcia H. Bailey

Gregory D. Banken

Beverly Bass

Scott & Robin Boswell

Michael Breeding

Darrel Brenneke & Lance Orozco

William L. Brown, Jr.

Thomas Brusnahan

Kay Callison

Robert J. Cody

Chris Coffey & Chuck Michel

David Cohn

Alan Corbet & Tina Sterling

Bill & Jill Coughlin

Doug & Terri Curran

James Dobbie

Kathy & Jim Dunn

Mark & Linda Eagleton

Joe & Sue Fahey

Janie & Gary Foltz

Mike & Debra Gerken

Nathan Haley

Brad Harris

Lona & Neil Harris

J. Travis Fischer & Scott Heffley

Sharon & John Hoffman

Bill Jennings & Richard Triggs

Mark & Vicki Johnson

Newton Jones & James Corrick

Richard Keller

Keller & Associates

Knapstein Design, LLC

Michael Lintecum

Susan Moehl, Athena Heironimus, and Penni Johnson

Roger Mountain & Bob Pauly

Bob Myers & Larry Burks

Doug Obermann & Roger Dawson

Lance Orozco

Stephen & Alison Paddock

Mike Payne

Mike Penner & Bob Slothower

Daniel Petree

GIVING REPORT

John & Ann Readey

Wayne & Rosetta Robins

Matthew E. Rowland

Bernard Shondell

Craig Sole & Wayne Long

Dennis Sondker

Charlie & Jeanne Sosland

Kenneth Stewart

Rick Truman & Jerry Pope

Sara E. Welch

David Wiley

Brian D. Williams

Stuart Woody & Brian Partlow

In Memory of Leona Schaefer

John Schaefer

HONORARY GIFTS

In Honor of Matthew Briggs

Mike & Kathy Briggs

Dorothy Kurz

In Honor of Pete Browne

Masae Parker

In Honor of Stanley A. Hamilton

Laurie J. Hamilton

In Honor of Fred Nelson

Hugh & Cynthia Andrews Family Fund

In Honor of Mark Seely

Shelby & Nik Lewer

Lockton Company

In Honor of Folly Staff

Pete Browne

In Honor of Gale Tallis

Ann M. Duer

In Honor of Hoang-Anh Tran

Jeffrey Keiser & Amy Peters

In Honor of Rick Truman

Chris Anderson & Lyn Buckley

In Honor of Mary F. Ventura

Randell Sedlacek

In Honor of Brian Williams

Lona & Neil Harris

Margaret Lowe

ENDOWMENT:

Michael Breeding

Robert J. Cody

David Cohn

Clinton Frazee

Marilyn Gaar

Brad Johnson

Knapstein Design, LLC

J. Michael Sigler and Greg Oborny

Sarah Starnes

David Wiley

Ronald Williams

*Includes gifts to the Folly 2020 Capital Campaign

DONATIONS TO THE FOLLY

are greatly appreciated, and help preserve the historic structure for future generations, as well as supporting the non-profit theater. To make a pledge, or for information, please contact Executive Director, Rick Truman or Director of Development, Brian Williams by calling 816.768.6886 or visit follytheater.org/support

For me, it’s not just...

‘I’m the doctor and you’re the patient.’ We’re partners.”

- Raed Al-Rajabi, MD Physician Medicine Clinical Oncology

I don’t know any other way to treat my cancer patients than to become their partner. To be available to them whenever they need me. And that’s not just when they’re sitting across from me at an appointment. Cancer is a unique journey. And for me and all of my team, the only way to undertake it is together.

To schedule an appointment, call 913-588-1227 or visit KUCancerCenter.org to learn more.