OCTOBER 30 AT 7:30 P.M. (PREVIEW)
OCTOBER 31 AT 7:30 P.M.
NOVEMBER 2, 5, 7-8 AT 7:30 P.M.
NOVEMBER 2, 9 AT 2:00 P.M.
B. IDEN PAYNE THEATRE F. LOREN WINSHIP DRAMA BUILDING
Charlotte Adair – Assistant Stage Manager • Juno Adair – Assistant Scenic Designer
Arash Baghipour Aliaba – Assistant Scenic Designer, Projection Programmer
Sarah Apple – Stage Manager • Georgia Beckmann – Dramaturg
Angel Blanco – Choreographer • Austin Brion – Sound Designer
Nia Brondo – Assistant Sound Designer • Violet Clemons – Costume Designer
Kay Currier-Graves – Assistant Lighting Designer • Rodolfo Robles Cruz – Director
Gala Demarin – Assistant Scenic Designer • Amanda Earp – Assistant Stage Manager
Sarah Ewing – Assistant Technical Director • Dee Fitzgerald – Assistant Costume Designer
Amanda Geyer – Assistant Costume Designer • Andy Grapko – Intimacy Director
Julia Kreutzer – Assistant Director • Joshua Martin – Scenic Designer
Joe Morales IV– Assistant Projection Designer • Blake Persyn – Directing Apprentice
KP Pierce – Lighting Designer • Robin Schuler – Assistant Stage Manager
Patrick Schoen – Assistant Lighting Designer • Nitsan Scharf – Projection Designer
Ellie Shattles – Music Director • Alison Vasquez - Dialect Coach
Ella Wetmore – Assistant Costume Designer
CAST (IN ORDER OF APPEARANCE)
David Gonima
Hunter Purvis
Penny Lou Zimmerman
Bella Friedman
Ericka Pugliese
Katelyn Quintanilla
Heavyn Carter
Katelyn Doyle
Natalie Tran
Brandt Agosto-Medina
Christian Ortega
Diego Rodriguez
Giovanni Ledezma
Ella Eavenson
Harry Rosenthal
Connor Burk
Ethan Sebree
Shaya Harris
Roman Losa
Lucas Edwards
Trevor Detling
Jeff Freeman
Kurt Kumme
Jake Lampe
Kathryn Orr
Kris Rogers
Ellie Shattles
Zach Varner
Jeff Elliott
Andrew Malay
Demetreis Thornton
Arnie Yanez
Originally Co-directed and Choreographed by Rob Marshall Originally Directed by Sam Mendes There
Emcee
Rosie (Choreographer in Collaboration)
Lulu
Frenchie (understudy: Sally Bowles)
Texas/The Chanteuse
Fritzie
Helga
Kit Kat Club Dancer/Gorilla (Choreographer in Collaboration)
Fraulein Kost/Kit Kat Club Dancer
Bobby (understudy: Emcee)
Victor (Choreographer in Collaboration)
Hans/Rudy (Sailor)/Customs Official (understudy: Cliff)
Herman/ Kit Kat Club Dancer (Choreographer in Collaboration)
Sally Bowles
Max/Backing Vocals
Cliff Bradshaw
Ernst Ludwig
Fraulein Schneider
Herr Shultz
Young Boy (Vocalist)
THE BAND
Drums
Trombone
Trumpet
Reeds 1
Violin
Bass
Keyboard 1
Reeds 2
BAND SUBSTITUTES
Violin (for Kathryn Orr): Oct. 31, Nov. 2, Nov. 5 (evening)
Reeds 1 (for Jake Lampe): Oct. 30 and Reeds 2 (for Zach Varner): Nov. 8, Nov. 9 (matinee)
Trombone (for Jeff Freeman): Oct. 31
Drums (for Trevor Detling): Oct. 30, Oct. 31, Nov. 2 (matinee)
A little over a decade ago, I was a high school student, ready to step into the next portion of my life. In searching for what that would be, I attended a production of Cabaret at California State University, Fresno. The performance — directed by J. Daniel Herring, who would later become a friend and mentor — was liberated, unflinching and charged. At the time, the U.S. was in the midst of a pivotal national conversation about marriage equality, with the legalization of same-sex marriage being debated in courts across the country. J. Daniel’s production of Cabaret became a vehicle that centered queer liberation, fueled by a collective rage stemming from a sort of purgatory — awaiting a landmark decision, which would come just months later in Obergefell v. Hodges.
It’s worth remembering that when Cabaret premiered on Broadway in 1966, the Vietnam War was dramatically escalating, leading to political division and protest. The 1972 film adaptation, directed by Bob Fosse and starring Liza Minnelli, arrived amidst the ongoing Vietnam War, the Watergate scandal and the rise of second-wave feminism. The 1998 Broadway revival, directed by Sam Mendes, emerged in the aftermath of the AIDS crisis, during the “don’t ask, don’t tell” era of U.S. military policy, and ran during a time of backlash against queer visibility in public life. The arts at large often serve as a timestamp in our cultural landscape. Theatre, in particular, is the practice of archiving these timestamps in our bodies — digesting them, wrestling with them and earnestly sharing them.
A decade ago, at seventeen, I was taken by the glamour, the frustration and the unflinching vision of J. Daniel’s production. I thank my former mentors for operating from a place of fearlessness, liberation and strength. I’m honored now with the task of interpreting Cabaret, and I hope to celebrate my mentors — past, present and future — through the tenacity I bring to this production. A tenacity supported fully by the production team I am blessed to be working with.
I often reach back to access my own body archive and place myself in the past, watching this production to see how he — younger Rodolfo — would feel watching the Cabaret we’ve created. What timestamp will people remember?
NOTE FROM THE DRAMATURG
The show you are about to see is a rehearsal of critical thinking and agency for its artists and audiences. Like the German Kabaretts that the musical is named for, Cabaret melds music, dance, political satire and social critique to denounce the passivity and apathy of its characters, spectators and society at large.
This musical invites you to step into Weimar Berlin from 1929-1930. As you enter Cabaret’s world, you also enter Germany’s tumultuous first experimentation with democracy. You enter a world recently rocked by the Stock Market Crash of 1929. You enter a dualistic city being simultaneously shaped by the burgeoning Nazi party and a subcultural hub of uncensored cultural expression, fluidity and intellectual innovation.
Cabaret portrays a painful history and tackles painful themes. Throughout the research and rehearsal process of this production, we have endeavored to approach them from a place of care, information and certainty around its educational importance. The musical is based on a novel by Christopher Isherwood (1904-1986), and our Cabaret was particularly informed by Isherwood’s experiences living in Weimar-era Berlin up until the Nazis took power. While fictionalized, Cabaret is cloaked in truth: true events, true histories, true suppressions, true complicities, true violences, true lives. It is important to both represent and witness the uncensored truths this show has to offer.
How long will one stay passive for the sake of convenience, safety or power? How easy is it to remain fast asleep as violence is inflicted on those around you? Why and how does fascism overtake a country and a people? Who gets to continue dancing while others suffer the end of the world?
Meet the cast and creative team behind Cabaret.
Scan the QR code to view actor and creative team bios.
theatredance.utexas.edu/cabaret-cast-and-creative-team
TEXAS PERFORMING ARTS FABRICATION STUDIO
ASSOCIATE DIRECTOR KAREN MANESS
PROJECT MANAGER DAVID TOLIN
FABRICATION TECHNICAL MANAGER JASON LEE HUERTA
PROPERTIES MANAGER ASHTON MURPHY
LEAD FABRICATOR HANK SCHWEMMER
SENIOR TECHNICAL DIRECTOR SCOTT BUSSEY
SCENIC CHARGE ARTIST BRIDGETTE CLIFFORD
EMERGING ARTS PROFESSIONALS
LEAH AUSTIN JULIA YELVINGTON
GRADUATE PRODUCTION ASSISTANTS
BRITTNEY BARTON
GALA DEMARIN
GUSTAVO ADOLFO HERNANDEZ PINZON
ADMINISTRATIVE ASSISTANTS
GABI HERNANDEZ MADISON JACKSON
PRODUCTION LEAD
JUNO ADAIR
FABRICATION PRODUCTION ASSISTANTS
NAHLA BELTRAN
JULIANA BRANDAO
VALERIA NUNEZ ESTRADA
SARAH EWING
ERIN GLASSCOCK
ALISA IRVIN
DYLAN LEBENSFELD
CODIE LIGHTFOOT
JOSE SALCIDO
ZOE SALDANA
JADEN WEST
324P FABRICATION PRODUCTION ASSISTANTS
HADDON BRITT
HAYLEY JAN CARBAJAL
CELINE LOWE CHANG
KEENAN DAVID DAILEY
AVA DEVINEY
JORDYN ECKERS
STELLA GILL
ISAIAH JONES
DAIJHA MAINOR
THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRODUCTION AND DISTRIBUTING RECORDINGS OR STREAMS IN ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR(S)’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. FOR MORE INFORMATION, PLEASE VISIT: https://concordtheatricals.com/resources/protecting-artists
PROP STOCK MANAGERS
JACQUELINE MAI
LAURA SOARES
SCENERY/PROPS CREW
AIDAN HALAT
JORDAN HILL
CHIAMAKA IGWEGBU
MASON OUSLEY
AARON SULLIVAN
COSTUME PRODUCTION AND FABRICATION STUDIO
COSTUME PRODUCTION DIRECTOR
NANETTE ACOSTA
PRODUCTION ASSOCIATES DESIREÉ HUMPHRIES
JONATHAN WATERS
STAFF DRAPERS
SARAH BARBOUR
POUA YANG
STAFF FIRST HANDS
JENNIFER BALL
EMILY EOFF
STUDENT FIRST HANDS
ALLISON NORMIN JOHNSON
RILEY O’SULLIVAN
STUDENT DRAPERS
KAITLYN COMFORT
RILEY O’SULLIVAN
MATTHEW SMITH
STUDENT STITCHERS
JACOB BENAIM
STELLA GILL
RAIN HOWARD
ALEX SECORD
MAGGIE TAYLOR
COSTUME CRAFTS ARTISAN
TANYA OLALDE
COSTUME CRAFTS ASSISTANTS
AVA SETTOON
LAYLA CREAR
STUDIO ASSISTANTS
AMANDA ROSE GEYER
LAYLA ISAAC
WIG HAIR AND MAKEUP SPECIALIST
STEPHANIE WILLIAMS
WIG HAIR AND MAKEUP ASSISTANT
PARIS FULKS
WARDROBE SUPERVISOR
TANIA HERNANDEZ
WARDROBE RUNNING CREW CHIEF
HANNAH COTTEN
WARDROBE RUNNING CREW
ABBY JOE
KIENY CANTU
FRED WARA
KYLIE AQUINO
NA’IMAH CUTTS
CHLOE SNEED
FRIDA CASTRO
COSTUME STOCK SUPERVISOR
DESIREÉ HUMPHRIES
COSTUME STOCK ASSISTANTS
YHENG KITTY JIANG
DEE FITZGERALD
LIGHTING/SOUND/MEDIA
ACADEMIC PRODUCTION
TECHNOLOGY MANAGER
EARNEST MAZIQUE
ASSISTANT LIGHTING SUPERVISOR
MICHAEL SHANKS
SENIOR LIGHTING TECHNICIAN
PATRICK SCHOEN
324P LIGHTING FACULTY SUPERVISOR
SEB BOONE
ASSISTANT SUPERVISING ELECTRICIANS
HADDON BRITT
AARON SULLIVAN
324P THEATRE AND DANCE LIGHTING CREW
ABELARDO AGUILAR
EDUARDO BENAVIDES
HADDON BRITT
AMANI EDMOND
ELICIA HARTZELL
PRESTON MARK
DYLAN MARTINEZ FIGUERO
VALERIA MORALES
AKANSHA RANBHISE
AARON SULLIVAN
TEXAS PERFORMING ARTS LIGHTING CREW
JOSE CALVILLO
PJ JETTON
RILEY KNECHT
MICHAEL OKOOTI
BLAKE PERSYN
ETHAN SEBREE
RAIN SNYDER
LIGHT BOARD OPERATOR
DURNELL ANDERSON
SOUND BOARD OPERATORS
NEELY STALCUP
GEORGE JOHNSON
ASSISTANT AUDIO VIDEO SUPERVISOR
K. ELIOT HAYNES
TEXAS PERFORMING ARTS AUDIO CREW
SARAH APPLE
KALEB AZIZ
SOUND MIX ENGINEER
OLIVIA LONGORIA
WIRELESS MIC TECHNICIAN
KALEB AZIZ
MEDIA GRADUATE ASSISTANTS
ARASH BAQIPUR
LUNA JONES
NITSAN SCHARF
DESNE WHARTON
MEDIA BOARD OPERATOR
GEORGE JOHNSON
PRODUCTION ADVISORS
STAGE MANAGEMENT
RUSTY CLOYES
DIRECTING
KJ SANCHEZ
ALEXANDRA BASSIAKOU SHAW
ACTING
ALISON VASQUEZ
DIALECT DESIGN AND VOCAL COACH
ALISON VASQUEZ
COSTUME DESIGN
RAQUEL BARRETO
ELYSE GRIMALDI
COSTUME TECHNOLOGY
DAVID AREVALO
LIGHTING DESIGN
MICHELLE HABECK
INTEGRATED MEDIA FOR LIVE PERFORMANCE KATE FREER
SCENIC DESIGN
JOSAFATH REYNOSO
SOUND DESIGN
PHILLIP OWEN
DRAMATURGY
MADGE DARLINGTON
RESIDENT INTIMACY DIRECTOR ANDY GRAPKO
RUN CREW SUPERVISOR AUSTIN SHIRLEY
DIRECTOR OF PRODUCTION
RUSTY CLOYES
TEXAS PERFORMING ARTS DIRECTOR OF FABRICATION AND ACADEMIC PRODUCTION
JEFF GRAPKO
FRONT OF HOUSE MANAGEMENT AND TICKETING
DANA MCLAUGHLIN
PR/MARKETING
SYDNEY PATTILLO
KATY WIGGINS
PHOTOGRAPHER
SARAH A. NAVARRETE
GRAPHIC DESIGNER
MONICA GRIFFIN
MARZENA KRUPA
SPECIAL THANKS
Special thank you to Giovanni Ledezma, Katelyn Doyle, Hunter Purvis and Christian Ortega for their collaboration in co-creation of this choreography with choreographer Angel Blanco.
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