Thank you to Our Donors
As of 2/2/2026. An *asterisk denotes individuals who are deceased.
SEASON ANGELS
Jane & Steve Akin, Patty & Jay Baker, Glenda & Rich Struthers
SEASON BENEFACTORS
Karen & Gary Gregg, Nancy G. Lauridsen, Sandi & Tom Moran, Susan Regenstein & Barry Frank, John & Carol Walter
SEASON AMBASSADORS
Anonymous, Marsha & Gary Bertrand, Grampy’s Charities - Jim & Jonatha Castle, Bev & *Art Cherry, Nancy & Tom Gallagher, Marguerite Hambleton, Barbie & Paul Hills, Jenny & *Rich Housh, Patricia & George Kraus, Laird A. Lile, Simone & Scott Lutgert, James & Brigitte Marino, Bettina McKee, Cynthia & Mike Scholl, Jane & *Dave Wilson, Debbie & Bruce Yarde
EXECUTIVE PRODUCERS+
Robert & Marianna Becker, Patricia & Jim Bosscher, Kathleen Cain, Bob & Laurie Champion, Robert & Joan Clifford, Sheila & Chris Cole, Bobbi & David Drobis, Dyan Fazzone, Kathleen & Brendan FitzGerald, The Habbershon Family, Matthew Hagan, Vicki Herche & Graeme Murray, Mitchell Hertz & Anne Carlucci, Steven & Sarah Jackson, Liz & Jim Jessee, Sarah Raup Johnson, Larry Kaye & Casey Skvorc, Pamela & Bob Krupka, Tammy & Mike Kutsch, Diane Landgren, Debra & Vince Maffeo, Geraldine Moss, F.E. & Jack Nortman, Joan & Mahendra Parekh, Gail Kern Paster, Anthony & Beverly Petullo, Jenna & Stéphane Rambaud, Melissa & David Shockley, Patricia Sweet & Bill Marsh, Patrick Trompeter & Monica Orcutt, Julie & Steve Vanderboom, Jane Walsh, Tereska & *Jerry Whitson, Joanne Wyss
EXECUTIVE PRODUCERS
Anonymous, Mary & Phil Beuth, Lee & Peter Bewley, Richard & Jane Borchers, Charlie & Elise Brown, Cheryl & Randall W. Byrnes, Michael & Judy Cheteyan, John & Patricia Cochran, Norman & Suzanne Cohn, Jim & Shirley Curvey, Kyla & Rich de Asla, Mary F. Drazan, Sandy & Bill Haack, Libby & Ed Harshfield, Ken & Karen Heithoff, Jean & *Leo Hertzog, William & Anastasia Hoeft, Catelyn Juliano & David Deutsch, Heidi & James Kargman, Barbara K. Lupient, Mary Lou & Bob Maier, Sherie Marek, Phil McCabe, Carolyn & *Don McCulloch, Gerry McGraw, Pat & Tony McMunn, Dan & Ann Meyer, Joanne & Jeffrey Miller, Kristin & John Miller, Kimberly Moss & Bob Fisher, Susan Mullin, Louise & Larry Ost, Cindy & Tony Panzica, Ann Ratner, Dottie & John Remondi, Marilyn Romeo, DeAnna & Rick Rondinelli, Kathy & Ned Sachs, Pam & Fred Sasser, Janet & Peter Swinburn, Lisa & Warren Thomson, Bruce Tomason & Susan Rosen, The Vincent Von Zwehl Memorial Fund, Kathy & Paul Weaver, Blaine & Tom Wells, Kristen & Michael Wynn
Dear Friends,
I am so pleased to welcome you to Gulfshore Playhouse. Whether it is your first time or your fiftieth, I am so glad you’re here. We have quite a lot in store for you at what has become one of the region’s most bustling cultural centers. Throughout the day, our lobby welcomes visitors enjoying everything from a morning coffee to light bites and cocktails at happy hour. Our education wing is bursting with students of all ages participating in lectures, private lessons, group classes, and performance opportunities. And, of course, our theatres are full, featuring a vibrant array of plays and musicals ranging from world premieres to beloved classics.
I am also thrilled to announce our upcoming 26-27 season! Flex passes are now on sale for what promises to be an extraordinary year. We begin in the Struthers Studio with a musical revue of the great Kander and Ebb, presented in an intimate cabaret style with small tables and drinks. The World Goes ‘Round features live musicians onstage and singers performing iconic hits like “New York, New York” and “All That Jazz.” You won’t want to miss it.
Opening the Moran Mainstage is a project I am especially excited about: my own new adaptation of A Christmas Carol. We will produce the world premiere of this holiday classic right here in Naples — made in Naples, for Naples. In the spring of 2027, our stages will be “on fire” with a diverse lineup, including the world premiere of Brent Askari’s Fundraiser: A Play. You may remember his play The Refugees, which we premiered in 2024; this new work is even funnier and just as poignant. We will also mount Heist, a thrilling new play that feels like Ocean’s Eleven on stage, produced in partnership with two nationally renowned theatres. The season continues with the legendary musical Guys and Dolls, followed by the thoughtprovoking new Broadway hit JOB. We will conclude the season on the Mainstage with Tartuffe, Molière’s delightful 17th-century masterpiece that remains just as relevant today.
Whether you join us for one show, a single class, or a full season of events, we can’t wait to welcome you home. Here, we strive to feed your mind and soul, enhancing your quality of life through enrichment and engagement. We hope your life is better because we’re here.
I look forward to seeing you at the theatre.
Warm regards,
Kristen Coury Founder, CEO, and Producing Artistic Director
CORPORATE SEASON BENEFACTOR
CORPORATE SEASON AMBASSADORS
CORPORATE EXECUTIVE PRODUCER+
CORPORATE EXECUTIVE PRODUCERS
GRANTS AND ENDOWMENTS
A letter from the Chairman of the Board
On behalf of the Board of Directors, I am delighted to welcome you to the 2025–2026 season at Gulfshore Playhouse. We are coming off an extraordinary inaugural year in the magnificent Baker Theatre and Education Center, and I am thrilled to welcome you back for our second season in this new home.
As Chairman of the Board, one of my greatest joys has been seeing the excitement and pride our community feels in having a theatre of this caliber here in Naples. We’ve watched our audience grow, expanded our reach through education programs, welcomed neighbors and friends into our lobby and bar, and opened our doors to events for organizations and businesses across the region. The growing awareness of the art being produced and the activities happening daily at Gulfshore Playhouse are wonderful signs for the future.
With growth comes greater responsibility. The cost of producing theatre at this level continues to rise, as does the need for expanded staff and resources. Yet the impact of this work could not be clearer. Theatre enriches our lives and strengthens our community. It takes the vision of leadership, the creativity and hard work of a dedicated staff, the guidance of an experienced Board, the generosity of donors, and the loyalty of an engaged audience to make it all possible.
This season promises many exciting productions and opportunities—far more than I can highlight here. I encourage you to discover the many ways you can take part in all that Gulfshore Playhouse has to offer. Thank you for being here. I hope this season brings you joy, inspiration, insight, and unforgettable experiences.
Thank you,
Steve Akin Chairman of the Board
Donor Spotlights
Marsha and Gary Bertrand Season
Ambassadors
At Gulfshore Playhouse, we are fortunate to be surrounded by patrons who believe deeply in the transformative power of professional regional theatre. Among those leaders are our cherished Season Ambassadors, Marsha and Gary Bertrand.
Their commitment to Gulfshore Playhouse extends far beyond attendance, it is rooted in a profound belief in what the arts make possible for an entire community. Through their generosity and enthusiasm, they help ensure that our stages are alive with worldclass performances, that students of all ages have access to robust educational programming, and that artists and theatre professionals can build meaningful careers right here in Southwest Florida.
As they so beautifully shared: “BY FINANCIALLY SUPPORTING GULFSHORE PLAYHOUSE WE BELIEVE WE ARE FUNDING SO MUCH MORE THAN SIMPLY LIVE THEATRE. OUR DONATION IS ALSO AN INVESTMENT IN EDUCATIONAL CLASSES, EMPLOYMENT, CULTURE, AND LOCAL ECONOMIC STIMULUS. WE ARE PROUD TO BE A DONOR AND HAVE THE OPPORTUNITY TO SUPPORT SUCH AN AMAZING VENUE AS GULFSHORE PLAYHOUSE.”
Their words capture the heart of what makes philanthropy at Gulfshore Playhouse so impactful. Support from visionary donors like Marsha and Gary Bertrand fuels creativity, strengthens our local economy, enriches cultural life, and inspires the next generation of artists and audiences alike.
We are deeply grateful for their belief in our mission and for the joy and excitement they bring to every production and initiative. They are not only generous supporters, they are a treasured part of the Gulfshore Playhouse family and inspiring leaders within our community.
Moorings Park Communities
Corporate Season Ambassador
You’ve always had refined taste. In the performances you choose. In the experiences you value. In the life you’ve built.
Moorings Park Communities is proud to support Gulfshore Playhouse as a Corporate Season Ambassador and to champion the vibrant arts culture that elevates Naples. We share a belief that exceptional living is shaped by exceptional experiences.
For more than 40 years, Moorings Park Communities has offered Simply the Best® in luxury retirement living. Across Moorings Park, Moorings Park at Grey Oaks, and Moorings Park Grande Lake, residents enjoy expansive residences, five-star dining, award-winning healthcare, concierge physician services, state-of-the-art wellness centers, and a rich calendar of cultural, social, and educational opportunities. Each campus is distinct, yet all reflect an uncompromising commitment to excellence, hospitality, and purposeful living.
Our partnership with Gulfshore Playhouse is a natural extension of that philosophy. The arts inspire. They connect. They challenge us to keep discovering what is possible. We look forward to a season defined by creativity, conversation, and moments worthy of your refined taste.
UP NEXT MORAN MAINSTAGE
The triumphant story of the woman behind the music.
Book by Douglas McGrath
Words and Music by Gerry Goffin & Carole King, Barry Mann & Cynthia Weil
Music Arrangement by Sony Music Publishing
Additional Music Arrangements by Jason Howland
Orchestrations, Vocal and Incidental Music Arrangement by Steve Sidwell
Choreographed by Dann Dunn
Directed by Matt Lenz
APRIL 30 - MAY 31
PREVIEWS: APRIL 26, 28 & 29
Experience the 2026/2027 Season as a
Invitation to Opening Nights
Celebrate the start of each show with cast, crew, and
Access to the Founder’s
Relax in style with premium amenities before the show and during intermission.
Invitation to Our ‘Art Everywhere’ Trip
Join us on an extraordinary journey celebrating world-class
Your support at this level fuels the magic on and off the stage:
Offering educational programming that inspires and engages audiences of all ages. Become a champion of the arts and help create unforgettable moments for our
CONTACT A MEMBER OF OUR ADVANCEMENT TEAM TO JOIN THE
The Importance of High Tea: An exclusive on-stage experience at Gulfshore Playhouse
Tuesday, March 31, 2:00PM-4:00PM
Step onto the set of The Importance of Being Earnest and join us for a deliciously indulgent High Tea, enjoyed entirely on stage within the world of Oscar Wilde’s beloved comedy. From 2:00PM - 4:00PM, savor curated teas, exquisite bites, and a splash of champagne in an intimate setting where cleverness reigns supreme.
Adding to the merriment, cast members from The Importance of Being Earnest will attend in costume, greeting and mingling with guests for a truly immersive experience.
Live music will accompany the luncheon, followed by a lively conversation with Founder, CEO, and Producing Artistic Director, Kristen Coury, who is also the Director of The Importance of Being Earnest. Kristen will share behind-thescenes insight into the production, the pleasures of Wilde’s wit, and the joyful seriousness of bringing this classic to life.
Attire: Be earnest. Be elegant. Hats & fascinators enthusiastically encouraged.
Experience includes:
• Tea service
• Lunch
• Champagne
• Live music
• Post-tea discussion
Tickets: $250
SCAN HERE TO REGISTER
At the Playwright's
Table: Lunch with Ken Ludwig
Sponsored by The Maddox
Don’t miss the opportunity to meet and speak with Ken Ludwig, the Tony Award®winning playwright behind classics like Lend Me a Tenor, Moon Over Buffalo, Leading Ladies, and The Fox on the Fairway.
Regarded as America’s most produced living playwright, Ludwig also draws from his own family history for Dear Jack, Dear Louise, the play you’ll see on our stage that tells the reallife love story of his parents.
Join us for an intimate luncheon featuring a two-course plated meal from The Maddox and a special Q&A moderated by Kristen Coury, Gulfshore Playhouse Founder, CEO, and Producing Artistic Director. Ken will share insights into the remarkable body of work that has made him one of the most beloved voices in American theatre.
Thursday, March 26, 2026
Meet & Greet Reception: 11:00AM - 11:30AM
Luncheon: 11:30AM - 1:00PM
Struthers Hall
Tickets:
Standard Seating: $250
Premium Seating: $500, includes a seat at Mr. Ludwig's table
Spots are limited use the QR code to reserve your seat.
RESERVE YOUR SEAT
STARRING (IN ORDER OF APPEARANCE)
James Evans Michael Ehlers Tony Carter Kate Eastwood Norris
Kate Marilley Karen Peakes Ella Olesen Richard Hollis
SCENIC DESIGNER
Linda Buchanan**
SOUND DESIGNER
Phillip Owen
DIALECTS
Patrick Mulryan
CASTING
Michael Cassara, CSA
COSTUME DESIGNER
Kirche Leigh Zeile
COO & MANAGING DIRECTOR
Joel Markus
LIGHTING DESIGNER
Dalton Hamilton**
WIG DESIGNER Bobbie Zlotnik
PRODUCTION STAGE MANAGER Dom Ruggiero
DIRECTOR OF PRODUCTION Ray Inkel
CEO & PRODUCING ARTISTIC DIRECTOR Kristen Coury
DIRECTED BY Kristen Coury
The actors and stage manager employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States. (**) Denotes a member of United Scenic Artists, Local USA 829
CAST OF CHARACTERS (IN ORDER OF APPEARANCE)
Algernon Moncrieff .................................................................................. James Evans
Lane/Merriman .................................................................................... Michael Ehlers
John Worthing ............................................................................................ Tony Carter
Lady Bracknell ..........................................................................
Kate Eastwood Norris
Gwendolen Fairfax ..................................................................................
Miss Prism ...............................................................................................
Kate Marilley
Karen Peakes
Cecily Cardew .............................................................................................. Ella Olesen
Rev. Canon Chasuble ............................................................................. Richard Hollis
RUN TIME
2 hours and 15 minutes including one 15-minute intermission.
SETTING
Late Spring 1895.
Act I: Algernon Moncrieff’s London Flat
Act II: The Garden of John Worthing’s Hertfordshire Manor House.
Gulfshore Playhouse operates under agreements between the League of Resident Theatres (LORT), a consortium of regional theatres throughout the nation; Actors Equity Association (AEA), the union of professional actors and stage managers in the United States; the Stage Directors and Choreographers Society (SDC), an independent national labor union; and United Scenic Artists (USA), a union of scenic, costume, lighting and sound designers.
The National Alliance for Musical Theatre, founded in 1985, is a not-for-profit organization serving the musical theatre community. The 165 organizational members and 75 individual members, located throughout 33 states and abroad, are some of the leading producers of musical theatre in the world, and include theatres, presenting organizations, higher education programs and individual producers.
Gulfshore Playhouse is an Associate Member of the National New Play Network.
Actors’ Equity Association (AEA) was founded in 1913 as the first of the American Actor unions. Equity’s mission is to advance, promote and foster the art of theatre as an essential component of our society. Today, Equity represents more than 40,000 actors, singers, dancers and stage managers working in hundreds of theatres across the United States. Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards. Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, this theatre has committed to the fair treatment of the actors and stage managers employed in this production. AEA is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. For more information, visit www.actorsequity.org.
SPECIAL THANKS
Associate Scenic Designer, Kristen Martino. Assistant Scenic Designer, Nora Brooks-Slauter. Goodspeed Musicals Costume Collection & Rental
Director’s Note
Dear Friends,
It is my delight and pleasure to realize this first “Gulfshore Playhouse revival” on the big stage. Gulfshore Playhouse produced The Importance of Being Earnest in 2013 and I was thrilled to direct it with a great cast even then. But this cast is absolutely a powerhouse in every way and it’s been challenging, fun, and, indeed, a “Wilde ride” to put this version, Earnest 2.0, together with them.
What draws me back to Earnest — and what I hope we capture — is Wilde’s genius. As he said “WE LIVE IN A WORLD OF SURFACES” : cucumber sandwiches, handbags, invented brothers, and the absolute conviction that trivial things are life-or-death serious. Yet underneath, it’s a sly indictment of Victorian pretension, social climbing, and the ridiculous rules around marriage, class, and identity. My goal was for us to create something sparkling, intelligent, and very funny — true to Wilde’s spirit while feeling fresh for our audience today. The last time we did this play, the iPhone and social media were only coming into their full popularity. Today, everybody walks around with a phone glued to their hand, and there is an “always on” aspect of society that I feel truly mirrors what was happening in London society in the late 19th century. The gossip factory was going full-blast and the “standards” for whether or not you were a good match, a good student, or a good ANYTHING were very high. There were eyes everywhere.
Hence the need for inventions like Mr. Bunbury. Lady Bracknell makes an allusion to a Lady Harbury we’ve never met but, yet, seem to know everything about her. Pay attention to all the people Lady Bracknell mentions who never grace the stage and you’ll see what I mean. It’s very much like that today. How often do we strike up a conversation about someone we “saw” on Facebook or TikTok and although we don’t know them personally, we know ALL about them. That was Victorian London. Except with carriages and calling cards.
When I was a teenager living in Buffalo, New York, I would frequently cross the border to Canada to attend the Shaw Festival. I distinctly remember seeing a Wilde play with lush scenery and gorgeous costumes and thinking “I WANT TO DO THAT.” Today, that hope comes to fruition with the beautiful set design by Linda Buchanan, and the incredible costumes created by Kirche Ziele.
The Importance of Being Earnest is one of the sharpest, most delightful comedies in the English language — Wilde called it ‘A Trivial Comedy for Serious People’. We’re not doing heavy naturalism — we’re doing heightened, stylish comedy where every
line hopefully lands like a perfectly timed punch. It is rich with verbal sophistication, requiring expertise, punctuation, elocution, and timing. You wouldn’t believe the amount of time we spent sculpting a sentence, always seeking the proper variance of pitch and the right tempo. Or looking for the operative word to lift up out of the sentence for proper emphasis. And finally, discussing the “melody” of the phrase for maximum comprehension. All in support of making sure the wit soars, the irony provokes, and the charm is infectious. Hopefully, you, the audience, will be thoroughly delighted in the process. Thank you so much for coming.
- Kristen Coury, Director
About the Playwright
Oscar Wilde (Playwright, 1854-1900) was born in Dublin to Sir William Wilde and his wife Jane. While studying at Oxford, he was fascinated by the aesthetic movement and eventually became a proponent for L’art pour l’art (“Art for Art’s Sake”) and wrote the award-winning poem Ravenna. Upon graduating in 1879, he moved to London to review art, write poetry and lecture in the UK, the United States and Canada. In 1884, Mr. Wilde married Constance Lloyd and in the course of their turbulent marriage, had two sons.
His first and only novel, The Picture of Dorian Gray, was published in 1891 and has been adapted for film and stage. Mr. Wilde’s first successful theatrical endeavor, Lady Windermere’s Fan, opened in 1892. He went on to create the wonderfully popular comedies A Woman of No Importance (1893), An Ideal Husband (1895), and the classic The Importance of Being Earnest (1895).
Not long afterward, Mr. Wilde was publicly accused of homosexuality and arrested for gross indecency. During his time in prison, he wrote De Profundis, a dramatic monologue and autobiography, which was addressed to his lover Bosie. Three years after his release in 1897, he died of cerebral meningitis in a rundown Paris hotel.
Known for his philosophical wit and irreverent charm, Mr. Wilde is famously quoted as saying, “LIFE IS TOO IMPORTANT TO BE TAKEN SERIOUSLY.”
Oscar Wilde, 1882 Encyclopedia Britannica.
About the Cast
Tony Carter (John Worthing) is a Chicago-based actor who’s excited to be returning to Florida where he recently played Tony Wendice in Dial M for Murder at Asolo Repertory Theatre in Sarasota! He also just barely made his Gulfshore Playhouse debut as Giles Ralston in The Mousetrap and is so happy they asked him to stick around for Earnest! Chicago credits include: Oliver in As You Like It (Chicago Shakespeare Theatre), Lumiere in Beauty and the Beast (Drury Lane Theatre), Dr. Mesmer in Mesmerized (Chicago Children’s Theatre), and Demetrius in A Midsummer Night’s Dream (First Folio Theatre). Regional credits include the Utah Shakespeare Festival, Oregon Cabaret Theatre, Milwaukee Repertory Theatre, Utah Festival Opera, Actors Theatre of Indiana, and Rocky Mountain Repertory Theatre where he most recently played Sky Masterson in Guys & Dolls. He wants to thank Gulfshore Playhouse for rescuing him from Chicago winter and dedicates this performance to his partner Dani with all of his Love. You can follow Tony on instagram @tonyscarter.
Michael Ehlers (Lane/Merriman) has appeared on Broadway in Cats and has toured nationally with Scrooge (starring Richard Chamberlain), Joseph and the Amazing Technicolor Dreamcoat (starring Donny Osmond), Cats, Chess, and Evita. Regional credits include Gene in Sideman, Herbie in Gypsy, Hertz in Rock of Ages, Wilbur in Hairspray, Scuttle in Disney’s The Little Mermaid, Pete in Pete ’n’ Keely, Chadwick in Elf, and Snyder in Newsies. Additional regional favorites include multiple roles in Legally Blonde, the Emcee in Cabaret, Al Jolson in Jolson & Company, and Don Lockwood in Singin’ in the Rain, as well as numerous productions with theatres across the country. On film, Michael has appeared as Father Donald in The Demon Within and Peter in Just Like a Woman (with Sienna Miller). His television work includes “Chicago P.D.” and “Monster: The Ed Gein Story” on Netflix.
James Evans (Algernon Moncrieff) Previous theatre credits include: House of McQueen (The Mansion at Hudson Yards), The Woman in Black (The McKittrick Hotel, American Conservatory Theater), The Rat Trap (The Mint), The Rewards of Being Frank (NY Classical, Cincinnati Shakespeare Company), Pride and Prejudice (Tantrum Theater), The 39 Steps (The Colonial Theatre), The Importance of Being Earnest (Cincinnati Shakespeare Company), A Night in November, Advice (Florida Studio Theater), Oresteia, The History Boys, Our Country’s Good (Edinburgh Festival Fringe). TV credits: “The Mega-Brands That Built America,” “Empires of Excess” (The History Channel). jamesevansactor.com
Richard Hollis (Rev. Canon Chasuble) On-Broadway: Hangmen, The Curious Incident of the Dog in the Night-Time, and Travesties. Off-Broadway: Hangmen (Atlantic Theatre), Muswell Hill (Barrow Group), This is Not a Time of Peace (New Light Theater Project). Regional: Betrayal (Katonah Classic Stage), Twelfth Night, Present Laughter (both at Two River Theatre), Canned Goods (American Theater Group), Taking Steps (Barrington Stage), Bedroom Farce (Huntington), Stones in his Pockets (Hudson Stage), Twelfth Night (Centerstage), Hit-Lit (Queens Theatre), The Illusion (Triad Stage), Sisters Rosensweig (Capital Rep), Romeo and Juliet, The Real Thing, and Amadeus (Northern Stage). National Theatre, London: Coast of Utopia, His Girl Friday, Tartuffe, The Wonders of Sex, and The Country Doctor. Other London Theatre includes Diana of Dobsons, The Skin Game, The Years Between and Factors Unforeseen (Orange Tree Theatre), Torn (Arcola), and State of Innocence (Theatre 503). Film and TV includes the upcoming “American Love Story (FX),” “The Gilded Age” and “Plot Against America (HBO),” “Blacklist,” “Dark Shadows,” “Believe,” and the original BBC series of “The Office,” as well as “Waking the Dead,” “Eastenders,” “Shakespeare’s Happy Endings,” and “Silent Witness.”
About the Cast
Kate Marilley (Gwendolen Fairfax) is overjoyed to return to Gulfshore Playhouse after starring as Charity Hope Valentine in Sweet Charity last season and Ilona Ritter in She Loves Me in the final production at the Norris Center! Recently she played Alice Beane in Titanic at Ogunquit Playhouse, and starred as Delia Deetz in the Beetlejuice original cast Broadway 1st National Tour. Other Broadway: original cast of Flying Over Sunset at Lincoln Center Theater, The Prom, My Fair Lady, and Billy Elliot tour!
Favorite regional: White Christmas (Judy Haynes) and The Secret Garden (Alice/Mrs. Winthrop) at The Denver Center; Damn Yankees (Lola) and A Chorus Line (Sheila) at The Rev; Anastasia (Countess Lily) at Bucks County Playhouse, Something’s Afoot (Lettie) at Pioneer Theater Co.; Can-Can (Marie) and Seven Brides for Seven Brothers (Ruth) at Paper Mill Playhouse; My Paris (Yvette Guilbert) at the Long Wharf Theater; Amazing Grace (Mrs. Catlett) at Goodspeed; The Unsinkable Molly Brown (Birdie) at the Muny; 42nd Street (Peggy Sawyer). TV/Film: “The Gilded Age (HBO),” “Skwidz (Nickelodeon).” BFA from Carnegie Mellon. Acting Certificate from London Academy of Music & Dramatic Art. So much gratitude to Kristen Coury and the Gulfshore team, and my fabulous managers Megan & Robert at Lohne/Graham Management! Check out more info/updates on her website: www.katemarilley.com. Instagram: @katemarilley
Kate Eastwood Norris (Lady Bracknell) could not be happier to be back in Naples, one of her favorite cities, and at Gulfshore Playhouse where she was last seen in Constellations and Body Awareness, as well as performing in conjunction with The Naples Philharmonic’s Romeo and Juliet. A DC based actor, she has performed in numerous productions at Studio Theatre, The Folger Theatre, The Shakespeare Theatre, Arena Stage, Round House Theatre, and Woolly Mammoth Theatre where she is a company member. Other regional credits Berkeley Rep, Portland Center Stage,Shakespeare Santa Cruz, Syracuse Stage, The Humana Festival, Florida Stage, The American Shakespeare Center, Two River Theater, Pittsburgh Irish & Classical Theatre, Delaware Theatre, Arden Theatre, and The Wilma Theatre. Kate received DC’s Anderson Hopkins Award, two Helen Hayes Awards, and Philadelphia’s Barrymore Award for her acting.
She is also a commissioned playwright by Studio Theatre and holds a MA in Creativity and The Humanities from Pacifica Graduate Institute and a MFA in Shakespeare & Performance from Mary Baldwin University.
Ella Olesen (Cecily Cardew) is sincerely grateful to be making her Gulfshore Playhouse debut, particularly in Wilde’s utterly delicious, sparkling masterpiece. New York/Off-Broadway: Welcome to the Big Dipper (York Theatre), Romeo and Juliet, A Midsummer Night’s Dream, and Julius Caesar (Ensemble Shakespeare Company). Regional: Oleanna, The Importance of Being Earnest (Florida Repertory Theatre), Alone Together (with Barry Williams; New Theatre), Fiddler on the Roof (Philadelphia Orchestra), Young Frankenstein (Barn Theatre). Training: University of Michigan, B.F.A. in Musical Theatre; British American Drama Academy, Certificate in Shakespeare; Bob Krakower Gang. Ella is a member of NYC’s Ensemble Shakespeare Company. She grew up on Vancouver Island, British Columbia, Canada and now resides in New York. Cheers to Kristen Coury, Michael Cassara, Henderson Hogan Agency, Mom & Dad, and Mr. Wilde himself. www.ellaolesen.com
Karen Peakes (Miss Prism) is so pleased to be back at Gulfshore to perform in this beautiful new space! Karen was lucky enough to perform as Lizzie in Maytag Virgin, with her husband, right smack in the middle of the pandemic, and Gulfshore will always hold a special place in her heart for being brave enough to make that happen. Other Gulfshore shows include Steel Magnolias and Into The Breeches. She’s a Barrymore nominated actor, working primarily in Philadelphia, and has performed with the The Walnut, Arden, Wilma, InterAct, 1812, Act II Playhouse, Pennsylvania Shakespeare Festival, The Lantern, Delaware Theatre Company, and People’s Light. She’s also performed at The Folger, in DC, The Peterborough Players in NH, and Santa Cruz Shakespeare in CA. She’s a two-time Audie nominated audiobook narrator of over 80 titles, and proud mom to Owen. Love to Ian, and special thanks to dear Kristen and all the amazing folks at Gulfshore.
About the Creatives
Kristen Coury (Director) is the Founder, CEO and Producing Artistic Director of Gulfshore Playhouse. She founded the Playhouse in 2004, and shortly thereafter started producing with no staff and virtually no funding. Under her leadership, the Playhouse has grown to a staff of 83 people with an annual budget of $14.5M with no long-term debt. Kristen led the charge to create the iconic $75M state-of-the-art Baker Theatre and Education Center at the gateway to downtown Naples, which opened on November 1st, 2024. As part of this project, Coury ignited one of the largest public/ private partnerships in City of Naples history, initiating a land-swap with the Wynn family and subsequently donating over an acre of land to the City upon which to build a public parking garage. While in New York, she worked on Broadway for Walt Disney Theatrical Productions, and for Andrew Lloyd Webber’s company, The Really Useful Group, and made her feature film directorial debut with an independent film entitled Friends and Family. Kristen is also a frequent investor in Broadway productions, most recently A Beautiful Noise: The Neil Diamond Musical. Kristen has directed nearly 50 productions for the Playhouse. Most recently, she directed the final production in the Norris Center, the musical She Loves Me, and the inaugural show in the Baker Theatre and Education Center, Anything Goes and has just completed directing Who’s Afraid of Virginia Woolf. Kristen was named one of the Men and Women of the Year by Gulfshore Life in 2013 and again in 2024. She also received the Murray Hendel Award for Civic Achievement in 2023. She served two terms on the board of Theatre Communications Group, the national advocacy group for professional theatre and is currently a member of the board of the Greater Naples Chamber of Commerce. Kristen is very honored to have been appointed to Florida Council for arts and culture by Senate President Kathleen Passidomo. She was named one of the Top 100 Most Influential Business Leaders in Collier County by Naples Illustrated for the last four years, and, this year, was listed in the 2025 Edition of Florida Trend Magazine as one of the 500 Most Influential Business Leaders in the State of Florida.
Linda Buchanan (Scenic Designer) made her Gulfshore Playhouse debut with last season’s Dial M For Murder. Buchanan, based in Chicago, has designed at theatres throughout the country and abroad. Chicago: Goodman Theatre, Steppenwolf, Court Theatre, Paramount, Northlight, and Writers Theatre. Regional: Arena Stage, Alley Theatre, Indiana Rep, Cleveland Playhouse, Repertory Theatre of St. Louis, Kansas City Rep, Idaho Shakespeare Festival, Milwaukee Rep, Seattle Rep, Oregon Shakespeare Festival, Syracuse Stage, Yale Rep, Resident Ensemble Theatre, Great Lakes Theatre, Utah Shakespeare Festival, and many others. Buchanan’s work has been published in American Theatre, Stage Directions, Entertainment Design (now Live Design), TCI (now Live Design), Interior Design, and Contract. Buchanan was included in 2 USITT design exhibits (Women in Design, 1997 and Evolution of a Designer, 2010).
Recent work includes Joe Turner’s Come And Gone (Goodman Theatre), American Mariachi (Dallas Theatre Center/Goodman Theatre), and The Folks At Home (Indiana Rep). Notable past projects include the premiere production of Marvin’s Room (10 regional productions, and commercial productions in New York and London), the musical Wings (Goodman Theatre and the Public Theatre in New York) and the American premiere of House and Garden (Goodman). Buchanan has received the Merritt Award for Design and Collaboration, Jefferson Awards for House (Goodman), Black Snow (Goodman) and I Hate Hamlet (Royal George), and a Helen Hayes Award for Dancing at Lughnasa (Arena Stage). Buchanan is Professor Emerita, DePaul University, where she was Associate Dean and Head of Scene Design.
Kirche Leigh Zeile (Costume Designer) is thrilled to be returning to Gulfshore Playhouse after designing both The Lehman Trilogy and Lady Day at Emerson’s Bar and Grill last season. Her Off-Broadway credits include Long Story Short, Amazons and Their Men, and The Last Word. Regionally, she has designed for the Weston Playhouse, AMAS, Syracuse Stage, Southern Rep, Rivertown Theater, Tulane Summer Shakespeare Festival, Two River Theater, Pennsylvania Shakespeare Festival, and the Sharon Playhouse. She designs for numerous companies and academic institutions both regionally and in NYC, including Columbia University, Marymount Manhattan College, Tulane University, and NYU. She is an affiliated artist with Clubbed Thumb in NYC and holds an MFA from NYU. She is a Portfolio Development Advisor for Ringling College of Art and Design and is a prolific fine artist whose paintings have shown in galleries throughout New York and New England.
Dalton Hamilton (Lighting Designer) works around the country as a designer, associate, and programmer. His work extends from theatre, opera, and dance to corporate events and theme park entertainment. Credits include: Bay Street Theater, Gulfshore Playhouse, Tuacahn Center for the Arts, Maltz Jupiter Theatre, Nashville Repertory Theatre, Ogunquit Playhouse, FreeFall Theatre, American Stage, Norwegian Cruise Line, City Springs Theatre Company, and the Straz Center for the Performing Arts. Dalton has also been an Associate Designer for numerous theme park shows at Busch Gardens Williamsburg under Lighting Designer Ken Billington for the past 10 years. Other notable Associate/Assistant credits include The Prince of Egypt (West End) with Lighting Designer Mike Billings, Dungeons & Dragons The Twenty-Sided Tavern (Chicago & Off-Broadway), and Rogers: The Musical, “Hawkeye Series” (Marvel Studios: Disney+) with Lighting Designer Mike Wood. Proud member of United Scenic Artists, Local USA-829. daltonhamiltonlightingdesign.com
@dhlightingdesign
About the Creatives
Phillip Owen (Sound Designer) Mrs. President, 2024 Edinburgh Fringe entry (Rec Room Arts, Houston), Roe, Chad Deity (ZACH Austin), Mother Road (PCPA), Apollo 8 (AD Players Houston), Camp David (Alley Theatre), Whipping Man, Dollhouse (Stages Rep Houston), Outside Mullingar, Noises Off, Dancing at Lughnasa (Everyman Theatre, Baltimore) [work featured at the 2019 Prague Quadrennial], Anna Christie, Kingdom of Earth, Common Enemy (Triad Stage, Greensboro), Cymbeline, Antony and Cleopatra (Stonington Opera House, Maine), Notes from Underground, Rough Crossing (Yale Rep), and original composition Waking (Yale Cabaret). Broadway: assistant composer, A Steady Rain (Schoenfeld Theatre). Assistant Professor of Practice in Sound Design at the University of Texas at Austin. MFA, Yale School of Drama. M.Phil. Trinity College Dublin. www.phillipowen.com
Bobbie Zlotnik (Wig Designer) is an NYC-based hair designer and is ecstatic to return to Naples for his 17th Gulfshore Playhouse production. Previous Gulfshore Playhouse shows include: The Mousetrap, Irving Berlin’s White Christmas, Who’s Afraid of Virginia Woolf, Sweet Charity, Anything Goes, Lady Day at Emerson’s Bar and Grill, Dial M for Murder, Noises Off, and She Loves Me. Off-Broadway: Emojiland (Drama Desk Nom.), Gene & Gilda, Charles Busch’s Ibsen’s Ghost, Gatsby Immersive, Fairycakes, Forbidden Broadway, and countless others. National Tours: Here You Come Again, Emojiland, Cocomelon LIVE, On Your Feet (also Ogunquit Playhouse & La Mirada). Film/TV: “The Devil Wears Prada 2,” “The Gilded Age,” “The Marvelous Mrs. Maisel,” “Stranger Things,” “RuPaul’s Drag Race,” “Getting Curious With Jonathan Van Ness.” Select Regional Credits: Williamstown Theatre Festival: Camino Real, Not About Nightingales, Spirit of the People. Cape Playhouse: Joan, Rent, Come From Away, Buddy, Waitress, Beautiful, Baskerville, Camelot, An American in Paris, Sense & Sensibility, Jersey Boys, and Ain’t Misbehavin’. The Lex: Joseph…, 42nd Street, Fiddler, Jersey Boys, White Christmas, The Sound of Music, Memphis, The Little Mermaid, Newsies, and Music Man. Sharon Playhouse: Million Dollar Quartet, Annie, Sylvia, and The Mousetrap. Penguin Rep: Gene & Gilda, The Virtuous Life of Joseph Andrews, and Souvenir. Syracuse Stage: Cinderella, Murder On The Orient Express, Tender Rain, and Our Town. Upcoming: A Christmas Carol (The Lex), Ebenezer Scrooge’s Big Jersey Christmas Show (George Street), Frozen (Syracuse Stage), and Beautiful (Gulfshore Playhouse). www.BobbieZlotnik.com
Patrick Mulryan (Dialects) as a Voice and Dialect Coach, Patrick is currently represented on Broadway by Harry Potter and the Cursed Child (Lyric) and OffBroadway by The Play that Goes Wrong (New World Stages). Last season he coached the Gulfshore Playhouse production of Anything Goes. Past Broadway credits include David Henry Hwang’s Yellow Face (Roundabout) starring Daniel Dae Kim and Francis Jue (who won a 2025 Tony® for his performance) and Left on Tenth starring Julianna Margulies and Peter Gallagher and directed by Susan Stroman. Past credits include Picnic at Hanging Rock (Greenwich House), Corruption at Lincoln Center Theater (directed by Bartlett Sher), Lost in Yonkers at Hartford Stage (co-directed by and starring Academy Award nominee Marsha Mason) and Sweat at the Huntington Theater Company for which the cast received the Elliot Norton Award for Outstanding Ensemble. Directing credits include Indian Ink, Raison d’être: an Evening of Pirandello (also adaptor), and Goblin Market (JJewell Productions) which he directed in New York at 59E59 and abroad at the Edinburgh International Fringe Festival. Acting credits include Menier Chocolate Factory (London), Roundabout Theatre, EST, Barrow Street/TFANA, La MaMa, McCarter, Old Globe, Trinity Rep, and the Guthrie. Patrick is a member of the Voice and Speech faculty at the Juilliard School in the Drama Division. He received his MFA in Acting from Brown University/Trinity Rep and is a certified teacher of Miller Voice Method (mVm). Patrick is also a board member of Colored Criticism, an organization that highlights the voices of artists, audiences, and professionals historically sidelined from cultural criticism. Upcoming Off-Broadway projects: Antigone (or this play I read in high school) (Public Theater); Calf Scramble (Primary Stages).
Dom Ruggiero (Production Stage Manager) Broadway: The Gathering (Hal Linden), Borscht Belt on Broadway. LORT/regional: The Royale, Cabaret, The Legend of Georgia McBride, My 80-Year-Old Boyfriend, Women In Jeopardy, Man of La Mancha, Mame, Drowsy Chaperone, Beauty and The Beast, Always Patsy Cline, and Funny Girl. Tours: The Lion, Cole Porter Songbook (Melba Moore), Irving Berlin Songbook (Carole Lawrence,) Greetings! Shalom Aleichem Lives (Judy Kaye, Bruce Adler, Theo Bikel,) Ain’t Misbehavin’, Phantom (Yrdton/Kopit), Anything Goes, Shenandoah, Song and Dance, West Side Story among many others. Dom is a proud member of Actors’ Equity Association for 40-plus years. He has stage productions both nationally and internationally and at many LORT Theatres: The Old Globe, A.C.T (San Francisco,) Milwaukee Rep, Geva Theatre, Long Wharf Rep, Arizona Theatre Company, Geffen Playhouse, City Theatre (Pittsburgh,) Merrimack Rep, and Arena Stage (Washington D.C.) Recently stage managed Who’s Afraid of Virginia Woolf for Gulfshore Playhouse. Thanks for another opportunity to work at your magnificent new theatre space.
About the Creatives
Michael Cassara, CSA (Casting Director) casts theatre and film in New York City and is thrilled to return to Gulfshore Playhouse for a 17th season, having cast over 70 productions here since 2009. Recent credits include American Eclipse (Michael John LaChiusa, dir. Bill Rauch), An American In Paris (Int’l Tour, dir Christopher Wheeldon), Spamilton (NYC/Chicago/Pittsburgh CLO/tour), Forbidden Broadway (last five editions/albums), and over 750 plays and musicals since 2003. Regional credits include Weston Theater Company, Argyle Theatre, Hangar Theatre, Ogunquit Playhouse, Actors Theatre of Louisville, Denver Center, Asolo Rep, and many more. Resident Casting Director for the National Alliance for Musical Theatre (NAMT) since 2013. Michael is a native Clevelander and serves on the BFA faculty at Wright State University. Member, Casting Society of America (CSA). BFA, Otterbein University. MichaelCassara.net @michaelcassara
Joel Markus (COO & Managing Director) is thrilled to be in his eighth season as Gulfshore Playhouse’s COO & Managing Director. Joel enjoys working side by side with Kristen to produce Broadway caliber theatre while focusing on cultivating a great staff and culture. In his time at Gulfshore Playhouse, Joel has helped grow and quadruple the theatre’s budget, triple the staff, has co-managed the design and construction of the new $75M Baker Theatre and Education Center, the production shop construction project, has been instrumental in joining LORT (most recently, being on the negotiating committee for LORT and Actors’ Equity Association), and navigated and guided the organization through the pandemic and Hurricane Ian. Joel was recognized as one of the top COOs in SWFL by the Community Foundation. Joel’s thirty year career has taken him to some of our nation’s leading professional regional theatres. He most recently spent seven seasons at America’s oldest theatre, Walnut Street Theatre in Philadelphia. Joel has played integral roles in the production of hundreds of plays over ten seasons at the Indiana Repertory Theatre, four years at Geva Theatre Center in Rochester, NY, five summers at the Weston Playhouse in Vermont, American Players Theatre in Spring Green, Wisconsin, and North Shore Music Theatre in Beverly, Massachusetts. Joel is a graduate of Indiana University and originally from Miami, Florida.
We understand that the choice to designate a planned gift is a deeply precious and personal one, and we thank you for your consideration. When you become a member of the Standing Ovation Society, you are joining an ensemble of thoughtful and imaginative visionaries who believe, as you do, in the transformative power of world-class professional theatre and educational opportunities in our region. Your gift will touch the lives of all who walk through our doors and ensure our ability to carry out our mission.
By including Gulfshore Playhouse in your estate plan, you are supporting Gulfshore Playhouse’s long-term fiscal stability and leaving a lasting legacy that will allow us to create, engage, and inspire for many years to come.
Benefits of Joining:
• Annual recognition in the Gulfshore Playhouse playbill
• Invitation to periodic events honoring members of the Standing Ovation Society
• Invitation to other Gulfshore Playhouse special events
Standing Ovation Society Members
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Ms. Patricia Sweet & Mr. Bill Marsh
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IF YOU WOULD LIKE TO NOTIFY US OF YOUR INTENT OR DISCUSS YOUR OPTIONS, PLEASE CONTACT LISA HALSEY
Cassie Austin and Stacie Bono in the Gulfshore Playhouse production of White Christmas .
Photo by Matthew Schipper.
Dramaturgical Notes
JACK: THAT, MY DEAR ALGY, IS THE WHOLE TRUTH, PURE AND SIMPLE.
ALGERNON: THE TRUTH IS RARELY PURE AND NEVER SIMPLE. THE IMPORTANCE OF BEING EARNEST, ACT ONE, SCENE ONE.
Oscar Fingal O’Flahertie Willis Wilde was born in 1854 in Dublin, Ireland. His father was an eminent eye doctor and his mother was a poet and an expert on Irish folklore. When he was thirteen years old, his family was shocked by the death of his eight-year-old sister, Isolde. This tragedy profoundly affected the young Oscar; she was the subject of one of his earliest published works and he carried a lock of her hair with him for the rest of his life.
Wilde’s exceptional intellect was apparent from an early age. In 1874, he won a scholarship to Oxford University to study classics and there he fell into intellectual circles with some of the era’s most influential figures. This was also where Wilde began to cultivate the eccentric reputation that eventually made him one of the first “celebrities.” After graduating with a double first-class degree (the highest possible honors), he moved to London to embark on what would become a legendary literary career.
Though Wilde quickly became a fixture in the London arts and social scene (overcoming obstacles like his Irish birth by adopting an English accent) thanks to his immense wit, flamboyant fashion choices, and his role in the aesthetic movement, it took time for him to be taken seriously as an artist. Wilde’s first ventures as a playwright were largely unsuccessful, so he turned to other forms of writing. His first published novel, The Picture of Dorian Gray, was a scandalous success. Many found the story of a young man who bargained his soul for eternal beauty quite shocking. The book was criticized for its “immoral” content that offended Victorian sensibilities, and Wilde himself was accused of being a hedonist with objectionable moral values.
However, the backlash did not discourage Wilde from pushing the envelope. Wilde was both a member of society and an outsider who loved and loathed the world he wrote about. This unique perspective made him an astute observer and a razor-sharp critic of the double standards and hypocrisies of Victorian society.
Oscar Wilde, c. 1882. Photograph by Napoleon Sarony. Library of Congress, Prints and Photographs Collection.
During the Victorian era, a period corresponding roughly with the reign of Queen Victoria (18371901), Britain was a prosperous nation at the height of its imperial power. While it is broadly seen as an age of peace, progress, and political liberalism, “the Queen’s 64-year reign created an illusion of continuous uniformity, masking significant shifts in ideas, manners, and values” (Wikipedia).
“BETWEEN 1780 AND 1850 THE ENGLISH CEASED TO BE ONE OF THE MOST AGGRESSIVE, BRUTAL, ROWDY, OUTSPOKEN, RIOTOUS, CRUEL AND BLOODTHIRSTY NATIONS IN THE WORLD AND BECAME ONE OF THE MOST INHIBITED, POLITE, ORDERLY, TENDER-MINDED, PRUDISH AND HYPOCRITICAL,”
wrote historian Harold Perkin in Origins of Modern English Society. The shift occurred across all social classes and reached all facets of life. Slavery was abolished, cruelty to animals was criminalized, and legislation was passed to mitigate the exploitation of children in the workplace. The higher emphasis on morality also led to more censorship (Shakespeare was “cleansed” of material deemed inappropriate) and, very relevantly to Oscar Wilde, male homosexuality was criminalized.
What emerged from all of this was a rigid social structure with an outward appearance that did not reflect the far more complicated reality of life. Because gender and class were the primary organizing principles of society, your entire future was largely determined for you by the sex you were born with and the class you were born into. Men and women had separate and distinct roles in society based on biological characteristics. These double standards were reflected in the laws. For example, the 1934 Poor Law ‘Bastardly Act’ deemed all illegitimate children the sole responsibility of the mother, a subject that Oscar Wilde tackled in his play A Woman of No Importance.
About 70-80% of the Victorian population was working class. Over the course of the century, the middle class expanded from 15% to 25% of the population, and they were the moral leaders of society. The upper class was the smallest portion of the population but had the majority of the titles, wealth, land, and political power.
Painting of Queen Victoria by Franz Xaver Winterhalter (1859)
Dramaturgical Notes
However, their status was changing, too. Lady Bracknell states in Earnest, “land has ceased to be either a profit or a pleasure,” which indicates the impact of the new industrial economy on hereditary landowners. By the end of the 19th century, British manufacturers eclipsed the aristocracy as the richest class in the nation.
Wilde shows us in The Importance of Being Earnest that the strict social rules and the moral convictions of the middle and upper classes were largely for the sake of appearance, and people adhered to them only until it was inconvenient to do so. The people most expected to live by society’s rules were also the most likely to figure out how to break them, exemplified by Earnest’s Algernon and Jack, both of whom are leading double lives to escape their obligations and responsibilities.
And just like the characters in his play, Wilde led his own double life; he was married to a woman named Constance Lloyd and a father to two sons, whom he adored. But this marriage gave him cover for his “other” life as a homosexual man, a crime (by Victorian law) that caused Wilde’s career — and his life — to be cut short. In 1895, two of Wilde’s plays — An Ideal Husband and The Importance of Being Earnest — opened in the West End within weeks of one another, an astounding success that few others have ever managed. Just a few months later, he was put on trial for “gross indecency” and sentenced to two years of hard labor in prison, and he died a couple of years after his release at the age of 46.
Wilde was already larger than life while he was alive, and in the 120-odd years since, that life has only grown larger. He is by far one of the most revered and influential writers in the English language and his wit remains second to none, and The Importance of Being Earnest, which he subtitled “a trivial comedy for serious people,” is Wilde at his best.
By Audrey Zielenbach, Line Producer
Three young women are sitting at table in a garden having afternoon tea, with a large fruit cake. Colour wood engraving by E. Evans after Kate Greenaway.
2026/2027 SEASON
STRUTHERS STUDIO OCT. 20 - NOV. 22
Come to the Cabaret for an evening of Broadway’s best!
Enjoy a truly unique musical theatre experience as we transform the Struthers Studio into a hazy, swanky jazz club.
MORAN MAINSTAGE MAR. 2 - APR. 11
Naples’ Professional Theatre. A World-Class Experience. RENEW YOUR FLEX PASS NOW! Flex Passes on sale MARCH 24 Single Tickets on sale MAY 26
High stakes. Big hearts. Classic Broadway.
Set in 1950s New York City, this colorful cast of gamblers, gangsters, showgirls, and missionaries will dance and sing their way into your heart.
MORAN MAINSTAGE NOV. 17 - DEC. 24
Your New Holiday Tradition.
The timeless tale of Ebenezer Scrooge’s magical journey through Christmases past, present, and future comes to Naples this Christmas in a new adaptation.
STRUTHERS STUDIO APR. 6 - MAY 16
How far would you go to get your life back?
This Broadway sensation starts with a bang and will have you on the edge of your seat until the very end.
MORAN MAINSTAGE JAN. 12 - FEB. 7
Sometimes it’s the last job that changes everything.
A cinematic, twist-filled crime caper brought vividly to life on stage.
MORAN MAINSTAGE APR. 27 - MAY 23
Hypocrisy has never been more fun.
STRUTHERS STUDIO FEB. 2 - MAR. 14
Bidding wars are easy. Friendship is expensive.
There’s more on the line than just a prize as a bidding war quickly becomes a hilarious clash of ideas, tax brackets, and personalities.
A razor-sharp, outrageous, laugh-out-loud comedy that is as relevant today as it was in 17th century France. LEARN MORE
Gulfshore Playhouse Education provides programs that enhance the lives of students of all ages through transformative theatrical experiences.
THE CONSERVATORY
Pre-professional training through theatre productions, classes, and camps. Available for all ages.
THINKTHEATRE
Designed specifically for our region, this program infuses theatre-based pedagogy with curriculum standards to enhance learning.
ARTREACH
Our community partnership program strengthens the fabric of our region by bringing the transformative power of live theatre and education to communities.
Conservatory students in the Gulfshore Playhouse production of Matilda JR.
Photo by Matthew Schipper.
The Lecture Series
A monthly series of insightful discussions about theatre and the arts journey led by seasoned professionals, scholars, and industry experts.
Cost: $30, Packages Available
THE IMPORTANCE OF OSCAR WILDE (A TWO-PART SERIES)
Explore Oscar Wilde’s legacy with literary expert Dr. Gail Kern Paster.
Thursday, March 5th & March 12th at 11:00AM-12:15PM
THE ART OF SCENIC DESIGN IN THEATRE
Discover the art of stage design with Broadway’s Ann Beyersdorfer—NYC scenic designer and scenic designer for the Gulfshore Playhouse production of Beautiful: The Carole King Musical!
Thursday, April 16 at 11:00AM-12:00PM
COSTUME DESIGN FOR THE STAGE
Discover how characters are brought to life through the magic of theatrical costume design!
Thursday, May 7, 2026 at 11:00AM-12:00PM
LEARN MORE
WHERE ART TAKES CENTER STAGE
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Pictured: The Cast of Anything Goes. Photo by Matthew Schipper.
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you to Our Annual Donors
Thank
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you to Our Annual Donors
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Donna & Paul Watson
David P. Whalley
As a not-for-profit theatre, we rely on the generosity of donors whose support ensures our work continues to inspire, entertain, and enrich the community. Your support makes you a vital part of the show, transforming our region and changing lives through Gulfshore Playhouse.
HAVE QUESTIONS OR WISH TO MAKE A GIFT? Contact Chief Advancement Officer, Lisa Halsey at lhalsey@gulfshoreplayhouse.org or call at 239.261.7529 ext. 203.
Our Board of Directors
CHAIRMAN OF THE BOARD
Steve Akin VICE-CHAIR
Rich Struthers BOARD OF DIRECTORS
Patty Baker
Jim Bosscher
Kristen Coury
David Drobis
Gary Gregg
Tim Habbershon
Mitchell Hertz
Jason Hunter Korn
Pamela Krupka
Vince Maffeo
Sandi Moran
Gerry Moss
Jack Nortman
Tony Panzica
Gail Kern Paster
Susan Regenstein
Rick Rondinelli
Cynthia Scholl
Tennille Sevigny
David Shockley
Ashley Smith
Pat Sweet
Joanne Wyss EMERITUS
Don J. Gunther
Robert L. Harden
Dave Wilson
LIFETIME TRUSTEES
Tom Gallagher
Jenny Housh
Don McCulloch
Our Staff and Leadership
LEADERSHIP
Kristen Coury, CEO & Producing Artistic Director Joel Markus, COO & Managing Director
ARTISTIC & EDUCATION
CEO & Producing Artistic Director ................. Kristen Coury
Associate Artistic Director ................................... Dann Dunn
Line Producer ........................................... Audrey Zielenbach
Director of Education .......................................... John Perine
ThinkTheatre Coordinator ...................... Meredith Singleton
ArtReach Coordinator ................................... Frances Barnett
Education Assistant ......................................... Sophie Cooper
ADMINISTRATION
COO & Managing Director ................................... Joel Markus
Director of Facilities ........................................... Joe Salemme
Director of Events/Food & Beverage ................... Erin Burney
Assistant Events/Food & Beverage Manager ..... Crystal Diggs
Executive Assistant ........................................... Sydney Mixon
Administrative Assistant .......................... Hannah Schumacher
FINANCE
Chief Financial Officer ......................................... Joey Rudder
Director of Finance ........................................... Alyson McCoy
Finance Associate ......................................... Maureen Devine
IT Specialist ................................................... Drew Whitcomb
ADVANCEMENT
Chief Advancement Officer .................................. Lisa Halsey
Director of Advancement Events ........................ Sarah Owen
Chief of Staff ................................................. Brandon Horwin
Advancement Officer ............................................ Amy Talbot
Stewardship Managers ......... Mary Hackeloer, Grace Stewart
MARKETING
Chief Marketing Officer .............................. Rachel Applegate
Marketing Manager ........................................ Heidi Overman
Art Director ............................................................. Trevor List
Graphic Designer .......................................... Ashley Martinez
Web Strategist .................................................... Gaston Barua
Patron Services Managers ...................... Meghan Fitzpatrick, Ashleigh Jennings
Assistant Patron Services Manager ................... Joan Cannon
Patron Services Assistants ............................... Zoë Bradshaw, Timothy Coryell, Sara Ross, Sabina Valery
GENERAL MANAGEMENT
General Manager ..................................................... Jim Dallas
Interim Company Manager .................... Chanda Hawthorne
Front of House Manager .......................... Jeremy Bennington
Assistant Front of House Manager ................... Zachary Klein
PRODUCTION MANAGEMENT
Director of Production .............................................. Ray Inkel
Associate Production Manager .................................. Lila Sell
SCENERY
Technical Production Manager ......................... Brooke Oteri
Technical Director - Moran Mainstage ............... John Forton
Technical Director - Struthers Studio .................... Alex Riggs
Scene Shop Supervisor .............................. Anthony Knudson
Stage Supervisor ................................................ Andrew Geier
Carpenters ........................ Tom Gregus, Deborah Samuelson
Scenic Technicians .............. Brian Richards, Chris Williams, Josh Wood
SCENIC ART
Scenic Art Supervisor ........................................... James Allen
Assistant Scenic Arts Supervisor .................. Katherine Burns
Scenic Artists ..................................... Mish Fink, Bryan Perez, Larashleigh Wallace
PROPERTIES
Properties Supervisor ..................................... Jonathan Willis
Assistant Properties Supervisor .................. Gwendolyn Rygg
Properties Artisans .................. Hunter Booth, Maxine Walby
Properties Technician ....................................... Rylee McNeal
LIGHTING
Lighting Supervisor .................................. Elizabeth Knudson
Assistant Lighting Supervisor ............................. Lynn Slutsky
Lighting Technicians ...................... Jaden O’Berry, Ray Ward
SOUND
Sound Supervisor .................................................. Owen True
Assistant Sound Supervisor ............................... Max Heyliger
Sound Technicians .................. Emily Parker, Kaleb Pecoraro
COSTUMES
Costume Shop Manager ............................. Jennifer Bronsted
Assistant Costume Shop Manager ................ Elizabeth Eaton
Drapers .......................................... Lana Grant, Sarah Greene
First Hands ................................ Mya Nunez, Gabby DePrizio
Wardrobe Supervisor ................................... Marissa Mascolo
Assistant Wardrobe Supervisor ..................... Emma Madden
Wig & Makeup Supervisor ............................... Rebecca Mack
Assistant Wig & Makeup Supervisor .................. Joan Harlow
Costume Technicians .................................. Suvonna Bynum, Sarea Kelly, Viva Sammatova
STAGE MANAGEMENT
Stage Management Production Assistants ...... Dylan Gellett, Connor J. Reilly, Bailey Shea