Applause -- Hadestown, May 5-10, 2026

APPLAUSE

JUNE 25 - AUGUST 6, 2026 GET TICKETS NOW

SEASON NO. 39

ACADEMY OF ST MARTIN IN THE FIELDS • JUNE 25 - 28, 2026

DALLAS SYMPHONY ORCHESTRA • JULY 2 - 8, 2026

THE PHILADELPHIA ORCHESTRA • JULY 10 - 17, 2026

NEW YORK PHILHARMONIC • JULY 22 - 29, 2026

IMMERSIVE SERIES • JULY 13 - 14, 2026

CHAMBER MUSIC SERIES • JUNE 30 - JULY 27, 2026

CLASSICALLY UNCORKED • AUGUST 5 - 6, 2026

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BY JANICE SINDEN

WWelcome to the theatre!

We’re delighted you’re joining us for the return engagements of MJ and Hadestown, which together earned 24 Tony Award nominations and 12 wins. Our Theatre Company also presents Sanaz Toossi’s Pulitzer Prizewinning English and Matthew López’s heartfelt family drama Somewhere, from the playwright behind our 2014 world premiere of The Legend of Georgia McBride

Staging a world premiere is no small feat, but seeing one go on to subsequent productions affirms how essential new work is to the future of American theatre. In 2025, our Theatre Company launched the world premiere of The Reservoir by Jake Brasch. After three subsequent regional productions, I’m delighted to share it has just completed a seven-week Off-Broadway run.

Next season, we’ll debut two more new works — How to Conquer America: A Mostly True History of Yogurt by David Myers and bogfriends by jose sebastian alberdi. We’re also proud to offer a co-production of Destiny of Desire with LA’s Center Theatre Group. Be sure to explore pages 18–19 for the full 2026/27 season.

Whether this is your first visit or you’ve been with us since 1979, we hope you’ll return for more stories, more joy, and more memories during the coming season.

Vladimir Script

Warm regards,

Janice Sinden

Janice Sinden, President & CEO

The Denver Center for the Performing Arts honors and acknowledges that it resides on the traditional and unceded territories of the Ute, Cheyenne, and Arapaho Peoples. We also recognize the 48 contemporary Indigenous Tribes and Nations who have historically called Colorado home.

APPLAUSE MAGAZINE

VOLUME XXXVI • NUMBER 5 • APR – MAY 2026

EDITOR: Suzanne Yoe

DESIGN DIRECTOR: Kyle Malone

DESIGNER: Paul Koob

CONTRIBUTING DESIGNERS: Lucas Kreitler, Kyle Malone

CONTRIBUTING WRITERS: Lisa Bornstein, Collin Van Son

Applause is published six times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

Applause magazine is funded in part by

Angie Flachman, Publisher For advertising 303.428.9529 or sales@pub-house.com coloradoartspubs.com

Denver Center for the Performing Arts is a non-profit organization that engages and inspires through the transformative power of live theatre.

BOARD OF TRUSTEES

Ruth Krebs, Chair

Hassan Salem, Immediate Past Chair

Jerome Davis, Vice Chair

David Jacques Farahi, Secretary/Treasurer

Nicole Ament

Marco D. Chayet

Yosh Eisbart

Christopher Hayes

Elizabeth Hioe

Deb Kelly

Robert Kenney

Kevin Kilstrom

Lynn McDonald

Susan Fox Pinkowitz

Manny Rodriguez

Alan Salazar

Richard M. Sapkin

Martin Semple

William Dean Singleton

Sylvia Young

HONORARY TRUSTEES

Navin Dimond

Margot Gilbert Frank

Jeannie Fuller

Robert C. Newman

Cleo Parker Robinson

Robert Slosky

Dr. Reginald L. Washington

Judi Wolf

pg 1 4

pg 1 6 FOR A

HELEN G. BONFILS

FOUNDATION BOARD OF TRUSTEES

Martin Semple, President

William Dean Singleton, Vice President

Kevin Kilstrom, Secretary/Treasurer

Nicole Ament

Marco D. Chayet

David Jacques Farahi

Ruth Krebs

Susan Fox Pinkowitz

Hassan Salem

EXECUTIVE MANAGEMENT

Janice Sinden, President & CEO

Jamie Clements, Vice President, Development

Chris Coleman, Artistic Director, Theatre Company

John Ekeberg, Executive Director, Broadway & Cabaret

Angela Lakin, Vice President, Marketing & Sales

Glen Lucero, Vice President, Venue Operations

Laura Maresca, Chief People & Culture Officer

Lisa Roebuck, Vice President, Information Technology

Charles Varin, Managing Director, Theatre Company

Allison Watrous, Executive Director, Education & Community Engagement

Jane Williams, Chief Financial & Administrative Officer

Fall Theatre Tour • Oct 24 - Nov 1, 2026

Experience the heart of London theatre like an insider West End performances, iconic cultural landmarks, and exclusive theatre-focused experiences designed for curious artists and audiences alike.

• 7 nights at the Park Plaza Westminster Bridge Hotel

• 5 theatre productions including two new musicals, Sinatra and Burlesque

• 5 dinners

• Daily breakfast

• Afternoon high tea

• St. Paul’s Cathedral

• Royal Albert Hall

• Kensington Palace

• Theatre Royal Drury Lane

• National Theatre

• Eltham Palace

• Parliament

• Tate Modern Museum

• Guided walking tours

• Theatre talk and tea

For more information contact 1-800-962-7325 info@break-awaytours.com

$6,995 per person based on Double Room without Airfare

WORD BY WORD LEARNING TO SPEAK, AND LISTEN, IN ENGLISH

BY COLLIN VAN SON

EEnglish Only. It’s a simple rule, but sometimes the simplest rules are the hardest ones to follow. For the students enrolled in Marjan’s advanced English course, the temptation to switch to their native tongue, Farsi, is often too great to resist. But in this particular classroom in Karaj, Iran, the magic of theatre means that English is indeed the only language the audience hears.

In Sanaz Toossi’s Pulitzer Prize-winning play English, the titular language manifests in two forms. When the characters practice their English aloud, they do so with a Persian accent. That accent may be light, as in the case of star pupil Omid, or it may be thick, as in the case of Elham, five-time taker of the TOEFL (Test of English as a Foreign Language) exam. But in every case the accent is present, a reminder to the audience — and the characters themselves — that English is not their first language. When they switch to Farsi, however, we hear them as they hear themselves: unaccented, with an ease of expression that some members of the class can only dream of attaining in English.

There are many plays — not all of them bad — in which accents are treated like costume pieces, as a means to imbue an otherwise forgettable character with a little extra “flavor.” At the risk of stating the obvious, English is no such play. “Changing the accent is a very important theat-

rical tool in this play,” explains director Hamid Dehghani. “It’s part of the plot, the motivations for characters, what’s happening between the characters.”

Because of how quickly the dialogue shifts between English and Farsi, Dehghani says the characters on stage are not the only ones learning a new language. “It’s very important to teach that language, that theatrical language, to the audience at the very beginning of the play,” he says. “The play itself introduces us to that feature early on, but for [the] performers and actors, if you are not able to stick to that set of rules, I think often the audience will get so confused.”

To prevent such confusion, Dehghani and the rest of the artistic team have to pay painstaking attention, not only to the mechanics of language — for example, which sounds give Farsi speakers the hardest time in English — but also to the characters’ motivations for switching between languages. What internal conflict might compel a character to abruptly switch to English, or to purposefully defy the class’s English Only rule? “We tracked all of those moments,” says Dehghani. “Beat by beat, word by word, letter by letter.”

It’s a demanding task, but one that Dehghani is amply prepared for — both professionally and personally. In addition to directing a previous co-production of English at

the Goodman Theatre and the Guthrie Theater, Dehghani grew up in Iran and built his theatrical career there before coming to the U.S. “I had the same experience of all of these characters in the play,” he says. “I was 30-something years old when I started learning English. So I could feel and relate to these characters so much.”

English is what Dehghani calls “a political play in a very non-political way.” It is set in 2008, at a time in Iran when, as Dehghani recalls, “there was some hope that it’s going to change, we are going to be free more, and that energy was in the air.” And while the intervening years have brought some changes — Dehghani notes how common it has become for Iranian women to go out in public without a hijab — there is no escaping the present-day realities of repression.

This past January, shortly after Dehghani’s most recent visit to Iran, the government responded to nationwide protests with a brutal crackdown that left thousands dead. For Dehghani, the violence has raised new questions as he prepares to bring English to the Denver Center stage. “Should I bring something that is more immediate that people can see outside, that is connected to the present moment? Or should I just look at this production as its own, without looking at the context or what’s happening outside in the world?”

Ultimately, Dehghani says his artistic choices are guided by the humanizing power of theatre. “You see cellphone footage of people protesting or getting shot on the street,” he says, “but you don’t know them. Seeing a play like English as itself, as authentic, as true to the life of these characters, I think in a very honest and deep way connects you to people on the street.”

As Dehghani sees it, that sense of connection isn’t limited to people half a world away — it also extends to those who have recently arrived in one’s own community. “This is an immigration story,” he says. “It’s like the first chapter of an immigrant’s story.” Whereas most immigrant stories open at the moment of arrival, English is in many ways a story of departure, of the struggle and self-doubt that comes with deciding to leave one’s home — and hopefully, somehow, find a new one.

I had the same experience of all of these characters in the play. I was 30-something years old when I started learning English. So I could feel and relate to these characters so much.

— HAMID DEHGHANI, DIRECTOR

“I still feel that duality,” says Dehghani, “of being both Persian and living in an English culture and country.” And while he acknowledges that duality can be a source of challenge, it is also, in his telling, a gift. “Producing this play here, in the U.S., for me…feels like home. Bringing a piece of home on a stage.”

Editor’s Note: This interview took place before the recent U.S. and Israeli actions in Iran and were not part of the conversation.

HARRY POTTER AND THE CURSED CHILD

For the first time, Denver audiences will have the chance to experience Harry Potter and the Cursed Child, the internationally acclaimed stage production playing the Buell Theatre May 30–June 21. The play, which earned six Tony Awards including Best Play, has been praised for its imaginative storytelling and theatrical innovation. Forbes called it “one of the most defining pop culture events of the decade.”

Set years after the final chapter of the original saga, the play invites fans into an all new adventure in the wizarding world. At its heart is Albus Potter, whose unexpected friendship with Scorpius Malfoy leads them on a journey that explores family legacy, responsibility, and the delicate boundaries of time. Their story brings fresh dimension to beloved characters while offering a contemporary perspective on the world audiences know.

Critics have noted the production’s blend of emotional storytelling and inventive stagecraft. The New York Times described it as a “marvel of imagination,” while People remarked that the illusions leave audiences wondering “how’d they do that?” long after the curtain falls.

For Denver theatergoers, the engagement offers a rare opportunity to experience a landmark piece of modern theatre — and a new chapter of magic — up close.

ENGLISH

APRIL 17 – MAY 31 • SINGLETON THEATRE

ASL Interpreted and Audio Described performance: May 3 at 1:30pm Stay for a post-show discussion on May 12, 20 & 28

HADESTOWN : A Primer on Greek Mythology

If you’ve forgotten your Greek mythology (and who can blame you…it only dates back 2,500+ years), rest assured our primer will have you ready for the show.

Orpheus was a legendary musician who could charm all living things — even stones and the gods. He fell deeply in love with Eurydice, a beautiful nymph. But on their wedding day, she was bitten by a snake and died.

Devastated, Orpheus took her to the Underworld to plea for her life. His music softened the hearts of Hades (God of the Underworld) and Persephone (Queen of the Underworld), who agreed to let Eurydice return to the land of the living — on one condition: Orpheus must not look back at her until they reached the surface.

So as not to spoil the ending, we won’t say more but suffice it to say that the Greeks weren’t especially known for their comedies. (The tale of Thesmophoriazusae doesn’t exactly spring to mind, does it?)

This myth explores themes of love, trust, loss, and the power of art, and has inspired countless retellings including the Tony- and Grammy-winning Hadestown. Here are the key players in order of appearance.

HADESTOWN

MAY 5 – 10, 2026 • BUELL THEATRE

ASL Interpreted, Audio-Described, and Open-Captioned performance: May 9 at 2pm

HERMES

[HUR’-MEEZ]

In Greek mythology, fleet-footed guide, messenger of the gods, and conductor of souls to the Underworld. In this account, he is a worldly-wise narrator and mentor to Orpheus.

FATES [FEYTS]

Three goddesses who together determined the destinies of mortals, measuring their lifespans and apportioning their suffering. Here they sow the seeds of doubt in the minds of some.

ORPHEUS [AWR’-FEE-UHS]

Son of the muse of epic poetry, engaged to marry Eurydice. With his golden voice and lyre, Orpheus charmed all living things, even rocks and stones.

EURYDICE [YOO-RID’-UH-SEE]

A tree nymph engaged to marry Orpheus who is bitten by a snake and dies on their wedding day. In this story, she is a runaway whose hardships cause her to be distrustful of others.

PERSEPHONE

[PER-SEF’-UH-NEE]

Goddess of the seasons, she spent half the year in the Underworld, causing fall and winter above before returning to her mother to bring spring and summer. Here, she plays a party girl to dull her disenchantment with said arrangement.

HADES [HEY’-DEEZ]

God of the dead, sometimes called “the Wealthy One.” He fell in love with and married Persephone. In this version of the story, he is a greedy and zealous industrialist.

WORKERS CHORUS

In ancient Greek theater, the Chorus sang, spoke, and danced in unison. Often representing the voice of citizens, the Chorus served as an emotional conduit for the audience.

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MMichael Jackson was not merely a singer, he also was an extraordinary dancer whose moves have become iconic in popular culture. His distinctive style of dance — a fusion of jazz, pop, and hip-hop — revolutionized music forever. Director and choreographer Christopher Wheeldon infuses the pop icon’s famous dance moves into the choreography of MJ

Exploring Michael Jackson’s Dance Style

Jackson’s signature dance style was a blend of technical skill, rhythm, and raw expression. While he fused numerous dance styles, he also developed iconic moves that have since become synonymous with his name — the Moonwalk, the Sidewalk, the Robot, the Spin, the Toe Stand. His movements on stage were as much a part of his performance as his vocals, adding a visual element that made his performances unlike anything else.

Christopher Wheeldon’s Choreography

A former ballet dancer and award-winning choreographer, Wheeldon is known for his work with London’s Royal Ballet and Chicago’s Joffrey Ballet. His goal for MJ was not simply to reproduce Jackson’s music videos and performances, but also to capture the essence of Jackson’s artistry and present it in a fresh light.

To achieve this, Wheeldon enlisted the help of brothers Rich and Tone Talauega along with the show’s associate choreographer, all of whom previously danced with Jackson. Their firsthand experience with Jackson’s dance style proved invaluable.

“I was just in awe of the articulation in his body,” Wheeldon shared when describing Jackson’s ability to isolate every bone, every muscle, bringing intensity to his movements, while his legs moved fluidly, like mercury. It was this dichotomy, this blend of precision and fluidity, that Wheeldon sought to capture.

Perfecting the Iconic Moves

For self-taught dancer Jordan Markus who plays MJ, living up to Jackson’s legacy was motivating. As Markus

MICHAEL’S MOVES: THE CHOREOGRAPHY OF MJ

told Dance Informa, “Michael’s obviously one of the most phenomenal dancers to ever grace the stage.” Having watched Jackson’s music videos as a kid, he recalls dancing around the living room in his socks, but, “Now doing some of the most rigorous choreography I’ve ever had to do in my life, it feels like a return to what I knew because as a child this is all I did, all I wanted to do. Now that I get to portray Michael onstage, it feels like a homecoming.”

I was just in awe of the articulation in his body.

— CHRISTOPHER WHEELDON, DIRECTOR AND CHOREOGRAPHER

This is Thriller Night

The choreography for “Thriller” is a perfect representation of Wheeldon’s vision, blending the familiar with the new. The music number incorporates the signature moves from the original “Thriller” video, as well as the dark, zombie-inspired aesthetic. However, the show adds its own touch, featuring three actors embodying Jackson at different stages of his life dancing together on stage.

The impact of Wheeldon’s approach combined with the innovative dance styles of the King of Pop combine to create what The Washington Post called “A riveting adrenaline rush of a show!”

MJ

MAY 13 – 17 • BUELL THEATRE

ASL Interpreted, Audio Described, and Open Captioned performance: May 16 at 2pm

APRIL 19 THROUGH JULY 26

Tiger Palpatja (Pitjantjatjara c. 1920–2012), Wati Wanampi Tjukurpa, 2010. Synthetic polymer paint on canvas. National Gallery of Victoria, Melbourne: Purchased in memory of Graeme Marshall with funds donated by Harriet and Richard England and Anne and Ian McLean, 2011 (2011.334). © Tiger Palpatja/Copyright Agency, 2024. Photo: Jeremy Dillon / NGV

The Stars We Do Not See: Australian Indigenous Art is organized by the National Gallery of Victoria, Melbourne and the National Gallery of Art, Washington, in association with the Denver Art Museum, the Portland Art Museum, and the Peabody Essex Museum.

Bank of America is the North America Tour Sponsor for the exhibition.

The presentation of this exhibition at the Denver Art Museum is supported by the Birnbaum Social Discourse Project, the donors to the Annual Fund Leadership Campaign, and the residents who support the Scientific and Cultural Facilities District (SCFD). All works are from the collection of the National Gallery of Victoria, Melbourne.

BY LISA BORNSTEIN

I IN PURSUIT OF THE AMERICAN DREAM IN SOMEWHERE

It was the summer of 1959. West Side Story was the biggest hit on Broadway and filming on the movie was just beginning. The neighborhood of San Juan Hill on the West Side of Manhattan was in the process of being demolished, so Director Robert Wise took advantage of the demolition to film scenes among half-destroyed buildings, using the rubble to suggest the hardscrabble world of the musical. It was a tough neighborhood – in the 1940s, the New York Housing Authority called it the worst slum in New York.

Perhaps that was in part reflecting the Authority’s opinions of those who lived there. In the early 20th century, San Juan Hill was the largest African-American community in New York and soon became the predominant Puerto Rican neighborhood as well. Thelonious Monk grew up there, as did pianist James P. Johnson and Barbara Hillary, the first Black woman to reach the North and the South Poles. For those people, and the 7,000 displaced by the construction of Lincoln Center, San Juan Hill was home. Playwright Matthew López chose it as the setting for Somewhere, in which a Puerto Rican family confronts artistic dreams and an entertainment industry that has no use for them.

“When you read about San Juan Hill, it was so rich culturally, it was this convergence of many communities who lived there. Thelonious Monk would stand on the street corner and listen to traffic and the sounds of the neighborhood, and they would find their way into the music that he created,” says director Laurie Woolery.

Somewhere tells the story of the Candelarias, a family with dreams of show business. The father, Pepe, is a bandleader who is frequently touring and away from home, while mother Inez looks out for the children and their futures. The siblings study dance and acting, while

the oldest, Alejandro, aspires to be cast in the film of West Side Story. A play filled with dance, it reflects the struggles of the family, whose apartment building is scheduled for demolition to make way for Lincoln Center.

“It’s a story about a mother’s love,” says Woolery, whose own mother immigrated to the United States from Central America. “She really did believe in the American dream when she came over, and she came during World War II. She worked in a factory preparing the rags that would clean the planes. It’s about immigration and pursuing the American dream.”

“The son (Alejandro) has to step in and defer his dreams, and you see this a lot with immigrant families, with the parents, because they’ve sacrificed to fulfill that dream,” Woolery says. While the Candelaria parents and their eldest child were not born in New York, neither are they quite immigrants.

“They’re not immigrants, but they’re treated as immigrants,” Woolery continues, noting that Puerto Rico is a U.S. territory. “Alejandro was born in Puerto Rico, but his other siblings were born here, so he does have the homeland still in him, so he and his mother shared that. Puerto Rico has always just had a very complicated relationship with all the rest of the states. You’re a citizen, but you can’t vote.”

As in most families, there is generational conflict. Alejandro posits himself as a realist, but his mother insists that her dreams for the family are not native.

“I live in the world too. I see what you see,” Inez responds. “But unlike you, I also see the future. And that gives me power to shape my destiny. I don’t imagine the world away — I imagine it better. You call my dreams foolish but I say that having no dreams is the most foolish of all.”

“To pragmatic people, that’s very head in the sand, but to me, that’s visionary thinking,” Woolery feels.

Dance isn’t just a passion for the characters; it’s a major element of the play itself. The cast had to be able to dance in a variety of styles, from Caribbean cha cha and mambo to Broadway styles. All of it is performed to original music by sound designer Paul James Prendergast. In the world of the play, Alejandro speaks about the pain he feels when he can’t dance.

Whatever the [art] form is you partake in, you can be anyone and go anywhere and expand your existence and transcend your labels. Art allows us to be able to see outside of the box society and our families and ourselves place us in. — LAURIE WOOLERY, DIRECTOR

“I think about artists who really have a passion, and who really feel like ‘this is all I know how to do’, like there’s a liberation in the arts that opens up your soul and your spirit,” Woolery says. “Whatever the form is you partake in, you can be anyone and go anywhere and expand your existence and transcend your labels. Art allows us to be able to see outside of the box society and our families and ourselves place us in. I have my guesses of why Matthew chose dance; I think it’s connected to his aunt, and I think it’s connected to West Side Story. Words and music are no longer enough to express the emotion that is being felt.”

As she spoke, Woolery was in tech rehearsals for the Oregon Shakespeare Festival production of Come From Away. The two plays combined felt particularly meaningful in the year following her own mother’s death and a conflicted nation.

“It’s very emotional to be doing theater right now,” she says. “I find it very challenging because you’re just trying to figure out: How should I be serving my community, my neighbors, my country? And then I get into the rehearsal room and I’m reminded, we are reflections of the world that we are in, and we get to show our humanity to each other.”

SOMEWHERE

MAY 1 – 31 • KILSTROM THEATRE

ASL Interpreted and Audio Described performance: May 17 at 1:30pm Stay for a post-show discussion: May 21 & 27

CHILDREN, TEENS & ADULTS

WHERE STORIES COME ALIVE

The magic of live theatre awakens something inside us—it stirs wonder, ignites empathy, and propels us toward new possibilities. Next season, we invite you to experience stories that sweep you away and transport you to unexpected worlds. Stories that come alive right before your eyes.

From Shakespeare’s swirling storm of sorcery to a telenovela of swapped destinies; from a crime gone deliciously awry to a love preserved in ancient peat, these are stories that surprise us, move us, and remind us what it means to be human. As they spring to life on stage, they ask us to laugh together, open our hearts, and see the world a little differently than before.

Dive into this new season and discover what happens when a story comes alive.

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SPRING WILL COME AGAIN, LLC presents

Music, Lyrics & Book by ANAÏS MITCHELL

NICKOLAUS COLÓN JOSE CONTRERAS RUDY FOSTER HAWA KAMARA NAMISA MDASLOSE BIZANA GIA KEDDY MIRIAM NAVARRETE JAYNA WESCOATT

JONICE BERNARD MICHELLE E. CARTER BRYAN CHAN RYAAN FARHADI BERNELL LASSAI III

XAVIER McKNIGHT ERIN McMILLEN KAITLYN O’LEARY JULIA SCHICK TY SHAY

Scenic Design Costume Design Lighting Design Co-Sound Design Hair & Wig Design

DAVID L. ARSENAULT MICHAEL KRASS AJA JACKSON NEVIN STEINBERG JENNIFER MULLINS JESSICA PAZ

Arrangements & Orchestrations

Based on Original Broadway Based on Original Broadway Scenic Design Lighting Design RACHEL HAUCK BRADLEY KING

Music Director Music Supervisor

Music Consultant & Music Contractor

MICHAEL CHORNEY ARMAN WALI CODY OWEN STINE Vocal Arrangements KEITH LEVENSON

TODD SICKAFOOSE MOHAMMAD LIAM ROBINSON

Production Management Casting Tour Booking Agency Tour Marketing & Press SIGHTLINE PRODUCTIONS WHITLEY THEATRICAL THE BOOKING GROUP ALLIED GLOBAL BENTON WHITLEY, CSA MARKETING PETER DUNN, CSA

Production Stage Manager Company Manager General Management Creative Producer MOLLY GOODWIN ELISE BROWN RCI THEATRICALS MARK LUNSFORD KEVIN GREENE

Choreography by T. OLIVER REID

Based upon the Broadway Choreography by DAVID NEUMANN

In a New Original Tour Concept by Rachel Chavkin Directed by KEENAN TYLER OLIPHANT

Based upon the Broadway Production Developed with and Directed RACHEL CHAVKIN

CAST

(in order of appearance)

Hades NICKOLAUS COLÓN

Orpheus JOSE CONTRERAS

Hermes RUDY FOSTER

Eurydice HAWA KAMARA

Persephone NAMISA MDLALOSE BIZANA

Fates GIA KEDDY, MIRIAM NAVARRETE, JAYNA WESCOATT

Workers Chorus JONICE BERNARD, BRYAN CHAN, RYAAN FARHADI, BERNELL LASSAI III, ERIN MCMILLEN

SWINGS

MICHELLE E. CARTER, XAVIER MCKNIGHT, KAITLYN O’LEARY, JULIA SCHICK, TY SHAY

UNDERSTUDIES

Understudies never substitute for the listed performers unless a specific announcement is made at the time of the appearance.

for Orpheus—BRYAN CHAN, TY SHAY; for Eurydice—ERIN MCMILLEN, KAITLYN O’LEARY, JULIA SCHICK; for Persephone—MICHELLE E. CARTER, MIRIAM NAVARRETE; for Hades—RYAAN FARHADI, XAVIER MCKNIGHT; for Hermes— BERNELL LASSAI III, XAVIER MCKNIGHT; for Fates—JONICE BERNARD, MICHELLE E. CARTER, ERIN MCMILLEN, KAITLYN O’LEARY, JULIA SCHICK

Co-Dance Captains—MICHELLE E. CARTER, JULIA SCHICK

Fight Captain—JONICE BERNARD

THERE WILL BE ONE 15-MINUTE INTERMISSION. PERFORMANCE TIME IS APPROXIMATELY 2 HOURS & 30 MINUTES.

ORCHESTRA

Music Director/Piano—ARMAN WALI MOHAMMAD

Assistant Music Director/Violin—JESSIE BITTNER

Trombone/Glockenspiel—HAIK DEMIRCHIAN

Double Bass—NYA HOLMES

Cello—GABRIELLE HOOPER

Drums/Percussion—LUMANYANO MZI

Guitar—SAM WADE

Music Contractor—KEITH LEVENSON

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers and watches.

CAST

MUSICAL NUMBERS

ACT I

“Road to Hell” Hermes, Company

“Any Way the Wind Blows” Eurydice, Fates

“Come Home With Me” ................................ Orpheus, Eurydice, Hermes, Workers

“Wedding Song” Orpheus, Eurydice, Workers

“Epic I” Orpheus, Hermes

“Livin’ It Up On Top” ............................ Persephone, Hermes, Orpheus, Company

“All I’ve Ever Known” Eurydice, Orpheus

“Way Down Hadestown” Company

“A Gathering Storm” ........................................... Hermes, Orpheus, Eurydice, Fates

“Epic II” Orpheus

“Chant” Company

“Hey, Little Songbird” Hades, Eurydice

“When the Chips Are Down” Fates, Eurydice

“Gone, I’m Gone” Eurydice, Fates

“Wait For Me” Hermes, Orpheus, Fates, Workers

“Why We Build the Wall” Hades, Company

ACT II

“Our Lady of the Underground” Persephone

“Way Down Hadestown (reprise)” Hermes, Fates, Eurydice, Workers

“Flowers” ....................................................................................................................Eurydice

“Come Home With Me (reprise)” Orpheus, Eurydice

“Papers” Hades, Company

“Nothing Changes” Fates

“If It’s True” Orpheus, Hermes, Workers

“How Long?” Persephone, Hades

“Chant (reprise)” Company

“Epic III” Orpheus, Company

“Promises” Eurydice, Orpheus

“Word to the Wise” Fates

“His Kiss, The Riot” Hades

“Wait For Me (reprise)” Hermes, Company

“Doubt Comes In” Orpheus, Eurydice, Fates, Workers

“Road to Hell (reprise)” Hermes, Company

NICKOLAUS COLÓN (Hades). Graduate of UNCSA drama and recent winner of the CT Critics Circle Awards for Featured Actor in a Musical playing Don in Kinky Boots. Credits include national tour: Fiddler on the Roof (Mordcha), Dirty Dancing (Billy Kostecki). NCL: Kinky Boots (Don), Rock of Ages (Dennis) and many more regional productions.

JOSE CONTRERAS (Orpheus) is honored to be joining the cast of Hadestown in his touring debut! “Shoutouts to my buddy Zack for teaching me guitar, my mentor Jamon Maple and my team Josh and Aimee at ASA. Endless love to my family Mare, Carlos, Andrea and Pia for always reminding me that ‘stars can’t shine without darkness.’” ;) Follow @jose_contreras_official.

RUDY FOSTER (Hermes). National tour: Ain’t Too Proud (226 performances as Otis Williams). Regional: Sister Act (Eddie), Hair (Claude), Les Misérables (Enjolras). “Thanks to Mom and Dad, DDO and the world we dream about. Let’s GROW and let’s GLOW! For Mr. Lees and Mr. Ledford.” @rudy_the_star.

HAWA KAMARA (Eurydice) [they/she] made history by being the first Black actor to play Wendy Darling in the Peter Pan national tour. Recent credits include The Great Gatsby, original Seoul production (u/s Daisy, Ensemble). Much love and thanks to family and friends, Hell’s Kitchen Agency and Whitley and Dunn casting for this dream-fulfilling opportunity! @_hawakamara.

NAMISA MDLALOSE BIZANA (Persephone) is an award-winning actor from South Africa. Namisa graduated from UCT with a degree in theater-making. Theater: The Full Monty (NSMT), The Color Purple (The Joburg Theatre), Kinky Boots (The Fugard Theatre). Readings: Hero (dir. Shariffa Ali), The King’s Wife (dir. Tamilla Woodard). Animation: Monde on Supa Team 4 (Netflix).

GIA KEDDY (Fate). National tour debut! Credits: Natalie in Next to Normal (Second Stage Studios), Gertrude McFuzz in Seussical The Musical (The Argyle Theatre) and Cheshire Cat in Alice By Heart (Stage 74). “Thank you friends and family, Mom, Dad, Niko, Vinny, Nina and Evangelina for pushing me to do what I love most (and harmonizing with me when I force you to). I love you guys so much! Huge thank you to Whitley Theatrical! Let’s sing it again!” @giakeddy.

WHO’S WHO

MIRIAM NAVARRETE (Fate, u/s Persephone) is overjoyed to be a part of this incredible production. Recent/ favorite credits include Elsa (Disney Cruise Line), Nina (In the Heights). She would like to thank Dottridge Talent, her family and friends for their continuous support. IG: __mimz__.

JAYNA WESCOATT (Fate) is excited to join her first national tour! From Honolulu, Hawai’i, she received her B.F.A. from Ithaca College, and recently performed with Princess Cruises. Jayna wants to thank her parents, Jamie and Wren for always cheering her on the loudest.

JONICE BERNARD (Worker, Fight Captain, u/s Fates) [they/them]. Credits include The Color Purple (Phoenix Theatre Company), Disney Cruise Line, Hong Kong Disneyland, Hearts Beat Loud (MCC Theater). “Much love to PMA, my family, friends and all the black, queer people who came before me.” @jonicebernard.

MICHELLE E. CARTER (Swing, Co-Dance Captain, u/s Persephone, u/s Fates). Tours: Cats (Jennyanydots). Select regional: Signature Theatre—A Chorus Line, Legacy Theatre—Julie Andrews’ The Great American Mousical, Barrington Stage Company—The Royal Family of Broadway. Marymount Manhattan College. Take 3 Talent. For Stephen, Mom and Don. @idtapthat03. michelle-e-carter.com.

BRYAN CHAN (Worker, u/s Orpheus). National tour debut! Hong Kong-born. Regional: Legally Blonde (Emmett), The King and I (Lun Tha). “Huge shoutout to Michael, NYVC, Timothy and Whitley Theatrical for believing in me. Love to my mom, dad and Emily for being my rock!” @bryanchanuwu.

RYAAN FARHADI (Worker, u/s Hades). National tour: Come From Away (Kevin J/Ali), Lincoln Center’s My Fair Lady. Regional: The REV’s Jesus Christ Superstar, Hunchback. Love to his family, PMA and all the choir teachers who let him sing the bass part in middle school. @ryaanfarhadi.

BERNELL LASSAI III (Worker, u/s Hermes) [they/them]. National Tours: Ain’t Too Proud. Regional: Primary Trust (Asolo Rep), Man of La Mancha (Riverside Theatre), Kinky Boots (Paramount Theatre), The Tempest (Oak Park Theatre Festival), Antony & Cleopatra (St. Louis Shakespeare Festival). WebCo Alum. Reps: Gray Talent Group. @Lassai_

XAVIER McKNIGHT (Swing, u/s Hades, u/s Hermes) is elated to join this incredible company! National tours: How the Grinch Stole Christmas, Dog Man The Musical, Cat’s Pajamas Vocal Band. Favorite regional: Shrek The Musical, Mamma Mia!, …Spelling Bee “Much love to my husband, Jay Jay!” @xaviermcknight.

ERIN McMILLEN (Worker, u/s Eurydice, u/s Fates) is delighted to return to Hadestown! Recent credits include Madame Clicquot (world premiere, PCLO) and Jekyll & Hyde (Wolfbane Productions). Endless thanks to Mom, Terry, Sam and her team at The Mine for their support. Follow along @erinmcmillen and erinmcmillen.com!

KAITLYN O’LEARY (Swing, u/s Eurydice, u/s Fates) is thrilled to be making her national tour debut! Recent graduate of Texas State University musical theater program. “All my love to Mom, Dad, Kylie and Ryan, and thank you so much to Marc and Dustin at Daniel Hoff!” @kaitlyn.oleary.

JULIA SCHICK (Swing, Co-Dance Captain, u/s Eurydice, u/s Fates). Professional: Kiminy in After Pinocchio: A New Musical (Yaya Theatre Company). Educational: Asaka in Once on This Island, Rona in 25th Annual…Spelling Bee (CCM). Touring debut and recent graduate from UC-CCM! Instagram: @julia.l.schick. julialschick.com.

TY SHAY (Swing, u/s Orpheus) is thrilled to be joining the touring cast of Hadestown! Favorite credits include Revolution(s) (Goodman Theatre); The Lord of the Rings (Chicago Shakespeare Theater, GWB New Zealand). Thanks to DDO and love to the fam! IG: _boo_ty_.

ANAÏS MITCHELL (Music, Lyrics & Book) is a Tony and Grammy Award-winning singer-songwriter whose recordings include the original studio album of Hadestown (2010), Young Man in America (2012), Bonny Light Horseman (2019, as Bonny Light Horseman) and Anaïs Mitchell (2022). She was named to the TIME100 list of the Most Influential People in the World in 2020 and her first book Working on a Song: The Lyrics of Hadestown was published by Plume/ Penguin the same year. She headlines shows worldwide and her music has featured regularly on “Best-Of” lists, including NPR, The Guardian and The Wall Street Journal Hadestown is Anaïs’s first musical.

RACHEL CHAVKIN (Original Broadway Director and Tour Concept) is a Tony Award- winning director, writer and artistic director of Brooklyn-based collective, the TEAM. Hadestown (NYTW,

National Theatre, London) has been one of her greatest joys. Tony and Lortel nominations and Drama Desk Award for Dave Malloy’s Natasha, Pierre & The Great Comet of 1812 (Broadway, Ars Nova, A.R.T.). London: Mission Drift (National Theatre), American Clock (Old Vic). Select New York and regional: Marco Ramirez’s The Royale (LCT; Obie Award, Drama Desk and Lortel nominations), Malloy’s Preludes (LCT3), Bess Wohl’s Small Mouth Sounds (Ars Nova and national tour), Carson Kreitzer’s and Matt Gould’s Lempicka (Williamstown Theatre Festival), The Royal Family (Guthrie Theater) and multiple collaborations with Taylor Mac. Her first film, Remind Me, was an official selection of the Venice and Beverly Hills Film Festivals. 2017 Smithsonian Award for Ingenuity. Proud NYTW Usual Suspect and Member SDC.

DAVID NEUMANN (Original Broadway Choreographer). Film: I Am Legend, Marriage Story (Noah Baumbach). Choreography: An Octoroon and Futurity (Soho Rep); Antipodes (Signature Theatre); Underground Railroad Game (Ars Nova); Hagoromo and Home (BAM); The Antipodes (Signature Theatre). Collaborator and performer: Laurie Anderson, Big Dance Theater, Mikhail Baryshnikov, Doug Elkins. Director: The Object Lesson (NYTW, BAM). Artistic director, Advanced Beginner Group (P.S.122, NY Live Arts, The Kitchen, Symphony Space, Abrons Art Center, The Chocolate Factory, The Whitney, Walker Art Center, MASS MoCA). Recipient of 2020 Obie Award, 2019 Chita Rivera Award, three Bessie Awards for dance/performance, Tony nominee for Hadestown, Lucille Lortel and Helen Hayes awards nominee.

KEENAN TYLER OLIPHANT (Director). Broadway: Hadestown (associate director). Off-Broadway: Terce: a practical breviary, Here Arts; Will You Come with Me?, PlayCo; Oratorio for Living Things, Ars Nova (associate director). Off-Off-Broadway: To the Ends of the Earth, JACK; Oyster Radio Hour, Little Island; Kyk Hoe Skyn die Son, Clubbed Thumb Winterworks; queen, Dixon Place. Regional: Gatsby, A.R.T Associate Director Drama League Fellow 2021/2022; Clubbed Thumb Directing Fellow 2020/2021. M.F.A. Columbia University.

T OLIVER REID (Choreographer). B’way credits include Hadestown; Once on This Island; Sunset Boulevard; After Midnight; Sister Act; Mary Poppins; The Wedding Singer; Chicago; La Cage aux Folles; Never Gonna Dance; Thoroughly Modern Millie; Follies; Kiss Me, Kate. Wrote, directed, and starred in award-winning Drop Me Off in Harlem. Choreographer: Universal’s Bros. Asc. Choreographer:

Hadestown and Netflix’s White Noise Asc. Movement Dir.: Death of a Salesman. Faculty: NYU-Tisch and Rider University. Board of Visitors: UNCSA. Co-Founder: Black Theatre Coalition. @toliverreid.

DAVID L. ARSENAULT (Scenic Design). As a designer and associate in theater, opera and dance, David’s work has been seen on Broadway, Off-Broadway, regionally and internationally. Broadway and national tour associate work includes The Color Purple (2015), Jesus Christ Superstar (50th Anniversary Tour). Regional credits include The Kennedy Center, Gulfshore Playhouse, Kitchen Theatre Company, Geva Theatre, Northern Stage and George Street Playhouse. International: English Theatre Berlin and Theatre Royal Bath (upcoming). davidarsenaultdesign.com.

RACHEL HAUCK (Original Broadway Scenic Design). Broadway: Hadestown (Tony Award, Drama Desk and Outer Critics nominations), What the Constitution Means to Me, Latin History for Morons. Recent work: The Wrong Man (MCC); Hadestown (National Theatre, Citadel, NYTW); Hurricane Diane (NYTW); Othello, Twelfth Night (Shakespeare in the Park); The Lucky Ones (Ars Nova); You’ll Still Call Me By Name (Sonya Tayeh/Jacob’s Pillow). Princess Grace, Lilly Awards; Drama Desk, Lortel nominations; Obie Award for Sustained Excellence. “Black lives matter.”

MICHAEL KRASS (Costume Design). Broadway: Tony nominations for Hadestown, Noises Off, Machinal and The Constant Wife; plus Charlie Brown, Twelve Angry Men, Heisenberg, new plays by Stephen Belber, Nicky Silver, Elaine May, more, and What the Constitution Means to Me. OffBroadway: premieres by Edward Albee, Christopher Durang, John Guare, Teresa Rebeck, Sarah Treem, John Kander/ Greg Pierce, Will Eno, Lauren Yee, Lisa Loomer, Donald Marguilies, etc. He teaches in the graduate program at Brown University.

AJA JACKSON (Lighting Design). Honored to join the Hadestown journey! Off-Broadway: A Commercial Jingle for Regina Comet and Rock and Roll Man. Broadway: Fat Ham (associate). Regional (selected): Huntington Theatre Company, American Repertory Theater, The Alley, The Everyman Theatre and Hartford Stage. Dance: Ailey 2, Hubbard Street Dance. Work with Bradley King: Fat Ham, Lempicka, Monsoon Wedding, Goddess. Board Chair of Brighter Boston. Proud member of USA 829. ajajacksonlighting.com. IG: @ajamjackson. BRADLEY KING (Original Broadway Lighting Design). With Rachel Chavkin: Hadestown, The Great Comet, Moby Dick, Lempicka, Preludes and many

others. Broadway: Hadestown (Tony, Drama Desk), Flying Over Sunset, Bernhardt/Hamlet, The Great Comet (Tony, Drama Desk). Off-Broadway: shows for MCC Theater, Roundabout Theatre Company, Playwrights Horizons, Atlantic Theater Company, New York Theatre Workshop, Signature Theatre and many others. Numerous regional theater and opera productions across the U.S. and worldwide. M.F.A.: NYU. On the web at bradleykingld.com.

NEVIN STEINBERG (Sound Design). Broadway: Tina: The Tina Turner Musical (Tony nomination), Hadestown (Tony Award), Hamilton, Dear Evan Hansen, Freestyle Love Supreme, The Cher Show, Bandstand, Bright Star, It Shoulda Been You, Mothers and Sons, Rodgers + Hammerstein’s Cinderella (Tony nomination), The Performers, Magic/ Bird. Over 30 other Broadway productions with Acme Sound Partners and five additional Tony nominations: The Gershwins’ Porgy and Bess, Bengal Tiger at the Baghdad Zoo, Fences, Hair and In the Heights

JESSICA PAZ (Sound Design). Twelfth Night, Othello, Julius Caesar, A Midsummer Night’s Dream, Miss You Like Hell (The Public Theater); Welcome to Fear City (KC Rep); Burn All Night (A.R.T); A Sucker Emcee, The Muscles in Our Toes (LAByrinth Theater Company); Ugly Lies the Bone (Roundabout Theatre Company); Becoming Dr. Ruth (Westside Theatre); Looking for the Pony (Vital Theatre Company); Women Beware Women (Red Bull Theater); Stretch (a fantasia) (New Georges). Tony, Drama Desk winner for Best Sound Design for Hadestown.

CODY OWEN STINE (Music Supervisor) is a composer, songwriter music director and multi-instrumentalist. Resident composer for adult|children collective. Broadway includes Hadestown, The Outsiders, Moulin Rouge!, Spongebob Squarepants, Finding Neverland. Cast albums: Miss You Like Hell, The Robber Bridegroom, Jonathan Larson Project, Liz Swados Project. 2019 Jonathan Larson Grant finalist; 2019 commissioned writer, Williamstown Theatre Festival. codyowenstine.com.

LIAM ROBINSON (Music Consultant & Vocal Arrangements). Broadway: War Horse (Songman, original cast); music director and vocal arranger for Hadestown Off-Broadway at New York Theatre Workshop (cast member), Canada’s Citadel Theatre and London’s National Theatre; orchestrator/co-producer National Anthem: Arise! Arise! robinsonandrohe.com.

MICHAEL CHORNEY (Arrangements & Orchestrations) leads ensembles from trio to big band that perform his compositions and songs. As an arranger he has created tributes to Sun Ra, Kurt

Weill and Paul Bowles. He has made a bunch of records as a leader, producer and instrumentalist. Michael has been a part of Hadestown since its inception in Vermont.

TODD SICKAFOOSE (Arrangements & Orchestrations) is a Tony and Grammy award-winning composer, producer, arranger, orchestrator, bandleader and double bassist. He produced, coarranged and performed on the original Hadestown album, co-produced both Hadestown cast recordings and produced and arranged Anaïs Mitchell’s album Young Man in America. Since 2004, Sickafoose has performed internationally with Ani DiFranco. Writing for his band Tiny Resistors, he recently created Bear Proof, a chamber jazz hybrid commissioned by the Doris Duke Foundation.

ARMAN WALI MOHAMMAD (Music Director) is a music director, pianist and arranger who is involved in a diverse collection of music making with many international friends and collaborators. He has strong influences from Pashtun and Arabic music, as well as jazz. He recently has recorded with Nate Smith and Chris Potter. Arman has also performed with and arranged for current Broadway artists Abby Mueller, Thayne Jasperson, Elizabeth Stanley and others in cabarets over the last few years. He is extraordinarily excited to be on the Hadestown tour!

KEITH LEVENSON (Music Contractor) is delighted to be working with the Hadestown team. His most recent credit is touring worldwide with The Who. keithlevenson.com.

JENNIFER MULLINS (Hair & Wig Design). After over a decade as a wig maker for feature films and episodic television, Jennifer is now designing in the theatrical world. Beginning her career at 15 years old as a licensed hairdresser, Jennifer’s goal has always been to help productions have a visionary experience that brings people together, ignites their imaginations, and assists in creating a world of inclusiveness with diversity of hair on stage and in film.

WHITLEY THEATRICAL (Casting). Benton Whitley CSA and Peter Dunn. Current Broadway/NY: Hadestown (Artios Award). Previous B’way/ NY: How to Dance in Ohio, Life of Pi, Chicago the Musical, Paradise Square, Rock of Ages, The Lightning Thief, The Great Comet of 1812, Elf, On the Town, Pippin, La Cage aux Folles, Radio City Christmas Spectacular. TV/ film: Netflix, 20th Century Fox, NBC, Lionsgate, Disney Channel. West End/U.K.: Hadestown, Thriller Live, Menier Chocolate Factory. U.S. tours: Hadestown, Hairspray, Waitress, Charlie and the Chocolate Factory, Finding Neverland, Into the Woods, We Will

Rock You. Regional: American Rep, Berkeley Rep, Alley, Shakespeare Theatre Co., Bay Street, For The Record, TUTS, Hollywood Bowl, McCarter, Signature. Follow: @whitleytheatrical and whitleytheatrical.com.

CIERA MILLER (Associate Director) [she/her] is a NYC-based director. She is half of the theatrical duo Miller & Harlow. The pair were 2023 Jonathan Larson Grant Honorable Mentions. Ciera seeks out new works and campfire stories of all kinds. @millerandharlow. cieramiller.com.

YAEL ‘YAYA’ REICH (Associate Choreographer) [they/them]. An everfluid, trans-non-binary, multi-hyphenate artist, inter-dimensional dreamer and co-creative inspirator, they aim to find collaboration and creative flow in everything they do. Warrior of truth and embodiment, creator of art spanning mediums and timelines; storyteller, healer, activator, advocator, collaborator, performer, composer, producer, poet, philosophizer, etc. @yah__yah__el__.

MOLLY GOODWIN (Production Stage Manager). Welcome to the Underground! Inter/national tours: Pretty Woman, Tootsie, West Side Story (Stage Around Tokyo and U.S.); Sister Act (Asia and U.S.); The Wizard of Oz, Ghost, BLAST! and Legally Blonde Stage and production management for Holland America Line, cruising across the globe. Her favorite credit is Celine Dion’s A New Day: Live in Las Vegas Goodwin holds a B.A. in theater/dance from Luther College and an M.F.A. in stage management from UNLV. Love to Kith and Kin—thank you for roots and wings!

GRIFFIN SPRIGGS (Assistant Stage Manager) [he/him] is grateful to tell this beautiful story for another year. National tour debut! B.A. from UF. Regional: Come From Away (SM) at Revival Theatre Company. He also has an extensive career stage managing in youth theater, most recently at PerryMansfield Arts School and Camp in Colorado. Many thanks to Molly, his Hadestown family, the team at RCI and his mom, dad and sister for their continued love and support. IG: @griffinspriggs.

ELISE BROWN (Company Manager) [she/her] is overjoyed to return to RCI and Hadestown after serving as assistant company manager last year. Endless gratitude to Mom, Dad, Sydney, Barb, Alicia, Jeff, Abi and countless others who have supported her along the way. Proud alum of Point Park University and NYU.

ELLIE HOWELL (Assistant Company Manager) is so excited to be making her national tour debut with Hadestown! Having just concluded her time at RCI

Theatricals as a general management intern, she is eager to get out on the road and continue collaborating with this amazing team. Ellie’s also a proud Wake Forest and Theatre Aspen alum.

SIGHTLINE PRODUCTIONS (Production Management). Sightline’s current and recent projects include Hadestown second national tour, Liberation, Stranger Things: The First Shadow, Mamma Mia!, Take a Banana for The Ride, The Least Problematic Woman in the World, Archduke, Gypsy, Cabaret at the Kit Kat Club, Joy: A New True Musical, Duke & Roya, Spamalot national tour, 44: The Obama Musical and more.

THE BOOKING GROUP (Tour Booking Agency) has represented 27 Tony Award-winning Best Musicals and Plays. Current tours include: Hamilton, Dear Evan Hansen, Come From Away, The Book of Mormon, 1776, Hadestown, Mean Girls, MJ The Musical, Pretty Woman, Six, Tina, To Kill A Mockingbird, Anastasia, Chicago, Fiddler on the Roof, Hairspray, My Fair Lady, R.E.S.P.E.C.T. and Tootsie. Future tours include: Almost Famous, Funny Girl, Mamma Mia!, Mrs. Doubtfire, A Strange Loop, The Devil Wears Prada and The Wiz. ALLIED GLOBAL MARKETING (Tour Marketing & Press) is an integrated agency working with the world’s largest entertainment, consumer and lifestyle brands, including 90+ Broadway shows over three decades. Current tours: Back to the Future, Beetlejuice, The Book of Mormon, The Great Gatsby, Kinky Boots, Mamma Mia!, Mrs. Doubtfire, The Notebook, The Outsiders, Riverdance, Some Like It Hot, Suffs. Upcoming tours: Dirty Dancing; Elf; Just in Time; Mystic Pizza; Oh, Mary!; Operation Mincemeat; Waitress

RCI THEATRICALS (General Manager). Current and recent Broadway and touring productions include & Juliet, Hadestown, Shucked, Glengarry Glen Ross, Gypsy, Our Town, Harmony, Monty Python’s Spamalot, Heart of Rock & Roll, Jagged Little Pill, Pictures From Home, Ohio State Murders, Take Me Out, American Buffalo, The Minutes, Ain’t Too Proud, The Inheritance, Oklahoma!, Anastasia. rcitheatricals.com.

MARK LUNSFORD (Creative Producer) is a theater and live performance producer. He recently finished his tenure as the producer for the American Repertory Theater at Harvard University, where he produced dozens of shows, including the pre-Broadway engagements of Waitress; Jagged Little Pill; Natasha, Pierre and the Great Comet of 1812; and Gatsby: An American Myth. He teaches courses in producing, leadership and nonprofit management at Florida State University and Harvard University. M.F.A., Florida State University.

GENERAL MANAGEMENT

RCI THEATRICALS

David R. Richards

Joe Christopher Danielle Karliner Naish

Beverly Edwards Kevin Greene Steve Hohne

Justin Black Kyle Bonder Gabrielle Johnson-Nieporant

Alexander Parra Georgina Ratnatunga Megan Ringeling

Bradley Baumhover Isaac Evans Mike Miller

Marissa Parrott Sophie Stiker John Weicher

COMPANY MANAGER ELISE BROWN

Assistant Company Manager Ellie Howell

TOUR MARKETING & PRESS

ALLIED GLOBAL MARKETING

Andrew Damer

Jennifer Gallagher Scott Praefke

Jessica Cary Davis Anne Waisanen

Adina Hsu Emily Toppen

Maria Bonucchi Amenkha Sembenu Kate Wyman

TOUR BOOKING AGENCY

THE BOOKING GROUP

Meredith Blair

Rich Rundle Brian Brooks

Jonathan Pearson Maryruth Grabez thebookinggroup.com

PRODUCTION MANAGEMENT

SIGHTLINE PRODUCTIONS

Ryan Murphy Hannah Osborne

Livia Marcelino Christy Perez Nate Warren

CASTING

WHITLEY THEATRICAL

Benton Whitley, CSA Peter Dunn, CSA

LEGAL COUNSEL

LAZARUS & HARRIS LLP

Scott Lazarus, Esq. Robert C. Harris, Esq.

Carter Anne McGowan, Esq. Diane Viale Patrick Wilcox

PRODUCTION STAGE MANAGER MOLLY GOODWIN

Assistant Stage Manager

Griffin Spriggs

Assistant General Manager Sophie Stiker

Associate Director Ciera Miller

Associate Choreographer ............................................ Yael ‘YaYa’ Reich

Co-Dance Captains Michelle E. Carter, Julia Schick

Fight Captain Jonice Bernard

Assistant Scenic Designer Shivanna Sooknanan

Assistant Scenic Designer Ben Hirschfield

Associate Costume Designer Siena Zoë Allen

Assistant Costume Designers Brynne Oster-Bainnson, Camille Charara

Associate Lighting Designers Marcella Barbeau, Paul Jonathan Davis

Associate Sound Designer Jarrett Krauss

Assistant Sound Designer Connor Wang

Production Electrician Brandon Hawkinson

Moving Light Programmer Zachary Connell

Production Properties Coordinator Emiliano Pares

Production Audio Gaven Wedemeyer

Music Contractor ............................................................. Keith Levenson

Production Carpenter Michael Demyan

Head Carpenter John Bone

Swing Tech Elijah Jeffers

Assistant Carpenter/Flyman Shannon Bingham

Head Electrician.............................................................Sophie Smyczek

Assistant Electrician Gabe Whitnack

Head Props

Mak Jordan

Head Sound Brad Sievers

Assistant Sound Coren Magnier

Head of Wardrobe ...................................................... Stacey Juengling

Assistant Wardrobe/Wigs Fernando Monzon

Assistant Stage Manager Cover Julia Schick

Physical Therapy NEURO TOUR Physical Therapy, Inc.

Cultural Competency Smith-Soeder Enterprises. LLC/ DeWanda Smith-Soeder

Banking Flagstar Bank Insurance Risk Strategies/ Peter Shoemaker, Anthony Pittari Accountant ........................................................ Withum Smith+Brown/ Robert Fried, Karen Kowgios, Scott Bartolf, Anthony Moore, Lara Waldner, CPAs

Comptroller Steve Hohne, CPA Payroll Vensure, Payroll Data Processing

Trucking .............................................................................. Clark Transfer

Travel Agency Road Rebel Global/ Julia Lang, Jana Leighty, Linda Cockrell, Johanna Nagel-Kim Merchandising .The Araca Group/ Emma Kerr, Kerry Krye

Production Photographer Evan Zimmerman for MurphyMade

CREDITS AND ACKNOWLEDGEMENTS

Scenery built, painted and electrified by Hudson Scenic Studios. Props by BrenBri Properties. Lighting and Rigging Equipment from Christie Lites. Sound Equipment from Masque Sound. Costumes executed by Tricorne Costumes, Inc.; Parsons-Meares, Ltd.; Arnold Levine, Inc.; Crystal Thompson, Giliberto Designs, Inc.; Shana Albery; Jeff Fender Studio; Scafati Tailoring, Inc.; Hochi Asiatico.

Rehearsed at Pearl and Gibney Studios

SPECIAL THANKS

Arel Studio, Liz Riches and Karakter Worldwide. And an enormous thanks to every member of the Hadestown company, past and present, artist and crew member, onstage and off, from Vermont to Broadway and beyond.

HadestownTour.com

DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2025/26 BROADWAY SEASON

PLEASE BE ADVISED

• LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

• PHOTOS, RECORDING & CELL PHONE USE are prohibited.

• CHILDREN 6+ are welcome in our theatres and must be ticketed.

• DRINKS are allowed in provided containers.

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you.

• BRAILLE PROGRAMS are available with 2 weeks’ notice to accessibility@dcpa.org.

Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, IATSE Local 719 Appleton, Robin Asselin, Lauren Bassignani, Julie Clough, Vonnie Cory, Craig Cory, Cyndie Davies, Steve Davis, Anne Dore, Carolyn Elwood, Liz Guess, Deborah Gunter, AnnSue Holabird, Judy Holabird, William Knabb, Amoreena Krimbel, Amber LaCasse, Lauren Lambert, Kelsey Lambert, Leslie Lambert, Sarah Martin, Loren Millikan-Hale, Sharon Morrow, Callie Nelson, Timothy Parsons Wagner, Lisa Payne, Laura Poole, Dave Richards, Alan Schmidt, Abby Sorce, Marisa Spadi, Elisa Tepel, Amy Vlasova, Eliza Watts, Nicole Williams, Kami Wilson, Barbara

DPAC House Crew

Mark Anthony Thomas Berning

Perry Elliott Allen Olmstead

Albert Sainz Sr. Amanda Short Josh Thurman Derek Tovar

The Denver Performing Arts Complex is owned and operated by Denver Arts & Venues for the City and County of Denver. City and County of Denver

Mike Johnston, Mayor Denver Arts & Venues

Gretchen Hollrah, Executive Director

Jen Morris, Deputy Executive Director

Tariana Navas-Nievas, Deputy Executive Director

Denver Arts & Venues, Arts Complex Operations

Jody Grossman, Venue Director

Todd Medley, Facilities Superintendent

Kelly Graham, Safety, Security and Garage Operations Manager

Carol Krueger, Senior Operations and Guest Experience Manager

artscomplex.com | (720) 865-4220

For immediate assistance & security (720) 865-4200

DCPA TEAM

DCPA

Janice Sinden President & CEO

Donna Hendricks Executive Assistant, President & CEO

Julie Schumaker Manager, Board Relations

ACCOUNTING & FINANCE

Jane Williams CFAO

Sara Brandenburg Director, Accounting Services

Jennifer Jeffrey Director, Financial Planning & Analysis

Kristina Monge Associate Accountant

Jennifer Siemers Director, Accounting

BROADWAY & CABARET

John Ekeberg Executive Director

Administration

Ashley Brown Business Manager

Alicia Bruce General Manager

Lisa Prater Operations Manager

Garner Galleria Theatre

Abel Becerra Technical Director

Jason Begin+, Anna Hookana+ Core Stagehands

DEVELOPMENT

Jamie Clements Vice President

Sarah Darlene Manager, Grants & Reports

Julia Dunn Manager, Donor Engagement & Legacy Giving

Kara Erickson-Stiemke Manager, Annual Giving & Stewardship

Emily Kettlewell Director, Operations

Caitie Maxwell Senior Director, Major Gifts

Marc Ravenhill Director, Donor Relations

Sarah Smith Coordinator

Megan Stewart Associate Director, Special Events

Jazzmin Bonner Yale Management Fellow

EDUCATION & COMMUNITY ENGAGEMENT

Allison Watrous Executive Director

Stuart Barr Technical Director

Dani Robb Director, Business Operations

Lyndsay Corbett Teaching Artist & Manager, Bobby G

María Corral Director, Community Engagement

Heather Curran Teaching Artist & Manager, Playwriting

Elliot Davis Evening Registrar & Office Coordinator

Rachel Ducat Executive Assistant & Business Manager

Rya Dyes Registrar & On-Site Class Manager

Gavin Juckette Teaching Artist & Manager, TYA Engagement & Music

Timothy McCracken Head of Acting

Rick Mireles Manager, Community Engagement

David Saphier Teaching Artist & Manager, In-School Programming

Charlotte Talbert Librarian

Rachel Taylor Teaching Artist & Manager, Literary Engagement & Resiliency

Justin Walvoord Teaching Artist & Manager, Shakespeare in the Parking Lot

Samuel Wood Director, Education & Curriculum Development

EVENT SERVICES

Tara Miller Event Sales & Operations Director

Brook Nichols Event Technical Director

Aidan Gagner Video Engineer

Michael Harris Lighting Designer

Stori Heleen-O’Foley Event Technical Manager

Shane Hotle Audio Engineer

Kris Lawan, Savannah Singleton Event Captains

Danielle Levine, Blair Quiring Senior Sales & Event Managers

Jacob Noon, Phil Rohrbach Sales & Event Managers

Benjamin Peitzer Event Technical Lead

Kaden Richter Audio Engineer

INFORMATION TECHNOLOGY

Lisa Roebuck Vice President For security purposes, the IT team has been omitted.

MARKETING & SALES

Angela Lakin Vice President

Whitney Testa Executive Assistant, Marketing & Broadway

Communications

Suzanne Yoe Director

Heidi Bosk,

Brittany Gutierrez Associate Directors

Todd Metcalf Media Producer

Creative Services

Kyle Malone Director

Sofia Contreras, Lucas Kreitler Graphic Designers

Paul Koob Senior Graphic Designer

Noelle Norris Traffic Coordinator

Digital

Michael Ryan Leuthner Director

Erin Bunyard Senior Strategist

Harper Anne Finch Manager, Social Media

Hannah Selwyn Manager, Email

Sergio von Kretschmann Manager, Web

Insight & Strategy

Emily Kent Director

Dan McNulty Analyst

Marketing

Claire Graves Director

Emily Lozow Associate Director

Maddie Lamb, Emmy VanLangevelde,

Julie Whelan Managers

Mikayla Woods Coordinator

Ticketing & Audience Services

Jennifer Lopez Director

Jessica Alverson*, Zeah Edmonds*,

Lauren Estes*, Jen Gray*, Noah Jungferman*, Oliver Knight*, Reagan Luchte*, Alix Maulitz*, Claudia Ruizesparza*, Holly Stigen*, Asheala Tasker*, Rob Warner* Ticket Agents

Kirsten Anderson*, Scott Lix*, Liz Sieroslawski*, Greg Swan* Subscription Agents

Jon Collins, D.J. Dennis Manager, Subscription

Amanda Foust*, Edmund Gurule*, Brett O’Neill*, Hayley Solano*, Andrew Sullivan*, Bronwen VanOrdstrand*, Alfonso Vazquez*, Max McCord* Counter/Show Leads

Billy Dutton Associate Director, Operations

Katie Davis, Claire Hayes, Ella Mann Managers, Box Office

Chris Leech VIP Ticketing Associate

Katie Spanos Associate Director, Subscriber Services

Group Sales

Jessica Bergin Associate Director

Elias Lopez, Valery Owen Associates, Group Sales & Education

OPERATIONS

Sarah Arzberger,

Danielle Freeman Managers

Aaron Chavez Lead

Ruben Cruz, Jordan Latouche Engineers

Simone Gordon Director

Kyle Greufe Manager

Maria Herwagen Junior Analyst

Brandon LeMarr Associate Director

Alison Orthel, Tara Perticone Analysts

Joseph Reecher Senior Engineer

PEOPLE & CULTURE

Laura Maresca CPCO

Equity & Organization Culture

Seán Kroll Specialist

Human Resources

Brian Carter Senior Business Partner

Andrew Guilder Recruiter & HR Generalist

Michaela Johnson Mailroom Assistant

Paul Johnson Manager, Payroll & Compliance

Jocelyn Martinez Business Partner

Kinsey Scholl Manager, Operations

THEATRE COMPANY

Administration

Charles Varin Managing Director

Emily Diaz Business Admin./ Asst. Company Manager

Jessica Eckenrod Line Producer

Alex Koszewski Company Manager

Ann Marshall General Manager

Artistic

Chris Coleman Artistic Director

Grady Soapes Artistic Producer & Casting Director

Leean Kim Torske Director, Literary Programs

Madison Cook-Hines Literary Assistant

Costume Crafts

Kevin Copenhaver Director

Chris Campbell Assistant

Costume Shop

Janet MacLeod Director/Design Associate

Meghan Anderson Doyle Design Associate

Katarina Kosmopoulos First Hand

Ingrid Ludeke, Carolyn Plemitscher Drapers

House Crew

Heather Sparling+ Supervising Stagehand

James Berman+, Will King, Dave Mazzeno+, Kyle Moore+, Matt Wagner+ Stagehands

Joseph Price+, Kelley Reznik+ Technicians

Lighting Design

Charles MacLeod Director

Connor Baker+ Production Electrician

Lily Bradford Assistant

Paint Shop

Kristin Hamer MacFarlane Charge Scenic Artist

Melanie Rentschler, Sasha Seaman Scenic Artists

Production

Jeff Gifford Director

Julie Brou Administrative Assistant/ Office Manager

Matthew Campbell Production Manager

Peggy Carey Production Manager

Prop Shop

Meghan Markiewicz Supervisor

Sara Pugh Associate Supervisor

Bennet Goldberg, Ashley Lawler Artisans

Adena Rice. Prop Carpenter

Scene Shop

Eric Moore Technical Director

Albert “Stub” Allison, Robert L. Orzolek, Josh Prues Associate Technical Directors

Jeremy Banthoff, Tyler D. Clark, Kyle Scoggins Scenic Technicians

Wynn Pastor Scenic Technician & Purchasing Agent

Louis Fernandez III Lead Scenic Technician

Brian “Marco” Markiewicz Lead Carpenter

Scenic Design

Lisa Orzolek Director

Nicholas Renaud Assistant

Sound Design & Technology

Alex Billman Supervisor

Meagan Holdeman+, Timothy Schoeberl+, Dimitri Soto+ Technicians

Elijah Ruddick Assistant

Stage Management

Anne Jude Supervisor

Chandra R.M. Anthenill, Wayne Breyer, Corin Davidson, Elizabeth Ann Goodman, Harper Hadley, Sage Hughes, Nick Mason, Melissa J. Michelson, Christine Rose Moore, Nick Nyquist, Brooke Redler, Malia Stoner Stage Managers

Sage Goetsch, Dylan Hudson, Hannah Iverson, Casey Pitts Apprentices

Wardrobe

Heidi Echtenkamp Supervisor

Robin Appleton^, Amber Krimbel^, Lauren LaCasse^, Lisa Parsons Wagner

Nicole Watts^, Kami Williams^ Dressers

Wigs

Diana Ben-Kiki Supervisor

Abby Schmidt^, Marisa Sorce^ Hair/Wig Technicians

VENUE OPERATIONS

Glen Lucero Vice President

Kristi Horvath Director

Merry Davis Financial Manager

Jane Deegan Administrator

Samantha Egle Manager, Event Operations

Facilities

Craig Smith Director

Dwight Barela, Mark Dill, Bryan Faciane, John Howard, Iver Johnson Engineers

Ana Esparza, Saleem As-Saboor, Adriana Fuentes, Carmen Molina, Juan Loya Molina, Judith Primero Molina, Blanca Primero Custodians

Michael Kimbrough Manager, Engineering

Oscar Fraire Manager, Custodial

Brian McClain Supervisor, Custodial

Patron Experience

Kaylyn Kriaski Manager

LeiLani Lynch, Aaron McMullen, Stacy Norwood, Wendy Quintana, Kelci Rigsby, Valerie Schaefer, Ashli Townsend Managers on Duty

Kelly Breuer, Nora Caley, Robin Lander, Melanie Mason, Barbara Pooler, Ayden Smith House Managers

Safety & Security

Quentin Crump Director

Timothy Allen, Jodi Benavides Lead Security Officers

David Bright, Ariana Cuevas, Acura Holt, Ethan Kemberlin, Jack Leatherwood, Ian Nelson, Glenn Powell, Ashley Skillman, Zach Stemley, Tori Witherspoon Security Specialists

•Immediate Need or Pre-plan Services

•Available 24/7 Statewide

•On-Site Crematory

IN THE COMMUNITY

Join us for FREE public performances of SHAKESPEARE

IN THE PARKING LOT

Abridged versions of some of the Bard’s most beloved plays performed in and around a pickup truck “set”

Performances take place throughout the community on Saturdays Apr 11 – May 9.

LEARN MORE

BRINGING SHAKESPEARE TO THE COMMUNITY

FFor the Denver Center for the Performing Arts, community connection is central to its mission. That commitment is vividly realized through Shakespeare in the Parking Lot, a program designed to bring free, high quality theatre directly into neighborhoods across the metro area. Performed outdoors in everyday public spaces, these lively productions make Shakespeare accessible, informal, and welcoming to audiences of all ages.

Launched in 2014/15, the program began as a high school initiative but quickly grew into a beloved resource across the Denver metro area. Its hallmark is accessibility: performances take place in parking lots, plazas, libraries, and parks, using a simple pickup truck “set” that allows the cast to bring Shakespearean classics to audiences who may not otherwise encounter live theatre. “There’s something beautiful in the accessibility of Shakespeare in the Parking Lot,” said Allison Watrous, DCPA Executive Director of Education & Community Engagement, noting how ordinary spaces become creative gathering points for all ages.

This community focus is reflected in the program’s reach. Last season alone, Shakespeare in the Parking Lot completed 80 school performances for nearly 13,000 students and nine free community performances serving more than 1,100 individuals — a demonstration of both widespread enthusiasm and the strong demand for high quality cultural programming. This expanded community access is supported by the Scientific and Cultural Facilities District (SCFD), which helps broaden access to the arts.

The spring 2026 tour continues this mission with a new round of free Saturday performances across the region. Audiences can enjoy A Midsummer Night’s Dream or Romeo and Juliet at locations including the Curtis Community Center (April 18), Aurora Public Library Central Library (April 25), Belmar Library (May 2), and Riverfront Plaza (May 9).

Each performance, running approximately 90 minutes, blends professional acting with nimble stagecraft on and around a pickup truck set.

As the program enters its twelfth year, it has already reached more than 11 1,000 people in schools and public settings, reinforcing DCPA’s vision of theatre as a shared civic experience. This spring, Denver area residents are once again invited to gather, connect, and enjoy Shakespeare the way it was meant to be: together.

Cherry Creek 250 Steele St., Suite 200, Denver

Financial Clarity & Direction From a Team You Can Trust Michael Mullen, CFP®, CRPS®, CRPC® Executive Financial Advisor Osaic Institutions, Inc. mmullen.bcu nancial@bellco.org 303-367-9768

Osaic Institutions financial professionals are located at select Bellco Credit Union branches. Convenient access to a variety of investment services located right at your local branch. Michael Mullen is located at the following branches: 120th & Huron, Clifton, Grand Junction, Thornton, and Erie

CHASE THE SPARK!

Experience the rush of Broadway’s biggest touring hits — from Tony Award-winning sensations to the season’s most electrifying new arrivals — as they burst to life with music, movement, and magnetic storytelling. Each performance delivers a spark worth chasing and a connection worth capturing. Your seat awaits.

Denver

Complete

&

IN DOWNTOWN DENVER

Just show your theatre tickets and

Complimentary Seasonal Dessert with purchase

Three-course Pre-Theatre Menu for $60 per person with an optional wine pairing for $30

range

Complimentary valet parking and dessert with purchase of entrée

— KEVIN CLASSEN, PNC REGIONAL PRESIDENT FOR COLORADO AND MOUNTAIN TERRITORY EXECUTIVE

PROUD SPONSOR OF DCPA EDUCATION’S BOOK STARS

PPNC aims to strengthen and enrich the lives of our neighbors in the communities where we live and work, and, with funding from PNC Foundation, we are pleased to once again support the Denver Center for the Performing Arts (DCPA) in this season’s Book Stars program. Since 2004, PNC Grow Up Great, our $500 million, bilingual early childhood education initiative, has helped prepare children from birth to age 5 for success in school and life by supporting programs, resources and experiences that plant the seeds for a lifetime of opportunities. DCPA Book Stars likewise supports early childhood educators to enhance early literacy in pre-K by working with Title I schools throughout metro Denver.

This innovative program encourages children to become characters and solve problems through creative play and theater-based learning, with teaching artists building relationships with students and teachers over time. By offering Book Stars to schools at no cost, in English and Spanish, we can increase accessibility and help eliminate achievement gaps before they start.

By focusing our support on high-quality early childhood education, we aim to positively impact school readiness, setting children on a path for success. We’re proud to help DCPA continue to grow this program and build more relationships with teachers, students, and families in our region.

Thank you for your continued support for the arts, and enjoy the show!

“ “

PNC is firmly committed to strengthening access to high-quality early childhood education in Colorado. Early literacy is a powerful driver of long-term community stability and economic growth, laying the foundation for a strong workforce and resilient local economies. Book Stars is a unique and engaging way to build these essential skills in our youngest learners, helping ensure every child has the opportunity to thrive and every community has the opportunity to succeed.

We believe that the arts have the power to connect and inspire our neighbors, and we are proud to support the DCPA.

— STEVE PEATE, VICE PRESIDENT AND GENERAL MANAGER OF AMERISTAR CASINO RESORT SPA

PROUD CORPORATE MEMBER OF THE DCPA

AAmeristar Casino Resort Spa in Black Hawk is proud to continue its partnership with the Denver Center for the Performing Arts. This collaboration highlights a dedication to supporting the arts and enriching the local community. Together, Ameristar and the DCPA aim to bring the magic of live theatre to the entire Denver community by offering the opportunity to experience world-class performances right in their backyard.

Steve Peate, Vice President and General Manager of Ameristar Casino Resort Spa, shared his excitement about the partnership: “Partnering with the Denver Center for the Performing Arts is another fantastic opportunity to positively impact the community. At Ameristar, whether through charitable or civic organizations, supporting our community is part of our culture. We believe that the arts have the power to connect and inspire our neighbors, and we are proud to support the DCPA.”

It’s about having a passion not only to entertain, but to also change lives. It’s about wanting to foster a vibrant community of giving and contribute to causes which seek to create a better tomorrow. When the curtain falls, Ameristar will be standing with the DCPA.

A PROUD PARTNER OF THE DENVER CENTER FOR THE PERFORMING ARTS

CChevron has invested in Colorado for more than 90 years and today Chevron is the largest oil and gas producer in Colorado, with close to 1,000 employees. We know how to deliver affordable, reliable, and ever-cleaner energy and we are investing resources and time to find ways to drastically lower the carbon intensity of the energy we produce while maintaining the important pillars of affordability and reliability.

Our company and our employees take pride investing our time and talent into the many communities we call home. Chevron invests millions of dollars and volunteers thousands of hours with community organizations across the state. Our focus areas include meeting essential needs, promoting diversity and inclusion, enhancing education, providing arts experiences, and protecting the environment.

Through several different partners, Chevron supports science, technology, engineering, and math (STEM) subjects at universities, community colleges, K-12 schools, and career technical education centers on the Front Range and Western Slope.

We also work with non-profits whose programming encourages young boys and girls to explore STEM in various ways. Our support of robotics programs in several schools enables youth to have hands-on learning.

We have proudly supported the Denver Center for the Performing Arts for more than three years, believing in its vital contribution to the state’s creative energy. The arts are for everyone, and Chevron’s contribution enables DCPA’s educational programs, youth theater, budding teen playwrights, Denver’s own theater company, and Broadway productions.

Congratulations on another wonderful year bringing the performing arts to all the Front Range, and indeed, Colorado.

To learn more about Chevron and our community investments, please visit https://colorado.chevron.com/