Applause -- Phantom of the Opera, March 18-April 5, 2026

APPLAUSE

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SIGHTLINE

BY JANICE SINDEN

WWelcome to the DCPA!

Thank you for joining us for Next to Norma , Alicia Keys’ Hell’s Kitchen, or The Phantom of the Opera. Your presence here not only benefits the actors, artists, and administrators at the Denver Center for the Performing Arts, it’s also a boon to our local economy.

In 2024/25 season, the DCPA had a $390 million economic impact on the region. That means hotel stays, full restaurants, busy parking lots, and packed theatres — all of which support jobs and contribute to the vitality of downtown Denver.

Now…let’s do it again! On pages 10–1 1, you will see the announcement of our upcoming Broadway season featuring the most anticipated tours on the road plus some returning favorites.

The lineup features BOOP! The Musical, The Great Gatsby, Buena Vista Social Club™ , and Death Becomes Her. We’ll also present THE BOOK OF MORMON, Legally Blonde - The Musical, Riverdance 30 - The New Generation, Disney’s Beauty and the Beast, and many more titles to fill your calendar.

Before we leap too far ahead, join us as we round out this season with The Outsiders, Hadestown, MJ, Somewhere, English, The Sound of Music, Beetlejuice, The Who’s TOMMY, and the Colorado debut of Harry Potter and the Cursed Child

So much great theatre is in store. Subscribe today and get early access to the best seats, the best prices, and the best shows from Broadway!

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Warm regards,

Janice Sinden

Janice Sinden, President & CEO

H O N O R I N G O U R E L D E R S

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

VOLUME XXXVI • NUMBER 4 • MAR – MAY 2026

EDITOR: Suzanne Yoe

DESIGN DIRECTOR: Kyle Malone

DESIGNER: Paul Koob

CONTRIBUTING DESIGNERS: Lucas Kreitler, Kyle Malone

CONTRIBUTING WRITERS: Amanda L. Andrei, Lisa Kennedy, 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.

Angie Flachman, Publisher For advertising 303.428.9529 or sales@pub-house.com coloradoartspubs.com Applause magazine is funded in part by

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

LEARN MORE

IN THIS ISSUE

Alicia Keys’ Hell’s Kitchen ......... pg 6

The Phantom of the Opera pg 14

Next to Normal pg 1 8 FOR A COMPLETE LIST OF UPCOMING SHOWS:

HONORARY TRUSTEES

Navin Dimond

Margot Gilbert Frank

Jeannie Fuller

Robert C. Newman

Cleo Parker Robinson

Robert Slosky

Dr. Reginald L. Washington

Judi Wolf

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

BY LISA KENNEDY

A ALICIA KEYS’ CELEBRATION OF PLACE HELL’S KITCHEN SHARES A VERY DIFFERENT WEST SIDE STORY

A city. A neighborhood. A building. These are the geographies that feed 17-year-old Ali, our guide in Alicia Keys’ Hell’s Kitchen, book by Kristoffer Diaz. Hell’s Kitchen is the piquant —and for decades, the rightly earned — name of the West Side Manhattan neighborhood where Ali lives with her mother, Jersey. Their home is in a towering apartment called Manhattan Plaza, a vertical abode Ali introduces in the show’s opener, “The Elevator Prologue.”

“All art has to have an address,” Oskar Eustis offers in Hell’s Kitchen: Making the Dream, a ridiculously instructive and enjoyable making-of book. Eustis, the artistic director of the Public Theater, attributes that quote to the late novelist Bernard Malamud, a Brooklynite. And it was the Public that produced Hell’s Kitchen before it headed to Broadway and 13 Tony nominations.

Given that notion of place, it’s easy to wonder which fanciful yarns about place spin our identities? (How many times have you, dear local, embraced Denver’s “Cowtown” brand?) And which concrete and rebar realities define us? (How many times has a new build downtown rebuffed that same moniker?)

Some beloved musicals evoke a place then deliver something slightly different. Oklahoma! Chicago West Side Story. Although that last one shares some discernable DNA with Hell’s Kitchen, as does Lin-Manuel Miranda’s Washington Heights love letter, In the Heights. But

there’s a special intimacy to Keys’ dynamic musical about a young woman edging toward a deeper understanding of herself.

Like onstage-Ali, Keys grew up in Manhattan Plaza with her single mother, Teresa, and a building filled with artists, theater-makers, musicians. (Famed tenants of that 46-story bastion adjacent to the Theater District include Jane Alexander, Giancarlo Esposito, Angela Lansbury, Dexter Gordon, Mary Jo Slater and her boys, Christian and Ryan; the list is long). Due to federal funding rules, 70 percent of the apartments are earmarked for people making their spare, passionate living in the arts.

Those involved with this hit Broadway musical, however, caution treating it as an autobiography or even that often beloved, and increasingly derided genre, the “jukebox musical.” For a good reason. Hell’s Kitchen is not the story of Keys’ big breaks: of her bold decision to leave Columbia Records for hitmaker Clive Davis and Arista, or Davis’ call to Oprah Winfrey, asking the talk-show diva to consider putting the young, piano-playing phenom on her show. She did and the girl from Manhattan Plaza took flight becoming over time one of the best-selling female artists of all time. No, it’s not that story. But if you want the full saga, brimming with lessons in seeking and finding, Keys’ 2020 memoir More Myself: A Journey is a terrific read — and even better with Keys reading it.

Instead of a career retrospective, Keys, Diaz, and director Michael Greif (Rent, Next to Normal) foreground a daughter-mother love story against the backdrop of the goings-on at Manhattan Plaza. That Ali and Jersey’s affection is vexed, tenacious, and snappish is par for the course. (Mothers of teenage daughters, can I get a witness? Daughters of cool but protective mothers, a “hell yeah”?) Although absent for too much of his daughter’s life, Ali’s father, Davis, figures into the musical crucially.

In eschewing an autobiography, the creative team also dodged making a show that goes from hit to hit to hit. Keys’ discography presented exciting challenges, recalls librettist Diaz. “There were five or six songs that had to be in the show, right?” he said on a video call in early January. “Where’s ‘Fallin’’ going to be? Where’s ‘No One’ going to be? Where’s ‘Girl on Fire,’ going to be?” Some of them were easy to figure out. “Empire State of Mind,” that hit Keys made with the rapper Jay-Z and then remade as a solo effort, “can only be the opening number of the show or the end number of the show,” he jokes knowing this doesn’t require a spoiler alert.

There were five or six songs that had to be in the show, right? Where’s ‘Fallin’’ going to be? Where’s ‘No One’ going to be? Where’s ‘Girl on Fire,’ going to be? Some of them were easy to figure out. — KRISTOFFER DIAZ, BOOK WRITER

Although Diaz grew up in Yonkers, a city north of the Bronx, he and Keys shared a cultural moment. Hip hop defined their youth and gave New York City its swagger. When Keys wanted to sing the praises of bucket drummers, he knew exactly who she meant. And during their first meeting, when he wondered aloud, gesticulating as he went on about a possible nontraditional structure for the musical, “for some reason the image of Nas’ ‘One Mic’ came to mind, which starts out a quiet verse that crescendos and then gets simple and quiet, crescendos and gets quiet again. We could do something like that.” She got it. Though in the end, they went for something mildly less ambitious. Time period is a place, too, it turns out. And the Manhattan of the 1990s in which the show is set was suffused with the spirit of Hip Hop. The genre was already a couple of generations in when Keys and Diaz were coming of age. But the thing about Hip Hop, especially during that era, was how utterly aware of its antecedents it could be: praising and quoting, sampling forebearers and doing them one better. And it wasn’t just music, it was style, street fashion, tagging, and graffiti. Keys relishes that place and its moment — and all of it gets its due in that city, that neighborhood, that building, this musical.

Read a Q&A with Kristoffer Diaz

ALICIA KEYS’ HELL’S KITCHEN

APR 14 – 26 • BUELL THEATRE

ASL Interpreted, Audio Described, and Open Captioned performance: April 26 at 1 pm

MJ

Michael Jackson’s iconic music and signature moves are taking the Buell stage in 2026. The Tony Award-winning musical MJ offers an insider’s perspective of the artistry that catapulted Michael Jackson to international superstardom and legendary status. MJ was created by Tony Award-winning Director/ Choreographer Christopher Wheeldon and two-time Pulitzer Prize winner and playwright Lynn Nottage.

The show takes audiences behind the scenes as Michael Jackson prepares for his 1992 Dangerous World Tour. As the team rehearses the setlist — packed with Jackson’s most famous tunes, including “Thriller,” “Smooth Criminal,” “Billie Jean,” “Beat It” and “Bad” — audiences witness the genius of Jackson’s creative process and are transported to pivotal moments in his career.

The Washington Post called MJ “a riveting adrenaline rush of a show.” WGN Radio said, “MJ is one of the best shows ever.” Don’t miss the biggest musical of the decade as it returns to Denver May 13–17. Sing along, dance in your seat, and flashback to the live performance of one of pop music’s most celebrated musicians.

Theatre Classes at the DCPA

CHILDREN, TEENS & ADULTS

MIDDLE & HIGH SCHOOL

PLAYWRITING

In Refreshed Legacy: The Phantom of the Opera (page 14), Director Seth Sklar-Heyn shares that his first experience with the show was as a teenage volunteer usher. Fast forward and now he’s directing one of the most legendary musicals of all time.

Falling in love with theatre can happen at any age, but aspiring for a career in theatre can be supported through participation (both on and off stage) and exposure to arts at an early age. That’s where DCPA Education comes in.

The Denver Center for the Performing Arts has offered acting instruction and in-school programs for nearly 50 years and now engages upward of 150,000 students each year.

Of its many programs, Middle and High School Playwriting introduces students to scriptwriting. Now in its 14th year, this program encourages students to explore their own writing, which leads them to discover an aptitude that they didn’t know they possessed.

Finalist Liam McBride (The Grocery and the Clerk) said: “This assignment…gave me a first taste into the real process of independent playwriting at a professional level. I think that would just be so fulfilling.”

Featuring 159 in-school workshops followed by a statewide competition, six winners out of 288 submissions were named in January. The three high school winners worked with DCPA educators to refine their script — just like a professional playwright would work with a dramaturg. Then, these scripts received a reading in front of a live audience as part of the Colorado New Play Summit alongside scripts of four established playwrights.

This year’s winning plays included (high school) Bajo La Misma Luna by Flavia Armas, Number 47 by Carson McConathy and Kaylee Johnson, Scraps by Audrey Flege, and (middle school) The Case of the Missing Jewels (Emery Eun), The Daughter of the All-father (Miyu Hessel), and The Waiting Room (Taylor Hunt).

All six of the winners said that this writing project wouldn’t be their last. Miyu and Flavia are both interested in writing a film; Emery and Audrey each want to publish a novel; Carson, Kaylee and Taylor want to keep expanding their creative reach.

According to Miyu, “I learned that there are ways to express emotions and tell a story through acting, emotion, and engaging with an audience.” Skills, she says, she wouldn’t have learned without the opportunity to write a play.

An opportunity that may one day lead them to Broadway.

FOR A COMPLETE LIST OF WINNERS AND FINALISTS, VISIT DENVERCENTER.ORG/NEWS-CENTER.

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.

SUPPORT IN STYLE

No long programs. No endless speeches.

SATURDAY NIGHT ALIVE

Just pure celebration of the arts and the people who make it thrive.

Step into an evening of glamour and excitement with cocktails, an unforgettable performance, exquisite dining, and a high-energy after-party at the DCPA’s most impactful fundraising event of the year.

Reserve

JUNE 13, 2026

BOOK MY SPOT

REFRESHED LEGACY: THE PHANTOM OF THE OPERA

BY AMANDA L. ANDREI

MMaybe you saw the original performance on Broadway. Maybe you heard the music on a cassette or CD or through streaming — ripped a track to a mixtape or playlist to sing along to in your car. Or maybe a friend or sibling is a fan, wouldn’t stop talking about the chandelier, and brought you to the show. Whatever it may be, you’re swept up in the phenomenon that is The Phantom of the Opera

agency, autonomy, and presence of mind as opposed to just being a victim who’s seduced or manipulated.”

“Phantom has become cultural as opposed to just some theatrical musical event,” muses director Seth Sklar-Heyn. “It’s beyond the stage. It’s incredibly special.”

Since the debut of Cameron Mackintosh’s lavish production in 1986, Andrew Lloyd Webber’s haunting story of the mysterious musical genius and his obsession with a talented young soprano has exhilarated and electrified audiences worldwide. Forty years later, a new cast balances the tension of honoring the original while simultaneously refreshing the experience for today’s spectators.

“There’s an incredible power that comes from nostalgia,” notes Sklar-Heyn, who helms the tour performances, based on original direction by Harold Prince and with choreography by Gillian Lynne. “It doesn’t need to mean dusty or tired — there is something vital about it. And for me, the nostalgia that audiences have for the show increases their own investment in the show. They have their own memory, and it’s incredibly strong.”

Done right, nostalgia has the opposite effect of making something feel outdated or mimicked. “It gives a reason for the performance to feel renewed because people want to see it,” observes Sklar-Heyn. “They want to relive an experience, and hopefully we’re now delivering a production that is enhanced in some way, making it even better than they remember it.”

The challenge of staging Phantom today comes from respecting those memories, while also rejuvenating the experience — all while sparking and tending to the fiery feelings that arise from watching the show.

“People will always have criticisms and make some generalizations about how the show tells the story of a mysterious masked man luring an ingenue to the basement of the Opera House,” Sklar-Heyn relates. “But I can tell you there is more to it and we talk about how to frame these human relationships for today without changing the story. And people have noticed it, such as Christine having more

Part of crafting the experience is through making small, incremental changes that all add up to a different kind of elegance. Little costume changes that feel familiar but new. Hand gestures or postures that emanate differently from an actor’s body. Back stories and names — that the audience might never learn — make the performers more than ensemble dancers at a masquerade.

There’s an incredible power that comes from nostalgia…. For me, the nostalgia that audiences have for the show increases their own investment in the show.

— SETH SKLAR-HEYN, DIRECTOR

Sklar-Heyn tells a story about one ensemble actor who suggested maintaining the identity of a specific character during a scene transition which wasn’t previously in the staging, and how as a result, “He’s creating more story — which means for an audience, you’re not just seeing people put on costumes and letting the costumes be the show. You’re seeing people be these characters and bring this world to life.”

Of the process, he adds, “From day one, we say: Create. Invent.”

THE PHANTOM OF THE OPERA

MARCH 18-APRIL 5, 2026

BUELL THEATRE

ASL Interpreted, Audio Described, & Open Captioned performance: April 4 at 2pm

READ THE FULL ARTICLE

THURSDAY, MAY 7

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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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Starring

ISAIAH BAILEY

JORDAN LEE GILBERT DANIEL LOPEZ and

MIDORI MARSH WILLIAM THOMAS EVANS CARRINGTON VILMONT LISA VROMAN CHRISTOPHER BOZEKA MELO LUDWIG

At certain performances, the role of “Christine Daaé” is played by ALEXA XIOUFARIDOU MOSTER

Music by ANDREW LLOYD WEBBER

Lyrics by CHARLES HART

Additional Lyrics by RICHARD STILGOE

Book by RICHARD STILGOE & ANDREW LLOYD WEBBER

Based on the novel Le Fantôme de l’Opéra by GASTON LEROUX

Lighting by ANDREW BRIDGE

Sound Design by MICK POTTER

Video Design by GEORGE REEVE

Musical Supervision by KRISTEN BLODGETTE Musical Direction by ISAAC HAYWARD Orchestrations by DAVID CULLEN & ANDREW LLOYD WEBBER

Production Design by MARIA BJÖRNSON®

Musical Staging & Choreography by GILLIAN LYNNE

Originally Directed by HAROLD PRINCE

Set Design Adapted by MATT KINLEY

Original Choreography Recreated & Adapted by CHRISSIE CARTWRIGHT

Production Directed by SETH SKLAR-HEYN

For THE PHANTOM OF THE OPERA North American Tour

Executive Producer AARON LUSTBADER for Foresight Theatrical Executive Producer SETH WENIG for NETworks Presentations Executive Producer SETH SKLAR-HEYN for Cameron Mackintosh Inc.

by THE TRC COMPANY/ CLAIRE BURKE, CSA & PETER VAN DAM, CSA

Maria Björnson®’s Designs Recreated by JILL PARKER

VANDER PLOEG for Gentry & Associates

Produced by CAMERON MACKINTOSH with LW ENTERTAINMENT and NETWORKS PRESENTATIONS

CAST

The Phantom ISAIAH BAILEY

Christine Daaé JORDAN LEE GILBERT

Christine Daaé

ALEXA XIOUFARIDOU MOSTER (3/19 mat, 3/21 mat, 3/22 eve, 3/28 mat, 3/29 eve, 4/4 mat, 4/5 eve)

Raoul, Vicomte de Chagny DANIEL LOPEZ

Carlotta Giudicelli MIDORI MARSH

Monsieur Firmin WILLIAM THOMAS EVANS

Monsieur André CARRINGTON VILMONT

Madame Giry LISA VROMAN

Ubaldo Piangi CHRISTOPHER BOZEKA

Meg Giry MELO LUDWIG

Auctioneer/Monsieur Reyer BEN ROSEBERRY

Monsieur Lefèvre/Fire Chief STEPHEN TEWKSBURY

Joseph Buquet JAMES CHANNING

Wardrobe Mistress KRISTA WIGLE

Princess (Hannibal) EVELYN MÊ-LINH

Wild Woman (Hannibal) OLIVIA McMILLAN

Hannibal’s Guard (Hannibal)/Shepherd (Il Muto) KEENAN ENGLISH (3/18-3/29). STANLEY GLOVER (3/31-4/5)

Madame Firmin CARLYN CONNOLLY

Confidante (Il Muto)................................................................................................. ALEXANDRIA SHINER

Jeweler (Il Muto) DENNIS SHUMAN

Hairdresser (Il Muto) DAVID YOUNG FERNANDEZ

Don Attilio (Il Muto) JEREMY HARR

Marksman MATTHEW GRIFFIN

Passarino (Don Juan Triumphant) DONOVAN ELLIOT SMITH

Page (Don Juan Triumphant) ALYSSA GIANNETTI

The Ballet Chorus of the Opéra Populaire ALORIA ADAMS, KEENAN ENGLISH, STANLEY GLOVER, KAYLA GOLDSBERRY, JENNIFER GRUENER, WESTON KRUKOW, LIV MITCHELL, EUREKA NAKANO, CHARLOTTE OCEANA

Swings

SCOTT MIKITA, TRISTA MOLDOVAN, BRONSON NORRIS MURPHY, CAMILA RODRIGUES, LACY SAUTER, ANDY TIGHE

Dance Captain CAMILA RODRIGUES

Assistant Dance Captain STANLEY GLOVER

UNDERSTUDIES

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

For The Phantom – DAVID YOUNG FERNANDEZ, MATTHEW GRIFFIN, BRONSON NORRIS MURPHY

For Christine Daaé – ALYSSA GIANNETTI, EVELYN MÊ-LINH

For Raoul, Vicomte de Chagny – MATTHEW GRIFFIN, ANDY TIGHE

For Carlotta Giudicelli – OLIVIA McMILLAN, ALEXANDRIA SHINER

For Monsieur Firmin – JAMES CHANNING, SCOTT MIKITA, STEPHEN TEWKSBURY

For Monsieur André – SCOTT MIKITA, BEN ROSEBERRY

For Madame Giry – CARLYN CONNOLLY, TRISTA MOLDOVAN

For Ubaldo Piangi – DENNIS SHUMAN, DONOVAN ELLIOT SMITH

For Meg Giry – KAYLA GOLDSBERRY, CHARLOTTE OCEANA

To view the cast list for this performance, scan the QR code below:

MUSICAL NUMBERS

PROLOGUE

The stage of the Paris Opéra House, 1905 Auctioneer, Raoul, and Company

OVERTURE

ACT ONE—PARIS, LATE 19TH CENTURY

Scene 1—The dress rehearsal of Hannibal

“Think of Me”

Carlotta, Christine, and Raoul Scene 2—After the Gala “Angel of Music” Christine and Meg

Scene 3—Christine’s dressing room

“Little Lotte/The Mirror” (Angel of Music)

Raoul, Christine, and The Phantom Scene 4—The Labyrinth underground

“The Phantom of the Opera” The Phantom and Christine Scene 5—Beyond the lake

“The Music of the Night” The Phantom Scene 6—Beyond the lake, the next morning

“I Remember/Stranger Than You Dreamt It”

Christine and The Phantom Scene 7—Backstage “Magical Lasso” .................................................................................Buquet, Meg, Madame Giry, and Corps de Ballet

Scene 8—The Managers’ office

“Notes/Prima Donna”

Scene 9—A performance of Il Muto

Firmin, André, Raoul, Carlotta, Piangi, Madame Giry, Meg, and The Phantom

“Poor Fool, He Makes Me Laugh” Carlotta and Company

Scene 10—The roof of the Opéra House

“Why Have You Brought Me Here?/Raoul, I’ve Been There”

“All I Ask of You”

Raoul and Christine

Raoul and Christine

“All I Ask of You” (Reprise) The Phantom

ENTR’ACTE

ACT TWO—SIX MONTHS LATER

Scene 1—The staircase of the Opéra House, New Year’s Eve

“Masquerade/Why So Silent?” Company

Scene 2—Backstage Raoul and Madame Giry

Scene 3—The Managers’ office Notes/Twisted Every Way”

André, Firmin, Carlotta, Piangi, Raoul, Christine, Madame Giry, and The Phantom

Scene 4—A rehearsal for Don Juan Triumphant Christine, Piangi, Reyer, Carlotta, Madame Giry, and Company

Scene 5—A graveyard in Perros “Wishing You Were Somehow Here Again” Christine “Wandering Child” ....................................................................................................... The Phantom, Christine, and Raoul Scene 6—The Opéra House stage before the Premiere Raoul, André, Firmin, Fire Chief, and The Phantom

Scene 7— A performance of Don Juan Triumphant “Don Juan Triumphant” Carlotta, Piangi, Passarino, and Company “The Point of No Return” The Phantom and Christine Scene 8—The Labyrinth underground “Down Once More/Track Down This Murderer”

The Phantom, Christine, and Company Scene 9—Beyond the lake Christine, The Phantom, Raoul, Meg, and Company

Under the direction of ISAAC HAYWARD

Associate Music Director: NICOLE LAM

Concertmasters: DMITRIY MELKUMOV, DAN STACHRYA

Keyboards: DAVID ROBISON, EVELYN TOMARO, NICK WILDERS

THE PHANTOM OF THE OPERA TOURING MUSICANS WELCOME LOCAL MUSICIANS WHO WILL BE PLAYING AT ALL PERFORMANCES IN DENVER.

Violin 2 - BRITT SWENSON, Violin 3 - ZACHARY RAGENT, Viola - MARGARET DYER HARRIS, Cello - JEFF WATSON, Bass - DAVID CROWE, Flute 1/Piccolo - KATY WHERRY, Flute 2/Clarinet - ART BOUTON, Clarinet/Bass Clarinet - MICHELLE ORMAN, Bassoon - BRIAN JACK, French Horn - MATTHEW SCHEFFELMAN

Music Contractor - JAMES HARVEY

ISAIAH BAILEY (The Phantom). National Tour: Disney’s The Lion King (Ensemble, Mufasa u/s), Beautiful: The Carole King Musical (Drifter). Off-Broadway: Revelation, The Musical (Isaiah). Regional: Jesus Christ Superstar (The Hollywood Bowl), Come From Away (Ogunquit Playhouse), Once on This Island (Lyric Theatre of Oklahoma), Frozen (Music Theatre Wichita), Ragtime (Evansville Philharmonic, Shenandoah SMT, Poteet Theatre). Seen in “The Lion King 30th Anniversary at The Hollywood Bowl” (Disney+). Endless gratitude to God, my PHAMILY, and my blood and chosen family, mentors, and teachers. IG: @sangisaiah isaiahbailey.com

JORDAN LEE GILBERT (Christine Daaé). National Tour debut. Opera credits include Susanna (Le Nozze di Figaro), Zerlina (Don Giovanni), and Drusilla (L’incoronazione di Poppea). Many thanks to our incredible company, creative team, and Tara Rubin Casting. Endless love to my family, my partner, my invaluable teachers, and special thanks to Dylan. IG: @jordangilbertsoprano

DANIEL LOPEZ (Raoul, Vicomte de Chagny). Theater: Into the Woods (The Hollywood Bowl), Hood (Asolo Rep), The Light in The Piazza, West Side Story, Camelot, RENT. TV: “FBI,” “Blue Bloods,” “Ways & Means” (CBS); “Tiny Time Travel” (PBS Kids). Love and thanks to TRC, Team Phantom, my agents Kathy and Jen, Mike, Milton, Andy, teachers, friends, supporters, siblings, Checho and Memo, Mom, Dad, primos, tíos, sobrinos, extended family, my beautiful wife Madelyn, and Elvis. daniellopezactor.com IG: @realdaniellopez

MIDORI MARSH (Carlotta Giudicelli) is truly thrilled to be making her National Tour debut. A graduate of the Canadian Opera Company’s young artist ensemble studio, previous opera credits include: Carmen (Frasquita), Don Giovanni (Donna Anna), La Bohème (Musetta), Le Nozze di Figaro (Susanna), Die Zauberflöte (Papagena), Gianni Schicchi (Nella), Candide (Cunegone) and Street Scene (Rose Maurrant). Thanks to her parents, John and Sybil, her sister Naomi, her manager Rebecca, her friend Janine, and all of the wonderful music educators in her life. @its_midori_marsh

WHO’S WHO

WILLIAM THOMAS EVANS (Monsieur Firmin). Broadway: Camelot, Scarlet Pimpernel, and A Tale of Two Cities. Six National Tours including Camelot, Jekyll & Hyde, My Fair Lady, and Joseph…Dreamcoat. Three Off-Broadway shows including The Fantasticks. Eight years with Radio City Christmas Spectacular (Santa Claus). Baz at Palazzo Theater in Vegas (Ziddler). Two seasons on Amazon Prime’s “Alpha House” (Senator Lamar Farkus). This one is for Mom.

CARRINGTON VILMONT (Monsieur André) was a fixture in The Phantom of the Opera on Broadway, privileged to celebrate its 25th anniversary and historic closing at the Majestic Theatre. Regional credits include Pittsburgh Public, Goodspeed, North Shore Music Theatre, Maltz Jupiter. TV/Film: “Breaking Bad,” “The Marvelous Mrs. Maisel,” The Tell-Tale Heart, “Vinyl,” “FBI,” Alien Hearts. Upcoming starring roles in the films Quintessentials and The Life to Come and the opera Salvation. Thanks to the thousands of artists and technicians who have made this show possible.

LISA VROMAN (Madame Giry). Broadway: The Phantom of the Opera (Christine Daaé), Aspects of Love National: The Phantom of the Opera (Christine Daaé – San Francisco/Los Angeles); Les Misérables (Cosette/ Fantine). Regional: Sweeney Todd (Johanna – PBS/San Francisco Symphony); The Most Happy Fella (Rosabella – New York City Opera). Leading roles in Theater/Opera: Kiss Me, Kate; The Music Man; The King and I; Master Class; Seven Deadly Sins; Die Fledermaus. Guest soloist with symphonies worldwide. NYC Bistro Award winner. Please visit lisavroman.com

CHRISTOPHER BOZEKA (Ubaldo Piangi). With the Metropolitan Opera, he has sung the Kill Chain: Mission Coordinator in Grounded, Abdallo in Nabucco. His most performed roles include the Duke in Rigoletto and Count Almaviva in Il barbiere di Siviglia.

MELO LUDWIG (Meg Giry) is so excited to make her National Tour debut with this magical and iconic show! Film: Roommates (Netflix, 2026), Wiener Dog, Chuck. TV: “Chad,” “The Other Two,” and more. Lots of love, sparkles, and thanks to my mom (who’s my best friend), Dadoo, Pinky, and amazing family, friends, and teachers. Forever grateful to Chelsea, David and CESD, TRC, and our incredible Phantom team.

And one last thank you to my first true love – ballet! @meloludwig

ALEXA XIOUFARIDOU MOSTER (Christine Daaé, at certain performances) is thrilled to join The Phantom of the Opera legacy. First National Tour: Pretty Woman (u/s Vivian, u/s Violetta). Regional: Sing Street (Anne, Huntington Theatre). Alexa is a graduate of Northwestern University, where she was honored with the Outstanding Contribution to the Theatre Department award. @alexamoster

ALORIA ADAMS (Corps de Ballet). National Tour debut! BFA in Dance from Point Park University. Credits: Walt Disney World’s Magic Kingdom (Chorus), Step One Dance Company, Norwegian, Cruise Line, Blue Apron Campaign. IG: @aloria.a

JAMES CHANNING (Joseph Buquet, u/s Monsieur Firmin). National Tour debut! Credits: Charlie...Chocolate Factory, Desperate Measures, Waitress, Tarzan. Disney World: Beauty...Beast (Gaston), Finding Nemo, (Bruce). Love to Sonia. @jameschanning11

CARLYN CONNOLLY (Madame Firmin, u/s Madame Giry). National Tour debut! Select credits: Tea at Five (Katharine Hepburn), Dear Edvard, Titanic, Cabaret. Orchestra soloist in the US, Canada and across Asia. Co-founder of Marquee Digital. carlynconnolly.com @carlyn_connolly

KEENAN ENGLISH (Hannibal’s Guard, Shepherd, Corps de Ballet). Baltimore School for the Arts, SAB, Dance Theatre of Harlem, Oregon Ballet Theatre. TV: “Etoile,” Back up dancing: Alicia Keys. Love to family, friends and Campbell Artist. @keenanr_

DAVID YOUNG FERNANDEZ (Hairdresser, u/s The Phantom). Houston, Texas native. Previous Broadway National Tours: Les Misérables (Enjolras u/s), Fiddler on the Roof (Swing). DePauw University alum. Endless thanks to his teachers, family, friends, and Dave Secor. @davidyoungfernandez

ALYSSA GIANNETTI (Page, u/s Christine Daaé). Michigan native and Northwestern graduate. Favorite credits: Love Never Dies (1st National Tour), Unmasked (Paper Mill), Into The Woods (PCLO), and Mary Poppins (The Muny). Instagram: @agiannetti22

STANLEY GLOVER (Hannibal’s Guard, Shepherd, Corps de Ballet, Assistant Dance Captain). Graduated from U.

of the Arts. “So You Think You Can Dance,” BalletX, Cirque Du SoleilMystere, FOX’s “The Big Leap,” HBO’s “Legendary” (Haus of Tisci), Rosalia’s Motomami World Tour, and Princess Grace award recipient.

KAYLA GOLDSBERRY (Corps de Ballet, u/s Meg Giry). Credits: Wicked 2nd National Tour (Witch’s Mother, Ensemble). BFA: USC Kaufman School of Dance. My work spans concerts, commercials and theater spaces. Thank you to my family, mentors, and team. @kaylagoldsberry

MATTHEW GRIFFIN (Marksman, u/s The Phantom, u/s Raoul, Vicomte de Chagny) is grateful you’re here. Broadway: The Collaboration, Tina (OBC). TV/Film: “Inventing Anna,” “Godfather of Harlem,” Reimagined. Thank God, family, agent Dave Secor, and TRC for giving me a reason to keep going and giving.

JENNIFER GRUENER (Corps de Ballet). Broadway: West Side Story NY: I Married an Angel (NY City Center), Eurydice (Met Opera), Trip of Love (Off-Broadway). TV: “Etoile,” “SNL,” “The Tonight Show,” “Elementary,” “iHeartRadio MVAs.” Indiana U JSOM.

JEREMY HARR (Don Attilio) is an operatic bass who has worked at the Metropolitan Opera, Glimmerglass Festival, Des Moines Metro Opera, Wolf Trap Opera, and more. Thanks to his family for their love and support! jeremyharrbass.com

WESTON KRUKOW (Corps de Ballet) (he/him) is honored to be returning to the Opera Populaire. His career has spanned from performing on incredible stages worldwide, to dancing on screens of every size. His love for the arts keeps him teaching and creating alongside some of the most inspiring people in the world. Thank you to family, Ted, Nina, and all teachers of theater. Follow his adventure @westonkrukow

OLIVIA McMILLAN (Wild Woman, u/s Carlotta Giudicelli). National Tour debut! BM Vocal Arts The Juilliard School. Opera: La Sonnambula (Chorus) Juilliard + The Met. Regional: A Gentleman’s Guide (Sibella) Theater Macon. Thanks to my friends, family and teachers who helped get me here!

EVELYN MÊ-LINH (Princess, u/s Christine Daaé) is honored to make her National Tour debut with the show that inspired her voice! She’s a recent grad of NYU (MM) and Chapman U (BM). Thanks to my friends, family, and mentors for your support. I couldn’t have done it without you!

SCOTT MIKITA (Swing, u/s Monsieur André, u/s Monsieur Firmin). Broadway/Tours: The Phantom of the Opera (Swing), Show Boat (Pete), Martin Guerre (Father Dominic). Regional: She Loves Me (Georg), Crazy for You (Zangler), Fabulous Lipitones (Howard). Northwestern graduate. Love to Hannah and Lily. LIV MITCHELL (Corps de Ballet). National Tour debut! Dance: Dayton Ballet, Orlando Ballet, Oklahoma City Ballet. Thanks to my family, friends, and the team at Resolute for the endless support. Dancing for mom always. @livmtch

TRISTA MOLDOVAN (Swing, u/s Madame Giry). Broadway/Tour: Parade (Nina Formby), Phantom (Christine), Cameron Mackintosh’s spectacular new Phantom (Carlotta), Bridges of Madison County, White Christmas. For Dad. Love to family and Stephen.

BRONSON NORRIS MURPHY (Swing, u/s The Phantom). Broadway: The Phantom of the Opera. National Tour: Love Never Dies (The Phantom), CATS (Gus). Regional: Unmasked (The Phantom), Evita and more. “Grateful to those who brought me here.” For more: @BronsonBiz

EUREKA NAKANO (Corps de Ballet). “Succession,” “The Chair Company,” “Raising Kanan,” Cosmos from Within (Raindance), Time to Pause (Purpose Award), Grand Théâtre Luxembourg, Ars Nova, Pennsylvania Ballet, Transformations (dir. Glenn Close). @eurekanakano

CHARLOTTE OCEANA (Corps de Ballet, u/s Meg Giry). Previously seen in The Phantom of the Opera (25th Anni. Tour). Endless gratitude to the creative team, TRC, loved ones, and most of all to Chandler—all my love to you and our fur babies! @charoceana

CAMILA RODRIGUES (Swing, Dance Captain). Originally from Brazil. Graduate of EEDMO in Rio de Janeiro. Credits: An American in Paris (Lise) 2022 NT; Anastasia (Odette u/s), Frozen Tuacahn; Theatro Municipal do Rio de Janeiro; The Met Opera Ballet. @camilasdr

BEN ROSEBERRY (Auctioneer, Monsieur Reyer, u/s Monsieur André). Broadway/Tour: The Lion King, A Gentleman’s Guide, Rent. OffBroadway: Fugitive Songs, Hercules, Einstein’s Dreams. Recordings: The Fractured Years, The Notebook, Mean Girls. Thanks Sarah, Jackie, Graham and Family. @therealbenroseberry

LACY SAUTER (Swing). Regional: The Sound of Music (Mother Abbess), Cinderella (Marie), Young Frankenstein (Elizabeth) Duluth

Playhouse. Opera: La Bohème (Mimi), La Traviata (Violetta), Die Fledermaus (Rosalinde). ASU and IU Alum! @lacysoprano

ALEXANDRIA SHINER (Confidante, u/s Carlotta Giudicelli). National Tour debut! Opera: Die Zauberflöte (Erste Dame, Met Opera, Cleveland Orch, WNO), Elektra (Vierte Magd, Met Opera, WNO), Der Freischütz (Agathe, Wolf Trap), The Sound of Music (Mother Abbess, Arizona Opera). Per ardua ad astra!

DENNIS SHUMAN (Jeweler, u/s Ubaldo Piangi). Regional: Sweeney Todd (Beadle Bamford), Die Zauberflöte (Tamino), Candide (Governor), Don Giovanni (Don Ottavio), La traviata (Gastone). dennisshuman.com

DONOVAN ELLIOT SMITH (Passarino, u/s Ubaldo Piangi). Born in Pittsburgh, he sang full-time as an opera chorus tenor and soloist in Switzerland at Opernhaus Zürich and Theater Basel. MT: Les Misérables (Enjolras, Javert), Ragtime (Coalhouse), Camelot, The Music Man (PCLO).

STEPHEN TEWKSBURY (Monsieur Lefèvre, Fire Chief, u/s Monsieur Firmin). Broadway: Sweeney Todd (2023), Kinky Boots, The Phantom of The Opera, Miss Saigon. National Tour: Les Misérables, The Phantom of the Opera. TV: “Gilded Age,” “FBI.” Love to wife Trista Moldovan, Matthew, and Dan the Man.

ANDY TIGHE (Swing, u/s Raoul, Vicomte de Chagny), from Boston, MA. Training: Boston Conservatory. Select credits: Beautiful (Asolo), A Class Act (J2 Spotlight), A Christmas Carol (NSMT). For my family and my Grandfather, my Angel of Music.

@AndyTighe42

KRISTA WIGLE (Wardrobe Mistress). Credits: The Phantom of the Opera: SF/Vegas, Sister Act (Mother Superior), Gentleman’s Guide... (The D’Ysquith Family), Nine (Saraghina), Mamma Mia and more. Thanks to friends, family Joe Meyers and Jane Randolph.

ANDREW LLOYD WEBBER (Composer/Book/Co-Orchestrator) has composed the scores of some of the world’s most famous musicals. His shows have run continuously in London’s West End for 50 years and ran for 43 uninterrupted years on Broadway. When the original Sunset Boulevard joined School of Rock, CATS, and The Phantom of the Opera, he equaled Rodgers & Hammerstein’s record of four shows running simultaneously on Broadway. He is one of the select group of artists with EGOT status, having received Emmy, Grammy, Oscar, and

Tony awards. Lloyd Webber owns six London theatres including the iconic London Palladium and Theatre Royal Drury Lane. Reopened in July 2021, the latter was completely restored and renovated at a cost of over £60 million. This was one of the biggest projects ever undertaken by a private theatre owner in recent times. His mantra is that every penny of profit made from his theatres is ploughed back into the buildings for their conservation and development. Lloyd Webber is passionate about the importance of musical education and diversity in the arts. Andrew Lloyd Webber Foundation provides 30 performing arts scholarships every year for talented students with financial need and supports a range of projects such as the Music In Secondary School Trust (MiSST). In academic year September 20252026, 14,885 children are being given free musical tuition and instruments as part of MiSST’s Andrew Lloyd Webber Program. The Foundation also commissions research into diversity in theatre. Andrew Lloyd Webber has composed music for globally significant moments. Most recently, he was asked to compose “Make a Joyful Noise”, the anthem for the Coronation of King Charles III. Andrew Lloyd Webber was knighted in 1992, created an honorary life peer in 1997, and made a Knight Companion of the Most Noble Order of the Garter by King Charles III in 2024. He is the only person in the arts ever granted this personal honor by a monarch.

CHARLES HART (Lyrics) writes words for music. Opera includes Marx in London (Jonathan Dove, Stadttheater Bonn) and Benvenuto Cellini (Hector Berlioz, English National Opera). Musicals include Bend It Like Beckham (Howard Goodall, Phoenix Theatre London) and Aspects of Love (Andrew Lloyd Webber, Prince of Wales Theatre London). Songs include “Seventeen” (Claude-Michel Schönberg, sung by Russell Watson) and “Goodbye for Now” (Richard Rodney Bennett, sung by Claire Martin). He has also provided both words and music for television comedies “Watching” (sung by Emma Wray) and “Split Ends” (sung by Anita Dobson), and a song cycle for BBC Radio, “Love-Songs” (sung by Marie-Louise Clark).

RICHARD STILGOE (Book and Additional Lyrics) wrote lyrics for Cats, Starlight Express and Phantom and music and lyrics for Bodywork, Brilliant the Dinosaur and Orpheus the Mythical. His broadcasting work has earned him the New York Radio

Festival Gold Award, three Monaco Festival Prizes and the Prix Italia. In 1997, he founded the Orpheus Centre in Surrey, where young disabled people prepare for independent living through a series of performing arts courses. In 1998, he was awarded the OBE. He was knighted in June 2012 for charitable service through the Alchemy Foundation. He owns and drives a JCB and has five children and 13 grandchildren.

CAMERON MACKINTOSH

(Producer). With Les Misérables, The Phantom of the Opera, Miss Saigon, Oliver!, Mary Poppins (coproduced with Disney) and Hamilton all playing in the UK and many other parts of the world, Cameron remains the world’s most prolific producer of musicals. His other international original productions include Cats, Little Shop of Horrors and the three musical revues he created with Stephen Sondheim: Side by Side by Sondheim, Putting it Together and most recently, Old Friends. Since he started as a producer nearly 60 years ago in 1967, Cameron has produced hundreds of stage productions as well as the 2012 Oscar Award-winning movie of Les Misérables. He is the owner of Music Theatre International, one of the world’s oldest and largest libraries of secondary rights of many of the greatest musicals ever written. Cameron owns and operates eight historic London theatres which have all been spectacularly rebuilt and refu,rbished for the 21st Century. Cameron was knighted in 1996 and is the first British producer to be elected to Broadway’s Theater Hall of Fame.

LW ENTERTAINMENT (Producer) manages Andrew Lloyd Webber’s body of work all over the world. The business partners with industryleading creative teams, producers, and organizations deliver worldclass experiences and products across multiple entertainment formats — from theatrical productions, immersive experiences and music to film, publishing and consumer products. Evolving from Andrew Lloyd Webber’s Really Useful Group, LW Entertainment has musical theatre at its heart. It develops brand and franchise strategies for some of the world’s most celebrated titles, including The Phantom of the Opera, Cats, Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, Evita, Sunset Boulevard and Starlight Express. Since 1977, the business has brought Andrew Lloyd Webber’s work to hundreds of millions of people worldwide. Today, LW

Entertainment continues that legacy, driven by a passion for creating innovative and inspiring entertainment through powerful partnerships, creative collaborations, and strategic brand development that ensures these works resonate with audiences for generations to come. www.lwentertainment.com

HAROLD PRINCE 1928–2019 (Original Director) directed the original productions of She Loves Me, It’s a Bird…Superman, Cabaret, Zorba, Company, Follies, A Little Night Music, Pacific Overtures, On the Twentieth Century, Sweeney Todd, Evita, Merrily We Roll Along, The Phantom of the Opera, Kiss of the Spider Woman, Parade and LoveMusik. He directed acclaimed revivals of Candide and Show Boat Mr. Prince produced the original productions of The Pajama Game, Damn Yankees, New Girl in Town, West Side Story, Fiorello!, Tenderloin, Flora the Red Menace, A Funny Thing Happened on the Way to the Forum and Fiddler on the Roof. Prince of Broadway, a musical compendium of Mr. Prince’s entire career, opened in Tokyo in 2015 and on Broadway in 2017. Mr. Prince was a trustee for the New York Public Library and previously served on the National Council on the Arts for the NEA. Mr. Prince was named an Officier in the Ordre des Arts et des Lettres. He was the recipient of 21 Tony Awards, a Kennedy Center Honor, and a National Medal of the Arts from President Clinton for a career in which “he changed the nature of the American musical.”

GILLIAN LYNNE 1926–2018 (Musical Staging and Choreography). Leading soloist with Sadler’s Wells/Royal Ballet and London Palladium star dancer, Gillian Lynne was the original creator and collaborator on countless musicals. Her distinctive style led to her record-breaking work on Cats (Olivier Award). Broadway: Tony nominations for Cats, Phantom and Aspects of Love; How Now, Dow Jones; Pickwick; The Roar of the Greasepaint..; Jeeves Takes Charge; Chitty Chitty Bang Bang West End: productions include My Fair Lady, Songbook, Tomfoolery, numerous productions for the Royal Shakespeare Company and Royal Opera House. Ballets include Lippizaner, The Brontës and Journey at the Bolshoi. Television productions include “A Simple Man” (BAFTA) and “The Muppet Show” series. Films include Half a Sixpence, Man of La Mancha and Yentl. Awards include The Mr. Abbott Award, Queen Elizabeth II Coronation,

Olivier Special Award and in 2014 she became a Dame of the British Empire. In 2018, Andrew Lloyd Webber renamed the New London Theatre the Gillian Lynne Theatre. lynneandlandfoundation.co.uk

SETH SKLAR-HEYN (Director) directed the current London production of The Phantom of the Opera, as well as the 2020 U.K./Ireland tour (both based on Harold Prince’s original staging), and served as Production Supervisor for Phantom at the Majestic Theatre on Broadway from 2012 through its closing in 2023. As Executive Producer for Cameron Mackintosh Inc., Seth has worked on all recent Broadway and North American touring productions of Phantom, Les Misérables, Miss Saigon, and Stephen Sondheim’s Old Friends. Seth directed Cameron Mackintosh’s new production of Phantom at the Sydney Opera House, Arts Centre Melbourne, and Vienna’s Raimund Theatre (all based on Laurence Connor’s original staging). Previously, Seth directed U.S. tours of Frost/Nixon and Evita (both based on Michael Grandage’s original staging). Additional Broadway and touring credits include: Evita, A Little Night Music, Finian’s Rainbow, Mary Stuart, Rock’n’Roll, Frost/Nixon, The Coast of Utopia, Good Vibrations, and Billy Elliot. Graduate of Vassar College. One of Fern and Tess’s two dads.

CHRISSIE CARTWRIGHT (Adapted Choreography). West End: Billy, Irene, Evita, Barnum, Blondel Choreography/musical staging: Miss Saigon, The Secret Diary of Adrian Mole, Sherlock Holmes the Musical, Mack and Mabel, The Entertainer, Devil’s Virtuoso, Annie, The Card, On the Twentieth Century, The Witches of Eastwick, The Music of Andrew Lloyd Webber, The Private Ear and The Public Eye, Birdsong, This Is the Hour Music of Claude-Michel Schönberg. TV choreography: “Kiss Me, Kate,” “Alas Smith and Jones,” “Hit Dancing.” Resident director: Cats, Joseph…, Sister Act, The Wizard of Oz, Mary Poppins. Associate: Five Guys Named Moe, Cats, Brick by Bricusse, Dear World, The Phantom of the Opera.

MARIA BJÖRNSON 1949–2002 (Production Design) designed extensively for theatre, opera and ballet. She received numerous awards for her designs for The Phantom of the Opera, among them two Tonys, two Outer Critics Circle Awards and two Drama Critics Awards, all for Best Set and Costume. She was awarded the Silver Medal for the Janacek Competition Prazke´ Quadriennale

(1983); the Observer’s Experts’ Expert, the Designers’ Designer, in recognition of her contribution to theatre design (1990); and the 19th Franco Abbiato Prize (1999). At the time of her death, Maria had completed designs for The Trojans (The Met) and The Little Prince (Houston Grand Opera) and the set designs for Il Trovatore (Paris Opera), all three directed by Francesca Zambello.

MATT KINLEY (Adapted Set Design) as part of a 20 year long working partnership with Cameron Mackintosh, Matt has adapted and redesigned stage and arena versions of My Fair Lady, Mary Poppins, Oliver!, Phantom of the Opera, Old Friends and Miss Saigon as well as designing the current production of Les Misérables. Matt also designs a wide variety and scale of other productions both in the UK and internationally.

ANDREW BRIDGE (Lighting Designer). Tony Awards, Drama Desk, Outer Critics Circle, Dora Mavor and LA Ovation awards Phantom of the Opera, Fosse, and Sunset Boulevard. Worldwide credits, Siegfried and Roy and Phantom in Las Vegas, Disney’s Buffalo Bill’s Wild West Oliver! Saturday Night Fever, Aspects of Love, Five Guys Named Moe, Time, Torvill and Dean, Show Boat, Sinatra, and Joseph…, Carmen, Aida, La bohème, Tosca, Madame Butterfly, (Royal Albert Hall). Concert designs, Shirley Bassey, Tina Turner, Julie Andrews, and Bing Crosby.

MICK POTTER (Sound Designer) is one of the world’s leading sound designers. He has designed the sound for over 100 first-class musical theatre productions globally, working at the forefront of technical and creative innovation. His shows include multiple world premiere productions on both the West End and Broadway stage and his sound designs have garnered many awards, including an Olivier Award in the West End and a Tony Award nomination on Broadway. He is honored to have worked with many of the greatest producers, composers, directors, creatives and artistes in musical theatre. www.mickpotter.com

GEORGE REEVE (Video Design) is a Tony Award-winning video designer. Credits including Maybe Happy Ending (Broadway), Oliver! (West End), Lord of the Rings (Chicago Shakespeare and Watermill Theatre), My Son’s a Queer (West End), Sunset Boulevard (Sydney), Hercules and Tarzan (Disney), In Dreams (Toronto and Leeds), Sondheim’s Old Friends (West End), Hairspray (UK tour), SIX (London and Broadway).

DAVID CULLEN (Co-Orchestrator).

Andrew Lloyd Webber’s Cats, Starlight Express, Song & Dance, The Phantom of the Opera, Aspects of Love, Sunset Boulevard, By Jeeves, Whistle Down the Wind, Love Never Dies and more; and Children of Eden; Can-Can; The Baker’s Wife; Matthew Bourne’s Swan Lake; the new Broadway revival of Company and more Film/TV: The Phantom of the Opera, Jesus Christ Superstar, Disney’s “Geppetto” and “Cinderella.” Awards include the Drama Desk for Phantom

KRISTEN BLODGETTE (Musical Supervisor) has long been associated with The Phantom of the Opera, contributing to the Broadway production and 19 companies worldwide. She has devoted forty years to stewarding Andrew Lloyd Webber’s music. Additional credits include Barnum, On Your Toes, Cats, Jesus Christ Superstar, Mary Poppins, Chitty Chitty Bang Bang, Evita, Love Never Dies, LoveMusik, The Woman in White, A Little Night Music, Sunset Boulevard, Sweeney Todd, and rehearsal pianist for Carrie with Betty Buckley. She dedicates her work to her family and treasured colleagues past and present.

ISAAC HAYWARD (Music Director) is an Australian conductor and arranger. Broadway/NYC: King Kong, The Phantom of the Opera, Bad Cinderella, Suffs, Cats: The Jellicle Ball, Masquerade. International: Opera Australia, New Zealand Opera, National Theatre (UK), Sydney Theatre Company. Orchestral: Chicago Symphony, San Diego Symphony, Sydney Symphony, Vancouver Symphony, Albany Symphony. Honors: Helpmann Award, Mike Walsh Fellowship, Prieto Fellowship. Artistic director of Hell’s Kitchen Laboratory Orchestra. IG: @isaac.hayward

WARREN LETTON (Associate

Lighting Designer). Original lighting design credits include Les Misérables: The Arena Spectacular (World Tour), Old Friends (West End), Priscilla Queen of the Desert (Brazil), The Rite of Spring (Sadlers Wells and European tour), Crazy for You (Göteborg Opera), The Wind in the Willows (West End and Broadway) and Les Misérables – All Star Stage Concert (West End). Warren is a UK-based lighting designer working internationally and trained at Rose Bruford College.

JILL PARKER (Associate Costume Designer) has designed costumes for opera and theatre. Most recently Old Friends on London’s West End and Broadway. She represents the

late Maria Björnson as associate costume designer on The Phantom of the Opera, worldwide.

STEFAN MUSCH (Wig, Hair & Make-up Design). Theatre: The Phantom of the Opera, Les Misérables, Miss Saigon, Shrek, King Lear, An American in Paris, Frozen: The Play, Lady Windermere’s Fan, The Book of Mormon, Hairspray, Gone with the Wind, Wicked, Lord of the Rings, Disney’s Aida, Elisabeth, Tabaluga and Lili, Cats. Film: Young Woman and the Sea, Spencer, Maleficent, Cinderella, Flawless, The Merchant of Venice. Her Majesty’s the Queen Platinum Jubilee Concert at Buckingham Palace. UK Theatre Trust Award for Outstanding Achievement in Wigs and Make-Up.

CHRISTINE PETERS (Associate Scenic Design). Credits: Pretty Woman tour, Charlie and The Chocolate Factory tour, Tootsie tour, Elf tour, 1st Date, Mickey & Minnie’s Doorway to Magic. Broadway (associate designer): Bad Cinderella, King Kong Alive on Broadway, Miss Saigon, 1984, Paramour, Les Misérables, Testament of Mary, Jekyll & Hyde, The Book of Mormon, Newsies The Musical, The Addams Family, Elf, Bonnie and Clyde.

DAVID HARRIS (Associate Scenic Designer) has been involved with The Phantom of the Opera since 2017 delivering the revived London production, a UK tour, Sydney Opera House and the adapted design for the production currently playing in Vienna, Austria. As an associate designer for Cameron Mackintosh, David has delivered Les Misérables, Miss Saigon, Oliver! and Half a Sixpence in over 13 countries.

HUNTER KACZOROWSKI (Associate Costume Designer). Based in Brooklyn, his design credits include: The Alley, Goodspeed, Hartford Stage, Signature, Bay Street, Theater Aspen, Shakes NJ, Yale Rep, Northern Stage, Berkshire Theater Group, Mint Theater, Ars Nova, Heartbeat Opera, Rattlestick. As associate: Tammy Faye, Old Friends, Company (National Tour). Hunter is also creative director of the sustainable apparel brand Deadstock Outfitters, @deadstockoutfitters. MFA: Yale. www.huntersk.com

JOSHUA S. HUMMEL (Associate Sound Designer). Broadway: Sunset BLVD., The Phantom of the Opera, Miss Saigon. National tours: The Phantom of the Opera, Les Misérables, Miss Saigon, School of Rock, CATS, Andrew Lloyd Webber’s The Wizard of Oz. Regional: The MUNY.

KEN WILLS (US Associate Lighting Designer) is delighted to join this esteemed production. He’s been working as an Associate LD for over a decade, an alumnus of NC School of the Arts, and a member of United Scenic Artists, Local 829.

ELI GARMON (US Associate Video Designer) is a New York-based projection designer. Off-Off-Broadway: Max’s House, Here Comes The Neighborhood, Antidotal. Broadway: Associate Projection Design — Take A Banana For The Ride, Old Friends Off-Broadway: Man Cave, Sorry For Your Loss, Nothing In Moderation, Heaux Church. Regional: A Song Of Rome, Happy Fall. eligarmon.com

CHRIS MARCUS AND JONATHAN HALL FOR MARCUS HALL PROPS

(Props Supervisor). Select theatre includes: Frozen the Musical, Back to the Future: The Musical, Jersey Boys, Beauty and the Beast, Bedknobs and Broomsticks, Walden, & Juliet, Come From Away, Dear Evan Hansen, Mary Poppins, Hamilton, Kinky Boots, Dreamgirls, 42nd Street, Bat Out of Hell, A Very Very Very Dark Matter, Calendar Girls – The Musical, Strictly Ballroom, Tina – The Musical, Lady Day at Emerson’s Bar and Grill, Annie, Groundhog Day, Half a Sixpence, and Rent.

BOB SAUNDERS AND STEPHANIE SAUNDERS (Creators of Prosthetics and Masks). Bob has created masks for all London Phantoms, from Michael Crawford onwards. Now with Stephanie, they create the sculpted prosthetic makeup giving The Phantom his unique and disturbing look using a combination of new technology and traditional sculptural techniques. Alongside their collaboration with the director and design teams, The Phantom’s dramatic transformation is fully realized in this exacting role. Bob also writes and performs with Enfield Poets.

DALIA ASHURINA (she/her)

(Resident Director) is an AssyrianAmerican director and writer focusing on explosive theatricality and subverting existing narratives. Her Broadway credits include serving as Associate Director of Sweeney Todd and as the Resident Director at Phantom of the Opera. Recent work–Iraq, But Funny at Lookingglass Theater, Three Tall Persian Women at Shakespeare and Co., and Uncle John and the Demon of the Woods at Ars Nova. B.A. UC Irvine. 20242025 SDCF Denham Fellow. Forbes Under 30 2025. @your_gal_dal

CORINA CLARK (UK Associate Choreographer). West End: The Phantom of the Opera (Dance Captain, Swing). UK/International: The Phantom of the Opera UK Tour (Dance Captain, u/s Meg, Swing); The Phantom of the Opera Copenhagen (Ensemble, u/s Meg); Ballet Central UK Tour; The Nutcracker. Film: Aci by the River Graduated with BA (Hons) from Central School of Ballet, London.

NINA GOLDMAN (US Associate Choreographer). Broadway: Dirty Rotten Scoundrels, Contact, Swan Lake, The Red Shoes, The Phantom of the Opera. Theater: Little Dancer, Death in Venice, The Metamorphosis, Shape She Makes, Belle Epoque, Bloomergirl, The Dybbuk. Matthew Bourne’s Swan Lake, The Car Man, Edward Scissorhands. National Ballet of Canada, Les Ballets Jazz de Montréal, Fame and more… Teaching: Hunter College, Sarah Lawrence, Metropolitan Opera and more Assisting: Paris Opera Ballet, The Tenant, NYCB, PNB.

JOVON E. SHUCK (Production Stage Manager) is a proud graduate of Michigan State University whose credits include the National Tours of: Funny Girl, Dear Evan Hansen, Miss Saigon, Waitress, Hedwig and the Angry Inch, The Phantom of the Opera, Disney’s The Lion King, and Monty Python’s Spamalot as well as Radio City Music Hall, The Public Theater’s Shakespeare in the Park, George Street Playhouse, and Gateway Playhouse. Much love to Sheila Marie, always.

MARIAH YOUNG (Stage Manager). National Tours: A Beautiful Noise, Funny Girl, The Book of Mormon, Anastasia, A Bronx Tale, Elf the Musical, and Charlie and the Chocolate Factory. Infinite thanks to my ever-supportive family, friends, and Brian.

KYLE DANNAHEY (Assistant Stage Manager). National Tours: Funny Girl, Mrs. Doubtfire, Pretty Woman, The Prom, Jersey Boys. Off-Broadway: Fiddler on the Roof in Yiddish, The Bedwetter at Atlantic Theater Company, Jersey Boys. Regional: The Muny, Williamstown Theatre Festival, Shakespeare Theatre of New Jersey, NextStop Theatre Company. All thanks to my family, friends, and mentors. Deepest Gratitude.

CLAIRE FARROKH (Assistant Stage Manager). Touring: Les Misérables, Fiddler on the Roof, SpongeBob. Regional: Geva Theatre, McCarter Theatre, Colorado Shakespeare Festival. BFA: Carnegie Mellon. @claire.farrokh

STEPHANIE HALBEDEL (Assistant Stage Manager) is happy to be back at the Opera House! National Tours: Disney’s Beauty and the Beast, Shucked, Beetlejuice, Jesus Christ Superstar, Miss Saigon, Les Misérables, Phantom of the Opera, Dirty Dancing, Blue Man Group. Much love to the incredible stage management community across the country!

JUSTIN A. SWEENEY (he/him) (Company Manager). Broadway: Monty Python’s Spamalot National Tours: Funny Girl, To Kill a Mockingbird (First National), The Phantom of the Opera (Spectacular New), Les Misérables (25th Anniversary), Movin’ Out (First National); American Ballet Theatre: National and International Tours, including Cuba and Oman. Shout out to Jackson!

RYAN MAYFIELD (he/him) (Associate Company Manager). National Tours: Funny Girl, To Kill a Mockingbird (First National). Goodspeed Musicals: Cabaret, Anne of Green Gables (World Premiere), 42nd Street Hometown: Portland, OR. Huge thanks and love to his family, friends, and the Phantom Company. IG: @ryan_mayfield_

THE TRC COMPANY (Casting). Led by partners Claire Burke, Kevin Metzger-Timson, Xavier Rubiano, and Peter Van Dam. Broadway: Dead Outlaw, BOOP! The Musical, Stephen Sondheim’s Old Friends, Buena Vista Social Club, Death Becomes Her, Left on Tenth, The Outsiders, SIX, Aladdin. National Tours: The Phantom of the Opera, Water for Elephants, Beauty and The Beast, The Wiz, Back to the Future, Mamma Mia!. The TRC Company is proud to continue the casting legacy of Tara Rubin Casting and Johnson-Liff Casting

BOND THEATRICAL (Tour Booking, Marketing & Publicity) is an independently-owned theatrical booking, marketing and publicity company representing award-winning Broadway shows and live entertainment properties. BOND connects artists and audiences by forming strategic, authentic and profitable partnerships between producers and presenters across North America. For a complete list of current projects, please visit BondTheatrical.com

AARON LUSTBADER (Executive Producer for Foresight Theatrical). Partner and general manager at Foresight Theatrical for more than 20 years. Broadway: Hell’s Kitchen, Moulin Rouge! The Musical (coproducer, Tony Award), Boop! The Musical and Old Friends. National Tour: Moulin Rouge!, Hell’s Kitchen,

and The Phantom of the Opera Aaron also managed the Tony Awardwinning production œ(including nine international companies to the show). Love to DJ & Dylan.

SETH WENIG (Executive Producer for Networks Presentations) has been with NETworks since its inception in 1995. International Tours: Fosse starring Ben Vereen and Ruthie Henshall. National Tours: Rodgers & Hammerstein’s South Pacific, War Horse, National Theatre’s My Fair Lady (US and UK tours), the 25th Anniversary US tour of Les Misérables, The Phantom of the Opera, Miss Saigon, Funny Girl, To Kill a Mockingbird, and Life of Pi. He is most proud of his greatest productions – Marlo and Camden.

NETWORKS PRESENTATIONS (Producer). Current and upcoming productions include A Beautiful Noise, Beetlejuice, The Book of Mormon, Boop! The Musical, Buena Vista Social Club, The Great Gatsby, Les Misérables, Mark Twain Tonight!, Cameron Mackintosh presents Andrew Lloyd Webber’s The Phantom of the Opera, The Sound of Music, Water for Elephants and The Wiz. networkstours.com

STAFF FOR THE PHANTOM OF THE OPERA

GENERAL MANAGEMENT

Gentry & Associates, Inc.

Gregory Vander Ploeg

Amanda Lenti

PRODUCTION MANAGEMENT

NETworks Presentations LLC

Jason Juenker

Aimeé Mangual Pagán pesci

COMPANY MANAGER

Justin A. Sweeney

ASSOCIATE COMPANY MANAGER

Ryan Mayfield

TOUR BOOKING, MARKETING & PUBLICITY

BOND THEATRICAL

bondtheatrical.com

Temah Higgins Mollie Mann DJ Martin

Marc Viscardi Wendy Roberts

Jenny Bates

BOOKING & OPERATIONS

Mary K. Witte Madison St. Amour Laura Rizzo

Jesse Daniels Kolten Bell Jordan Ivezaj

MARKETING & PUBLICITY

Tony Joy Anne Simendinger

Melissa Cohen, Alexandra De La Cerda, Caroline Frawley, Bridget Gross, Steph Kelleher, Deborah Mann, Harrison Mootoo, Scotland Newton, Elisabeth Reys, Linda J. Stewart, Katelyn Wenkoff

NATIONAL PRESS REPRESENTATION

The Press Room

Jim Byk, Shane Marshall Brown

CASTING

The TRC Company

Claire Burke CSA, Kevin Metzger-Timson CSA, Xavier Rubiano CSA, Peter Van Dam CSA, Tara Rubin CSA, Merri Sugarman CSA, Louis DiPaolo CSA, Spencer Gualdoni CSA, Olivia Paige West CSA, Frankie Ramirez CSA

RESIDENT DIRECTOR

Dalia Ashurina

PRODUCTION SUPERVISOR JASON JUENKER

PRODUCTION STAGE MANAGER JOVON E. SHUCK

Stage Manager Mariah Young

Ass’t. Stage Managers Kyle Dannahey, Claire Farrokh, Stephanie Halbedel

Associate Lighting Designer Warren Letton

Associate Costume Designer Jill Parker

UK Associate Choreographer Corina Clark

US Associate Choreographer Nina Goldman

Hair and Wig Creator Stefan Musch

US Associate Scenic Designer Christine Peters

UK Associate Scenic Designer David Harris

US Associate Costume Designer Hunter Kaczorowski

Associate Sound Designer Joshua S. Hummel

US Associate Lighting Designer Ken Wills

US Associate Video Designer Eli Garmon

Properties Supervisor Chris Marcus and Jonathan Hall for Marcus Hall Props

Creators of Prosthetics and Masks Bob Saunders and Stephanie Saunders

US Assistant Lighting Designer Victoria Bain

Light Programmers Andi Davis, Jeremy Goldenberg, Paul Toben

Projection Programmers Devin Kinch, Brian McMullen

Costume Design Assistant Aidan Griffiths

UK Associate Costume Designer Ceris Donovan

UK Associate Wig Designer Lisa Champion

UK Make-up Supervisor Lucy Bird

Music Preparation Emily Grishman Music Preparation

Music Contractor David Lai

Keyboard Programming Stuart Andrews

Asst. Keyboard Programmer Matthew J. Pool

Production Electrician Eric Norris

Production Audio Chad Parsley

Production Video Chelsea Zalikowski

Production/Advance Carpenter Casey Nellis

Head Carpenter Jamie L Kurtz

Flyman Brent “Squatch” Jahnke

Automation Carpenter Matt Cowles

Assistant Carpenters Jason Edens, Spencer Schroath

Advance Carpenters Sara Ramone, Simmons Falk

Advance Automation Issy Stadler

Head Electrician David George

Assistant Electricians Mike Barnes, Scott Barnett

Assistant Electrician/Pyro Tech Graece Melton

Assistant Electrician/Video Jeremy Phelps

Advance Electrician Bradley Chelberg Knights

Head Audio Mason Wisecup

Assistant Audio Sean Davis

Advance Audio Steven Zeller

Head Props Rayn Jacks

Assistant Props Kurt Oostra

Head Wardrobe Katrina Cahalan-Wilhite

Assistant Wardrobe Trish Bond

Star Dresser Tiffany Owle Jahnke

Wig/Hair Supervisor Amanda Levens

Wig/Hair Assistant Suzanne Storey

Head Make-up Ashley Roller

Automation/Carpentry Swing Shayne LH

Carpentry/Props Swing Tanya Rist

Electrics/Audio Swing Nicole Laeger

Wardrobe/Hair/Makeup Swing Cassie Richardson

Tax Accountant Rachael Ffrench

Production Assistants Nicholas Carlstrom, Karina Molina, Ava Moyle, Abigail Peterson, Hillary Smith

Rehearsal Pianist Cathy Venable

Physical Therapy Consultant Carolyn Lawson, NEURO Tour

Intimacy Coordinator Leigh Zimmerman

Physical Movement Designer Lorenzo Pisoni

Print/Advertising Design Cameron Mackintosh LTD, KellyAnne Hanrahan

Radio and Television Spot Production Steam UK, Tour Design

Website and Social Media AKA UK

Production Photography Matthew Murphy, Evan Zimmerman

Merchandising Platypus Productions, LLC

Merchandising Manager Sheldon Gomabon

Accounting NETworks Presentations LLC

HR Services K+K Reset, LLC

Housing................................................................................................Road Concierge

Travel Agency Kessler & Co./Direct Travel Trucking Clark Transfer

For Cameron Mackintosh Inc.

Chairman Cameron Mackintosh

Managing Director Alan Finch

Chief Financial Officer Richard Knibb

Deputy Managing Director Robert Noble

Executive Producer (UK) Thomas Schönberg

Executive Producer (US) Seth Sklar-Heyn

Technical Director Jerry Donaldson

Head of Music Stephen Metcalfe

Creative Director David Dolman

Marketing Director Lucy May

Graphic Designer......................................................................................Angeline Teo

Accounts Assistant Katherine McNamee cameronmackintosh.com

For LW Entertainment Andrew Lloyd Webber

Group President Madeleine Lloyd Webber

Non-Executive Chair David Chance

Chief Executive Officer James McKnight

Chief Operating Officer & General Counsel Louise Hughes

Chief Commercial Officer Libby Grant

Group Chief Financial Officer Lawrence Chapman

Business Development Director (Theatrical & Live) Serin Kasif

Director of Music David Andrew Wilson

Director of Production Naomi Symeou

For Foresight Theatricals

Executive Producer Aaron Lustbader

Associate General Manager Alex Wolfe

For NETworks Presentations

Chief Executive Officer Orin Wolf

President/Chief Production Officer Seth Wenig

Chief Operating Officer Margaret Daniel

Chief Financial Officer Scott Levine

Business Affairs Scott W. Jackson

Executive Producers Mimi Intagliata, Hannah Rosenthal, Trinity Wheeler

Sr. Director/Finance John Kinna

Controller Jennifer Gifford

Director of Tour Accounting Laura S. Carey

Tax Director Pat Guerieri

Sr. Tax Accountant Matthew Peerbolte

Tax Assistant Deborah Brown

Accounts Payables & Receivables Clerk Lisa Loveless

Sr. Director, Booking & Engagements Amanda Laird

Directors, Booking & Engagements Stacey Burns, Colin Byrne

Booking Assistant Lily Flippen

Director of Sales Zach Stevenson

Director of Marketing

Heather Hess

Sr. Director/General Management Gregory Vander Ploeg

General Managers Madeline McCluskey, Rebecca Shubart Steven Varon-Moore

Associate General Manager Amanda Lenti, Shira Wolf

Asst. General Manager/Operations Manager Hillary Smith

Sr. Director/Production Management Jason Juenker

Sr. Production Manager Hector Guivas

Production Managers Matthew Reardon, Alex Williams

Associate Production Manager Aimeé Mangual Pagán

Technical Director pesc i

Production Coordinator Gina Boccolucci

Asset Manager / Rentals Richard Haug

Director of Operations Pearce Landry-Wegener

Workers Compensation Coordinator Kayla Rooplal

People Operations/Payroll Manager Sara Clayton

Executive Assistant Isabella Schiavon

Office Manager Deandra Harris

Adminstrative Assistant Aidan Herman

Music Coordinator John Mezzio

Rehearsed at New 42nd Street Studios, New York

US Credits

Scenery constructed and painted by Production Resource Group, Proof Productions, Scenic Arts Studios, Global Scenic Services, Therio Innovations, Daedalus Productions, Czinkota Studios. Soft Goods by Gerriets International, Rose Brand, I. Weiss. Automation by Production Resource Group. Rigging by Christie Lights. Costumes by Sam Hill Studios, John Kristiansen New York, Style Council, Jackie Vela, Victoria Bek, Arel Studios, Vedette Costumes, Juliann Kroboth, Bethany Joy Costumes, Brooks/Masline Costumes, Dyenamix, Hahnji Jang, Christopher Schramm, Tommy Cobau Millinery, T.O. Dey Custom Made Shoes, Rostelle Shoe Service, Period Corsets. Stichers: Samantha Solomon, Hae Min Yun, Paolo Raymundo, Chris Harris, Ellie Grocott, Hanna Wilkinson. Lighting Equipment provided by Christie Lights, Therio Innovations. Sound equipment provided by Masque. Hair & Wigs by Atelier Perru, Big Wig Company, Stefan Musch, and Lisa Champion. Video Equipment provided by Sound Associates. Special Effects by J&M Special Effects, Howard Eaton Lighting, Ltd. Sculpture and Costume Armor by Stephen Pyle. Prosthetics by Robert Saunders and Stephanie Saunders. Stage Properties by Bad Monkey Props.. Shipping and Freight by RockIt-Cargo and Encore Logistics.

UK Credits

Scenery constructed and painted by Howard Eaton Lighting, Ltd., Silicon Theatre Scenery, Bay Productions, Heritage Trimmings. Soft Goods by Chris Claydon, Julie Perren, Richard Nutbourne, Cardiff Theatrical Services. Automation by Silicon Theatre Scenery. Costumes by - Ellie Grocott, Hanna Wilkinson, Vanessa Coupe, Jane Grimshaw, Kathy Kincel Costumes, Carole Hersee, Mandy Dorrington, Applied Arts, Rosie Neate, Emma Jealouse Ltd, Cissi Burrows, Dean Burke, Debbie Boyd, Dennis Bach Jensen, Liz Poole, Diane Logel, David Stringer, Constance Mackenzie, Ashleigh Cherry, Ruth Metcalf, Charlotte Tofield, Carrie Wilson, Anne McLeman, Niamh Brailsford, Hilary Marschner, Andrea Moon, Phil Reynolds, Jess Rutter, Breda Palmer, Tim Donovan, Lelly Young, Clare Richards, Iryna Dragan, Nia Heslop, Noel Stewart, Laura Linstead, Nicola Killeen, Matild Janosi, Sue Wood, Lana Donovan, Jen Goodwin, Anna Hyun Ju, Sara George. Lighting equipment provided by Howard Eaton Lighting, Ltd. Special Effects by Howard Eaton Lighting, Ltd. Stage Properties provided by MarcusHall Props.

Special Thanks to Broadway Across America Hippodrome Theatre, Baltimore, MD Ron Legler, President and Chris Mahan, Vice President.

Insurance Broker Services

EPIC Entertainment & Sports

Financial Services and banking arrangements

Customers Bankus.ThePhantomofTheOpera.com Facebook: ThePhantomofTheOpera Instagram: @PhantomTour; TikTok: @phantommusical

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited.

The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

All stage work performed by employees represented by IATSE.

United Scenic Artists represents the designers and scenic painters for the American Theatre.

The musicians employed in this production are members of the American Federation of Musicians of the United States and Canada.

The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.

The Theatre Managers, Press Agents, and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

This production is produced by a member of The Broadway League in collaboration with our professional unionrepresented employees.

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 Sorce, Marisa Spadi, Elisa Tepel, Amy Vlasova, Eliza Watts, Nicole Williams, Kami Wilson, Barbara

DPAC House Crew

Mark Anthony Perry Elliott Kiko Marra Allen Olmstead

Albert Sainz Sr. Josh Thurman

Derek Tovar David A. Wilson

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, Patron Services Manager artscomplex.com | (720) 865-4220

For immediate assistance & security (720) 865-4200

GO BEHIND THE SCENES

Find out how costume designers, set builders, propmakers, and technical specialists create our shows from scratch.

Behind-the-Scenes Tours take place

Mondays and Saturdays at 10am During these walking tours, you will experience recent updates to our storied performance spaces and discover the people and processes that bring theatre to life.

$12 • 2-hour guided tour

SCFD.org We Fund Culture.

A BIG STAGE FOR BIG EMOTIONS BRINGING NEXT TO NORMAL TO THE WOLF THEATRE

BY COLLIN VAN SON

TThere are many things in life that we want to be normal. Morning commutes. Dental exams. Parents when they first meet our significant others. But there are also certain contexts where we like to be surprised — the theatre being one of them. So when director Nancy Keystone admits that “I honestly don’t know what the hell normal is,” that might be a good thing. Especially when directing the emotional, musical, and pharmacological rollercoaster that is Next to Normal

Set in an anonymous American suburb, Next to Normal follows the highs and lows of the Goodman family as they navigate mother Diana’s severe bipolar disorder. For Keystone, who directed an earlier production of the rock musical with the Los Angeles-based East West Players, the story’s volatile mood swings are part of the appeal. “What’s great,” she says, “is there will be a really funny thing, and then it turns on a dime and it’s just devastating…. [It shows how] people in the most dire circumstances find the humor and the absurdity.”

Next to Normal also marks Keystone’s return to the Denver Center, where in 2019 she directed the Paula Vogel play Indecent in the Kilstrom Theatre. This time, however, she is working with a larger — and as she describes it, a more challenging — canvas. “The Wolf Theatre is a three-quarter thrust,” explains Keystone, in reference to the way the stage extends into the audience, “which is, I think, the hardest configuration to work in.”

Compared to the radial symmetry of the Kilstrom, a three-quarter thrust like the Wolf produces very different sightlines for different parts of the audience. Extra care is required to ensure that every seat affords a good view of the action. “I try to figure it out with the actors,” says Keystone. “With the physical bodies in space.”

But it’s not just its shape that sets the Wolf apart from other Denver Center spaces — it’s also its size. “It’s really big for the actors,” says Keystone. “They have to be in wildly different places on the stage and appear and disappear.”

Adding to the difficulty is Next to Normal’s rapid-fire pacing. “A lot of stuff happens simultaneously,” says Keystone. “The scenes have to flow very quickly. There’s not a lot of transition time.” That means mapping out routes that the actors can follow up, down, behind, and under the stage while saving enough breath to launch back into song.

Fortunately, Keystone is no stranger to demanding environments. As the founding artistic director of Critical Mass Performance Group, she’s put on shows in bars, basements, and abandoned military barracks. While the Wolf’s large size may pose its own challenges, Keystone has learned to appreciate the little things. “It already has lights,” she says of the Wolf. “It has a sound system. It has ways to fly things in and out — it’s a theatre.”

As Keystone sees it, the physical scale of the Wolf is a natural fit for the emotional scale of Next to Normal. Though the story takes place against the familiar backdrop of American suburbia, the characters’ interior landscapes are far more sweeping and exotic. “The human psyche is very epic,” says Keystone. “The places that the characters go, especially Diana’s character — she has all these kind of delusions and fantasy sequences…. I love the epicness of the characters’ journeys.”

Finding those journeys, what Keystone calls “each path through the play,” is no small task. “I liken it to sculpting,” she says. “You keep chipping away at detail, and the more you chip the more detail you get.” In this case, however,

Keystone’s tools aren’t chisels but questions: “You keep asking questions, and you keep pushing to find a more truthful moment.”

Much like actual sculpting, it can be a time-consuming process. “I tend to push and push and push and not stop until basically an hour before we open. That’s one of the first things I tell people is we’re going to rehearse on opening night and there might even be changes.”

Changes on opening night? “I mean, probably there won’t be,” admits Keystone. “But you never know. It’s a constant process of discovery.”

Asked what she hopes to discover in her second production of Next to Normal, Keystone points to Diana and the challenges of understanding a character who so often struggles to understand herself. It’s a “psychological, physical, spiritual conundrum,” she says. “She has so many different kinds of moments onstage.”

The human psyche is very epic. The places that the characters go, especially Diana’s character — she has all these kind of delusions and fantasy sequences…. I love the epicness of the characters’ journeys.

— NANCY KEYSTONE, DIRECTOR

Ultimately, however, “it’s as much about the family as it is about Diana.” And among the members of the Goodman family, each struggling and striving in their own ways, Keystone observes that there is no single version of what normal looks like. For daughter Natalie, “it’s like, ‘Can we just have dinner where there’s not a major crisis?’ ” Whereas for husband Dan, a normal life is one where his wife is capable of driving herself around town.

As for Nancy Keystone, director and storyteller, normal may simply be another work of fiction. “I’ve never felt normal in my life,” she says. “The longer I live, the more I really wonder if anything is normal or anybody is normal.”

In other words, feelings of abnormality might just be the most normal thing of all.

NEXT TO NORMAL

APRIL 3 – MAY 3, 2026 • WOLF THEATRE

ASL Interpreted, Audio Described, & Open Captioned performance: April 19 at 1:30pm Stay for a post-show discussion: April 23 & 29

6 CORE VALUES. 1 DENVER CENTER.

1.BELONGING

We build a respectful and empathetic culture through our active commitment to equity, diversity, inclusion and accessibility.

2.COLLABORATION

We produce our best possible work together by engaging people with diverse perspectives, lived experiences and talents around our shared goals.

3.COMMUNITY

We cultivate open, responsive, affirming relationships and partnerships for a greater collective impact.

4.CREATIVITY

We embrace innovation and imagination in our daily work to advance our mission.

5.INTEGRITY

We act responsibly, with honesty, accountability and transparency.

6.SUSTAINABILITY

We prioritize the wellbeing of our team, our finances and the environment to ensure our thriving future.

Learn more about what drives the DCPA, and where we’re going, at denvercenter.org/plan

DaVita is a proud member of the Denver Center for the Performing Arts and is grateful for the opportunity to support the Theatre for Young Audiences program and the local arts.

PREMIERE ACCESS MEMBER AND PROUD SPONSOR OF THEATRE FOR YOUNG AUDIENCES

HHeadquartered in Denver, DaVita is a health care provider focused on transforming care delivery to improve quality of life for patients globally. As a comprehensive kidney care provider, DaVita has been a leader in clinical quality and innovation for more than 25 years, caring for patients at every stage of their kidney health journey — from slowing the progression of kidney disease to helping to support transplantation, from acute hospital care to dialysis at home.

With more than 20 care locations in the Denver metro area, DaVita is dedicated to improving health for people with chronic kidney disease and fostering vibrant communities in Colorado, across the nation, and around the world. The DaVita Giving Foundation is a national, impact-driven foundation focused on healthcare career pathways, kidney disease prevention and education, and social drivers of health. Its work helps to drive a positive influence on the communities the company serves.

DaVita is a proud member of the Denver Center for the Performing Arts and is grateful for the opportunity to support the Theatre for Young Audiences program and the local arts.

PROUD PARTNER OF THE DENVER CENTER FOR THE PERFORMING ARTS

“At CBS Colorado, we shine a spotlight on what’s happening at the Denver Center for the Performing Arts and across Colorado’s vibrant arts and cultural communities. We recognize the powerful role the arts play in shaping our state — bringing people together, strengthening local economies, and enriching everyday life. CBS Colorado is proud to support and celebrate the creativity that helps make Colorado a place where people want to live, work, and thrive.

– Kristine Strain VP Station Manager and News Director, CBS Colorado

Breaking News, First Alert Weather & Your Reporters... Covering Colorado First.

IN DOWNTOWN DENVER

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

EVENTS

THAT MAKE A

DIFFERENCE

FUNDRAISERS AT DCPA

As a mission-driven non-profit organization, we know firsthand how to craft memorable breakfasts, luncheons, black-tie galas, and retreats.

Take advantage of our special non-profit rates for your organization’s next event.

We are so grateful to our partners and to the thousands of donors and event participants over the years that have helped to improve and enrich the lives of those in our community.

— THE DENVER POST COMMUNITY FOUNDATION

PROUD SEASON SPONSOR OF THE DENVER CENTER FOR THE PERFORMING ARTS

TThe Denver Post is proud to support the Denver Center for the Performing Arts, both through sponsorship of its acclaimed theatre productions as well as with grant funding through The Denver Post Community Foundation. The longstanding partnership with DCPA has given countless individuals of all ages, the opportunity to experience and develop a lifelong appreciation for the arts.

The Denver Post Community Foundation believes in giving back to the communities in which it serves and proudly supports hundreds of nonprofits’ programs and events. Support is given in many ways: through The Denver Post Community Foundation, employee volunteering, and inkind advertising.

The Denver Post Community Foundation, a recognized 501 (c)(3) nonprofit agency, raises funds through individual and corporate donations, through its unique Signature Events and Programs and through the annual holiday Season To Share campaign. The overall mission is to improve and enrich the lives of those in the Denver community through support of programs that benefit arts and culture; children and youth; education and literacy; and the provision of basic human services. To date, more than $13,250,000 has been raised and distributed.

• Signature Events and Programs

These well-established events and programs have become staples in the community. They offer partners, participants and volunteers something unique each year. They include: Pen & Podium Literary Lecture Series, Passport To The Arts, and the Colorado State Spelling Bee

• The Denver Post Season To Share

The Denver Post Season To Share holiday fundraising campaign supports metro Denver nonprofit organizations that help low-income children, families, and individuals move out of poverty toward stability and self-sufficiency. Each year, grants are awarded to more than 50 deserving nonprofits with programs focused on children and youth, health and wellness, homelessness, and hunger. These grants are made possible through the generosity of Denver Post readers, the broader community, corporate donors, and our valued partners. Donations are matched and accepted year-round. To learn more, visit seasontoshare.com .

Together We Can Make A Difference denverpostcommunity.com

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

Leslie Channell 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*, Amanda Foust*, 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

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

OFF-CENTER

Charlie Miller Founder

OPERATIONS

Sarah Arzberger,

Danielle Freeman Managers

Aaron Chavez Lead

Ruben Cruz, Jordan Latouche Engineers

Simone Gordon Director

Kyle Greufe Senior Analyst

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

James Berman+, Will King, Dave Mazzeno+, Kyle Moore+, Heather Sparling+, 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.

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 Sound & Technology Assistant

Stage Management

Anne Jude Supervisor

Chandra R.M. Anthenill, Wayne Breyer, Corin Davidson, Kristin Dwyer, 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, Pamela Winston, Tori Witherspoon Security Specialists

Prop Carpenter