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VOLUME XXXVII NUMBER 2 SEP – NOV 2026

OCTOBER 4, 2026–JANUARY 31, 2027 DIVA is created by the V&A - touring the world. The Denver Art Museum presentation is made possible by premier sponsors Joy and Chris Dinsdale. Generous funding also comes from the Avenir Foundation Endowment. Presenting support is provided by Jana and Fred Bartlit and Bridget and John Grier, with additional funds from Kathie and Keith Finger, Jen and Alex Hardie, Sheila O’Brien, Tina Walls, U.S. Bank, UOVO: Art, Fashion, Wine, the donors to the Annual Fund Leadership Campaign and the residents who support the Scientific and Cultural Facilities District (SCFD). Promotional support is provided by CBS Colorado.

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BOARD OF TRUSTEES Ruth Krebs, Chair Alan Salazar, Vice Chair David Jacques Farahi, Secretary/Treasurer Nicole Ament Marco D. Chayet Jennifer Dechtman Yosh Eisbart Marike Fitzgerald Christopher Hayes Elizabeth Hioe Deb Kelly Robert Kenney Kevin Kilstrom Lynn McDonald Hillary Morgridge Emily Hammad Mrig, PhD Susan Fox Pinkowitz Manny Rodriguez Hassan Salem Martin Semple William Dean Singleton Sylvia Young

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IN THIS ISSUE FOR A COMPLETE LIST OF UPCOMING SHOWS:

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Marco D. Chayet David Jacques Farahi Ruth Krebs Susan Fox Pinkowitz Hassan Salem

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EDITOR: Suzanne Yoe DESIGN DIRECTOR: Kyle Malone DESIGNER: Paul Koob CONTRIBUTING DESIGNER: Kyle Malone CONTRIBUTING WRITERS: Amanda L. Andrei, Lisa Bornstein, Lisa Kennedy, Jeff Kurtti, Madison Stout

Hello and welcome to another season of theatre! Over the next two months, we will present seven shows on our stages, while another eight are waiting in the wings to round out the year. How lucky are we that our metro area is bursting with incredible entertainment options! We recognize you have many events from which to choose and are so appreciative that you are here with us today. I’d like to draw your attention to our annual donor listing on pages 30–35. As a non-profit organization, the DCPA depends on its donors to deliver locally produced theatre created right here in Denver, bring the biggest tours direct from Broadway, introduce young audiences to the joy of live theatre, with the goal of creating 1 million engagements each year. Individual and corporate contributions together with your support of the Scientific and Cultural Facilities District (SCFD) ensure that live theatre continues to thrive in our community. As you turn your attention to The Outsiders, Disney’s Beauty and the Beast, Destiny of Desire, The Tempest or The Who’s TOMMY, we invite you to consider deepening your connection to the artistry before you. Join our family of donors to ensure that what you are seeing today continues for generations to come. And for those of you who are already members of our giving family, thank you. Your gift will ensure that your legacy, and ours, continues long into the future

The Tempest...................................pg 10 The Outsiders.................................pg 14 The Who’s TOMMY......................pg 16 Disney’s Beauty and the Beast .......................................... pg 22 Destiny of Desire .......................... pg 24

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MUSIC, MAGIC, AND FORGIVENESS:

THE TEMPEST

Near an unnamed island, a storm rages. But this is no ordinary gale — it’s 12 years in the making, the rain and fury of Prospero, an exiled duke who seizes the chance to punish his enemies when their ship draws near his barren isle. And Prospero is no ordinary duke. He’s also a powerful magician who commands the island’s spirits to enact his plans against his shipwrecked foes, as well as a loving yet controlling father to his 15-year-old daughter, Miranda. Written around 1610-11 and considered by many scholars to be Shakespeare’s final play, The Tempest offers a potent brew of supernatural spectacle, family dynamics, rich language and music, and contemplation of revenge and forgiveness. And while those qualities might sound typical for Shakespeare, they manifest quite differently on the enchanted water-locked landscape. For instance, two spirits — Caliban and Ariel — are under control of a human. Unlike the mysterious ghost of Hamlet, the witches of Macbeth, or the mischievous sprites of A Midsummer Night’s Dream, the mystical inhabitants of The Tempest must follow the agenda of a person whose magical powers come not from divine right or an esoteric source, but from books and learning. Half-human, half-spirit, Caliban is the son of a witch from the island who died before Prospero and Miranda arrived, while Ariel was imprisoned in a tree by this same

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witch and recently set free by the exiled magician. Caliban is an earthy creature, deeply connected to the land and forced into physical labor. Ariel belongs to the air and uses sweet songs and spells to carry out Prospero’s bidding, while also seeking liberation from his master. Of the enemies washed up on the shore, one of them happens to be Antonio, Prospero’s younger brother who usurped him as the duke of Milan, as well as Alonso, King of Naples, who assisted Antonio in the deed. The treachery is not merely political, it’s personal. “In so many of his plays, Shakespeare is obsessed with betrayal and bastards,” notes director Chris Coleman. And while the ruling brothers are legitimate heirs, there is resonance in their struggle for the rightful place in a kingdom or a family. Coleman observes: “Over and over again, there’s a bastard who feels shunned, and pushed aside, and is seeking to be honored in a way that they deserve to be. And in Shakespeare’s plays, there’s usually a profound betrayal that causes disruption of the social order, and there’s revenge, and usually, someone dies.” Indeed, the bard’s other work often features an external crisis that changes everything: physical violence such as the fatal stabbing in Romeo and Juliet, a grab for the throne in Julius Caesar, a deception such as Iago whispering into Othello’s ear. But when time for the crisis

APPLAUSE • SEP – NOV 2026 • 303.893.4100 • DENVERCENTER.ORG

comes, The Tempest takes a turn toward self-reflection. “In this play, the turning point is a quiet conversation with Prospero and Ariel,” says Coleman. “That moment changes Prospero’s trajectory — it becomes about orchestrating forgiveness.” “At first I found it puzzling because it feels so strikingly different from all his other plays,” continues Coleman. “But in another way, it feels perfect because it’s really the awakening of empathy.” He also notes that this turning point feels apt for Shakespeare’s final play: “I think that is the central wish and gift of this art form. You step into somebody’s shoes that you might not get to spend time with in your working day life, and you get to experience their world through their eyes and feet. How amazing that at the end of his career, empathy is what’s on his mind.” The empathy is enriched by the music and songs within the play, most of it used to signify magic. As music wafts across the stage, characters are guided across the island, lulled into enchanted sleep, and reawakened. Ariel’s famous song, “Full Fathom Five,” consoles Ferdinand, the shipwrecked Prince of Naples, who mourns his supposedly drowned father. “Of his bones are coral made / Those are pearls that were his eyes,” intones Ariel, conjuring images of beauty and transformation in place of a grim death. The song eventually leads the prince to Miranda, sparking attraction between the two youths. Prospero masterminds them into a romantic relationship, but in spite of the elder’s tricks, they would have likely fallen in love anyway. As the new generation of royalty, their shared, genuine love offers the hope of reconciliation for a torn kingdom and kin.

Jacqueline Antaramian

15-year Denver Center Theatre Company veteran returns as Prospera, in this reimagined twist on the classic tale.

With its jazz influences, this production leans into the theme of music as magic — a dream, even — and its ability to enchant, console, and lead to forgiveness. Even if the island is anonymous, with hints of an ancient Mediterranean civilization, and even if the costumes look like 16th century Italian attire, the jazz standards enhance this production’s tone by harmonizing it with both the contemporary world and the dream world. It’s an experience that raises a question for the audience: What kind of magic do you want to see in the world? For Coleman, the value of The Tempest comes in its themes of forgiveness, empathy, and restoration, even in the face of revenge and anger. “In the world, I want to see peace,” he muses. “I want to see us as a force for peace in the larger world, and I want leadership with moral clarity — that’s the magic I long for in the world.” As for the world of this production of Shakespeare’s final play, the director notes, “Hopefully the magic will be the discovery of this story coming to you — the music making it feel more accessible, and the play allowing you to find the compassion in your own heart. That’s something we can all benefit from.”

COME FOR THE PLAY. STAY FOR THE DISCUSSION. Each season, the Denver Center Theatre Company offers a lineup of post-show discussions — or Talkbacks — that address thought-provoking topics and themes raised in the shows on our stages. Talkbacks are professionally moderated and generally include members of the cast, artistic team, and/or subject matter experts. These discussions offer a two-way dialogue in which the audience has an opportunity to pose questions and opinions as they engage with the artists and experts. Held after the 7pm show, these conversations often last 30 minutes and are an excellent opportunity to explore a play firsthand. We invite you to join us for any of these Talkbacks following select 2026/27 Denver Center Theatre Company productions; free with a ticket.

Destiny of Desire: A Telenovela Play with Music SEP 17, 22 & 30 Wolf Theatre

The Tempest Oct 13 & 27 Kilstrom Theatre

bogfriends Jan 27, Feb 9 & 18 Singleton Theatre

How to Conquer America: A Mostly True History of Yogurt Feb 16 & 25 Kilstrom Theatre

Once Apr 13 & 27 Wolf Theatre

And So We Walked: An Artist’s Journey Along the Trail of Tears

THE TEMPEST

May 6, 11 & 19 Singleton Theatre

ASL Interpreted and Audio Described performance: Oct 11 at 1:30pm

Dial M for Murder

OCT 2–NOV 1 • KILSTROM THEATRE Stay for a free post-show discussion on Oct 13 and 27.

May 20 & 26 Kilstrom Theatre

2026/27 THEATRE COMPANY SEASON

WHERE STORIES

COME ALIVE

Bringing you stunning dramas, beloved musicals, never-before-seen world premieres, and new takes on classics — all rehearsed, constructed and staged right here in Denver

BUNDLE & SAVE! 3+ SHOWS STARTING AT $156* Shakespeare’s final masterpiece

Denver’s beloved holiday tradition

A delightful homage to telenovelas

A love story preserved in ancient peat

Sep 11 – Oct 4, 2026

Nov 25 – Dec 27, 2026

Oct 2 – Nov 1, 2026

A dairy-filled take on the American dream

Jan 15 – Feb 21, 2027

An artist’s journey along the Trail of Tears Hitchcock’s cat-andmouse thriller

The Tony-winning folk-rock musical

Feb 5 – 28, 2027

Apr 2 – May 2, 2027

Apr 16 – May 23, 2027

Apr 30 – May 30, 2027

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Storylines and visual elements from the MGM Motion Picture THE WIZARD OF OZ are provided by Warner Bros. Theatre Ventures.

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M A RCH 5 - 1 4 , 202 7

C O L O R A D O B A L L E T. O R G Mackenzie Dessens Studinski, Christopher Mitchell, and Jessica Payne by Rachel Neville

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The Outsiders North American Tour Company Photo by Matthew Murphy

FROM DOG-EARED BOOK TO BEST MUSICAL: THE OUTSIDERS STAYS GOLD BY LISA BORNSTEIN

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Long before Twilight, Divergent, and The Hunger Games, a teenage girl in Tulsa, Oklahoma invented the young adult genre. Susie Hinton was 16 when she wrote The Outsiders, which she sold to Viking Press under the name S.E. Hinton, so she wouldn’t be dismissed as just another girl. “There was only a handful of books having teen-age protagonists: Mary Jane wants to go to the prom with the football hero and ends up with the boy next door and has a good time anyway,” Hinton told The New Yorker in 2014. “That didn’t ring true to my life. I was surrounded by teens, and I couldn’t see anything going on in those books that had anything to do with real life.” At first, the book was marketed as an adult trade paperback – and it went absolutely nowhere. Then her publisher noticed that it sold in a particular demographic. “Teachers were using it in classes,” Hinton said. “All of a sudden, they realized that there was a separate market for young adults.” Since its publication in 1967, The Outsiders has sold more than 15 million copies and continues to sell another half million each year. Those numbers don’t account for three generations of students who have read dog-eared classroom copies and library borrowings. Its fan base grew with Francis Ford Coppola’s 1983 movie rendition, and in 2024, the new musical based on the book won the Tony Award for Best Musical.

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Hinton told the story of opposing gangs in 1960s Tulsa, which was profiting from an oil boom, leading to growing socioeconomic divides. Ponyboy, the narrator of the story, lives with his older brothers Darry and Sodapop, after the recent deaths of their parents. Their family of choice is the Greasers, lower income boys who stick together, get in trouble, and frequently come to blows with the Socs (short for socials), the rich kids. The only prominent girl in the story is Cherry, a Soc who breaks through by forming a friendship with Ponyboy. Emma Hearn, who plays Cherry, has felt the impact of the novel through the passions of the audience. “Truly, it spans all age ranges,” she says. “I’ve never been a part of a show that has such a wide reach as this story. Whether it’s people who read it in school decades ago, or they saw the movie in the ’80s. I know there are people

APPLAUSE • SEP – NOV 2026 • 303.893.4100 • DENVERCENTER.ORG

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who still read it in middle school to this day. We have such a loyal fan base. They love this story, and people want to see every iteration.” Part of the immediacy of the stage musical comes from the youth of the performers, who aren’t far from their own teen years. Tyler Jordan Wesley was cast as Dallas (“Dally”) Winston – the most hardened of the Greasers – just a few weeks before graduating college at Texas State University. It is his first professional role. “Our touring cast is notably younger than what the original cast was on Broadway, and so I think that the creative team did have an interest in looking toward people who might be in college,” Wesley says. “I think that for some people, it makes them even more immersed in the show and they can really understand their perspective when they know how young these boys are. Regardless of what age, what race, what gender is happening in this story, I just think that S.E. Hinton wrote a piece that is so integral to the human experience that it sits with you wherever you are. What S.E. Hinton was saying at the age of 16 is really what draws people to the show.” In Hinton’s novel and the 1983 movie, all the characters are depicted as white. For the stage musical, however, the creators intentionally looked to a more diverse cast. It made sense, given the racial struggles of the 1960s, as well as Tulsa’s own history with racial violence. The Trail of Tears of the 19th century forced Native Americans on a decimating forced expulsion from the southeastern United States to Oklahoma. The character of Dallas is specifically written as a person of color; Wesley, who is Black, sees the connection between his own character’s traits and the Black history of Tulsa, where in 1921, whites destroyed one of the wealthiest Black neighborhoods in the nation.

I’ve never been a part of a show that has such a wide reach as this story. Whether it’s people who read it in school decades ago, or they saw the movie in the ’80s... They love this story, and people want to see every iteration — EMMA HEARN, ACTRESS

CREATIVITY

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 Wesley sees all that history in the character he plays, who after three years on the streets of New York came to Tulsa angry, violent, and fiercely loyal. “In the 1960s, this is the height of the civil rights movement, Dallas is from New York, so what things have I seen, what atrocities have I witnessed at the age of 19 to get me to where I am now?” Wesley says. “As malicious as I think people take Dally to be throughout the book, at the heart of this story we’re all human. We start out gold and it fades away throughout life. I get to share with America and Canada how I believe Dally’s gold is tarnished throughout life.” Including people of color in a classic American story stays true to Hinton’s depiction of divisions and connections, of innocence found and lost. “At its core, it’s saying, ‘Stay gold,’” Wesley says, echoing the classic line from the book. “It doesn’t say, ‘Stay gold, white American’ or ‘Stay gold, Black American. It says, ‘Stay gold.’”

THE OUTSIDERS

SEP 8–27, 2026 • BUELL THEATRE ASL Interpreted, Audio Described, and Open Captioned performance: Sep 20 at 1pm

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.

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

DES McANUFF SURE DIRECTS A MEAN MUSICAL IN THE WHO’S TOMMY BY LISA BORNSTEIN Nearly 60 years ago, The Who released its fourth studio album — and blew up the entire concept of an album with the first commercially successful rock opera, a song cycle tracing the life and experiences of a “deaf, dumb and blind kid” who goes from tortured childhood to godlike figure. At 34 years old, the stage musical The Who’s TOMMY is nearly as venerable. Des McAnuff, who wrote the musical with Pete Townshend while artistic director of the La Jolla Playhouse, reflected on the current tour, which he directed. Lisa Bornstein (LB): What is your favorite number and have you changed it for the tour? Des McAnuff (DM): From the time I first heard The Who’s album, I’ve loved every single cut. When staging the show for the first time, I always thought to myself, “Oh boy, here comes this one!” If there’s any kind of standout, it’s probably “Sensation,” the song in which we [and his parents] discover that Tommy is a savant…. I think many people find it really moving. I can’t say that we’ve changed the number as much as it’s evolved and hopefully deepened. LB: What are the qualities of TOMMY that have made it endure for nearly 60 years? DM: As one of our dramaturgs, Chad Sylvain, pointed out, “it’s about a boy who rejects existence as we know it. In Catcher in the Rye, Holden Caulfield turns his back on adulthood. In TOMMY, Tommy turns his back on life itself.” It’s Tommy’s commitment to his own inner journey, which is basically all he’s got, that seems to get people to project themselves onto his consciousness. He goes from not being there at all to becoming a most formidable entity.

LB: How did the recent Broadway production differ from earlier productions? DM: Technology has evolved so much since we started TOMMY, so we’ve had a much more elaborate paintbox on the Broadway production as well as the tour. Scenically, the show quite literally lights up. It makes the mystical part of Tommy’s voyage easier to portray vividly. TOMMY involves a great deal of visual storytelling. The libretto is poetic and advances the storyline thematically, but the staging has to take care of a good deal of the narration, which makes it challenging but also invigorating. LB: TOMMY began as a concept album then a film. What was your vision for translating the story to the stage? DM: The Ken Russell film is a completely separate entity to the theatrical version. The concept album was, of course, the foundation for the show in that the score was largely complete and many of the story points were suggested if not fleshed out from that extraordinary album. The first time I listened to it was after rehearsing with our garage band. We expected just to listen to a couple of selections and ended up playing the record cover to cover. I thought it was the most monumentally inspiring album I’d heard, eclipsing even “Sgt. Pepper.” Getting to work on the book and the direction with Pete Townshend has been a greatly significant part of my life.

THE WHO’S TOMMY

OCT 16–18 • BUELL THEATRE ASL Interpreted, Audio Described and Open Captioned performance: Oct 17 at 2pm

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SEASON SPONSOR

The Araca Group American Zoetrope Olympus Theatricals Sue Gilad & Larry Rogowsky Angelina Jolie Betsy Dollinger Jonathan & Michelle Clay Cristina Marie Vivenzio The Shubert Organization LaChanze & Marylee Fairbanks Debra Martin Chase Sony Music Masterworks Jamestown Revival Theater Jennifer & Jonathan Allan Soros Tanninger Entertainment Tamlyn Brooke Shusterman Mistry Theatrical Ventures Galt & Irvin Productions Tulsa Clarks Paul & Margaret Liljenquist Bob & Claire Patterson Voltron Global Media James L. Nederlander Warner Bros. Theatre Ventures The John Gore Organization Independent Presenters Network Stephen Lindsay & Brett Sirota Jeffrey Finn Playhouse Square ASR Productions Indelible InK Lionheart Productions The Broadway Investor’s Club Starhawk Productions Distant Rumble GTR Productions Green Leaf Partnership Michael & Elizabeth Venuti Leslie Kavanaugh Deborah & Dave Smith Belle Productions Chas & Jen Grossman Rungnapa & Jim Teague Michael & Molly Schroeder Casey & Chelsea Baugh Jim & Emily Flautt Jon L. Morris Becky Winkler William Moran Hickey Jr. & William Moran Hickey III Melissa Chamberlain & Michael McCartney Wavelength Productions Rob O’Neill & Shane Snow Eric Stine Rachel Weinstein Cornice Productions La Jolla Playhouse present

Book by

ADAM RAPP with JUSTIN LEVINE Music and Lyrics by

JAMESTOWN REVIVAL (JONATHAN CLAY & ZACH CHANCE) and JUSTIN LEVINE Based on the novel by S.E. Hinton and Francis Ford Coppola’s Motion Picture Starring

NOLAN WHITE BONALE FAMBRINI TYLER JORDAN WESLEY TRAVIS ROY ROGERS CORBIN DREW ROSS EMMA HEARN JAYDON NGET GABRIEL WHITE MARÍN DANTE D’ANTONIO JORDAN DEANDRE WILLIAMS SETH AJANI CHRISTIAN ARREDONDO KEVIN AVILA BRIAN HO PUI CHEUNG DELANEY DIAZ GINA GAGLIANO WILL HASTREITER TYSON HILL HANNAH JENNENS KATIE RIEDEL HAYDEN RIVAS LUKE SABRACOS JOHNATHAN TANNER RODNEY THOMPSON JR ALYSSA VILLAREAL Scenography

AMP featuring TATIANA KAHVEGIAN

Costume Design

SARAFINA BUSH

Special Effects Design

Lighting Design

Sound Design

BRIAN MACDEVITT

Hair & Wig Design

CODY SPENCER

Makeup Design

HANA S. KIM

Sound Effects Specialist

JEREMY CHERNICK LILLIS MEEH

ALBERTO “ALBEE” ALVARADO

Creative Consultant

Music Supervisor & Co-Orchestrator

MATT HINKLEY

REMY KURS

KRISTY NORTER

Associate & Resident Director

Associate Director

Associate Choreographers

Choreography Supervisor

JACK VIERTEL

TISHONNA FERGUSON

Projection Design

Music Director

MIRANDA CORNELL AUTUMN ANGELETTIE KRISTEN CARCONE TILLY EVANS-KRUEGER Production Supervisor

Casting

BEVERLY JENKINS THE TRC COMPANY XAVIER RUBIANO, CSA Tour Booking

THE ROAD COMPANY STEPHEN LINDSAY BRETT SIROTA Production Stage Manager

TAYLOR BENSE

Music Coordinator

NANCY RENEE BRAUN

Speech Text & Dialect Coach

GIGI BUFFINGTON

Marketing and Press

Marketing Strategy & Direction

Social Media

Production Management

Company Manager

General Management

ALLIED GLOBAL on the RIALTO MARATHON DIGITAL MARKETING

EDMOND O’NEAL

JUNIPER STREET ERICA NORGAARD 321 THEATRICAL PRODUCTIONS MANAGEMENT Music Supervision, Orchestration & Arrangements by

JUSTIN LEVINE Choreography by

RICK KUPERMAN & JEFF KUPERMAN Directed by

DANYA TAYMOR World Premiere of THE OUTSIDERS Produced by La Jolla Playhouse. Christopher Ashley, Artistic Director & Debby Buchholz, Managing Director Music by Arrangement with Sony Music Publishing (US) LLC Original Cast Recording on Masterworks Broadway

THE OUTSIDERS

PRESENTED BY

THE OUTSIDERS

CAST Ponyboy Curtis........................................................................................................................................................................NOLAN WHITE Johnny Cade....................................................................................................................................................................BONALE FAMBRINI Dallas Winston................................................................................................................................................... TYLER JORDAN WESLEY Darrel Curtis................................................................................................................................................................TRAVIS ROY ROGERS Sodapop Curtis...........................................................................................................................................................CORBIN DREW ROSS Cherry Valance.......................................................................................................................................................................... EMMA HEARN Two-Bit........................................................................................................................................................................................ JAYDON NGET Bob............................................................................................................................................................................ GABRIEL WHITE MARÍN Paul......................................................................................................................................................................................DANTE D’ANTONIO Marcia............................................................................................................................................................................................ KATIE RIEDEL Ace...............................................................................................................................................................................................DELANEY DIAZ Steve........................................................................................................................................................................RODNEY THOMPSON JR Chet...............................................................................................................................................................................JOHNATHAN TANNER Trip...........................................................................................................................................................................................LUKE SABRACOS Brill....................................................................................................................................................................................................KEVIN AVILA Beverly............................................................................................................................................................................. ALYSSA VILLAREAL Cop............................................................................................................................................................................ GABRIEL WHITE MARÍN Ensemble.................................................................SETH AJANI, CHRISTIAN ARREDONDO, KEVIN AVILA, DELANEY DIAZ, GINA GAGLIANO, WILL HASTREITER, KATIE RIEDEL, LUKE SABRACOS, JOHNATHAN TANNER, RODNEY THOMPSON JR, ALYSSA VILLAREAL SWINGS BRIAN HO PUI CHEUNG , TYSON HILL, HANNAH JENNENS, HAYDEN RIVAS, JORDAN DEANDRE WILLIAMS UNDERSTUDIES

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

For Ponyboy Curtis—CHRISTIAN ARREDONDO, JORDAN DEANDRE WILLIAMS; for Johnny Cade—SETH AJANI, CHRISTIAN ARREDONDO, JAYDON NGET, JORDAN DEANDRE WILLIAMS; for Dallas Winston—SETH AJANI, JAYDON NGET, JORDAN DEANDRE WILLIAMS; for Darrel Curtis—DANTE D’ANTONIO, WILL HASTREITER; for Sodapop Curtis—DANTE D’ANTONIO, WILL HASTREITER, LUKE SABRACOS; for Cherry Valance—GINA GAGLIANO, KATIE RIEDEL; for Bob/Cop—DANTE D’ANTONIO, WILL HASTREITER, LUKE SABRACOS; for Two-Bit—BRIAN HO PUI CHEUNG, TYSON HILL, RODNEY THOMPSON JR; for Paul—WILL HASTREITER, LUKE SABRACOS, JOHNATHAN TANNER. DANCE CAPTAINS HANNAH JENNENS, HAYDEN RIVAS FIGHT CAPTAIN TYSON HILL

ASSISTANT FIGHT CAPTAIN HAYDEN RIVAS TIME/PLACE TULSA, OKLAHOMA 1967

THERE WILL BE ONE 15-MINUTE INTERMISSION

Scan here for any updated cast replacement announcements for this performance.

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

THE OUTSIDERS

CAST

NOLAN WHITE

BONALE FAMBRINI

TYLER JORDAN WESLEY

TRAVIS ROY ROGERS

CORBIN DREW ROSS

EMMA HEARN

JAYDON NGET

GABRIEL WHITE MARÍN

DANTE D’ANTONIO

SETH AJANI

CHRISTIAN ARREDONDO

KEVIN AVILA

BRIAN HO PUI CHEUNG

DELANEY DIAZ

GINA GAGLIANO

WILL HASTREITER

TYSON HILL

HANNAH JENNENS

KATIE RIEDEL

HAYDEN RIVAS

LUKE SABRACOS

JOHNATHAN TANNER

RODNEY THOMPSON JR

ALYSSA VILLAREAL

JORDAN DEANDRE WILIAMS

THE OUTSIDERS

MUSICAL NUMBERS ACT I “Tulsa ’67”...........................................................................................................................................Ponyboy, Johnny, Company “Grease Got a Hold”......................................................................................... Dallas, Sodapop, Two-Bit, Darrel, Greasers “Runs in the Family”...................................................................................................................................................................Darrel “Great Expectations”.......................................................................................................................................Ponyboy, Company “Friday at the Drive-in”........................................................................................................................... Cherry, Bob, Company “I Could Talk to You All Night”..........................................................................................................................Cherry, Ponyboy “Runs in the Family” (reprise)................................................................................................................................................Darrel “Far Away From Tulsa”..................................................................................................................Ponyboy, Johnny, Company “Run Run Brother”............................................................................................................ Dallas, Ponyboy, Johnny, Company ACT II “Justice for Tulsa”.............................................................................................................................................................................Full Company “Death’s at My Door”...............................................................................................................................................................Ponyboy, Johnny “Throwing in the Towel”..................................................................................................................................... Darrel, Sodapop, Ponyboy “Soda’s Letter”.........................................................................................................................................................Sodapop, Ponyboy, Darrel “Hoods Turned Heroes”...................................................................................................................................Two-Bit, Sodapop, Greasers “Hopeless War”............................................................................................................................................................................Cherry, Ponyboy “Trouble”..............................................................................................................................................................................Dallas, Greasers, Socs “Little Brother”.............................................................................................................................................................................Dallas, Company “Stay Gold”...................................................................................................................................................................................Johnny, Ponyboy Finale (“Tulsa ’67”)...............................................................................................................................................................Ponyboy, Company ORCHESTRA Conductor/Keyboard—REMY KURS; Associate Conductor/Keyboard—ADAM DORFMAN; Guitars—JACKSON DUNKIN, ANDREW SHIELD; Drums—ANTHONY SCANDORA; Bass—BELLA AMADA; Reeds—JUSTIN BROWN; Violin—ANNA NORDMOE; Assistant Conductor/Keyboard Cover—E. RENÉE GAMEZ Music Coordinator—KRISTY NORTER Music Copying—EMILY GRISHMAN; Music Preparation—ALDEN TERRY; Keyboard Programmer—RANDY COHEN KEYBOARDS LLC; Ableton Programmer—ENRICO DE TRIZIO; Associate Music Supervisor—ANDREA YOHE; Additional Arrangements—ED BENROCK, JAMIE EBLEN, MARK G.MEADOWS, JUSTIN SMITH LOCAL MUSICIANS Cello—ERIN PATTERSON Contractor—JIM HARVEY

“TEEN-AGERS ARE FOR REAL’’ In 1967, a few months after The Outsiders was released, The New York Times published an op-ed by a then 19-year-old S.E. (Susie) Hinton titled “Teen-Agers Are for Real”: “All we hear is how teen-agers are rebelling against authority, against country, against parents. This is partly true. It is more true that all we are doing most of the time is asking, ‘Why?’ and getting as an answer, ‘Because it’s always been done that way.’ If there were more stopping and explaining why it’s always been done this way, there’d be more understanding. Understanding breeds communication. There we are back at the root of the matter.” “Teen-agers should not be written down to; anyone can tell when [their] intelligence is being underestimated... Teen-agers know a lot today. Not just things out of a textbook, but about living. They know their parents aren’t superhuman, they know that justice doesn’t always win out, and that sometimes the bad guys win. They know that persons in high places aren’t safe from corruption, that some men have their price, and that some people sell out. Writers needn’t be afraid that they will shock their teen-age audience. But give them something to hang on to. Show that some people don’t sell out, and that everyone can’t be bought. Do it realistically. Earn respect by giving it.” Copyright© 1967 by S.E. Hinton.; Reprinted by permission of Curtis Brown, Ltd.; All rights reserved.

NOLAN WHITE (Ponyboy Curtis) is thrilled to make his national tour debut with The Outsiders! A proud Nashville native, he recently completed his first year in the University of Michigan’s B.F.A. musical theater program. When not performing, Nolan enjoys playing guitar and piano and discovering new sushi/ ramen spots. He’s grateful to his friends and family for their unwavering support and dedicates each performance to his grandparents, whose strength and humor inspire him every day. @nolan_m_white

Management and CESD, and the Crotwells for teaching him everything he knows. Turn Tartan.

BONALE FAMBRINI (Johnny Cade), a proud member of the Delaware Tribe of Indians and the Cherokee Nation, is honored to join The Outsiders. Broadway: The King and I. Film: Monster High 2. Television: “Daredevil,” “Kevin Can Wait.” New York: Radio City Christmas Spectacular. With gratitude to the mentors, friends and loved ones who’ve guided his path. Proud to help bring this powerful story to life with such an extraordinary company.

JAYDON NGET (Two-Bit, u/s Johnny, u/s Dallas) is ecstatic to join The Outsiders! Previous: & Juliet North American tour (Kempe/Swing, François u/s, Romeo u/s). Houston native. Proud Asian American artist. Baylor University, B.F.A. ’24. Thanks to Amy Lord (@eristalentagency). Infinite love to Mom, Pop, Lauryn, Haylie, Rachel, family and friends! IG and TikTok: @jaydonnget. jaydonnget.com.

TYLER JORDAN WESLEY (Dallas Winston) is a Texas State University alum from Hopkins, South Carolina. A few of his Texas State productions include Rent (Roger), Into the Woods (Jack) and Guys and Dolls (Benny Southstreet). Regional credits: Beautiful: The Carole King Musical (Drifter). Tyler attended the South Carolina Governor’s School for the Arts and Humanities and was a YoungArts 2021 finalist. “I thank God, my family and my friends for supporting me to this moment!” @tylerjwesley. TRAVIS ROY ROGERS (Darrel Curtis) is happy to be here! Born and raised in Los Angeles and a graduate of Carnegie Mellon’s School of Drama. This is his professional debut. Love and gratitude to his family, friends and agents for helping him live his dream. Soli Deo Gloria! @travisroyrogers. CORBIN DREW ROSS (Sodapop Curtis) is thrilled to be making his national tour debut! Regional: Newsies (Oscar Delancey). TV: “And Just Like That,” “New Amsterdam.” Thanks to his incredible family and friends, his team Landsburg

EMMA HEARN (Cherry Valance). Broadway: Diana (Diana u/s, Swing). National tour: Cats (Bombalurina). Off-Broadway: Nickel Mines. Regional: Pioneer Theatre Company, Music Theatre Wichita. Proud Texas State MT alumna! Immense gratitude to the creative team, TRC and CGF for this opportunity. “Endless love to my family. All glory to God!” @_emmahearn_.

GABRIEL WHITE MARÍN (Bob/ Cop) is proud to perform with The Outsiders family! Big shout outs to Rockwall-Heath High School, Blake High School, New Tampa Players and Orlando Family Stage/ Gershwin for getting him here. He thanks his friends for their endless encouragement and his family for their unwavering support. Stay gold! DANTE D’ANTONIO (Paul, u/s Darrel, u/s Sodapop, u/s Bob/ Cop). North American tour debut! Selected: Jersey Boys (Joe Pesci/ Frankie Alt.), Urinetown (Bobby Strong), John Proctor… (Carter Smith), Tarrytown (Ichabod). Walnut Hill School. Penn State MT ’25. Thanks to family and friends. dantedantonio.com. @dante_dantonio. SETH AJANI (u/s Johnny, u/s Dallas) is making his touring debut! Regional: American Players Theatre, RhinoLeap. B.F.A.: University of North Carolina School of the Arts. Glory to The Most High. @ajani.x.

CHRISTIAN ARREDONDO (u/s Ponyboy, u/s Johnny). National tour debut! Pace MT alum. “Endless thanks to my family, friends, teachers, mentors and everyone who believed in me. This one’s for y’all! Special thanks to the entire Outsiders team and TRC!” @chris_arredondo. KEVIN AVILA (Brill). National tour debut with The Outsiders! Previously: World of Dance Season III (The Trilogy) and Swing! on NCL. Special thanks to his father and sister watching from above, and to his mom, Isabel, Lucas and fiancée Kristen. @kevin.d.avila. BRIAN HO PUI CHEUNG (Swing, u/s Two-Bit, u/s Steve) is thrilled to be making his tour debut with The Outsiders. A recent CCM alum, he is endlessly grateful for his mom, dad, brother, friends and DGRW for their love and support. @briancheunghopui. DELANEY DIAZ (Ace) is thrilled to make her national tour debut with The Outsiders! Regional: West Side Story (Paper Mill Playhouse). Live concerts: Mariah Carey. Film: In the Heights. Endless gratitude to family, Stagelite, teachers, MSA and The Outsiders team! @delaneydiaz1116. GINA GAGLIANO (u/s Cherry, u/s Marcia, u/s Ace) is ecstatic to be making her national tour debut! Credits: Victoria in Cats (Royal Caribbean International). She sends her gratitude to her family, friends and agents at Resolute Artists Agency. @ginaagagliano. WILL HASTREITER (u/s Darrel, u/s Sodapop, u/s Bob/Cop, u/s Paul). Thrilled to be making his tour debut! Previous credits: The Outsiders (Broadway), The Turning, Rent in Concert, Jersey Boys. “Forever thankful to my family and loved ones for all their support!” Rep: The Mine. @willhastreiter. TYSON HILL (Swing, Fight Captain, u/s Steve, u/s Two- Bit). National tour debut! Off-Broadway: 11 to Midnight. Film/TV: The Last Mrs. Parrish, Christmas on the Square, FIFA World Cup Halftime Show, “The Tonight Show with Jimmy Fallon.” Gratitude to God and family. @tysonanthonyhill.

THE OUTSIDERS

WHO’S WHO

THE OUTSIDERS

HANNAH JENNENS (Swing, Dance Captain, u/s Marcia, u/s Ace) is so grateful to be here! Thank you to the creative team and TRC for trusting me. Much love to Mom, Dad, Ryan and Kaia—this one’s for y’all. @hannahjennens. KATIE RIEDEL (Marcia, u/s Cherry) is grateful to make her national tour debut! Shenandoah University alum ’26. Regional: Skylar, Bring It On (The Muny). Special thanks to her family, friends, CESD Dance, The Outsiders team and TRC! Stay groovy! @katie_r_22. HAYDEN RIVAS (Swing/Dance Captain, Assistant Fight Captain, u/s Steve). Filipino-Canadian performer making his national tour debut! Select theater: Here Lies Love (CTG), South Pacific (Muny), Beetlejuice (NCL). Film/TV: “The Morning Show,” Descendants 3. B.F.A. dance and MSL, USC. Huge thanks to his family! @haydenrivas.

JORDAN DEANDRE WILLIAMS (Swing, u/s Ponyboy, u/s Johhny, u/s Dallas) is stoked to be making his national tour debut with The Outsiders! Regional: In the Heights, Guys and Dolls (Summer Stock Austin); A Christmas Carol (ZACH Theatre). “Endless love to all of my people and ATX! To my family above—this is for you.” @jdeandre.williams. S.E. (SUSIE) HINTON (Author) is one of the most popular and celebrated authors of young adult fiction today. Published when she was just 18 years old, The Outsiders has sold over 15 million copies and been translated into dozens of languages, in addition to being adapted to the screen. She won the American Library Association’s Margaret Edwards Award for significant and lasting contribution to young adult literature. Susie lives in Tulsa, Oklahoma.

RODNEY THOMPSON JR (Steve, u/s Two-Bit). Broadway: Elf. Tour: Moulin Rouge!, Funny Girl. Regional: The Muny, MTWichita, Lyric OKC. Screen: “Icon” music video by Todrick Hall. Huge thanks to his family, CESD and The Outsiders team. OKCU dance alum. @itzlilrodney.

ADAM RAPP (Book) is the author of numerous plays, which include Nocturne (New York Theatre Workshop), Finer Noble Gases (26th Humana Festival), The Metal Children (The Vineyard) and Red Light Winter (Barrow Street Theatre), for which he won Chicago’s Jeff Award for Best New Work, an Obie and was named a finalist for the 2006 Pulitzer Prize. The Sound Inside received its world premiere at the 2018 Williamstown Theatre Festival and was named one of The New York Times best plays of 2018. It premiered on Broadway at Studio 54 in the fall of 2019 and went on to be nominated for six Tony Awards, including Best Play. His playwriting honors include Boston’s Elliot Norton Award, The Helen Merrill Prize, The 2006 Princess Grace Statue, a Lucille Lortel Playwright’s Fellowship, The Benjamin H. Danks Award, the PEN/ Laura Pels International Foundation Award and a 2021 Arts and Letters Award from the American Academy of Arts and Letters.

ALYSSA VILLAREAL (Beverly, u/s Ace, u/s Marcia). National tour debut! Bay Area Filipina. NYU Tisch dance. Credits: Rich+Tone Talauega, Laja Field, Kyle Abraham. TV: “RuPaul’s Drag Race” (Jinkx Monsoon, Monét X Change), Steve Madden. Regional: Woodminster. “<3 my family and CESD!” @alyssavillareall.

JUSTIN LEVINE (Book, Music & Lyrics Music Supervision, Arrangements, Orchestrations). Projects include The Outsiders (three-time Tony Award nominated), Moulin Rouge! The Musical (Tony Award; Broadway, international), Here Lies Love (Broadway, The Public Theater, National Theatre, Seattle Rep, Mass MoCA),

LUKE SABRACOS (Trip, u/s Bob/ Cop, u/s Sodapop, u/s Paul) is thrilled to be making his national tour debut! Graduate of Boston Conservatory ’23. “Love to Mom, Dad, Eleni, L+J, Rixey, Pantera/ Murphy Agency, Uncle Danny, God and my entire Big Fat Greek Family.” @luke.sabraco. JOHNATHAN TANNER (Chet, u/s Paul). Regional: 3 Summers of Lincoln (La Jolla Playhouse), Jerry in An American in Paris, The Nutty Professor, Newsies. Seven-time National Ballroom finalist. Two-time violinist Carnegie Hall. B.F.A. from BYU. Thanks to parents, CTG and God! @johnathan.tanner.

A Midsummer Night’s Dream (Delacorte, Drama Desk nom.), Met Gala, Vevo x Lorde: Melodrama (conceived by Lorde, Electric Lady Studios), Contemporary Color (conceived by David Byrne; Barclays Center), Bloody Bloody Andrew Jackson (The Public Theater, Broadway), Love’s Labour’s Lost (Delacorte), The Robber Bridegroom (with Martin Lowe, Roundabout) and Murder Ballad (Manhattan Theatre Club). @justinlevine. JAMESTOWN REVIVAL (Music & Lyrics). Nominated for two Tony Awards and a Grammy Award for their score and orchestration work on The Outsiders musical, Jamestown Revival has performed at iconic music festivals, including ACL, Coachella and Lollapalooza, and alongside the likes of The Avett Brothers, Brandi Carlile and Willie Nelson. They’ve released four critically acclaimed albums (Utah, The Education of a Wandering Man, San Isabel, Young Man) and two equally praised EPs (A Field Guide to Loneliness, Fireside with Louis L’Amour). DANYA TAYMOR (Director) is a Tony and Obie award-winning director. Recent direction on Broadway includes The Outsiders (Tony Award for Best Musical, Best Director), John Proctor Is the Villain (Tony nomination, Drama Desk and OCC awards) and Pass Over. OffBroadway/international: Heroes of the Fourth Turning (Playwrights Horizons, Callaway and Obie awards), Evanston Salt Costs Climbing (New Group), Trophy Boys (MCC), Jonah (Roundabout), Endgame (Gate Theatre Dublin) and “Daddy” (Almeida, London and New Group/Vineyard). Her production of Pass Over was filmed in collaboration with Spike Lee, premiered at the Sundance Film Festival and is streaming on Amazon Prime. B.A.: Duke University. Teenagers are for real. RICK KUPERMAN & JEFF KUPERMAN (Choreography). Broadway choreography: The Outsiders (Tony, Drama Desk, OCC and Chita Rivera award nominations), The Last Five Years. Also: Emursive’s Life & Trust (as codirectors and choreographers), Alice by Heart (MCC; Lortel, Chita Rivera and Callaway awards for

AMP FEAT. TATIANA KAHVEGIAN (Scenography). Tony-nominated collective founded by Brett J. Banakis and Christine Jones to amplify emerging and underrepresented designers by engaging in equitable collaborations. The Outsiders features BrazilianArmenian designer Tatiana Kahvegian. As AMP: The Outsiders (Tony nom.), John Proctor Is the Villain, Hamlet Hail to the Thief. As Jones/Banakis: The Cher Show, Harry Potter (Tony, Olivier awards). SARAFINA BUSH (Costume Design). Broadway: The Outsiders, The Who’s Tommy, How to Dance in Ohio, For Colored Girls… (Tony Award nominee), Pass Over. Selected regional: The Heart (La Jolla), A Wrinkle in Time (Arena Stage), The Preacher’s Wife (Alliance Theatre), Peter Pan (tour). Education: B.A., Adelphi University. BRIAN MACDEVITT (Lighting Design). Six Tonys, including The Outsiders, The Book of Mormon, Into the Woods. Dance: Joffrey ABT, Tere O’Connor Dance, Merce Cunningham, Lar Lubovitch. Metropolitan Opera: The Enchanted Island, Doctor Atomic. Director: Between Riverside and Crazy (DC), Proof (NY) and Spring Awakening at UMD. CODY SPENCER (Sound Design). Select credits Broadway: The Last Five Years, Romeo and Juliet, Job, The Outsiders (Tony Award). Co-design Broadway: Gutenberg! The Musical!, Here Lies Love, The Pee-wee Herman Show. OffBroadway: Energy Music Curfew Hour, Broadway Bounty Hunter. OffBroadway co-design: Trevor, Here Lies Love (Lortel Award). Regional: David Byrne’s Theater of the Mind.

HANA S. KIM (Projection Design) (she/her). Broadway: The Outsiders, Redwood, Real Women Have Curves, The Old Man and the Pool, Summer 1976. Off-Broadway: Sumo, The Harder They Come, Eve’s Song. New music/opera: L’Orfeo, Sweet Land, The Anonymous Lover. Awards: Tony Awards, Princess Grace Award, Sherwood Award from CTG among others. hananow.com. JEREMY CHERNICK & LILLIS MEEH (Special Effects Design) have collaborated since 2012 on a myriad of projects spanning the globe. On Broadway: The Outsiders, Macbeth, Oklahoma!, Gary, American Psycho, King Lear. Off-Broadway/regional: Jane Anger, Guards of the Taj, Let the Right One In (National Theatre of Scotland). Together, they make memorable messes. ALBERTO “ALBEE” ALVARADO (Hair & Wig Design). A Queer Mexican Californian and dog dad to Yeobo. Broadway: The Outsiders. Off-Broadway: Sumo (Drama Desk nomination). Regional: La Jolla Playhouse, Arena Stage, Pasadena Playhouse, Center Theatre Group, SD Opera, Seagle Music Colony. Daniel, familia and amigos, Gracias for your unwavering support. “Here to amplify underrepresented voices; Representation matters.” IG: @saboralbee. TISHONNA FERGUSON (Makeup Design). Broadway: The Outsiders (designer), Beetlejuice (MU sup.), The Lion King (MU artist). Tours: Beetlejuice (assoc. designer), Wicked (MU sup.). Former Professor of Makeup Design at Pace University. Tish is passionate about storytelling and making space on Broadway for people who look like her. TAYLOR BENSE (Sound Effects Specialist) is a composer and sound designer for TV, film and theater. Credits: Sound effects specialist for The Outsiders (Broadway), composer and music director of Life & Trust (Off-Broadway). JACK VIERTEL (Creative Consultant). Three decades as creative director/senior VP of Jujamcyn Theaters, developing projects for the company; two decades as artistic director of NY City Center Encores!; conceiver: Smokey Joe’s Café, After Midnight, The Prom;

dramaturg: Hairspray, Dear Evan Hansen, A Christmas Story. Author of The Secret Life of the American Musical. MATT HINKLEY (Music Supervisor, Co-Orchestrator). For The Outsiders: Music director (Broadway), co-orchestrator (Tony nom.), co-producer cast recording (Grammy nom.). Other Broadway: Days of Wine and Roses, SpongeBob, Bandstand, Finding Neverland, Violet, First Date, Godspell. Notable: Chess (Kennedy Center), Water for Elephants (Alliance), Camelot (Bay Street), Carnegie Hall, Lincoln Center. Collaborative highlights: Sutton Foster, Caissie Levy. Love to Kym and Madeline. REMY KURS (Music Director). Credits include music supervision and arrangements for Lempicka (Broadway and La Jolla), We’re Gonna Die (Second Stage), Witness Uganda (Wallis and ART), Invisible Thread (Second Stage). As music director: A Christmas Carol (first national tour), The Book of Mormon (first national tour), Ride the Cyclone (MCC). As music producer: OBCR of Lempicka and Witness Uganda (Sony Masterworks) KRISTY NORTER (Music Coordinator). Credits include The Outsiders, Merrily We Roll Along, Death Becomes Her, Some Like It Hot, Cabaret, Hell’s Kitchen, Suffs, Water for Elephants, Six, Queen of Versailles and Back to the Future. RANDY COHEN KEYBOARDS (Keyboard Programmer) has programmed over 100 Broadway shows, including Hamilton, The Book of Mormon, In the Heights and Kinky Boots. TV includes “Sesame Street.” Thanks to Sam, Nick, Tim and Drew. ENRICO DE TRIZIO (Ableton Programmer). Italian-made and NYC-based, award-winning composer, music producer and electronic music designer whose genre-bending work spans global stages—from Havana to China to Broadway’s Dear Evan Hansen, The Outsiders, Hell’s Kitchen, The Who’s Tommy and Death Becomes Her. MIRANDA CORNELL (Associate & Resident Director). is a Jewpanese theater director. Directing cred-

THE OUTSIDERS

Outstanding Choreography), Cyrano (with Peter Dinklage, Goodspeed/The New Group), Alien/Nation (Williamstown), Phish at MSG, The Count of Monte Cristo (St. Petersburg, Russia), Peter Pan (Beijing, China), The Light Princess (ART/New Victory; NYT Critics’ Pick). Film: Dicks: The Musical (A24), Silent Retreat (Miramax). TV: “Living with Yourself” (Netflix). Other theater as directors: Roll! (Ars Nova), Dispossessed (HERE), Smile (FringeNYC). B.A.s: Harvard and Princeton. kupermanbrothers.com.

THE OUTSIDERS

its include ‘The Annunciation’ at Playwrights Horizons (World Premiere, Spring 2027), ‘Indian Princesses’ (Atlantic/Rattlestick/La Jolla Playhouse), ‘The Heart Sellers’ (Stages Houston). Fellowships/ affiliations: Clubbed Thumb, NYTW 2050, Van Lier at A4, Roundabout Directors Group, Mercury Store. BA: Vassar. mirandacornell.com. AUTUMN ANGELETTIE (Associate Director). Recent direction: Covenant (Theater Alliance, Helen Hayes nomination, Outstanding Director—Hayes). As associate (selected): John Proctor Is the Villain (Broadway), Home (Broadway), Jonah (Roundabout). B.F.A.: the illustrious Howard University. KRISTEN CARCONE (Associate Choreographer). NYC-based director and choreographer. Broadway: The Outsiders, The Last Five Years. Other credits: Tate McRae’s Seven, Urinetown (NYCC), Cyrano (The New Group), Life & Trust (Emursive), Alice by Heart (MCC), Then She Fell. For you, Daddio. @kristencarcone. NANCY RENEE BRAUN (Choreography Supervisor). Broadway: The Outsiders, Moulin Rouge!, Gutenberg! The Musical!, Beetlejuice, Gypsy, Elf. OffBroadway/regional favs: The Comedy of Errors, Kowalski, … Spelling Bee. TV/film favs: “The Gilded Age,” “Only Murders in the Building.” Northwestern University. @nancyreneebraun. GIGI BUFFINGTON (Speech Text & Dialect Coach). John Proctor Is the Villain; Good Night, and Good Luck; Stereophonic; Between Riverside and Crazy; Cost of Living; Prayer For the French Republic; The Minutes; Clyde’s; Slave Play; Pass Over; Linda Vista; Royal Shakespeare Company; arts professor, Tisch, NYU. BEVERLY JENKINS (Production Supervisor).Recipient Tony Honors for Excellence in Theater. Supervisor for national tours of The Wiz, Summer: The Donna Summer Musical, A Bronx Tale. Over 30 years on Broadway, over 30 productions. Mom. Wife. Howard grad. Life is good. Avid! EDMOND O’NEAL (Production Stage Manager). Broadway: Gypsy, Hadestown. National tours: Ain’t Too Proud. Regional credits: CTG,

A.C.T., WTF. Workshops: The Wrong Man, The Outsiders and Pal Joey. Other: Broadway & Beyond and BTU. Education: Yale School of Drama and the University of Central Florida. TRAVIS BLACKWELL (Stage Manager). Tours: Hamilton (North America, Asia, Australia, Middle East), A Beautiful Noise, The Bodyguard, The Color Purple. NYC/ regional: St. Ann’s, BAM, Park Avenue Armory, Steppenwolf, Weston Playhouse, Glimmerglass. B.F.A.: Memphis. MFA: CCM. Love to Joshua. For Jim. smtravis.com. JULIA FORMANEK (Assistant Stage Manager). Regional: Nobody Loves You, A Strange Loop, Hippest Trip: The Soul Train Musical (American Conservatory Theater); Mexodus, Cambodian Rock Band, Let the Right One In, Goddess (Berkeley Repertory Theatre). “Much love to my family for their support.” THE TRC COMPANY (Casting). Broadway: Dead Outlaw, Boop!, Sondheim’s Old Friends, Buena Vista Social Club, Death Becomes Her, Left on Tenth, The Outsiders, Six, Aladdin. Tours: The Phantom of the Opera, Beauty and the Beast, Water for Elephants, The Wiz, Back to the Future, Les Misérables. ALLIED GLOBAL MARKETING (Tour Marketing & Press) is an integrated agency working with the world’s largest entertainment, consumer and lifestyle brands, including 90+ Broadway shows over three decades. Current tours: Beetlejuice; The Book of Mormon; Dirty Dancing: The Musical ; The Great Gatsby; Hadestown; Kinky Boots; Mamma Mia!; Mrs. Doubtfire; The Notebook; Oh, Mary!; Operation Mincemeat; Waitress. Upcoming tours: R&H’s Cinderella, Elf, The Hip Hop Nutcracker, Just in Time, Ragtime, Riverdance, Schmigadoon!, Two Strangers…. THE ROAD COMPANY (Tour Booking). Founded in 1997 by Stephen Lindsay and Brett Sirota. In addition to The Outsiders, current representation includes Wicked, The Sound of Music, Death Becomes Her, The Great Gatsby, Dirty Dancing, Heathers The Musical, Back to the Future, Kimberly Akimbo, Beetlejuice, Moulin Rouge! The Musical and more.

JUNIPER STREET PRODUCTIONS (Production Management) is proud to be a part of this Tony Award-winning production. JSP was formed in 1998 and has managed more than 120 Broadway, Off-Broadway and national tours. Other select Tony Award-winning productions include Stereophonic, Kimberly Akimbo, Parade, Topdog/ Underdog, A Strange Loop, Harry Potter and the Cursed Child, Moulin Rouge!, The Band’s Visit, Come From Away, Fun Home, Memphis, Grey Gardens and The Producers. juniperstreet.com. 321 THEATRICAL MANAGEMENT (General Manager). Wicked; Purpose; The Outsiders; Kimberly Akimbo; Suzan-Lori Park’s Topdog/ Underdog; A Strange Loop; Fun Home; Gutenberg! The Musical!; Is this a Room/Dana H.; What the Constitution Means to Me; The SpongeBob Musical; War Paint; Oh, Hello!; Fully Committed; If/Then; Peter and the Starcatcher; Bring it On; Sister Act; Traces; Next to Normal; The 25th Annual Putnam County Spelling Bee; The Vagina Monologues; Man of La Mancha; The Graduate; I Love You, You’re Perfect…; and Bat Boy. THE ARACA GROUP (Producer). Founded in 1997 by partners Matthew Rego, Michael Rego and Hank Unger, Araca is a theatrical production and merchandise company. araca.com. AMERICAN ZOETROPE (Producer). In 1969, Francis Ford Coppola founded American Zoetrope in San Francisco as an independent and director-focused filmmaking company. Well-regarded for championing talent and pioneering emerging film technologies, American Zoetrope films have received 16 Academy Awards and 70 nominations. Roman Coppola, President; Michael Musante, Producer; Fred Roos, Producer; Jenny Gersten, Producer. OLYMPUS THEATRICALS (Producer) is a New York-based theater company that focuses on developing and producing commercial theater projects. Established in 2007, Olympus pursues new works, adaptations and revivals in both New York and London. Having produced and invested in over 80 productions, Olympus Theatricals is

and live experiences: Gatsby, Stereophonic, Back to the Future.

Tina: The Tina Turner Musical, The Lehman Trilogy.

SUE GILAD & LARRY ROGOWSKY (Producer) shows have been honored with a Grammy and 22 Tony Awards. Broadway: Moulin Rouge!, The Outsiders, Buena Vista Social Club, Merrily…, Angels in America, Company. International: Burlesque, Purple Rain, When Elvis Met the Beatles. They founded the In Fine Company Broadway Fund and are frequent speakers worldwide, advocating for theater’s power to inspire and transform. infinecompany.com.

JAMESTOWN REVIVAL THEATER (Co-Producer). Known colloquially as “The Architect & The Healer.” Longtime friends turned bandmates.

WARNER BROS. THEATRE VENTURES (Co-Producer). Beetlejuice; Good Night, and Good Luck; The Curious Incident of the Dog in the Night-Time; Elf. Upcoming: The Lost Boys; Dog Day Afternoon.

ANGELINA JOLIE (Producer) is an actress, filmmaker and humanitarian. The recipient of numerous accolades, including an Academy Award and three Golden Globe Awards, her film producing credits include Maleficent: Mistress of Evil, First They Killed My Father, Maleficent, Unbroken, In the Land of Blood and Honey. Angelina is thrilled to be working on her first theatrical producing venture alongside her daughter, Vivienne, who is a supporter of the arts. BETSY DOLLINGER (Co-Producer) Tony Award-winning producer and marketing consultant. Some favorites: Jagged Little Pill, Waitress, Wicked. bdproductionsnyc.com. JONATHAN & MICHELLE CLAY (Co-Producer). Shooting their shot since 2008. Proud parents of their own little Pony and Soda. Stay gold. CRISTINA MARIE VIVENZIO (Co-Producer). SVP, Production and Development at Araca. Endless love and gratitude to the Vivenzio and O’Neill families. THE SHUBERT ORGANIZATION (Co-Producer). Broadway’s largest theater owner and producer of hundreds of shows, including several new productions this season. LACHANZE & MARYLEE FAIRBANKS (Co-Producer) Producers of Stages Podcast, The Outsiders and Kimberly Akimbo. DEBRA MARTIN CHASE (Co-Producer) is a four-time Tonywinning and three-time Emmynominated producer of film, television and theater. SONY MUSIC MASTERWORKS (Co-Producer). Global entertainment company of recorded music

JENNIFER ALLAN SOROS (Co-Producer). Sky-Way Productions/S.E. Hinton’s The Outsiders is a cornerstone of a lifelong passion for fiction. TANNINGER ENTERTAINMENT (Co-Producer). Tulsa is home for Jay Krottinger, Ryan Jude Tanner, Patricia Chernicky. tanningerentertainment. com and Evan McGill Productions. TAMLYN BROOKE SHUSTERMAN (Co-Producer) College Audition advisor, @collegeboundauditionprep, former Broadway performer/ Rockette. Yvonne Yang Spencer (co-pro partner); @mimimedcessories. MISTRY THEATRICAL VENTURES (Co-Producer). An Ann Arborbased venture celebrating the theatrical arts, they’re honored to help bring The Outsiders beyond Broadway! GALT & IRVIN PRODUCTIONS (Co-Producer.) An award-winning native Oklahoma-Texas duo, bringing authentic stories to life. TULSA CLARKS (Co-Producer). With Tulsa roots and shared passion for storytelling, Carrie and Scott share The Outsiders far and wide. PAUL & MARGARET LILJENQUIST (Co-Producer) love chasing thrills with their seven kids. Inspired by their daughter Kate, their newest adventure is Broadway starting with The Outsiders! BOB & CLAIRE PATTERSON (Co-Producer). Rocky River friends of the Rego Family. Proud supporters of the extraordinary musical, The Outsiders.

THE JOHN GORE ORGANIZATION (Co-Producer) companies include Broadway Across America and Broadway.com, led by 25-time Tony-winning producer John Gore. INDEPENDENT PRESENTERS NETWORK (Co-Producer). Consortium of leading presenters of touring Broadway in U.S., U.K. and Asia STEPHEN LINDSAY & BRETT SIROTA (Co-Producer). Tour booking: Wicked, Death Becomes Her and many more. Producing: SpongeBob SquarePants, Oklahoma! and more. JEFFREY FINN (Co-Producer). Two-time Tony winner, having produced over 20 Broadway shows, and thrilled to be a part of The Outsiders. PLAYHOUSE SQUARE (Co-Producer). Based in Cleveland, Ohio, they’re Broadway’s largest touring destination and one of the world’s largest theater districts. ASR PRODUCTIONS (Co-Producer) includes The Outsiders’ Tonywinning co-producers Lisa Alexander-Taylor, Jay and Mary Sullivan and Kevin Ryan. INDELIBLE INK (Co-Producer). Hari Dhillon (actor/investor), Jenifer Evans (entrepreneur/producer) met during Disgraced 2015: specialised alternative investments. LIONHEART PRODUCTIONS (Co-Producer). Theater lover, producer and supporter of the arts. Best of luck to the cast and crew!

VOLTRON GLOBAL MEDIA (Co-Producer). Founders, Steve Greenberg and Mike Fowler, fusing arts with strategic investments. Pioneers in shaping film, TV and technology.

THE BROADWAY INVESTOR’S CLUB (Co-Producer). Founded by Tony Award-winning producers Jason, Kira and Shaina Turchin. More info: investingbroadway.com. @investingbroadway.

JAMES L. NEDERLANDER (Co-Producer). President of Nederlander Organization. Mr. Saturday Night starring Billy Crystal,

STARHAWK PRODUCTIONS (Co-Producer). Wendy Gillespie and Karen Tanz, bringing stories to

THE OUTSIDERS

committed to supporting the next generation of theater makers.

THE OUTSIDERS

light, cultivating imagination and empathy. starhawk.pro. GTR PRODUCTIONS (Co-Producer). Geffen Playhouse, Howard Tenenbaum: Tony winner, The Outsiders, Linda B. Rubin: eighttime Tony winner, Stereophonic. GREEN LEAF PARTNERSHIP (Co-Producer). Grateful to be part of this special production! Wishing love and success to all involved. MICHAEL & ELIZABETH VENUTI (Co-Producer). Thrilled to share their love for The Outsiders with audiences across the country. LESLIE KAVANUAGH (Co-Producer). West to East Productions. UK: Burlesque. NY: Sweeney Todd, Drift the Play, The Outsiders. On to Tulsa! DEBORAH & DAVE SMITH (Co-Producer). Thrilled for their Broadway co-producing debut with this beloved story and heartexpanding production!

JON L. MORRIS (Co-Producer). Dad, partner, developer. Curious, creative, quirky. Proud of the friends who wrote this remarkable musical. BECKY WINKLER (Co-Producer). Underdog champion and arts supporter. Queen-city based entrepreneur and investor. Daughter, partner, sister, friend. WILLIAM MORAN HICKEY JR. & WILLIAM MORAN HICKEY III (Co-Producer). Lauren, Will, Mary Margaret and Bill Hickey thank the entire Outsiders team. Stay gold! MELISSA CHAMBERLAIN & MICHAEL McCARTNEY (Co-Producer). Tony Award-winning Broadway and West End producers, they’re thrilled to support The Outsiders tour. WAVELENGTH PRODUCTIONS (Co-Producer). Led by founder and CEO Jenifer Westphal, Wavelength is the Emmy and Tony-winning studio behind The Outsiders.

BELLE PRODUCTIONS (Co-Producer). Partnership between Tony Award-winning producers (thanks to The Outsiders!). Betsy Dollinger and Ellie Hurwitz.

ROB O’NEILL & SHANE SNOW (Co-Producer). The Outsiders (Tony Award). Global influencers, speakers whose clients include Showrunner, Wired, GQ, Paramount, Warner Brothers, Disney.

CHAS & JEN GROSSMAN (Co-Producer) are thrilled to continue supporting the team at The Araca Group!

ERIC STINE (Co-Producer). Tony Award: The Outsiders. Nomination: Buena Vista Social Club. Love to Neil, Nicholas and Noelle.

RUNGNAPA & JIM TEAGUE (Co-Producer). Jim is the grandfather of Jonathan Clay, one of the three who wrote The Outsiders score.

RACHEL WEINSTEIN (Co-Producer). Three-time Tony Award-winning producer with decades of theater management in NYC, Chicago and London.

MICHAEL & MOLLY SCHROEDER (Co-Producer). Along with Roundstone Insurance, proudly support The Araca Group and The Outsiders team.

CORNICE PRODUCTIONS (Co-Producer). Eric Cornell and Jack Sennott are Tony Awardwinning producers. Upcoming: Anne of Green Gables. @aoggmusical.

CASEY & CHELSEA BAUGH (Co-Producer). Supporting The Outsiders has been a thrill! The Baugh family are fans for life! JIM & EMILY FLAUTT (Co-Producer). Jonathan, Zach, Justin and team: “Thank you for inviting us into the fold. Stay gold.”

LA JOLLA PLAYHOUSE (Co-Producer). The Tony Awardwinning La Jolla Playhouse is a place where artists and audiences come together to create what’s new and next in the American theater. Internationally renowned for the development of new plays and musicals, the Playhouse has mounted 120 world premieres, commissioned over 70 new works and sent 37 productions to Broadway. lajollaplayhouse.org.

STAFF FOR THE OUTSIDERS GENERAL MANAGEMENT 321 THEATRICAL MANAGEMENT Nina Essman Marcia Goldberg Rachel Kaufman Amy Merlino Coey GENERAL MANAGER/DIRECTOR OF TOURING Ken Silverman COMPANY MANAGER Erica Norgaard ASSOCIATE COMPANY MANAGER Liam Millward PRODUCTION MANAGEMENT JUNIPER STREET PRODUCTIONS Hillary Blanken Guy Kwan Kara Kennedy Ana Rose Greene Victoria Bullard Ross Leonard Sadie Alisa Hannah Wilson Abby Filliagi Carolyn Bonaccorsi Chris Childs Burkett Horrigan Laura Zamsky Z Zurovitch TOUR BOOKING THE ROAD COMPANY Stephen Lindsay Brett Sirota Shawn Willet Gracie Lewis Rosa Taylor Shane Parksmith AnaBella Kalish Marissa Brotz trc.nyc TOUR MARKETING & PRESS ALLIED GLOBAL MARKETING Andrew Damer Jennifer Gallagher Scott Praefke Jessica Cary Davis Anne Waisanen Jake Glassman Emily Toppen Maria Bonucchi Amenkha Sembenu Kate Wyman 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 LEGAL COUNSEL LAZARUS & HARRIS LLP Scott Lazarus, Esq. Robert C. Harris, Esq. Carter Anne McGowan, Esq. Diane Viale Patrick Wilcox Production Stage Manager.................................................... Edmond O’Neal Stage Manager........................................................................Travis Blackwell Assistant Stage Manager..............................................................Julia Formanek Directing Assistant............................................................................. Ellie Frances Assistant Fight Choreographer............................................Henry Julián Gendron Associate Lighting Designer..............................................................Nick Solyom Assistant Lighting Design....................................................................Katy Atwell Associate Sound Designer/Programmer....................................................Thomas Ford Assistant Sound Designer.......................................................Heather Augustine Associate Projection Designer.......................................................... Hannah Tran Projection Assistant.........................................................................Jesus Hurtado Associate Costume Designer..................................................... Martín Lara Avila Assistant Costume Designer..........................................................James Nguyen Costume Coordinator.........................................................................Emma Pollet Associate Hair Designers....................................................Briana Capo, Rose Eubanks Assistant Makeup Designer...........................................................Michael Clifton Special Effects Design Manager...........................................Katia Carmichael Assistant Music Supervisor...............................................................Andrea Yohe Company Management Assistant..................................................Vivienne Jolie Production Assistants......................................................Kyra Bowie, Via Greene

Production Carpenter.............................................................................Fred Gallo Assistant to Production Carpenter...............................................Patricia Masera Production Electrician..............................................................................Dan Coey Associate Production Electrician........................................................Matt Hrinko Lighting Programmer............................................................................David Arch Production Sound.................................................................................Mike Tracey Production Video..........................................................................Asher Robinson Associate Production Video..............................................................R. Alex Joans Video Programmer................................................................................Ido Levran Special Effects Programmer.............................................................Kevin Wilson Production Props Supervisor.............................................................Buist Bickley Associate Production Props............................................................. Avara Hebert Production Wardrobe Supervisor.............................Mary Johnston Rutherford Production Hair and Makeup Supervisor................................................Briana Capo Head Carpenter................................................................................Michael Bruno Assistant Carpenter/Flyman........................................................Graham Savage Advance Carpenter/Crew Swing.....................................................Patrick Hearn Head Electrician.....................................................................................Riley Wood Assistant Electrician/Follow Spot..................................................... Judith Lopez Assistant Electrician/Deck & Video.................................................Joseph Fisher Sound Mixer.............................................................................Jacob Montgomery Assistant Sound.......................................................................................Zelma Sell Head Props............................................................................................Serena Slie Assistant Props................................................................................................ Koob Wardrobe Supervisor.....................................................................Meredith Scott Assistant Wardrobe..............................................Ryan Masline, Katie Trantham Hair/Makeup Supervisor...............................................Brittany “Duckie” Steele Assistant Hair/Makeup Supervisor................................................Jasper Somers Casting Associate.......................................................................Louis DiPaolo CSA National Press Representative......Boneau/Bryan-Brown, Adrian Bryan-Brown, Heath Schwartz, Jordan Goins Social Media...............................Marathon Digital/Mike Karns, Melanie Pateiro, Jacob Malizio,Beverly Batzel, Taylor Merced, Remi Presky Program Cover Artwork.............................................................Andy Henderson Human Resources...........K+K Reset LLC/Kiah Jones, Karen Robinson-Cardoza Marketing Manager..........................................................................Rose Sullivan Educational Consultant............................................................. Rachel Weinstein Broadway Company Manager...................................................Michael Altbaum 321 Theatrical Finance Director.................................................KeriAnne Murphy 321 Theatrical Investor Relations...................................................Rebecca Peterson 321 Theatrical Founding Partner........................................................Nancy Gibbs 321 THEATRICAL MANAGEMENT Kendall Booher Maddy Cohen Theresa Cooper Katherine Engel Arella Flur Marissa Gonzales Jason Haft Jovan Kala Hannah Camille Kerber Hilary Hamilton Jen Harris Matthew Krawiec Michael Luciano Jaide Malone Michael Manasseh Marjorie Murillo Samantha Omari-Cendejas Emily Powell Steve Quinn Alec Richards Jenelle Russell Viraj Shriwardhankar Spencer Smith Emmy Steele Abi Steinberg Emily Witham Jasmine Zang Accountant.................WithumSmith+Brown/Robert Fried, Karen Kowgios, Scott Bartolf, Anthony Moore, Lara Waldner, CPAs Banking.............................................................................. City National Bank Payroll Service.....................................................................Checks & Balances Insurance.......................................................DeWitt Stern/Peter Shoemaker Production Photographer....................................................Matthew Murphy Physical Therapy..............................................Neurosport Physical Therapy/ Hannah Mark, PT, DPT Housing...................................................................................................DebCo Merchandise...........................................................................The Araca Group Manager, Production and Development................................. Sophie Glassman American Zoetrope Staff.......................................................... Gordon Wang, James Mackoski, Mike Zakin Olympus Theatricals............... Dean Vanech, Elizabeth Timperman, Kirsten Berkman, Christopher Bodell, Nick Vanech outsidersmusical.com @outsidersmusical

SPECIAL THANKS Holly Frederick, Tulsa Office of Film, Music, Arts & Culture. George Kaiser Family Foundation

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

As the national sponsor of The Stay Gold Project, SONIC is proud to give students across the country the chance to experience The Outsiders. Powered by the SONIC® Foundation, SONIC donates a portion of proceeds from every Drink, Slush, Shake and Blast purchase back to local schools. CREDITS Scenery and scenic effects built, painted and automated by Empire Technical Fabrication, Wayne, NJ. Lighting, Audio & Video equipment from PRG Broadway. Video System Design & Support provided by Disco Pixel Productions. Special effects equipment by J&M Special Effects. Soft goods by Props by Prop & Paint Creative Studio LLC, Rob McFayden, BB Props, Susan Barras, J.P. Carrier. Costumes by Mindy L’Amour, BrooksMasline, Siam Costumes and Tess Mattraw. Costume embroidery by Veronika Carmichael & Amy Micallef. Painting & Distressing by Hochi Asiatico and Mieka van der Ploeg. Fabric Printing by InVogue Studios NYC. Alterations by The Outsiders Broadway Wardrobe Team.Show curtain projection art inspired by Richard M. Powers. Asset clearance and licensing by Janet Billig Rich and Lisa Moberly for Loudspeaker Music Group. Cool Hand Luke footage licensed by Warner Bros.Entertainment, Inc. The Outsiders was rehearsed at Open Jar Studios. 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. The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.). United Scenic Artists represents the designers and scenic painters for the American Theatre. The Press Agents and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers. The musicians employed in this production are members of the American Federation of Musicians.

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 Thomas Berning Perry Elliott Allen Olmstead

Albert Sainz Sr. Amanda Short Josh Thurman Derek Tovar

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

PRE-ORDER YOUR DRINK Available 1 hour before showtime and during intermission

The Denver Performing Arts Complex is owned and operated by Denver Arts & Venues for the City and County of Denver. City and County of Denver Mike Johnston, Mayor Denver Arts & Venues Gretchen Hollrah, Executive Director Jen Morris, Deputy Executive Director Tariana Navas-Nievas, Deputy Executive Director Denver Arts & Venues, Arts Complex Operations Jody Grossman, Venue Director Todd Medley, Facilities Superintendent Kelly Graham, Safety, Security and Garage Operations Manager Carol Krueger, Senior Operations and Guest Experience Manager artscomplex.com | (720) 865-4220

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DCPA EVENT SERVICES OPERATIONS Scene Shop Eric Moore................................Technical Director Janice Sinden............................President & CEO Brook Nichols..........Event Technical Director Sarah Arzberger, Donna Hendricks..............Executive Assistant, Aidan Gagner...............................Video Engineer Danielle Freeman....................................Managers Albert “Stub” Allison, Robert L. Orzolek, President & CEO Michael Harris.........................Lighting Designer Aaron Chavez.......................................................Lead Josh Prues.......Associate Technical Directors Julie Schumaker........................................Manager, Charya Sein-Ware.............. Lighting Designer- Ruben Cruz.............Senior Network Engineer Jeremy Banthoff, Tyler D. Clark, Board Relations Electrician Jordan Latouche.......................................Engineer Kyle Scoggins.......................Scenic Technicians Stori Heleen-O’Foley............... Event Technical Simone Gordon............................................Director Wynn Pastor.......................Scenic Technician & ACCOUNTING & FINANCE Purchasing Agent Manager Kyle Greufe....................................................Manager Jane Williams......................................................CFAO Shane Hotle.................................. Audio Engineer Maria Herwagen...........................................Analyst Louis Fernandez III......Lead Scenic Technician Sara Brandenburg.....................................Director, Kris Lawan, Brandon LeMarr...................Associate Director Brian “Marco” Markiewicz.....Lead Carpenter Accounting Services Savannah Singleton.................. Event Captains Alison Orthel, Tara Perticone..............Analysts Scenic Design Kristina Monge..............Associate Accountant Danielle Levine, Blair Quiring.......Senior Sales Joseph Reecher.........................Senior Engineer Lisa Orzolek....................................................Director Jennifer Siemers.............Director, Accounting & Event Managers Nicholas Renaud.......................................Assistant Caltara Zoellner..............Accounting Manager Jacob Noon, Phil Rohrbach......Sales & Event PEOPLE & CULTURE Sound Design & Technology Managers Laura Maresca. . .................................................CPCO BROADWAY & CABARET Alex Billman..............................................Supervisor Benjamin Peitzer.......... Event Technical Lead John Ekeberg..........................Executive Director Equity & Organization Culture Meagan Holdeman+, Kaden Richter.............................. Audio Engineer Seán Kroll......................................................Specialist Timothy Schoeberl+, Administration INFORMATION TECHNOLOGY Dimitri Soto+..........................................Technicians Ashley Brown.........................Business Manager Human Resources Lisa Prater...........................Operations Manager Lisa Roebuck..................................Vice President Brian Carter.................Senior Business Partner Elijah Ruddick..............................................Assistant For security purposes, the IT team has been omitted. Andrew Guilder........Recruiter & HR Generalist Stage Management Garner Galleria Theatre Paul Johnson...............................................Manager, Anne Jude.................................................Supervisor Abel Becerra...............................Technical Director MARKETING & SALES Payroll & Compliance Wayne Breyer, Corin Davidson, Elizabeth Angela Lakin...................................Vice President Jason Begin+, Jocelyn Martinez.....................Business Partner Ann Goodman, Harper Hadley, Sage Anna Hookana+.....................Core Stagehands Whitney Testa....................Executive Assistant, Marketing & Broadway Daniel Mothershed..........Mailroom Associate Hughes, Nick Mason, Nick Nyquist, Brooke DEVELOPMENT Kinsey Scholl.................... Manager, Operations Redler, Malia Stoner................Stage Managers Communications Aissata Alou, Drea Brown, Jamie Clements............................Vice President THEATRE COMPANY Hazel Forkner, Anna Higgins, Suzanne Yoe..................................................Director Sarah Darlene..............................................Manager, Danae Johnson..................................Apprentices Administration Heidi Bosk, Grants & Reports Julia Dunn......Manager, Donor Engagement Brittany Gutierrez.............Associate Directors Charles Varin......................... Managing Director Wardrobe & Legacy Giving Todd Metcalf..................................Media Producer Tamarra Nelson......................Business Admin./ Heidi Echtenkamp................................Supervisor Asst. Company Manager Kara Erickson-Stiemke........Manager, Annual Creative Services Robin Appleton^, Giving & Stewardship Kyle Malone....................................................Director Jessica Eckenrod...........................Line Producer Amber Krimbel^, Lauren LaCasse^, Alex Koszewski. . .................Company Manager Emily Kettlewell................Director, Operations Sofia Contreras, Lisa Parsons Wagner^, Nicole Watts^, Caitie Maxwell....Senior Director, Major Gifts Lucas Kreitler.........................Graphic Designers Ann Marshall.............................General Manager Kami Williams-Castro^...........................Dressers Marc Ravenhill..............................................Director, Paul Koob...................Senior Graphic Designer Artistic Wigs Donor Relations Noelle Norris.........................Traffic Coordinator Chris Coleman.............................Artistic Director Diana Ben-Kiki........................................Supervisor Sarah Smith...........................................Coordinator Grady Soapes...... Senior Artistic Producer & Abby Schmidt^, Megan Stewart.................... Associate Director, Digital Casting Director Marisa Sorce^...................Hair/Wig Technicians Special Events Michael Ryan Leuthner...........................Director Leean Kim Torske......................................Director, VENUE OPERATIONS Erin Bunyard...............................Senior Strategist Literary Programs EDUCATION & Harper Anne Finch........Manager, Social Media Madison Cook-Hines..........Literary Associate Glen Lucero.....................................Vice President COMMUNITY ENGAGEMENT Hannah Selwyn................................Manager, Email Kristi Horvath.................................................Director Allison Watrous....................Executive Director Sergio von Kretschmann........Manager, Web Costume Crafts Merry Davis.............................Financial Manager Stuart Barr................................Technical Director Kevin Copenhaver......................................Director Jane Deegan.......Venue Operations Finance Lyndsay Corbett.....................Teaching Artist & Insight & Strategy Chris Campbell...........................................Assistant & Procurement Specialist Manager, Bobby G Emily Kent.......................................................Director Samantha Egle...........................................Manager, Elliot Davis............................Evening Registrar & Dan McNulty...................................................Analyst Costume Shop Event Operations Janet MacLeod........Director/Design Associate Office Coordinator Marketing Meghan Anderson Doyle.......Design Associate Facilities Rachel Ducat................................................Director, Business Operations Claire Graves..................................................Director Katarina Kosmopoulos...................... First Hand Craig Smith.....................................................Director Rya Dyes....................................................Registrar & Emily Lozow...........................Associate Director Ingrid Ludeke, Dwight Barela, Mark Dill, Bryan Faciane, On-Site Class Manager Maddie Lamb, Emmy VanLangevelde, Carolyn Plemitscher..................................Drapers John Howard, Iver Johnson............ Engineers Timothy McCracken.................Head of Acting Julie Whelan Van Son..........................Managers Ana Esparza, Saleem As-Saboor, House Crew Adriana Fuentes, Carmen Molina, Rick Mireles....................................................Director, Mikayla Woods.........................................Associate Heather Sparling+....Supervising Stagehand Juan Loya Molina, Judith Primero Molina, Community Engagement Ticketing & Audience Services James Berman+, Vanessa Janson+, Blanca Primero......................................Custodians David Saphier.......Teaching Artist & Manager, Jennifer Lopez..............................................Director Will King, Dave Mazzeno+, Kyle Moore+, Michael Kimbrough.....Manager, Engineering In-School Programming Jessica Alverson*, Megan Dille*, Matt Wagner+..........................................Stagehands Oscar Fraire...........................Manager, Custodial Charlotte Talbert........................................ Librarian Zeah Edmonds*, Kaitlin Evans*, Joseph Price+, Kelley Reznik+....Technicians Brian McClain...................Supervisor, Custodial Rachel Taylor.......Teaching Artist & Manager, Lauren Estes*, Jen Gray*, Literary Engagement & Resiliency Noah Jungferman*, Oliver Knight*, Lighting Design Patron Experience Justin Walvoord......................Teaching Artist & Reagan Luchte*, Alix Maulitz*, Holly Charles MacLeod........................................Director Kaylyn Kriaski..............................................Manager Manager, Shakespeare in the Parking Lot Stigen*, Asheala Tasker*, Connor Baker+............ Production Electrician Samuel Wood.................Director, Education & Rob Warner*.................................... Ticket Agents Lily Bradford.................................................Assistant LeiLani Lynch, Aaron McMullen, Stacy Norwood, Wendy Quintana, Kelci Rigsby, Curriculum Development Kirsten Anderson*, Scott Lix*, Valerie Schaefer, .................Managers on Duty Paint Shop Liz Sieroslawski*, Greg Swan*........................Subscription Agents Kristin Hamer MacFarlane.......................Charge Kelly Breuer, Nora Caley, Robin Lander, Scenic Artist Melanie Mason, Barbara Pooler, Amanda Foust*, Edmund Gurule*, Brett Ayden Smith..............................House Managers O’Neill*, Hayley Solano*, Andrew Sullivan*, Melanie Rentschler, Bronwen VanOrdstrand*, Alfonso Sasha Seaman.................................Scenic Artists Safety & Security Vazquez*, Quentin Crump............................................Director Max McCord*.................. Counter/Show Leads Production Timothy Allen, Jon Collins, D.J. Dennis..........................Manager, Jeff Gifford......................................................Director Jodi Benavides............Lead Security Officers Subscription Julie Brou.................Administrative Assistant/ Office Manager David Bright, Ariana Cuevas, Billy Dutton............................ Associate Director, Ethan Kemberlin, Jack Leatherwood, Ian Operations Matthew Campbell.............Senior Production Nelson, Ashley Skillman, Zach Stemley, Manager Katie Davis, Claire Hayes, Tori Witherspoon..............Security Specialists Ella Mann...........................Managers, Box Office Peggy Carey..................... Production Manager Chris Leech.................VIP Ticketing Associate Prop Shop Katie Spanos......................... Associate Director, Subscriber Services Meghan Markiewicz.............................Supervisor Sara Pugh...........................Associate Supervisor Group Sales Andrew Babb, Ashley Lawler...............Artisans Jessica Bergin.......................Associate Director Adena Rice.......................................Prop Carpenter Elias Lopez, Valery Owen...............Associates, * Member, I.A.T.S.E. Local B-7 Group Sales & Education + Member, I.A.T.S.E. Local 7 ^ Member, I.A.T.S.E. Local 719

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A MUSICAL RENAISSANCE: A BEAUTY, A BEAST, AND THE RETURN OF THE MUSICAL

In 1989, Disney premiered The Little Mermaid, its first major animated hit in more than two decades. With this instant classic, Disney animation entered a new golden age, which would later be referred to as the “Disney Renaissance.” Not only did this film turn out to be hugely consequential for Disney, it would change the fortunes of the Broadway musical form and Broadway itself, while also paving the way for its Oscar®-winning follow-up: Beauty and the Beast. On the night of The Little Mermaid’s premiere at Walt Disney World, a young screenwriter, Linda Woolverton, was introduced to the film’s songwriters, composer Alan Menken and lyricist Howard Ashman. Woolverton had just turned in a draft of a non-musical screenplay of Beauty and the Beast, and that night began the trio’s collaboration to make the film a musical. “I was overcome with excitement to think how this amazing musical team would transform Beauty and the Beast,” she recalls.

BY JEFF KURTTI

Beauty and the Beast, in turn, transformed the medium of animated films and introduced the Broadway “book musical” – where characters convey plot and emotions via song – into the mainstream movie form. The next several Disney animated films continued this Broadway aesthetic. “We knew that what we were bringing to the animated musical was something closer to the process of writing stage musicals than to the music video format of 1980s movie musicals,” Menken says. The animated feature Beauty and the Beast met with rave critical reviews – but one stood out. At the end of 1991, the tough chief theater critic of the New York Times, Frank Rich, announced that “the best Broadway musical score of the year” had not premiered on a stage – but in the animated film Beauty and the Beast. From that observation, a new Disney Company was born: Disney Theatrical Productions. Its first project? A stage adaptation of Beauty and the Beast.

APPLAUSE • SEP – NOV 2026 • 303.893.4100 • DENVERCENTER.ORG

In 1994, Beauty and the Beast opened on Broadway and was an overnight success. The stage adaptation allowed the creative team to expand the score and deepen the story and characters. The stunning songs “Home,” “If I Can’t Love Her,” and – eventually – “A Change In Me” were added. Among many story changes, Woolverton made one ingenious alteration to the enchanted objects. In the film, they had been fully transformed into inanimate objects from the beginning. Onstage, they were still partially human, adding heartache to their cruel metamorphosis and solving the practical problem of scale for adults playing tiny objects. The original Broadway production of Beauty and the Beast received nine Tony Award® nominations, including Best Musical, winning one. The production ran for a remarkable 13 years, securing a place on the list of Top 10 longest Broadway runs in history through 2025. It continued its success worldwide; the Broadway production was replicated in 34 productions in 16 countries on six continents, and the script has been licensed to professionals and amateurs an extraordinary 60,000 times.

We knew that what we were bringing to the animated musical was something closer to the process of writing stage musicals than to the music video format of 1980s movie musicals. — ALAN MENKEN, COMPOSER But the show’s impact is greater still: by the time the Broadway musical opened in 1994, the Disney animated musicals had revitalized the obsolete book musical form and, ever since, generations have carried their love of movie musicals to stage musicals, paving the way for shows like Dear Evan Hansen and Hamilton to find commercial success. That’s due, in no small part, to Woolverton, Menken, Ashman, and the creative voices behind the original production of Beauty and the Beast. In the decades since, Woolverton found enormous success with her work on the screenplays The Lion King (which launched its first national tour in Denver’s Buell Theatre in 2002), Mulan, Alice in Wonderland, and Maleficent, and co-writing the Broadway smash AIDA. The works that Menken and Ashman collaborated on, too, still have an outsize presence in film and stage musicals. All three of their Disney animated musicals were adapted into live action remakes; and both Aladdin and Beauty and the Beast are among the Top 15 longest runs in Broadway history. The 2019 revival of Little Shop of Horrors continues its smash off-Broadway run. What makes this brand-new production of Beauty and the Beast so special? Menken and Woolverton, two of that trio of creators, continue to evolve and develop the show, alongside original Broadway team members like director/choreographer Matt West. New dance arrangements, new choreography and new scenes continue the show’s evolution, creating a theatrical experience that is faithful to the original while also breaking new ground in technology and modern storytelling. In this way, the award-winning collaboration of Woolverton, Menken, and Ashman endures to this day, leaving an indelible mark on the history of Broadway.

DISNEY’S BEAUTY AND THE BEAST OCT 20–NOV 7 • BUELL THEATRE

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

COMING UP

FAMILY FAVORITES, HOLIDAY HITS, and CROWD PLEASERS As the holidays approach, Denver audiences can choose from a lineup filled with beloved characters, returning favorites, seasonal traditions, and nostalgic stories brought to life on stage. Families have a variety of options starting this fall with Don’t Let the Pigeon Drive the Bus! The Musical!, which brings Mo Willems’ famously determined bird to the stage, while Bluey’s Big Play turns the hit Australian TV show into a live theatrical adventure for young audiences and their grownups. Several audience favorites are also making a return. Waitress, featuring music and lyrics by Sara Bareilles, tells the story of a small-town baker searching for a fresh start, while Jersey Boys revisits the rise of Frankie Valli and The Four Seasons through a soundtrack of iconic pop hits. Across the way in the Garner Galleria Theatre, What a Glorious Feeling! takes audiences back to Hollywood’s golden age through the song and dance of Singin’ in the Rain. It wouldn’t be the holidays without the Denver Center Theatre Company’s annual production of A Christmas Carol returning to the Wolf Theatre, while Mannheim Steamroller Christmas by Chip Davis and ELF The Musical return to light up the Buell Theatre. With such a variety from which to choose, pick one or all and return with your loved ones for a fun-filled end to 2026! TOP: Felicia Martis (Jovie) and Jack Ducat (Buddy) in ELF North American Tour, 2025. Photo by Evan Zimmerman for Murphymade. BOTTOM: The cast of Bluey’s Big Play, Theatre Royal Sydney, 2025.

ZACARÍAS RETURNS WITH DESTINY OF DESIRE DELIVERING GUILTY PLEASURES SMARTLY BY L I S A K E N N E DY

If as many as two billion people watch telenovelas, or a regional version of the episodic melodramas, as some reports suggest, then it can’t come as a surprise that so many of us have a story about, well, our “stories.” “My stories” — that’s how the beauticians on the Kearney Street storefront strip in the Park Hill neighborhood referred to their soaps, the cousin of the telenovelas. “There was one with a girl who ran on the beach,” the award-winning playwright Karen Zacarías recounted recently of the telenovela she watched as a kid. “And every time we were on the beach, my sister and I would do that.” She stopped to imitate a slow-motion montage of the surf scene with mirth. Even at a tender age, she was tuned into the drama but also the pleasures of telenovelas. When Zacarías returned to the genre as a playwright in the mid-2010s, it was with a different lens. As one of the cofounders of the Latinx Theatre Commons, a national

network of theater-makers working to expand and deepen representation, she discovered that she was not alone in her frustration with the ways the word “telenovela” was often used by theater reviewers to describe performances and plays by Latiné artists. “It’s a shorthand. It’s always used in a kind of derogatory fashion. It’s never like, oh, this is wonderful.” A gauntlet was thrown. “I remember thinking, I’m going to write the best darn telenovela,” Zacarías said on a video call. And so, she set about interrogating the genre, planning to make clear what it actually is, so that culturally clumsy critics couldn’t easily equate it with every other play performed or written by and about the boundless Latino experience. Only a funny thing happened on the way to writing that play. Zacarías found she also had to question the discomfort she and her fellow creatives felt with the comparison. “Why do we get offended by being called a telenovela?” she recalled thinking. “What is it about us? Why are we so

APPLAUSE • SEP – NOV 2026 • 303.893.4100 • DENVERCENTER.ORG

snobby?” As she watched anew, she made a discovery. “What happens with melodrama is that you sit there going, ‘oh, this is so stupid.’ And then suddenly you’re like [she feigns a gasp] ‘What’s going on!?’” There will be gasps aplenty when the Castillo and del Rio families of the fictional town of Bellarica, Mexico, take the stage in — cue the portentous music — Destiny of Desire. There will also be laughter. How could you not giggle at the disaster that befalls Fabiola Castillo, grasping second wife of casino owner Armando, when she asks Dr. Mendoza to switch her dying infant with the healthy newborn child of the wondrously compassionate Hortensia del Rio (the Castillo’s housekeeper) and her hard-laboring husband Ernesto?

What happens with melodrama is that you sit there going, “oh, this is so stupid.” And then suddenly you’re like [she feigns a gasp] “What’s going on!?” — KAREN ZACARÍAS, PLAYWRIGHT

As playful as the script is, make no mistake Zacarías hasn’t written a spoof. “Oh, no, that’s not my intent at all,” she said. Instead, she teased and tested the question, “What does it mean if we try to make it feel like higher art?” Still, like any telenovela worth its salty tears, Destiny of Desire touches on class, on romance, on betrayal, on cultural even religious mores but with twists. Zacarías subtitled the work, A Brechtian Telenovela in Two Acts. A disruptor of traditional theater, the 20th-century German playwright Bertolt Brecht, liked to remind his audiences that they were watching something made-up, something performed. Fourth wall be breached. Actors carried placards and acknowledged that they were acting. Unlike their role in traditional musical theater, songs weren’t included to further emotions too big for the characters to express in words but arrived instead as yet another mode of interruption. Another nudge to think again. “With melodrama comes the idea of music, right? — melos is part of that,” Zacarías said about her own use of songs in the play. Destiny of Desire is the fourth Zacarías play produced by the Theatre Company. Mariela in the Desert, Native Gardens, and Just Like Us (her adaptation of the author Helen Thorpe’s nonfiction book about four friends on Denver’s Northside whose divergent immigration statuses become an issue as they prepare for college) found a home on the Denver Center’s stages. (Last spring, Zacarías’s trimmed down version had a lauded run at Su Teatro.) With this latest play, she becomes the most produced female playwright in the Theatre Company’s nearly 50year history, appearing on all three main stages. “I’m very excited that I’m getting to come back to Denver,” she said. “I love Denver, it’s been home to me in many ways.” For this mounting of Destiny of Desire, Zacarías and director Marcela Lorca asked themselves time and again, “How do we make it beautiful? It’s a really interesting experiment in tone,” she believes. “The word everyone keeps using is subversive. That it feels subversive.” Audiences laugh and gasp, but somewhere Brecht is grinning.

DESTINY OF DESIRE: A TELENOVELA PLAY WITH MUSIC SEP 11–OCT 4 • WOLF THEATRE

ASL Interpreted, Audio Described, and Open Captioned performance: Sep 27 at 1:30pm Stay for a free post-show discussion on Sep 17, 22 & 30. Spanish language interpretation available Sep 17 and Oct 3.

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Check on-site signage or the program insert for your theatre’s QR code, menu, and pickup location.

THE SHOW GOES ON. When creator/performer Todd Danielson was 44 years old, he had a seizure, the result of a tumor in his frontal lobe. Now, he’s taking on his second act. Learn more about Todd’s story at uchealth.org/tomorrow. 26

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THE POWER OF THE PAUSE:

How Theatre-Based Coaching Helped Build Confidence in Public Speaking BY MADISON STOUT

The best public speakers aren’t born. Confidence at the podium is built through preparation, practice, and purposeful coaching. When Delanie Baumgartner enrolled in one-on-one public speaking coaching through the Denver Center for the Performing Arts (DCPA), her goal was clear: become more confident speaking in front of groups. As a member of the Downtown Denver Partnership’s Civic Engagement and Development team, Baumgartner regularly engages in public speaking. She connects with the organization’s 500 member companies, leads events and tours, and communicates complex initiatives. “I run a lot of our member programming, speaking to 30 to 45 people all the time,” she shared. “Before these classes, my boss often told me I needed to speak louder so people could hear me.” Through the corporate coaching program, Baumgartner met Samuel Wood, DCPA’s Director of Education and Curriculum Development. Together, they embarked on a journey that became about more than simply speaking louder. “We didn’t start with her speech,” Wood explained. “We started with basic projection voice work, thinking about how to make her voice carry.” From hallways to parking lots, the pair practiced articulation, breath control, storytelling, and techniques for speaking in open-air environments. This individualized approach reflects DCPA Education’s boutique approach to learning. The team begins by understanding what success looks like before designing sessions around their goals and strengths. The philosophy isn’t about correcting weaknesses as much as uncovering potential. “Delanie is a great public speaker,” Wood said. “How do we use what she’s already doing really well and strengthen that?” This strengths-based approach helped Baumgartner identify the root causes behind her nerves. “Coming into it, I didn’t really know,” she said. “I just knew that I get kind of shaky when I stand in front of a group of people.” As the sessions progressed, she realized much of her anxiety stemmed from concerns that people couldn’t hear her or that she wasn’t communicating her ideas clearly. What followed wasn’t just an improvement in technique; it was a change in confidence. “I think those two things are really tied together: learning how to project and being prepared,” Baumgartner said. “That builds confidence.” Along the way, she also became more aware of her communication habits. Her vocal energy would drop at the ends of sentences, she rushed to fill moments of silence, and often she relied on vague words when more specific language would serve her audience better. “I feel more confident when I sit and think about what I’m going to say before rambling on,” she said. “If I don’t have the right thing to say, I don’t need to fill the silence.” “The biggest improvement I’ve noticed is that she pauses and thinks about what she wants to say before saying it,” Wood said. For Baumgartner, the impact has already been significant. Her biggest takeaway? Confidence doesn’t come from eliminating nerves. It comes from building the skills to navigate them.

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C One of our core values at Carboy is growing a community and creating a cultural experience for wine in Colorado.

Carboy Winery is excited to announce its partnership with the Denver Center for the Performing Arts (DCPA), bringing together Colorado’s flourishing wine scene and the city’s dynamic arts community. This collaboration reflects Carboy’s ongoing commitment to enriching the local landscape and fostering meaningful connections through wine. Known for its innovative and bold approach to winemaking, Carboy has played a pivotal role in the Colorado wine renaissance. “One of our core values at Carboy is growing a community and creating a cultural experience for wine in Colorado,” says Kevin Webber, CEO and cofounder. “Partnering with the Denver Center for the Performing Arts allows us to further that mission by supporting one of the state’s most influential creative institutions.” Carboy Winery remains steadfast in its mission to increase awareness of Colorado wine and embed it into the state’s ethos through a variety of imaginative initiatives. This partnership with the Denver Center for the Performing Arts exemplifies Carboy’s dedication to that vision. By blending the art of winemaking with the energy of live theater, Carboy seeks to make Colorado wine an essential part of the community experience. The collaboration provides an opportunity to highlight the unique character of Carboy’s wines while engaging audiences in a way that celebrates the innovation and vibrancy of the region. Through this alliance, Carboy is redefining how people experience both wine and the arts, inspiring a deeper connection to Colorado’s adventurous spirit.

— KEVIN WEBBER, CEO AND CO-FOUNDER, CARBOY WINERY

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THANK YOU The Denver Center for the Performing Arts gratefully acknowledges the generous support of the following donors of $250+ between July 1, 2025 and June 30, 2026. + Women’s Voices Fund Founding or Lifetime Member * Deceased

EXTRAORDINARY GIVING Anonymous Donor Robert and Judi Newman Scientific and Cultural Facilities District The Thomas S. and Mary K. Bagley Foundation CHAIRPERSON’S CIRCLE PLATINUM ($100,000+) Marike & Greg Fitzgerald Genesee Mountain Foundation The Shubert Foundation Mr. Robert B. Sturm U.S. Bank UCHealth CHAIRPERSON’S CIRCLE GOLD ($50,000-$99,999) Bret & Cindy Bolin Chevron Corporation Kathie & Keith Finger Deborah Kelly Kevin & Dorota Kilstrom Lewis E. Myers, Jr. Scholarship Fund The Morgridge Family Foundation Robert W. Kinne Revocable Trust* The Rollie R. Kelley Family Foundation CHAIRPERSON’S CIRCLE SILVER ($25,000-$49,999) Ameristar Black Hawk The Anschutz Foundation Bedrock Landscaping Materials, Everett Schneider & Robert Phifer BOK Financial Jackie & Gail Frank Rich Garvin Elizabeth & Nelson Hioe Nicholas & Jennifer Kemp Kiley-Knox Family Fund

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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

The 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

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