Digital programs for events at Wharton Center for Performing Arts. 

Digital Programs

# **London Philharmonic Orchestra**

## AUTUMN 2024 US TOUR

Edward Gardner\
Principal Conductor

Randall Goosby\
violin


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**Ludwig van Beethoven** (1770-1827)\
*Overture, Egmont,* Op. 84

**Samuel Barber** (1910-1981)\
Violin Concerto, Op. 14

*Allegro*\
*Andante*\
*Presto in moto perpetuo*



**Intermission**



**Pyotr Ilyich Tchaikovsky** (1840-1893)\
Symphony No. 4 in F minor, Op. 36

*Andante sostenuto – Moderato con anima*\
*Andantino in modo di canzona*\
*Scherzo (Pizzicato ostinato): Allegro*\
*Finale: Allegro con fuoco*

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This performance will run approximately 100 minutes, including a 20-minute intermission.

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The LPO’s Autumn 2024 US tour is made possible with the support of Dunard Fund USA and the American Friends of the London Philharmonic Orchestra.

Media Partner: WKAR

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program

Jackson National Life Insurance Company

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**Principal Conductor:** Edward Gardner\
*Supported by Aud Jebsen*\
**Principal Guest Conductor:** Karina Canellakis\
**Conductor Emeritus:** Vladimir Jurowski KBE\
**Artistic Director:** Elena Dubinets\
**Chief Executive:** David Burke\
**Patron:** HRH The Duke of Kent KG

people

**FIRST VIOLINS**

**Pieter Schoeman**: Leader\
*Chair supported by Neil Westreich*\
**Alice Ivy-Pemberton**: Co-Leader\
**Vesselin Gellev**: Sub-Leader\
Kate Oswin\
*Chair supported by Eric Tomsett*\
Lasma Taimina\
*Chair supported by Irina Gofman & Mr Rodrik V. G. Cave*\
Minn Majoe\
*Chair supported by Dr Alex & Maria Chan*\
Thomas Eisner\
*Chair supported by Ryze Power*\
Martin Höhmann\
Alice Hall\
Yang Zhang\
Cassandra Hamilton\
Elizaveta Tyun\
Nilufar Alimaksumova\
Amanda Smith\
Ronald Long\
Chu-Yu Yang

### **SECOND VIOLINS**

**Tania Mazzetti**: Principal\
**Emma Oldfield**: Co-Principal\
Claudia Tarrant-Matthews\
Sophie Phillips\
Nancy Elan\
Fiona Higham\
*Chair supported by David & Yi Buckley*\
Marie-Anne Mairesse\
Ashley Stevens\
Sioni Williams\
Kate Cole\
Jessica Coleman\
Alison Strange\
Charlie MacClure\
Jamie Hutchinson

### **VIOLAS**

**Scott Dickinson**: Guest Principal\
Martin Wray\
*Chair supported by David & Bettina Harden*\
Katharine Leek\
Benedetto Pollani\
Laura Vallejo\
Lucia Ortiz Sauco\
Jisu Song\
Kate De Campos\
Shiry Rashkovsky\
Linda Kidwell\
Michelle Bruil\
Julia Doukakis

### **CELLI**

**Kristina Blaumane**: Principal\
*Chair supported by Bianca & Stuart Roden*\
Waynne Kwon\
David Lale\
Hee Yeon Cho\
Nina Kiva\
Helen Thomas\
George Hoult\
Sibylle Hentschel\
Iain Ward\
Jane Lindsay

### **DOUBLE BASSES**

**Kevin Rundell**: Principal\
**Sebastian Pennar**: Co-Principal\
Hugh Kluger\
George Peniston\
Tom Walley\
*Chair supported by William & Alex de Winton*\
Laura Murphy\
Charlotte Kerbegian\
Lowri Estell

### **FLUTES**

**Fiona Kelly**: Guest Principal\
Ellie Blamires\
Stewart McIlwham

### **PICCOLO**

**Stewart McIlwham**: Principal

### **OBOES**

**Ian Hardwick**: Principal\
Alice Munday

### **CLARINETS**

**Benjamin Mellefont**: Principal\
*Chair supported by Sir Nigel Boardman & Prof. Lynda Gratton*\
Thomas Watmough\
*Chair supported by Roger Greenwood*

### **BASSOONS**

**Jonathan Davies**: Principal\
*Chair supported by Sir Simon Robey*\
Dominic Tyler

### **HORNS**


**Annemarie Federle**: Principal\
*Chair supported by Victoria Robey CBE*\
Martin Hobbs\
**Mark Vines**: Co-Principal\
Gareth Mollison\
Duncan Fuller

### **TRUMPETS**

**Paul Beniston**: Principal\
**Tom Nielsen**: Co-Principal\
Anne McAneney\
*Chair supported in memory of Peter Coe*

### **TROMBONES**


**Mark Templeton**: Principal\
*Chair supported by William & Alex de Winton*\
David Whitehouse

### **BASS TROMBONE**

**Lyndon Meredith**: Principal

### **TUBA**

**Lee Tsarmaklis**: Principal\
*Chair supported by William & Alex de Winton*

### **TIMPANI**

**Simon Carrington**: Principal\
*Chair supported by Victoria Robey CBE*

### **PERCUSSION**

**Andrew Barclay**: Principal\
*Chair supported by Gill & Garf Collins*\
Karen Hutt\
*Chair supported by Mr. B. C. Fairhall*\
Jeremy Cornes

### **PIANO**

Catherine Edwards

---

The LPO also acknowledges the following chair supporters whose players are not present at this concert:

*Friends of the Orchestra*\
*Dr Barry Grimaldi*

**Concerts and Planning Director**\
Roanna Gibson

**Tours Manager**\
Maddy Clarke

**Concerts and Recordings Manager**\
Graham Wood

**Glyndebourne and Projects Manager**\
Madeleine Ridout

**Concerts and Artists Coordinator**\
Alison Jones

**Concerts and Recordings Coordinator**\
Dora Kmezić

**Concerts and Tours Assistant**\
Tom Cameron

**Orchestra Personnel Manager**\
Andrew Chenery

**Librarians**\
Sarah Thomas\
Martin Sargeson

**Stage and Operations Manager**\
Laura Kitson

**Deputy Operations Manager**\
Stephen O'Flaherty

**Deputy Stage Manager**\
Benjamin Wakley

**Orchestra and Auditions Manager**\
Helen Phipps

**Finance Director**\
Frances Slack

**Education and Community Director**\
Talia Lash

**Development Director**\
Laura Willis 

**Campaigns and Projects Director**\
Nick Jackman

**Marketing and Communications Director**\
Kath Trout

**Board of Directors**

**Royal Patron**\
His Royal Highness The Duke of Kent KG

**Honorary Chair**\
Dr. Catherine C. Høgel, Chair, LPO

**Honorary Director**\
Hannah Young, HM Consul General to New York

**Directors**\
Simon Freakley, Chair\
Kara Boyle, Director\
Jon R. Carter, Treasurer\
Jay Goffman, Director\
Alexandra Jupin, Director\
Natalie Pray MBE, Director\
Damien Vanderwilt, Director\
Marc Wassermann, Director\
Elizabeth Winter, Director

Susan A. Mathisen, Administration

Uniquely groundbreaking and exhilarating to watch and hear, the London Philharmonic Orchestra (LPO) has been celebrated as one of the world’s great orchestras since Sir Thomas Beecham founded it in 1932. The LPO’s mission is ‘to share wonder with the modern world through the power of orchestral music’, which we accomplish through live performances, online, and an extensive education and community program.

London Philharmonic Orchestra's home is at the Southbank Centre’s Royal Festival Hall, at the beating heart of London’s cultural life. Audiences can also find them at resident venues in Brighton, Eastbourne and Saffron Walden, and on tour worldwide. In 2024, The LPO celebrated 60 years as Resident Symphony Orchestra at Glyndebourne Festival Opera, combining the magic of opera with Glyndebourne’s glorious setting in the Sussex countryside. 

Edward Gardner has been the LPO's Principal Conductor since 2021, succeeding Vladimir Jurowski who in the same year became Conductor Emeritus. Karina Canellakis is the current Principal Guest Conductor and Tania León is the Composer-in-Residence.

The London Philharmonic Orchestra is one of the world’s most-streamed orchestras, with over 15 million plays each month. In 2023, they were the most successful orchestra worldwide on YouTube, TikTok and Instagram, and in spring 2024 they were featured in a behind-the-scenes TV documentary series on Sky Arts: *Backstage with the London Philharmonic Orchestra*. Audiences can hear the LPO on countless film soundtracks, and they released over 120 albums on their own the LPO Label. In 2024-25, the LPO is once again working with Marquee TV to stream selected concerts to enjoy from your own living room.

The LPO is committed to nurturing the next generation of musicians and music-lovers. They love seeing the joy of children and families experiencing their first musical moments and are passionate about inspiring schools and teachers through dedicated concerts, workshops, resources and training. Reflecting their values of collaboration and inclusivity, the OrchLab and Open Sound Ensemble projects offer music-making opportunities for adults and young people with disabilities and special educational needs.

Today’s young instrumentalists are the orchestra members of the future, and the LPO has multiple opportunities to support their progression. The LPO Junior Artists program leads the way in creating pathways into the profession for young artists from under-represented communities, and the LPO Young Composers and Foyle Future Firsts schemes support the next generation of professional musicians, bridging the transition from education to professional careers. They also recently launched the LPO Conducting Fellowship, supporting the development of two outstanding early-career conductors from backgrounds under-represented in the profession.

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## **Edward Gardner**, Principal Conductor

Edward Gardner has been Principal Conductor of the London Philharmonic Orchestra since September 2021, recently extending his contract until at least 2028. He is also Music Director of the Norwegian Opera & Ballet, and Honorary Conductor of the Bergen Philharmonic Orchestra, following his tenure as Chief Conductor from 2015–24. 

In 2024–25—his fourth season as Principal Conductor—Edward conducts nine the LPO concerts at the Royal Festival Hall, as well as a US tour culminating at Carnegie Hall, and in major European cities including Vienna, Frankfurt and Hamburg. He is joined by superb soloists including Patricia Kopatchinskaja, Randall Goosby, Víkingur Ólafsson, Isabelle Faust, and Augustin Hadelich, and presents works including Strauss’s mighty Alpine Symphony, Ravel’s Daphnis and Chloe and Mahler’s Symphony No. 8—an enormous end to the season. 

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with The Juilliard School of Music, and with the Royal Academy of Music who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014.

Born in Gloucester in 1974, Edward was educated at the University of Cambridge and the Royal Academy of Music and gained early recognition as Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include the Royal Philharmonic Society Conductor of the Year Award (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and an OBE for Services to Music in The Queen’s Birthday Honours (2012).

Edward Gardner’s position at the LPO is generously supported by Aud Jebsen.

---

## **Randall Goosby**, Violin

American violinist Randall Goosby is acclaimed for the sensitivity and intensity of his musicianship alongside his determination to make music more inclusive and accessible, as well as bringing the music of under-represented composers to light. Goosby returned to London Philharmonic Orchestra in 2023 performing Mozart's Violin Concerto No. 3 under the direction of Gemma New and feature both recital and chamber concerts. 

Goosby, signed exclusively to Decca Classics, released his first album entitled *Roots*, which is a celebration of African American music which explores its evolution from the spiritual through to present-day compositions. Collaborating with pianist Zhu Wang, Goosby curated an album paying homage to the pioneering artists that paved the way for him and other artists of color. It features three world-premiere recordings of music written by African American composer Florence Price and includes works by composers William Grant Still and Coleridge-Taylor Perkinson, plus a newly commissioned piece by acclaimed double bassist Xavier Foley, a fellow Sphinx and Young Concert Artists alumnus.
 
Goosby is deeply passionate about inspiring and serving others through education, social engagement and outreach activities. He has enjoyed working with non-profit organizations such as the Opportunity Music Project and Concerts in Motion in New York City, as well as participating in community engagement programs for schools, hospitals and assisted living facilities across the United States.

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About

Retailers Insurance

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### **Ludwig van Beethoven** (1770-1827)

**Overture, *Egmont*, Op. 84**

Revolution was in the air when Johann Wolfgang von Goethe wrote his play *Egmont* in 1786. America had declared independence from Britain in 1776, and in 1789, the French were to begin the long and bloody process of overthrowing their own absolute monarchy. *Egmont* is set in the Netherlands in the 16th century, then brutally repressed by occupying Spanish forces. The hero, Count Egmont, rouses the Flemish people in revolt against Spanish tyranny. Eventually he is arrested, and an attempt to rescue him by his lover, Klärchen, fails. Klärchen poisons herself, and Egmont is executed—but not before he has had a vision of freedom personified as Klärchen herself, who crowns Egmont with a laurel wreath. Egmont offers his death as a sacrifice for his people, confident that freedom will prevail.

Despite the play's subversive message, Goethe's *Egmont* was staged by the Viennese Imperial Court Theatre in 1810, and it was for this production that Beethoven wrote his powerfully dramatic Overture. Beethoven's impassioned sympathy for Egmont's cause can be felt at every stage: the slow introduction, alternately stern and plaintive, leads to an urgent, obsessive *Allegro* that could easily be the first movement of a tragic symphony. As the music seems to be preparing to a grim final climax, the music is suddenly cut off. Silence follows, then a few plaintive chords for woodwind—surely the moment of Egmont's execution. Then, without any attempt at transition, the mood is catapulted into a bright F major and the Overture hurtles to an ecstatic conclusion. In the play—and in the context of Beethoven's own time—this vision of 'Crowned Freedom' is still only a far-off hope.

*© Stephen Johnson*

---

### **Samuel Barber** (1910-1981)

Violin Concerto, Op. 14

*Allegro*\
*Andante*\
*Presto in moto perpetuo*

Samuel Barber was already well known as the most Romantically inclined of younger American composers—not least because of the immediate success of his *Adagio* for Strings—when he composed his Violin Concerto in 1939. Its twin moods are gentle lyricism and spiky brilliance: not such an unusual combination in 20th-century violin concertos (think of the Prokofiev concertos, or the almost exactly contemporary concerto by Walton); but here, instead of being placed side by side, they are completely separated, with two lyrical movements followed by a brilliant finale.

At first sight, the reason for this might appear to lie in geography and history: Barber began the work on a relaxed summer holiday in Switzerland and completed it on his return to America following the outbreak of the Second World War in Europe. But a more likely explanation has to do with the circumstances in which the Concerto came into being. It had been commissioned by a wealthy American businessman for a violin protégé. When this violinist saw the completed score of the first two movements, he complained that Barber's habitual lyricism was too much in evidence, and there was not enough of a virtuoso nature in the solo part. Barber promised to make amends in the finale, but he did so to such effect that the intended soloist declared that the movement was unplayable! Not surprisingly, the published score bears no dedication, either to the businessman or to the protégé; but it does record that the premiere was given by another violinist, Albert Spalding, with the Philadelphia Orchestra and Eugene Ormandy in February 1941. 

The first movement of the Concerto, in G major, is dominated by the long, expressive melody which the soloist unfolds right at the outset. The most important subsidiary idea is a clarinet tune to which Lombardic rhythmic figures (short-long) and modal inflections give a distinct Scottish flavor. These two themes never lose their identities for very long in the central development section, and after a full recapitulation and a short, accompanied cadenza they both figure in the quiet coda.

Woodwind instruments are as prominent in this coda as the soloist. And in the E major slow movement, too, the orchestra has an important part to play: the plaintive principal melody is given in turn to oboe, cello, clarinet, violins and horn before the solo violin makes its first entry. The soloist dominates the more agitated middle section, which ends with another accompanied cadenza, and then remains in the foreground with the impassioned return of the first section. 

The timpani launch the A minor finale with the triplet rhythms which are maintained almost throughout the movement, mostly—for literally page after page without a break—by the soloist. Barber occasionally suggests a disruption of their progress by throwing in off-beat accents or cross-rhythms in the orchestra, but the only melodic idea which emerges at all clearly is a chirpy little woodwind theme. Apart from this, the movement is all rhythmic drive, and the soloist's final gear-change from triplets to semiquavers even increases its impetus.

*© Anthony Burton*

---

### **Pyotr Ilyich Tchaikovsky** (1840-93)

Symphony No. 4 in F minor, Op. 36

*Andante sostenuto - Moderato con anima*\
*Andantino in modo di canzona*\
*Scherzo (Pizzicato ostinato): Allegro*\
*Finale: Allegro con fuoco*

The years 1876 and 1877 were traumatic ones for Tchaikovsky. He was suffering increasingly from feelings of guilt over his homosexuality, and considerable mental torment from the fear of its discovery. As a result, he underwent a personal crisis that eventually drove him not just to an ill-advised marriage to a young student (a disastrous affair which lasted only a few weeks in the summer of 1877), but also to near-madness and a pitiable suicide attempt.

Two orchestral works of this time clearly reflect Tchaikovsky's disturbed state of mind. The first was the tone-poem *Francesca da Rimini*, composed in the autumn of 1876 and depicting the eternal damnation of Francesca and her lover Paolo, condemned in Dante's *Inferno* to the second circle of Hell for their helpless but illicit passion. The second was the Fourth Symphony, composed the following year, which confronted another specter that had been haunting Tchaikovsky: the destructive nature of Fate. The seeds may well have been sown by a performance of *Carmen* that the composer saw in Paris in early 1875, but they were undoubtedly brought to fruition by the harrowing events of the following two years. From these, Tchaikovsky emerged with a stronger-than-ever conviction of the power of 'the fateful force that prevents the impulse to happiness from achieving its goal ... which hangs over your head like the sword of Damocles.'

Tchaikovsky wrote these words in a letter to his patroness, Nadezhda von Meck, to describe the stark motto theme that opens the Symphony. The letter goes on to outline for von Meck the feelings underlying the rest of the work, a useful guide to its comprehension even now, though only after it has been borne in mind that it was written after the music had been completed. Thus, we learn that the oppressive waltz-tune that opens the fast section of the first movement signifies resignation in the face of Fate's supremacy, and the lilting second theme (announced on clarinet) the desire to 'turn away from reality and submerge oneself in daydreams. But though the music strives for happiness, it is Fate that gains the upper hand, with the motto theme returning to dominate the later stages of the movement.

For Tchaikovsky, the slow movement—with its haunting oboe melody—evoked 'the melancholy feeling which comes in the evening when, weary from your labor, you are sitting alone. You take a book, but it falls from your hand. A whole host of memories comes ... It's both sad, yet somehow sweet to immerse yourself in the past.' The ensuing *Scherzo* depicts less clearly defined emotions: Tchaikovsky refers vaguely to 'capricious arabesques,' 'drunken peasants' and 'a military procession,' but in truth a program is irrelevant in this orchestral tour-de-force in which three themes—for pizzicato strings, woodwind and brass respectively—are first alternated, then wittily combined. 

The Finale opens in a brilliant whirl of sounds which the sober Russian folk-tune 'In the fields there stood a birch' can only temporarily assuage. 'If you find no reason for joy within yourself', wrote Tchaikovsky, 'go among the people. Observe how they can enjoy themselves, surrendering themselves wholeheartedly to joyful feelings.' Amid the celebrations, however, the Fate theme from the first movement breaks in with an effect so devastating that the movement is brought to a standstill. But this time it cannot win. 'You have only yourself to blame; do not say that everything in the world is sad. There are simple but strong joys.' The Symphony concludes in a blaze of glory, and the composer, for the time being at least, turns his back on Fate.

*© Lindsay Kemp*

Notes

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Mandy Patinkin In Concert: Being Alive

London Philharmonic Orchestra

The Stander Group presents

# **THE ROCKY HORROR PICTURE SHOW**

## 49th Anniversary Spectacular

Featuring the Original\
‘Brad Majors’\
**BARRY BOSTWICK**

with\
The Michigan Rocky Horror Preservation Society\
Shadow Cast

Production Manager\
**CHRIS POWICH**

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The performance will run approximately 120 minutes with no intermission.

Prop bags are available for purchase in the lobby.

Run Time

Delta Dental

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Winning Golden Globe, Tony and Peabody awards for a long and multi-faceted career Barry continues to work in all genres with films like *The Incredibles 2, Grand Daddy Day Care, Bigger Fatter Liar, A Mermaid's Tale,* and *Three Days In August* among others as well as TV offerings on *Will And Grace, Girlfriends' Guide to Divorce, Still The King*, as well as *Signed Sealed and Delivered* for Hallmark and "Ellis Island: The Dream Of America" for PBS's *Great Performances*. 

Bostwick is probably best known for playing Brad Majors in the cult classic *The Rocky Horror Picture Show* and Mayor Randall Winston in the long running sitcom *Spin City* and creating the role of Danny Zuko in the original Broadway production of *Grease*, winning his first of three Tony nominations, finally winning the Tony for Best Actor in a Musical for the lead character in *The Robber Bridegroom*. You can also look for him in the other cult favorite film *Megaforce*, along with *FDR: American Badass, Spyhard, Fantastic Planet, Three From Hell, Undercover Brother 2, The Outlaw Johnny Black, American Pie: Girls Rule*, the popular Netflix film *Single All The Way* and the 2003 *Daruma*. And his personal favorite *Movie Movie* with George C. Scott and directed by Stanley Donan among others. 

On TV he played George Washington in the 8-hour miniseries "George Washington" and 'Lady' Aster in "War and Remembrance" among dozens of other TV movies and miniseries. Series TV kept him busy with "Cougar Town," "Law and Order: SVU," "Supernatural," "Psych," "Phineas and Ferb," and for Disney, "Doogie Kahealoha" among other numerous animated features and TV shows.

Barry Bostwick

Choose Lansing

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Tonight’s Shadow Cast, The Michigan Rocky Horror Preservation Society (MiRHPS), was established in May of 2013 and is comprised of volunteer performers who are passionate about keeping the midnight audience participation shows alive. 

The group calls the State Wayne Theatre in downtown Wayne, Michigan their home for the last 11 years.  MiRHPS provides its audience with the classic Rocky Horror experience, including call back guidance and more.  

A Michigan 501(c)(3) Nonprofit Corporation, MiRHPS is dedicated to entertainment and inclusivity, creating a show to entertain its audience and empowering cast members to learn skills on and off the stage, truly embodying the film’s motto, “Don’t Dream It, Be It!”

### **Shadow Cast**

- **Frank-n-Furter**	
- Lauren & Mana
- **Janet Weiss**		
- Rachel & DJ
- **Brad Majors**		
- Vegas & Russ
- **Riff Raff**		
- Meg
- **Magenta**		
- Bella
- **Columbia**		
- Lindsay
- **Dr. Scott**		
- Ravenna
- **Rocky**			
- Moonbeam
- **Eddie**			
- Loretta
- **Criminologist**	
- Jesso
- **Trixie**			
- Naomi
- **Emcee**			
- Uncle Jessie
- **Transylvanians**	
- Andrew, Barb, Ember
- **Crew**			
- Ian, Bill & Dave
- **Merchandise**	
- Becky, Heather, Austin, Baylee, Kali, Mark, Nikki, Ogre, Ruby, Sprout & Tom

### Follow the Michigan Rocky Horror Preservation Society

The Michigan Rocky Horror Preservation Society

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STOMP

The Rocky Horror Picture Show

CAMERON MACKINTOSH\
presents

BOUBLIL & SCHÖNBERG’S

# **Les Misérables**

A musical based on the novel by **VICTOR HUGO**

Music by **CLAUDE-MICHEL SCHÖNBERG**\
Lyrics by **HERBERT KRETZMER**\
Original French text by **ALAIN BOUBLIL** and **JEAN-MARC NATEL**

Additional material by **JAMES FENTON**\
Adaptation by **TREVOR NUNN** and **JOHN CAIRD**

New Orchestrations by **STEPHEN METCALFE, CHRISTOPHER JAHNKE** and **STEPHEN BROOKER**\
Original Orchestrations by **JOHN CAMERON**

Musical Staging by **GEOFFREY GARRATT**\
Projections realized by **FINN ROSS** and **FIFTY-NINE PRODUCTIONS**\
Sound by **MICK POTTER**

Lighting by **PAULE CONSTABLE**\
Original Costume Design by **ANDREANE NEOFITOU**\
Additional Costume Design by **CHRISTINE ROWLAND and PAUL WILLS**\
Set and Image Design by **MATT KINLEY**\
inspired by the paintings of **VICTOR HUGO**

Directed by\
**LAURENCE CONNOR** and **JAMES POWELL**

For LES MISÉRABLES North American Tour

- Casting by\
CLAIRE BURKE, CSA\
MERRI SUGARMAN, CSA\
for Tara Rubin Casting

- General Management\
GREGORY VANDER PLOEG\
for Gentry & Associates

- Executive Producer\
SETH SKLAR-HEYN\
for Cameron Mackintosh Inc.

- Executive Producer\
TRINITY WHEELER\
for NETworks Presentations

- Associate Sound Designer\
NIC GRAY

- Associate Projection Designer\
SIMON HARDING &\
JONATHON LYLE

- Associate Lighting Designers\
BEN JACOBS &\
KAREN SPAHN

- Associate Set Designers\
DAVID HARRIS &\
CHRISTINE PETERS

- Wigs, Hair & Make-Up Designer\
STEFAN MUSCH

- Resident Director\
BRENDAN STACKHOUSE

- Musical Director\
WILL CURRY

- Musical Staging Associate\
JESSE ROBB

- Musical Supervision\
STEPHEN BROOKER &
JAMES MOORE

- Associate Director\
COREY AGNEW

**A CAMERON MACKINTOSH and NETWORKS Presentation**



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### **ACT ONE**
**PROLOGUE: 1815, DIGNE**

- Prologue
- **The Company**
- “Soliloquy”
-  **Valjean**

&nbsp;\
**1823, MONTREUIL-SUR-MER**

- “At The End of the Day”
- **Unemployed and Factory Workers**
- “I Dreamed a Dream”
- **Fantine**
- “Lovely Ladies”
- **Ladies and Clients**
- “Who Am I?”
- **Valjean**
- “Come To Me”
- **Fantine and Valjean**

&nbsp;\
**1823, MONTFERMEIL**

- “Castle on a Cloud”
- **Cosette**
- “Master of the House”	
- **Thénardier, his Wife and Customers**
- “Thénardier Waltz”	
- **M. and Mme. Thénardier and Valjean**

&nbsp;\
**1832, PARIS**

- “Look Down”	
- **Gavroche and the beggars**
- “Stars”	
- **Javert**
- “Red and Black”	
- **Enjolras, Marius and the students**
- “Do You Hear the People Sing?”	
- **Enjolras, the students and the citizens**
- “In My Life”	
- **Cosette, Valjean, Marius and Éponine**
- “A Heart Full of Love”	
- **Cosette, Marius and Éponine**
- “One Day More”	
- **The Company**

&nbsp;\
**INTERMISSION**

### **ACT TWO**

- “On My Own”	
- **Éponine**
- “A Little Fall of Rain”	
- **Éponine and Marius**
- “Drink with Me to Days Gone By”	
- **Grantaire, students and women**
- “Bring Him Home” 	
- **Valjean**
- “Dog Eats Dog”	
- **Thénardier**
- “Soliloquy”	
- **Javert**
- “Turning”	
- **Women**
- “Empty Chairs at Empty Tables”	
- **Marius**
- “Wedding Chorale”	
- **Guests**
- “Beggars at the Feast”	
- **M. and Mme. Thénardier**
- Finale
- **The Company**


musical numbers

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The Christman Company

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### ACT ONE

**PROLOGUE: 1815, DIGNE**\
After 19 years on the chain gang, Jean Valjean finds that the ticket-of-leave he must display condemns him to be an outcast. Only the Bishop of Digne treats him kindly and Valjean, embittered by years of hardship, repays him by stealing some silver. Valjean is caught and brought back by the police and is astonished when the Bishop lies to the police to save him. Valjean decides to start his life anew. 


**1823, MONTREUIL-SUR-MER**\
Eight years have passed and Valjean, having broken his parole and changed his name to Monsieur Madeleine, has become a factory owner and Mayor. One of his workers, Fantine, has a secret illegitimate child. When the other women discover this, they demand her dismissal.

Desperate for money to pay for medicines for her daughter, Fantine sells her locket, her hair, and then joins the whores in selling herself. Utterly degraded, she gets into a fight with a prospective customer and is about to be taken to prison by Javert when the ‘Mayor’ arrives and demands she be taken to the hospital instead.

The Mayor then rescues a man pinned beneath a cart. Javert is reminded of the abnormal strength of convict 24601 Jean Valjean, who, he says, has just been recaptured. Valjean, unable to see an innocent man go to prison, confesses that he is prisoner 24601. At the hospital, Valjean promises the dying Fantine to find and look after her daughter Cosette. Javert arrives to arrest him, but Valjean escapes.


**1823, MONTFERMEIL**\
Cosette has been lodged with the Thénardiers, who horribly abuse her while indulging their own daughter, Éponine. Valjean pays the Thénardiers to let him take her away to Paris.

**1832, PARIS**\
Nine years later, there is unrest in the city because of the likely demise of the popular leader General Lamarque, the only man left in the government who shows any feeling for the poor. A street gang led by Thénardier and his wife sets upon Jean Valjean and Cosette. They are rescued by Javert, who does not recognize Valjean until he has gone.

The Thénardiers’ daughter Éponine, who is secretly in love with the student Marius, reluctantly agrees to help him find Cosette, with whom he has fallen in love.

News of General Lamarque’s death circulates in the city and a group of politically-minded students stream out into the streets to whip up support for a revolution.

Cosette is consumed by thoughts of Marius, with whom she has fallen in love. Éponine brings Marius to Cosette and then prevents an attempt by her father’s gang to rob Valjean’s house. Valjean, convinced it was Javert lurking outside his house, tells Cosette they must prepare to flee the country.


### ACT TWO

The students prepare to build the barricade. Marius, noticing that Éponine has joined the insurrection, sends her away with a letter to Cosette, which is intercepted by Valjean. Éponine decides to rejoin her love at the barricade. 

The barricade is built and the revolutionaries defy an army warning to give up or die. Javert is exposed as a police spy. In trying to return to the barricade, Éponine is killed. 

Valjean arrives at the barricade in search of Marius. He is given the chance to kill Javert but instead lets him go. The students settle down for a night on the barricade and, in the quiet of the night, Valjean prays to God to save Marius. The next day the rebels are all killed. 

Valjean escapes into the sewers with the unconscious Marius. After meeting Thénardier, who is robbing the corpses of the rebels, he comes across Javert once more. He pleads for time to deliver the young man to the hospital. Javert lets Valjean go and, his unbending principles of justice having been shattered by Valjean’s own mercy, he kills himself.

Unaware of the identity of his rescuer, Marius recovers in Cosette’s care. Valjean confesses the truth of his past to Marius and insists he must go away. 

At Marius and Cosette’s wedding, the Thénardiers try to blackmail Marius. Thénardier says Cosette’s ‘father’ is a murderer and as proof produces a ring which he stole from the corpse the night the barricade fell. It is Marius’s own ring and he realizes it was Valjean who rescued him that night. He and Cosette go to Valjean where Cosette learns for the first time of her own history before the old man dies.

Synopsis

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Kyle Adams

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Ashley Alexandra

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Jeremiah Alsop

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David Andino

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Daniel Gerard Bittner

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Jenna Burns

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Nick Cartell

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Emerson Mae Chan

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Ben Cherington

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Matt Crowle

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Steve Czarnecki

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Arianne DiCerbo

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Emily Fink

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Nicole Fragala

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Christian Mark Gibbs

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Jackson Parker Gill

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Delaney Guyer

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Audrey Hoffman

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Mya Rena Hunter

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Victoria Huston-Elem

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Randy Jeter

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Jack Jewkes

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Milo Maharlika

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Danny Martin

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Mikako Martin

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Eden Mau

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Andrew Marks Maughan

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Paige McNamara

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Ashley Dawn Mortensen

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Lindsey Heather Pearce

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Tim Quartier

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Juliette Redden

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Matt Rosell

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Nick Rehberger

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Christopher Robin Sapp

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Greta Schaefer

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Jake David Smith

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Kaitlyn Sumner

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Kyle Timson

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David T. Walker

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J.T. Wood

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Jonathan Young

(In order of Appearance)

- Jean Valjean
- **NICK CARTELL**
- Javert	
- **NICK REHBERGER**
- Farmer	
- **STEVE CZARNECKI**
- Laborer	
- **DANIEL GERARD BITTNER**
- Innkeeper’s Wife	
- **EDEN MAU**
- Innkeeper	
- **DAVID T. WALKER**
- The Bishop of Digne	
- **RANDY JETER**
- Constables	
- **JEREMIAH ALSOP, JONATHAN YOUNG**
- Factory Foreman	
- **STEVE CZARNECKI**
- Fantine	
- **LINDSAY HEATHER PEARCE**
- Factory Girl	
- **PAIGE McNAMARA**
- Old Woman	
- **ASHLEY ALEXANDRA**
- Wigmaker	
- **EMILY FINK**
- Bamatabois	
- **DAVID ANDINO**
- Fauchelevent	
- **J.T. WOOD**
- Champmathieu	
- **ANDREW MARKS MAUGHAN**
- Little Cosette	
- **EMERSON MAE CHAN, GRETA SCHAEFER**
- Madame Thénardier	
- **VICTORIA HUSTON-ELEM**
- Young Éponine	
- **EMERSON MAE CHAN, GRETA SCHAEFER**
- Thénardier	
- **MATT CROWLE**
- Petit Gervais / Gavroche	
- **JACKSON PARKER GIL, JACK JEWKES, MILO MAHARLIKA**
- Éponine	
- **MYA RENA HUNTER**
- Cosette	
- **DELANEY GUYER**

&nbsp;\
**Thénardier’s Gang**

- Montparnasse	
- **JEREMIAH ALSOP**
- Babet	
- **DAVID ANDINO**
- Brujon	
- **STEVE CZARNECKI**
- Claquesous	
- **DAVID T. WALKER**

&nbsp;\
**Students**

- Enjolras	
- **CHRISTIAN MARK GIBBS**
- Marius	
- **JAKE DAVID SMITH**
- Combeferre	
- **ANDREW MARKS MAUGHAN**
- Feuilly	
- **DANIEL GERARD BITTNER**
- Courfeyrac	
- **DANNY MARTIN**
- Joly	
- **J.T. WOOD**
- Grantaire	
- **KYLE ADAMS**
- Lesgles	
- **RANDY JETER**
- Jean Prouvaire	
- **JONATHAN YOUNG**
- Loud Hailer	
- **RANDY JETER**
- Major Domo	
- **KYLE ADAMS**

&nbsp;\
**Ensemble**\
JENNA BURNS, ARIANNE DiCERBO, NICOLE FRAGALA, AUDREY HOFFMAN, KAITLYN SUMNER

**Swings**\
BEN CHERINGTON, MIKAKO MARTIN, ASHLEY DAWN MORTENSEN, TIM QUARTIER, JULIETTE REDDEN, MATT ROSELL,
CHRISTOPHER ROBIN SAPP, KYLE TIMSON

**Dance Captain**\
KYLE TIMSON

**Fight Captain**\
STEVE CZARNECKI

cast 

For Jean Valjean–RANDY JETER, ANDREW MARKS MAUGHAN\
for Javert–STEVE CZARNECKI, DAVID T. WALKER\
for Cosette–JENNA BURNS, EDEN MAU\
for Fantine– EMILY FINK, NICOLE FRAGALA, EDEN MAU\
for Thénardier–KYLE ADAMS, DAVID ANDINO, BEN CHERINGTON\
for Madame Thénardier–ARIANNE DiCERBO, PAIGE McNAMARA\
for Éponine–MIKAKO MARTIN, KAITLYN SUMNER\
for Marius–JEREMIAH ALSOP, J.T. WOOD\
for Enjolras–DANIEL GERARD BITTNER, DANNY MARTIN, JONATHAN YOUNG\
for Little Cosette/Young Éponine–AUDREY HOFFMAN\
for the Bishop of Digne–ANDREW MARKS MAUGHAN, KYLE TIMSON, DAVID T. WALKER\
for the Factory Foreman–KYLE ADAMS, KYLE TIMSON\
for the Factory Girl–EMILY FINK, ASHLEY DAWN MORTENSEN, JULIETTE REDDEN\
for Bamatabois–DANIEL GERARD BITTNER, BEN CHERINGTON, JONATHAN YOUNG\
for Grantaire–DANIEL GERARD BITTNER, BEN CHERINGTON, JONATHAN YOUNG

Music Director/Conductor – WILL CURRY\
Associate Conductor/Keyboards – ERIC EBBENGA\
Assistant Conductor/Keyboards – TIM LENIHAN\
Violin/ Concertmaster – ALLY JENKINS\
Viola – JARVIS BENSON\
Cello – NATHAN HSU; Bass – BRAD LOVELACE\
Flute / Piccolo / Alto Flute / Recorder – SCHUYLER THORNTON\
Oboe / Cor Anglais – ALICIA MALONEY\
Clarinet in Bb / Clarinet in Eb / Bass Clarinet / Recorder – PETER SCUDERI\
Horn 1 – anson carroll; Horn 2 – ELIZABETH HARRAMAN\
Trumpet in Bb / Flugel Horn / Piccolo Trumpet – JOSHUA NORTON\
Bass Trombone / Tuba – NAYIB GONZÁLEZ\
Drums / Percussion / Mallets / Timpani – MAX MEYER\
Music Coordinator – JOHN MILLER

**ASHLEY DAWN MORTENSEN** (*Swing, u/s Factory Girl*) is excited to be rejoining the barricade on the road. Broadway: *Les Misérable*s (Swing). National tour: *Wicked* (Elphaba understudy), *Les Misérables.* Regional: *Spamalot* (Lady of the Lake), *White Christmas* (Betty Haynes). *The Sound of Music* (Maria), *How to Succeed...* (Rosemary). Graduate of NYU CAP21. Special thanks to Will and everyone at Nicolosi. @shebakesyoueat

**LINDSAY HEATHER PEARCE** (*Fatine*) is thrilled to be joining the company of *Les Misérables*. Broadway: Elphaba (*Wicked*). Off Broadway: Rose (*Titanique*). National Tours: Janis Sarkisian (*Mean Girls*, 1st National). Regional: *RENT* (The Muny), *American Idiot, Spring Awakening, Bare* (LA Revival), *For The Record: Baz, For The Record: Tarantino.* TV/Film: *The Glee Project* (Oxygen), *Glee* (FOX), *Recovery Road* (Freeform), *Grey's Anatomy* (ABC), *Drop Dead Diva* (Lifetime). Many thanks to Tara Rubin Casting, my team at Reel Talent Management and LA Talent. To my family, all of my gratitude, to my friends, all of my heart, and to Michael, all of my soul. There would be no dream without all of you. 

**TIM QUARTIER** (*Swing*) is thrilled to be returning to the barricade! He was most recently seen in the MUNY's first-ever production of *Sweeney Todd.* Tour: *Les Misérables, In the Mood.* Regional: *Titanic* (Charles Clarke), *Newsies* (Jack Kelly), *The Light in the Piazza* (Fabrizio), *West Side Story* (Tony), *Les Misérables* (Marius), *Hairspray* (Link Larkin) and *Forever Plaid* (Frankie). Ithaca College BFA Musical Theatre. @timquartier

**JULIETTE REDDEN** (*Swing, u/s Factory Girl*) is an actor, French citizen, and pastry snob raised all over the U.S. She recently had the opportunity to play Anne Shirley in *Anne of Green Gables* at The Goodspeed. She can be heard on the cast album of the same name streaming anywhere you listen to music. Thank you to her family, Jake, DGRW, TXSTMT, and Tara Rubin Casting.\
@julietteredden

**NICK REHBERGER** (*Javert*) Broadway: *Patriots, The Glass Menagerie, Fiddler on the Roof.* Select Theater: *Hamlet* (Public Theater), ...*Great Comet of 1812* (PCLO), *Pride and Prejudice* (St. Louis Rep), *Shakespeare in Love* (Chicago Shakespeare). Select Film/TV: *I Am Michael, The Other Two, Girls, The Deuce, The Equalizer, FBI: Most Wanted, Elementary, Gotham.* @nickrehberger

**MATT ROSELL** (*Swing*) is thrilled to be back on the Barricade! Broadway: *Les Misérables*. Natl Tours: *Anastasia* and *Les Misérables.* TV: *Marvelous Mrs. Maisel* and *Glee*. Regional: *South Pacific, Gentleman's Guide, Hair,* etc. Matt is so happy to be back in the show that started his career. Love to the Rosell Family & Bubbe, friends, Avalon Artists Group, and everyone who has supported him. @mattrosell

**CHRISTOPHER ROBIN SAPP** (*Swing*). *The Buddy Holly Story* (Buddy Holly, Argyle Theatre), *Pirates of Penzance* (Frederic, New York Gilbert and Sullivan Players), *Tangled* (Flynn Rider, Disney Cruise Line), *Eileen 100th Anniversary* (Dinny, VHRP LIVE!), *Titanic* (Thomas Andrews, College Light Opera Company).\
@ChristopherRobinSapp

**GRETA SCHAEFER** (*Little Cosette/Young Éponine*) 9 years old, is from Fishers, IN, and thrilled to make her North American Tour debut! Favorite past roles include Gretl von Trapp, Spot Conlon, and Charlie Bucket. Special thanks to the *Les Miz* team, Tara Rubin Casting, CESD Talent, Broadway Kids Auditions, instructors, former castmates, creative teams, and family for inspiring her. @gretathemusical 

**JAKE DAVID SMITH** (*Marius*) is an actor, musician, and rec softball third baseman from Richmond, VA. Broadway: *Frozen*. Off Broadway: *Between the Lines*. Regional: *West Side Story, Dark of the Moon* (World Premiere), *Margaritaville* (Regional Premiere). Jake sends his love and gratitude to his family, Juliette, A Squad, Elon MT, Tara Rubin Casting and CGF.\
@Jake.David.Smith

**KAITLYN SUMNER** (*Ensemble, u/s Eponine*) is thrilled to be making their national tour debut! Recent graduate from Boston Conservatory, B.F.A. Big thanks to UIA Talent and Tara Rubin Casting. Endless love and gratitude to Mom, Dad, and Kylie. This is for you. IG: @kaitlynsumner

**KYLE TIMSON** (*Swing, u/s Bishop of Digne, u/s Factory Foreman, Dance Captain*) is thrilled to be returning to the barricade after spending 2 plus years on the previous U.S. tour! Previously seen as Shrek on the International tour of *Shrek The Musical*. Love to friends, family, Rachel, and Lily! For Baba. @kylertimson 

**DAVID T. WALKER** (*Innkeeper, Claquesous, u/s Javert, u/s Bishop of Digne*) is beyond thrilled to be making his national tour debut with the *Les Mis* company!! Many thanks to my team at DDO Artists Agency, TRC, my previous instructors and my family and friends for helping me to continue this dream. Instagram: @dtwalker_

**J.T. WOOD** (*Fauchelevent, Joly, u/s Marius*) is thrilled to be joining the *Les Misérables* Tour! Previous credits include the *Rent 25th Anniversary Farewell Tour* (Mark) and the *Rent 20th Anniversary Tour* (Swing, Angel/Collins u/s). Special thanks to Michael and the Roster Agency family as well as Tara Rubin Casting. All the love to his family and friends.

**JONATHAN YOUNG** (*Constable, Jean Prouvaire, u/s Enjolras, u/s Bamatabois, u/s Grantaire*) Happy to join the barricade! Previous credits include: *Pretty Woman* First Nat'l Tour (Alfredo, u/s Edward). Regional: *An American in Paris* (Henri), *Titanic* (Barrett), *Austen's Pride* (Wickham), *Grey Gardens* (Joe/Jerry). Baldwin Wallace Conservatory alum. Thanks to family, HAA and Tara Rubin. @_jonathanyoung

**OPENING NIGHT OCTOBER 12, 2022**\
**STAFF FOR LES MISÉRABLES**

**EXECUTIVE PRODUCERS**

- Seth Sklar-Heyn
- Trinity Wheeler

**GENERAL MANAGEMENT**\
Gregory Vander Ploeg

- Madeline McCluskey
- Steven Varon-Moore
- Maia Sutton

**PRODUCTION MANAGEMENT**\
NETworks Presentations\
Jason Juenker

- Hector Guivas   
- Walker White   
- Alex Williams
- pesci   
- Aimeé Mangual Pagán

**COMPANY MANAGER**\
Chris Danner

Associate Company Manager\
Elle Aghabala

**TOUR BOOKING, MARKETING & PUBLICITY**\
BOND THEATRICAL\
bondtheatrical.com

**TOUR BOOKING**

- Temah Higgins
- Mollie Mann
- Wendy Roberts
- Madison St. Amour
- Laura Rizzo
- Nilesha Alexander

TOUR MARKETING & PUBLICITY

- DJ Martin
- Jenny Bates
- Marc Viscardi
- Hannah Wallace

**TOUR BOOKING & MARKETING CONSULTANT**\
BBO\
Steven Schnepp

**CASTING**\
Tara Rubin Casting\
Tara Rubin CSA

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

---

- U.S. AssocIATE Director
- Corey Agnew
- U.K. Musical Supervisor 
- Stephen Brooker
- U.S. Musical Supervisor 
- James Moore
- U.S. Musical Staging 
- Associate Jesse Robb
- Resident Director 
- BRENDAN STACKHOUSE
- Production Stage Manager 
- Ryan W. Gardner
- Stage Manager 
- Claire Farrokh
- Assistant Stage Manager 
- Hollis Duggans-Queenss
- Fight Director 
- Joe Bostick
- Intimacy Director 
- Leigh Zimmerman
- Voice Consultant 
- Liz Caplan 
- U.K. Associate Scenic Designer 
- David Harris
- U.S. Associate Scenic Designer 
- Christine Peters
- Costume Design Associate 
- Laura Hunt
- U.S. Costume Supervisor 
- Sam Fleming
- Wigs, Hair and Make-up Designer 
- Stefan Musch
- U.K. Hair and Wig Coordinator
-  Amy Kinsey
- U.K. Associate Lighting Designer 
- Ben Jacobs
- U.S. Associate Lighting Designer 
- Karen Spahn
- Lighting Programmer 
- Alyssa Eilbott
- U.K. Associate Sound Designer 
- Nic Gray
- Production Electrician 
- Olivia Doniphan
- Production Sound 
- Josh Hummel
- Associate Projection Designers 
- Simon Harding, Jonathon Lyle
- Music Coordinator 
- John Miller 
- Assistant to John Miller 
- Jennifer Coolbaugh
- Keyboard Programming 
- Stuart Andrews
- Head Carpenter 
- Casey Nellis
- Automation Carpenter 
- Mitch Chvala
- Assistant Carpenter 
- Kasey Walraven
- Flyman 
- Josh Nelson
- Head Electrician 
- David George
- Assistant Electricians 
- Dustin Flowers, Bradley Chelberg Knights
- Head Sound Engineer 
- Mason Wisecup
- Assistant Audio 
- Sean Davis
- Head Properties 
- Megan Kraft
- Assistant Properties 
- Laura Rin
- Advance Rigger/Crew Swing 
- Jameson Willey
- Head Wardrobe 
- Katrina Cahalan-Wilhite
- Assistant Wardrobe 
- Patricia Bond
- Wig/Hair Supervisor 
- Amanda Levens
- Assistant Hair and Makeup 
- Michael Briseno
- Child Guardian/Teacher 
- Jessica Balun
- Production Assistants 
- Carson Gantt, Emily Huber, Emily Korn, Sam Kronhaus, Tiffanie Lane, Jess Levine
- Rehearsal Pianist 
- Danny Percefull
- Tutoring Services 
- On Location Education
- Physical Therapy Consultant 
- Carolyn Lawson, NEURO Tour
- Print/Advertising Design 
- Cameron Mackintosh LTD, KellyAnne Hanrahan
- Radio and Television 
- Spot Production Steam U.K. 
- Website
- Brackets Digital
- Social Media 
- AKA UK
- Production Photography 
- Matthew Murphy and Evan Zimmerman for MurphyMade
- Tour Booking, Marketing & Publicity Office 
- BOND Theatrical, Tia Altinay, Melissa Cohen, Bailey Ford, Steph Kelleher, Harrison Mootoo, Scotland Newton, Elisabeth Reyes, Linda Stewart, Jacob Stuckelman, Janiya Wade
- Merchandising 
- Platypus Productions, LLC
- Merchandising Manager 
- Kelsey Wiggins
- Legal Services 
- F. Richard Pappas, Esq.
- Accounting 
- NETworks Presentations LLC
- HR Services 
- Global Solutions, Inc., K+K Reset, LLC
- Housing 
- Road Concierge
- Travel Agency 
- Janice Kessler, Kessler&Co
- Trucking 
- Clark Transfer

---

**For Cameron Mackintosh LTD**

- Directors 
- Cameron Mackintosh, Nicholas Allott, Alan Finch, Richard Knibb, Robert Noble, Thomas Schönberg
- Technical Director 
- Jerry Donaldson
- Head of Marketing 
- David Dolman
- Head of Music 
- Stephen Metcalfe
- Head of Casting 
- Paul Wooller
- Licensing Manager 
- Maria Baxter
- Assistant to Cameron Mackintosh 
- David Grewcock
- Assistant to Nicholas Allott 
- Claire Delfont
- Assistant to Alan Finch 
- Emma Hedges
- Assistant to Richard Knibb 
- Lauren Fourtout-Davies

---

**For Cameron Mackintosh, Inc.**

- Managing Director 
- Alan Finch
- Executive Producer 
- Seth Sklar-Heyn

cameronmackintosh.com

---

**For NETworks Presentations**

- Chief Executive Officer 
- Orin Wolf
- President/Chief Production Officer 
- Seth Wenig
- Chief Operating Officer/Chief Financial Officer 
- Margaret Daniel
- Business Affairs 
- Scott W. Jackson
- Executive Producers 
- Mimi Intagliata, Trinity Wheeler
- Associate Producer 
- Hannah Rosenthal
- Executive Assistant 
- Isabella Schiavon
- Vice President of Finance 
- Scott Levine
- Sr. Director/Finance 
- John Kinna
- Controller 
- Jennifer Gifford
- Director of Tour Accounting 
- Laura S. Carey
- Tax Director 
- Pat Guerieri
- Accounts Payables & Receivables Clerk 
- Lisa Loveless
- Sr. Director, Booking & Engagements 
- Amanda Laird
- Directors, Booking & Engagements 
- Stacey Burns, Colin Byrne
- Director of Sales 
- Zach Stevenson
- Director of Marketing 
- Heather Hess
- Sr. Director/General Management 
- Gregory Vander Ploeg
- General Managers 
- Madeline McCluskey, Steven Varon-Moore
- Associate General Managers 
- Maia Sutton
- Sr. Director/Production Management 
- Jason Juenker
- Senior Production Manager 
- Hector Guivas
- Production Managers 
- Walker White, Alex Williams
- Technical Director 
- pesci
- Production Coordinator 
- Aimeé Mangual Pagán
- Director of Operations Pearce 
- Landry-Wegener
- Resource Director 
- Kayla Rooplal
- Operations Manager 
- Michelle Adye
- Music Coordinator 
- John Mezzio
- Warehouse Manager 
- Joseph Spratt
- Warehouse Costume Manager 
- Bobby Maglaughlin
- Warehouse Costume Shop Assistant 
- Grace Santamaria
- 

---

**Credits**\
Rigging and Lighting Equipment supplied by Christie Lites; Video Projection supplied by 4Wall; Sound Equipment supplied by Sound Associates; Set, Show control and scenic motion control featuring stage command systems® by PRG-Scenic Technologies, a division of Production Resource Group, L.L.C., New Windsor, NY;  Scenic Construction by Global Scenic; Costumes constructed by Eric Winterling, Arnold Levine Millinery, Arel Studios, Timberlake Studios, Dyenamix, Parsons-Meares, Ltd., Montana Leatherworks, Stiefelwerks, Mad Tailor LLC, John Schneeman Studio; Wigs by Atelier Perru, The Netherlands. Weapons and Torches by J&M Special Effects. 

---

Rehearsed at Gibney Dance Center, New York

---

**Special Thanks to**\
Playhouse Square, Cleveland, OH;\
Gina M. Vernaci, President & CEO

---

Insurance Broker Services
Maury Donnelly and Parr, Inc.
Robert B. Middleton, Sr and Meghan Coleman

---

Financial Services and banking arrangements by
Flagstar Bank N.A.

---

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

---

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

All stage work performed by employees represented by IATSE.

UNITED SCENIC ARTISTS represents the designers and scenic painters for the American Theatre.

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

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

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

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

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Shucked

Les Misérables

# **Dee Dee Bridgewater and Bill Charlap**

**Dee Dee Bridgewater**\
vocals

**Bill Charlap**\
piano


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Program will be announced from stage.

The performance will run approximately 90 minutes, with no intermission.

Media Partner: WKAR


## Dee Dee Bridgewater

Dee Dee Bridgewater, a Grammy and Tony Award® winning jazz legend, has spent four decades dominating the world of jazz. Bridgewater is known for her unique interpretations and bold reimagining of classics that sweep audiences away. She earned Best Vocal Jazz Album Grammy Awards for *Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee*, and *Dear Ella*. Bridgewater’s career began with the Thad Jones/Mel Louis Big Band, and she performed with jazz icons like Max Roach and Sonny Rollins. 

Bridgewater has also made her mark in musical theater, winning a Tony Award® for her role as Glinda in *The Wiz*. She recently portrayed Billie Holiday in *Lady Day*, earning a British Laurence Olivier nomination. Recently honored with a stage dedication at the People's Health New Orleans Jazz Market, Bridgewater continues to tour and is currently working on a new album. She also received the prestigious NEA Jazz Masters Fellows Award at the Kennedy Center.

Bridgewater was raised in Flint, MI, and attended Michigan State University in the 1960s. She is a Goodwill Ambassador to the United Nations' Food and Agriculture Organization (FAO) where she appeals for international solidarity to finance global grassroots projects in the fight against world hunger.  

Dee Dee Bridgewater

## Bill Charlap

Grammy Award-winning pianist Bill Charlap has performed with some of the biggest names in jazz including Wynton Marsalis and Ron Carter. His collaboration with Tony Bennett on *The Silver Lining: The Songs of Jerome Kern* won a Grammy in 2016. Renowned for his interpretations of the American Songbook, Charlap has recorded albums featuring the works of legends like George Gershwin, Irving Berlin, and Duke Ellington. Since 1997, he led the Bill Charlap Trio which earned Grammy nominations for albums like *Uptown Downtown and Somewhere: The Songs of Leonard Bernstein*. The trio tours worldwide and is a fixture at New York venues like the Village Vanguard.

Charlap has also served as Artistic Director for New York’s 92nd Street Y’s Jazz in July Festival for the past 18 years and produced concerts for major institutions including Jazz at Lincoln Center and the Hollywood Bowl. Born into a musical family, Charlap began playing piano at age three. His passions were led by his father Moose Charlap—a Broadway composer—and mother Sandy Stewart, a Grammy-nominated vocalist. Charlap also frequently performs two-piano concerts with his wife, jazz pianist Renee Rosnes.

Bill Charlap

Mandy Patinkin In Concert: Being Alive with Adam Ben-David on piano

Dee Dee Bridgewater and Bill Charlap