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Phantom: accurate 5/2/05 – 6/5/05 Program Information Theatreworks/USA Barbara Pasternack PLEASE NOTE: Artistic Director RICH SILVERSTEIN replaces Selby Brown in the role of Gaston as of 4/12/05. Ken Arthur Managing Director Presents THE PHANTOM OF THE OPERA Music and Lyrics by Please disregard previous program information. David Spencer Book by Rob Barron Based on the book by Gaston Leroux Set Design by Costume Design by Charles E. McCarry Anne-Marie Wright Music Direction by Orchestrations by Stage Manager Beth Falcone David Spencer Daniel Boulos Choreographed by Joyce A. Presutti Directed by Rob Barron CAST (alphabetical by role) Carlotta .......................................................................................................................................... Kristen Beil Christine ................................................................................................................................... Krista Severeid Gaston...................................................................................................................................... Rich Silverstein Madame Giry............................................................................................................................... Mary Cadden M. Richard.................................................................................................................................... Peter Roman Phantom.........................................................................................................................................Scott Napier The taking of pictures and/or making of visual or sound recording is expressly forbidden. Please check the houseboard for any program changes. The activities of Theatreworks/USA are made possible in part with public funds from the National Endowment for the Arts, the New York State Council on the Arts, a state agency, and the New York City Department of Cultural Affairs. The actors and stage manager employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States. THE PHANTOM OF THE OPERA WHO’S WHO KRISTEN BEIL (Carlotta) Favorite past roles include Sally Bowles (Cabaret), Roxie Hart (Chicago), Mary Hatch (It’s a Wonderful Life), Jeanie (Hair). Kristen is a native of Cincinnati, Ohio and a graduate of Indiana University School of Music (an alumnus of the I.U. Singing Hoosiers). KRISTA SEVEREID (Christine) A Seattle area native, Krista received Music/Theatre degrees from Pacific Lutheran University and moved to New York last September. New York: Alice (Cook) at the York Theatre – Developmental Reading Series. Washington favorites: The Sound of Music (Maria), A Little Night Music (Anne), Annie Get Your Gun (Annie). Thanks, TheatreworksUSA! RICH SILVERSTEIN (Gaston) is happy to return to Phantom, having played M. Richard in the 2004 tour. NYC: Stage Blue at the New Amsterdam, dir. Richard Maltby. Also shows with Les Freres Corbusier, Prospect Theater Company, Ensemble Studio Theater, and Gorilla Rep. Favorite roles include Charley in Merrily, Baker in Into the Woods, Finch in How to Succeed, and Buddy in City of Angels. Yale graduate. MARY CADDEN (Madame Giry) is thrilled to be making her TheatreworksUSA debut in The Phantom of the Opera. She received her BFA at NYU’s Tisch School of the Arts. Credits include: West Side Story (Maria), The Mystery of Edwin Drood (Rosa Bud), The Wild Party (Queenie), and The Fantasticks (Louisa), among others. PETER ROMAN (M. Richard) is thrilled to be on his second national tour. Pat credits include: Cat in the Hat (Seussical), Motel (Fiddler), Bud Frunp (How to Succeed), Antigonus (The Winter’s Tale), Lord Longueville (Love’s Labours Lost), and Hunk Hoyt (Best Foot Forward). SCOTT NAPIER (Phantom) is a southern boy from the Virginia countryside. He has earned a B.A. from the College of William and Mary and a Master of Music from the Boston Conservatory. He has performed as a soloist with the Boston Pops at Symphony Hall and at Lincoln Center in NYC. Favorite roles include Jesus in Jesus Christ Superstar and Sister Mary Amnesia in Nunsense A-Men. DAVID SPENCER’s (Music, Lyrics, and orchestration) latest, and current, project is creating music and lyrics for The Fabulist, an epic fable of Aesop (book by Stephen Witkin, based on the novel by John Vornholt), recipient of a 2002 Richard Rodgers Development Award, which allocates $35,000 toward a series of staged readings in NYC as a first step in a show’s onstage life. Readings of three successive versions were hosted by the York Theatre (artistic director James Morgan) and directed by Sheryl Kaller, over the course of Fall 2002 through Fall 2003. The composer-lyricist was also awarded a 2002 Gilman & Gonzalez-Falla Theatre Foundation Commendation Grant—his second—for his work on the score. The GGF Foundation also contributed significantly to the further development of the show, enhancing the last reading and funding the revised demo currently in progress. A winner of the 2000 Kleban Award for excellence in theatre lyrics, Spencer is also lyricist/librettist for the upcoming all-new musical version of Mordcai Richler’s novel The Apprenticeship of Duddy Kravitz (music: Alan Menken). He was again lyricist to composer Alan Menken, and co-librettist with Alan Brennert, for the SF musical Weird Romance (Original Cast Album on Columbia Records, published version by Samuel French). which debuted at the WPA Theatre; and was so successfully revived in April 2004 for the Musicals in Mufti series of concert staged readings at the York Theatre that plans for a full scale revival (featuring new and revised material) are under way. Other credits: the English Adaptation and New Lyrics for La Bohéme at the Public Theatre; the music and lyrics for Pulp, a one act musical (book: Bruce Peyton); music, lyrics and orchestrations for the Theatreworks/USA Young Audience versions of Phantom of the Opera and Les Misérables (book and direction for both by Rob Barron), which “pushed the sophistication envelope” for YA theatre and have toured the country to audience acclaim and rave reviews. A Cast Album of Phantom was the inaugural release on the on Playbill label, and the composerlyricist was, in 1996, awarded his first Gilman & Gonzalez-Falla Theatre Foundation Commendation Grant for his work on the score. He has also drawn upon his theatrical background to write two books: Passing Fancy, an original novel based on the TV series “Alien Nation,” which was published by Pocket Books in November, 1994; and The Musical Theatre Writers Survival Guide, which will be released by Heinemann in Spring of 2005. Spencer is on the teaching faculty of the Lehman Engel-BMI Musical Theatre Workshop, a member of the Dramatists Guild and has a biographical entry in Contemporary Authors. Finally, he has also been an arts journalist for over two decades, writing drama criticism for various newspapers and occasional features for national arts periodicals. He is currently webmaster and principal New York drama critic, for Aisle Say: The Internet Magazine of Stage Reviews and Opinion: http://www.aislesay.com ROB BARRON (Book, Director) has directed in New York, regionally, and in England. He has directed premieres at the Yale Rep, the Philadelphia Festival Theatre for New Plays, and the Actors Studio, where he is a member as an actor and a director. He directed the premieres of Come Up and See Me Sometime - A Night with Mae West, and Hans Christian Andersen's The Snow Queen at the White River Theatre Festival in Vermont, and the premiere of Thomas G. Waites' Dark Laughter at the Marin Theatre in California and the Iowa Playwrights' Festival. He is also a frequent director at Theatreworks/Colorado and the Studio Theatre in Washington, D.C., where his productions have been nominated for several Helen Hayes Awards. He is also the co-author, with Rusty Magee, of 1919: A Baseball Opera, which was presented at the Ensemble Studio Theatre. For Theatreworks/USA, he has directed Mike Mulligan and His Steam Shovel, Ramona Quimby, Charlotte's Web, Little Women, Treasure Island, and Around the World in 80 Days. He is the co-author of the musicals Ferdinand the Bull (with Jeff Marx and Robert Lopez) and Les Miserables. He also wrote and directed new versions of Great Expectations and The Adventures of Tom Sawyer and Huckleberry Finn for the Mountain Playhouse in Pennsylvania, as well as 5/31/89: The Flood, which premiered in September of 2004. Mr. Barron is a graduate of the Phillips Exeter Academy, Brown University, and the Yale School of Drama. JOYCE A. PRESUTTI (Choreographer) has a long association with TheatreworksUSA as both an actor and choreographer, starting in 1995. For TWUSA she has re-staged the choreography for Phantom as well as creating the choreography for their production of Les Miserables. Other credits include choreography for the national tour of Grease and the anniversary tour of The Fantasticks. She has directed and/or choreographed over 25 productions for Just Off Broadway, Inc. including award-winning productions of Me & My Girl and The Sound of Music. For Job, Inc, she recently directed and choreographed Pond Beyond the Meadow, a new musical. At Maine State Music Theatre, Joyce has directed and choreographed Young Tom Edison, Goldilocks and the Three Bears, The Phantom of the Opera, and Little Red Riding Hood. She has also served as the Intern Director for the past 4 years. At the Mountain Playhouse, Joyce has the pleasure of choreographing a production of Godspell directed by Rob Barron. Joyce is a proud member of SSDC and Actors’ Equity. DANIEL BOULOS (Stage Manager) Phantom of the Opera marks Dan’s first show with TheatreworksUSA, however he is no stranger to the road. Most recently he stage managed two shows for ArtsPower National Touring Theatre and prior to that toured as a stage manager for American Family Theatre. As a performer, Dan spent sixteen months in the North American tour of The Magic School Bus Live. Regional stage management credits include Philadelphia’s Walnut Street Theatre and Philadelphia Theatre Company. ACTORS’ EQUITY ASSOCIATION, founded in 1913, represents more than 45,000 actors and stage managers in the U.S. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. Equity seeks to foster the art of live theatre as an essential component of our society. www.actorsequity.org.