- CAST & BIO's
I LOVE A PIANO is the celebration of the music and lyrics of Irving Berlin. It follows the journey of a piano as it moves in and out of American lives from the turn of the century to the present. This all singing, all dancing valentine comes to vibrant life with over sixty of Irving Berlin’s most beloved songs, including classics such as “Blue Skies,” “There’s No Business Like Show Business,” “Puttin’ on the Ritz,” “Cheek to Cheek,” “Always,” “How Deep is the Ocean,” “Anything You Can Do,” “God Bless America,” and, of course, “I Love a Piano.” A fitting tribute to the man Jerome Kern famously said had “no place in American music - he is American music.”
Here is a sneak peek at rehearsal in progress...
|RYAN LAMMER (Jim) is thrilled to be making his debut with Gateway Playhouse in Irving Berlin’s I Love A Piano, which he has performed in over 45 states with two national tours including a 3 week regional run at Arena Stage. He will be performing in the Ensemble of Hairspray in the next production here at Gateway. Just recently Ryan was seen as the Production Tenor in Singin’ in the Rain at Cohoes Music Hall. Some favorites include The Producers, Raised in Captivity, Rosie O’Donnell & R-Family Cruise and Hershey Park. This one is for DAD and MOM! NEW and PROUD AEA member! www.ryanlammer.com|
|JODY MADARAS (George) Jody is delighted to be back for his 7th Gateway production! 1st National Tour: The Drowsy Chaperone (u/s Man In Chair, Robert, Asst. Dance Captain). Off-Broadway: Lyrics & Lyricists:Frank Loesser, Peg O’ My Heart (Irish Rep). TV: As The World Turns. Gateway: The Drowsy Chaperone, Me And My Girl, Show Boat, Funny Girl, Annie Get Your Gun, Wizard Of Oz. Regional: Irving Berlin’s White Christmas (FL premiere,VMT), You Can’t Take It With You(Two River), Annie (PaperMill), Red, Hot And Blue (Goodspeed, PaperMill), Lady, Be Good! (CT Rep), High Spirits (Berkshire Festival), Crazy For You (original European cast, Phoenix Theatre). Awards: 2008 AriZoni Award (Crazy For You). Graduate University of Michigan. Love to Natalie. www.jodymadaras.com|
|KRISTIN MALONEY (Eileen) is so happy to rejoin her Gateway family, where she has appeared in several productions, most notably Millie in Thoroughly Modern Millie, Esther in Meet Me in St. Louis, and Dorothy in Wizard of Oz. Kristin’s selected New York credits include The Streets of New York (Irish Repertory Theatre; nominee - Drama League Performance Award), Talk of the Town (Dorothy Parker – Algonquin Hotel), The Glass Blowers (New York City Opera). She has appeared in recent regional productions of Musical of Musicals – the Musical (Repertory Theatre of St. Louis & Cincinnati Playhouse, Cape Playhouse, York Theatre benefit). Kristin is also a lyricist, developing projects with composers Robert Maggio and Dan Furman in BMI/Lehman Engel Musical Theatre Songwriting Workshop. She devotes her time to championing new musical theatre. For a sampling of recent work, see www.kristinmaloney.com. Love and gratitude to her friends, co-workers, collaborators and family, especially Adam.|
|ASHLEY MCKAY (Ginger) is honored to return to Gateway! She was last seen here in The Wedding Singer (Julia u/s, Feat. Ensemble). B.F.A. in Musical Theatre (Dance minor) from MVC. Favorite past credits include: Disney Cruise Line (Main Stage Swing/Dance Captain, Cinderella, Sleeping Beauty), Little Shop of Horrors (Audrey), High School Musical (Sharpay Evans), Kiss Me Kate (Lois Lane), and Nunsense (Sr. Mary Leo, 4 times and counting). “Big thanks to Robin, Paul, Michael and everyone involved, but biggest thanks to my family and Sean – for always believing in me.” Proud member of Actor’s Equity Association! Please visit www.ashleysmckay.com.|
|DEBORAH TRANELLI (Sadie) Off-Broadway: Tallulah’s Party (Tallulah Bankhead), newyorkers (MTC) Brother, Can You Spare A Dime? (The Triad), Levittown (Theatre at St. Clement’s) Gutter Star (Fringe Festival) and Jungle Queen Debutante (NYMF). Tours include Company, Mamaleh! and Cole Porter’s 100th Birthday Party. Regional credits include: Bea in The Food Chain, Vicki in The Full Monty, Elsa in The Sound of Music, Mona in Dames At Sea, Beggar Woman in Sweeney Todd, Abigail in 1776, Dorothy in 42nd St., Aldonza in Man of La Mancha and Arlene in Baby. Numerous television appearances include: Dallas (co-star 11 seasons), Law and Order, Three’s Company, and Hart to Hart. Concert appearances include: Carnegie Hall, Town Hall, and The Kennedy Center. She is a 3-time winner of the Backstage Bistro Award for her cabaret work including Outstanding Achievement for her solo CD, A Lot of Livin’ on PS Classics. Deborah has also performed on numerous cast and compilation recordings. She is a proud graduate of Northwestern University. With love always to my angel Dad.|
|CHRISTOPHER VETTEL (Alex) is happy to be back at Gateway where, previously, he’s appeared in City of Angels (Jimmy Powers) and 1776 (Richard Henry Lee). His National Tour credits include the 30th Anniversary national tour of Annie (Bert Healy) and the 2nd national tour of Sunset Boulevard (Cliff/Joe Gillis u/s). He’s performed off-broadway in Wanda’s World and the NYMF Festival production of Flight of the Lawnchair Man and, overseas, in the German Company of Sunset Boulevard (Joe Gillis) and the European tour of Cabaret (Cliff Bradshaw). Regional credits include Radio City Christmas Spectacular (Santa Claus), Westchester Broadway’s Phantom (Count Phillipe de Chandon), Flatrock Playhouse’s Seven Brides for Seven Brothers (Adam Pontipee), Fireside Playhouse’s Titanic (Andrews), and Goodspeed Opera’s World Premiere of Flight of the Lawnchair Man (Charles Lindbergh). He has also appeared, as soloist, with the Opera Company of Boston, Opera Cleveland, and the Boston Symphony Orchestra, in the final concert conducted by Leonard Bernstein.|
|BOB DURKIN (Director/Choreographer) last season directed and choreographed Miss Saigon for the Gateway Playhouse. He is no stranger to the music of Irving Berlin as he was Tommy Tune’s Co- Choreographer for both the Broadway and Australian workshop’s of Irving Berlin’s Easter Parade. Bob is a Director and Choreographer with thirty-four years of experience to his credit. He has directed and choreographed both nationally and internationally. His stock, regional theatre, and touring credits combined number well over 250 productions of musicals, plays, and reviews. Internationally, his work has played before audiences in Austria, Australia, Canada, Spain, Portugal, Sweden, Italy, Finland, Scotland, England, Singapore, Taiwan, and Malaysia. Mr. Durkin’s list of international and national touring credits include: Anything Goes, Ain’t Misbehavin’, Big River, Crazy For You, Dreamgirls, The Goodbye Girl, Hello Dolly, Little Shop of Horrors, One Mo’ Time, Copacabana, Purlie, Seven Brides for Seven Brothers, Unforgettable (The Nat King Cole Story), and They’re Playing Our Song. His work on concerts both nationally and internationally include The Three Irish Tenors and Voices of Native America. In 1997, Bob and Co-Choreographer Mitzi Hamilton, were awarded the Connecticut Critic’s Circle Award for “Outstanding Choreography” for their collaborative work effort on Seven Brides for Seven Brothers at the Candlewood Playhouse in Connecticut. Bob has served as both Guest Artist and teacher at a number of prestigious universities and colleges such as The University of Alabama in Birmingham, The University of Vermont, West Virginia University, Oklahoma City University, Marymount Manhattan College, Wagner College, and The West Point Military Academy. Some of the fine regional theatres and companies that he has recently had the pleasure of working with include the Gateway Playhouse, West Virginia Public Theatre, Cherry County Playhouse, Westbury Music Fair, Theatre By The Sea, Candlewood Playhouse, Saint Michael’s Playhouse, Pittsburgh Musical Theatre, and Triarts Sharon Playhouse. For More information visit www.bobdurkin.com|
|BETHANY ELKIN (Associate Director/Choreographer) Most recently choreographed the Disney workshop of My Son Pinocchio written by Stephen Schwartz this past January. Last summer season she choreographed High School Musical 2 for Triarts Sharon Playhouse in Connecticut. Bethany has worked as an associate choreographer to Broadway Director and Choreographer Donald Saddler for the York Theatre presentation of the Oscar Hammerstein Awards (honoring George Irving), and assisted Larry Fuller (choreographer of the original Broadway Evita) on a recent national tour of that show in 2002. Other credits include: Thoroughly Modern Millie (Co-Choreographer to Bob Durkin); Ragtime (Asst. Chor.); Wild Party (Assistant Choreographer to Ed Kresley and served as Dance Captain, ensemble and swing). National Tours: Jesus Christ Superstar (P.A.); Evita (P.A.). Regional: Grease (Cha-Cha); Damn Yankees (Lola); West Side Story (Anybodys); Bethany is an alumni and adjunct professor at Marymount Manhattan College. She will be attending the MFA Musical Theatre Program at SDSU beginning Fall 2010. She is pleased to be working for her first time at the Gateway Playhouse.|
|KIM HANSON (Lighting Designer) has been designing lights for Gateway Playhouse since 1985. During that time he also designed lighting for many National & International tours. His work was first viewed in Asia with the tour of 42nd Street with stops in Israel, Singapore and Hong Kong. He revisited those wonderful venues and added KL to his passport as Lighting Director for the Rogers and Hammerstein review Some Enchanted Evening. His first visit to Taiwan came when he Stage Managed the tour on Hello Dolly. Additional international design credits include tours of My Fair Lady, Aladdin, Man of La Mancha, Song and Dance, Evita and, of course, A Chorus Line. Kim has designed and managed many galas and special events in New York City where he enjoyed providing designs for stars such as Tommy Tune, Gregory Hines, Ray Charles, Barbara Cook, and Harry Belafonte. Prolific in the dance world, Kim has designed star tours for Robert LaFosse, Darci Kistler, Jacques Sotto, Allegra Kent, Gary Chryst and many others. As resident lighting designer for NYC’s New American Ballet Ensemble he had the privilege of designing the world premiere of Ben Harkarvey’s Premonition. Before moving to Connecticut, Kim was the long time resident lighting designer for the avante garde modern dance company Chen and Dancers based in New York City’s Chinatown.|
|BRITTANY LOESCH (Scenic Designer) graduated with a BFA in Theater from Pace University in New York City. Previous designs include Violet, Kiss of The Spider Woman, A Perfect Ganesh, and Iboga at Pace University, Language of Angels at the Abrons Art Center and Quiet Cry (Passajj Productions) on Theater Row. Previous Gateway credits include Sophisticated Ladies and The Drowsy Chaperone. Her 9 year journey from Intern to Scenic Designer has brought her all over the country touring with Rent and Mooseltoe, as well as designing various children’s theatre productions. She is so grateful to have come so far and to be designing for the theater that raised her from a quiet intern to the professional she is today.|
|JASON A. QUINN (Production Stage Manager) Broadway: A Tale of Two Cities, Cabaret, Phantom of the Opera, Urban Cowboy, Candide with the NY Philharmonic, pre-Broadway engagements of Annie Get Your Gun, and In My Life. National Tour: Tommy Tune’s Dr. Dolittle. Off-Broadway: Striking 12, Criss Angel Mindfreak, Tony ‘n Tina’s Wedding, Rooms: A Rock Romance, Stomp, Roundabout’s Howard Katz, Beyond Glory, The Overwhelming, productions for Lincoln Center, Chicago’s Second City and Broadway Cares/Equity Fights AIDS. Select industrials include the re-opening of the Statue of Liberty, GLAAD Media Awards, US Open, Clinton Global Initiative; events for Miller Light, VH1’s Save the Music, the NY Yankees, and the NFL. Jason is a credited contributor to several books on event management and has served as a professor and guest lecturer at several universities in the northeast. For Hunter.|
|JOSE M. RIVERA (Costume Designer) is thrilled to once again be at The Gateway, after designing approximately 50 productions here since ‘92. An award winning designer and Los Angeles resident, recent credits include: The Will Rogers Follies for The Glendale Centre Theatre; Dial M For Murder at The Sierra Repertory Theatre; The National Tour of Cabaret and The International Tour of Altar Boyz for Windwood Theatricals; La Cage Aux Folles for The Maltz Jupiter Theatre and The Feature Film Collar. You can see his work on The Lifetime Network with The Perfect Nanny; The Perfect Wife; Blind Obsession; She’s No Angel and Facing The Enemy and at your local video store shelf with National Lampon’s TV The Movie; Evil Alien Conquerors and The Storyteller.Upcoming: Plaid Tidings and Hairspray for The Cape Playhouse; Gypsy; Joseph...Dreamcoat; Dirty Rotten Scoundrels and A Chorus Line for The North Shore Music Theatre. He dedicates his work to the memory of his parents. www.jmrcostumedesigns.com|
|JOVON SHUCK (Production Stage Manager) Jovon returns to Gateway after a two and a half year touring adventure with the cast and crew of Monty Python’s Spamalot. Other favorite credits include: Noises Off, and The Graduate (Broadway), The Irish Curse (Off Broadway), Saint Heaven (SCA Rich Forum), The Seagull (NYSF/Public Theatre), six Christmases with The Radio City Christmas Spectacular, four summers right here at Gateway Playhouse, and five wonderful years with Sheila Marie.|
|PAUL ALLAN (Producer) has been producing the seasons here at Gateway longer then he cares to count. Not that he regrets any of it though – it just sometimes hard to believe the number of shows, performers, staff, technicians, etc. he has come in contact with over the years, and the number of personal and professional friendships that developed and remain strong today. Paul’s grandfather (Harry Pomeran) was the first producer of Gateway in 1950, followed by his uncle (David Sheldon), his parents (Ruth and Stan Allan), and together with his sister Robin. Gateway has always been a family business, and each era has brought significant challenges particularly in the 80’s and 90’s when shows became more complicated and technically challenging. Additionally, the grounds changed, the buildings were modernized, and the facilities updated. In the most recent decade, the caliber of the artistic staff, performers, musicians, and technicians has risen to a level equaling and sometimes surpassing many Broadway shows. It has been difficult to find time to do other projects outside of Gateway seasons, but over the years Paul has been able to work in NYC on various shows in different capacities, run a touring company with shows traveling around the country and abroad, operate a sister theatre in Connecticut, act as consultant and facilitator for the restoration and reopening of the Patchogue Theatre, and maintain a set rental business - where Gateway scenery is used in theatres across the country after appearing on the Gateway stage. Paul appreciates, admires and honors his family’s dedication to the arts and is proud to help continue the legacy. Paul lives in Bellport with his wife Annmarie and their 2 children - Luke 5 and Alexa 3.|
Irving Berlin's 'Piano' is noteworthy at Gateway
By STEVE PARKS
June 23, 2010
If you love a good old-fashioned song, you'll probably fall for Irving Berlin's "I Love a Piano."
You can't get more patriotic than the Act I closer, "God Bless America," the unofficial national anthem and post-9/11 hymn. It's immediately preceded by the top-selling single of all time, "White Christmas," both written by the Jewish immigrant from Russia.
The show's loose story-line pastiches put 57 numbers in rough chronological order, making it all about the songs. An appealing cast ranging from young-love pairings (Kristen Maloney-Ryan Lammer and Ashley McKay-Jody Madaras) to a more mature couple (Deborah Tranelli-Christopher Vettel) sings and dances its way through this impressive chunk of Berlin's songbook without giving any tune the bum's rush.
No small feat, that, with a roster of songs everyone knows: "Alexander's Ragtime Band" shows off the hot licks of music director Justin Fischer's not-so-big band; "Puttin' on the Ritz," ironic in a Depression-era set; "Cheek to Cheek," with everyone ballrooming to director Bob Durkin's dreamy choreography; "Count Your Blessings Instead of Sheep," a wartime lullaby soothingly crooned by Vettel; "Easter Parade," led by an amusingly downscale Maloney and Lammer; "The Girl That I Marry," sung by Madaras, the sextet's hopeless romantic; a sassy "Anything You Can Do" by the younger foursome; a robust "There's No Business Like Show Business," introduced in been-there, done-that fashion by Tranelli, and McKay's reminiscent take on the title song.
The story, such as it is, revolves around a vintage 1910 piano with a broken key, which moves from Alexander's Music Shop to a Roaring '20s speakeasy, a 1930s Lower East Side street sale, a 1940s ballroom and a World War II canteen. And that's just the first act. The brisk Act II is confined to a postwar USO canteen, a junkyard and a 1950s summer stock theater during auditions for "Annie Get Your Gun."
It all plays out in front of set designer Brittany Loesch's huge piano-keyboard bandstand, scenes accented by Kim Hanson's mood lighting and period costumes by Jose Rivera that transport us from decade to decade.
Irving Berlin's great American career spanned most of the first six decades of the last century. But his songs never get old - or feel old as rejuvenated at Gateway.
Irving Berlin’s ‘I Love a Piano’
By: ROY BRADBROOK
June 18, 2010
Jerome Kern once commented that ‘Irving Berlin is America’s music’ and after seeing this wonderful show who could disagree! I could write this review in one sentence - Come and enjoy music that will make you feel romantic, happy and even sad at times and then happily drive home with those glorious melodies running through your mind.
But this would not do justice to the talents Gateway management have assembled and the skills of Ray Roderick and Michael Berkeley who conceived the idea of using the time frame of a grand old Steinway piano’s many and varied owners throughout the past hundred years to showcase over sixty of some of the greatest songs ever written.
Berlin lived for over a hundred years and wrote music for over sixty of them and his phenomenal output is reckoned in excess of fifteen hundred published songs, nineteen Broadway shows and sixteen films! Of the sixty plus songs in this tribute show, over thirty can without doubt be classed as all time hits that will be played around the world as long as music lasts. From his very first hit ‘Alexander’s Ragtime Band’, written in 1910, to the years that brought songs derived from his army life, including ‘God Bless America’ that was written at Camp Upton in Brookhaven, only a few miles from the Gateway theater, to classics in such as ‘Easter Parade’, ‘Putting on the Ritz’ and of course ‘White Christmas’ and then ‘Annie Get Your Gun’ and ‘Call Me Madam’ - the list seems almost endless.
Having the wonderful music is one thing but it needs talented performers to bring out all of the hidden depths in songs that were carefully crafted to tell a story and where, in many cases, the often lesser known verse is there to enhance the chorus of the song. Ryan Lammer, Jody Madaras, Kristen Maloney, Ashley Mckay, Deborah Tranelli and Christopher Vettel are very different as individuals and as singers but this is one of those great evenings where they really work as a team melding all of their talented voices and stagecraft together to effortlessly segue from one great and often well known and well loved song to the next with impeccable timing and they also show that they are no mean dancers. It is almost invidious to single out any particular scene or artist because the whole show was so good and well crafted but Deborah Tranelli tugged at the heart strings with a great bluesy rendition of the haunting, anti racial bigotry number, ‘Suppertime’ and in a totally different mood, Ryan Lammer and Kristen Maloney were hilarious as a couple of very ragged swells ready to march in the ‘Easter Parade’. Again the whole cast shone in the finale where the songs were written around a very unusual casting session.
Also this is an evening where the too oft forgotten musicians really have to be equally applauded with the soloists because the quality of the music that conductor and keyboard player Justin S. Fischer and his colleagues gave us brought the whole show to a peak of perfection that left the audience anxious for more, judging by the spontaneity and strength of the standing ovation everyone received on opening night.
This is a fun filled show that deserves to be a sell-out and I can only reiterate - Go and enjoy!
The South Hampton Press
Irving Berlin revue offers a sizzling display at Gateway Playhouse
By LEE DAVIS
Jun 21, 2010
“I Love a Piano,” the Gateway’s current musical, is a sweet little revue that features six rewardingly talented singer/actor/dancers racing through 66—count ’em: 66—Irving Berlin melodies in slightly less than two hours.
It’s a sizzling display, played on a not-so-dazzling set composed of an oversize piano keyboard and a beat-up upright piano (in case you’ve forgotten the show’s title) and some projections.
The scene, despite its local credit to Brittany Loesch, looks a little the worse for wear from traveling, but the cast is far from frayed. It’s composed of young, spirited, impressive dancing personalities with nice voices, who, executing the wishes and dances of director choreographer Bob Durkin, do ample justice and no damage to a bursting bouquet of Irving Berlin standards. The backup, by an onstage combo led by musical director Justin Fletcher, is spirited and supportive.
The show proceeds chronologically, thanks to many costume changes and a few set pieces, from a 1910 music shop, through silent movies in the 1920s, Manhattan’s Lower East Side in the 1930s, a movie theater in the 1930s, a ballroom in the 1940s, the Stage Door Canteen during World War II and a “Midwest Summer Stock Theatre” that’s staging a production of “Annie Get Your Gun” in the 1950s.
Quite a trip, and quite a collection of sometimes intricately harmonized musical arrangements by Michael Berkely, who, with Ray Roderick, conceived and wrote the show.
For no discernible reason, each of the six actor/singer/dancers has been given a name, but forget it. What matters is the distinctive and applaudable way each individualizes his or her material. As an ensemble, they shine vocally in “I’ve Got My Love To Keep Me Warm” and “Cheek to Cheek,” and they dance up a storm in renditions of “Mandy,” “The Best Things Happen While You Dance,” a wild ’20s Charleston sequence, and an atmospheric 1930s marathon dance.
Ashley McKay is tall and blonde and lovely, and delivers a fine arrangement of “Alexander’s Ragtime Band” and, with the other girls, a touching “I Got Lost in His Arms” in the “Annie Get Your Gun” sequence.
Christopher Vettel, given the role of the older man, has a fine rich voice, which he puts to good use in the jaunty “Two Cheers Instead of Three,” “Let’s Face the Music,” and a touching “Count Your Blessings.”
Ryan Lammer has a fine voice, too, put to good use in “Steppin’ Out with My Baby,” and “Change Partners.” Jody Madras is a sparkling personality who scores with “When the Midnight Choo Choo leaves for Alabam’” and, with Mr. Vittell, in “Steppin’ Out With My Baby.”
Deborah Tranelli has a lush, lovely vocal delivery, which she uses rewardingly in “Change Partners,” and particularly “Suppertime,” the song Berlin wrote for Ethel Waters, portraying a wife whose husband had been lynched, in “As Thousands Cheer,” but which works well in ”I Love a Piano” as a song sung by a woman who’s lost a husband in World War II.
My favorite cast member is Kirsten Maloney, a constantly perky, dynamite dancer with an endlessly mobile face, ecstatic with Ryan Lammer as they float through “The Best Things Happen While You Dance,” or mugging adorably with Mr. Lammer in my favorite number of the evening, Act II’s “We’re a Couple of Swells.”
Well, how can you feel unkindly or even without a smile at a show that contains at least a few of everyone’s favorite Berlin tunes, and has as its 11 o’clock number “There’s No Business Like Show Business”? It all adds up to a mindless but by no means heartless musical evening.
“I Love a Piano” continues at the Gateway Playhouse in Bellport every evening but Monday and with several weekly matinees through July 3.The box office number is 286-1133.
Download the Playbill
9 Meg PDF File
|Conductor/Keyboard I||JUSTIN S. FISCHER|
|Executive Producer||Ruth Allan|
|Associate Producer||Jeff Bellante|
|General Manager||Gale Edwards|
|Company Manager||Michael Baker|
|Assistant Company Manager||Keith Llewellyn|
|Administrative Assistant||Sarah Innes|
|Artistic/Casting Director||Robin Joy Allan|
|Associate Director/Choreographer||Bethany Elkin|
|Musical Director||Justin S. Fischer|
|Lighting Designer||Kim Hanson|
|Associate Casting/Artistic Director||Jessica Harrison|
|Production Photographer||Jeff Bellante|
|Musical Contractor||Jeff Hoffman|
|Sound Consultants||Dominic Sac, Cody Spencer|
|Box Office Manager||Laurie Parr|
|House Manager||Joanne Famiglietti|
|Group Sales||Claire Ward|
|Box Office Staff||Ashley Cooke, Nadine Hazard,Diane Koerber, Christina Montalato, Don Rebar,
Kyle Reitan, Linda Unger, Francesca Welhous
|Production Manager||Brian Loesch|
|Production Stage Managers||Jovon Shuck, Jason A. Quinn|
|Technical Director||Jeff Taylor|
|Wardrobe Supervisor||Marianne Dominy|
|Master Electricians||Spencer Padilla, Jose Santiago|
|Shop Foreman||Mark Frederick|
|Scenic Artist||Dennis Berfield|
|Props Master||Scott Rygalski|
|Sound Engineer||Shane Bourgeois|
|Assistant Production Manager||Taylor Milne|
|Assistant Stage Manager||Megan Danielson|
|Assistant Technical Director||Steve Haase|
|Sound Technician||Don Hanna|
|Technicians||Charlie Bell, Jacob Forstein, AJ Lebbens, Joseph Loesch, Alex Olsen, Brendan Smith|
|Wardrobe Assistants||Patrick Herb, Vanessa Pynn, Cee-Cee Swalling|
|Company Management/Admin Intern.||Cassandra Levey|
|Stage Management Interns.||Avianna Meck, Lindsey Sigler|
|Electrics Interns||Jennifer Atkinson, Colin Chauche, Justin Keenan Miller|
|Sound Interns||Sara Brown, Zach Ireson|
|Wardrobe Interns||Rachel Filbeck, Ariel Marcus, Amber Mallon|
|General Technician Interns||Nick Jacobs, Kendall McNichols, Brian Freeman|
|Facilities Maintenance||Mark Frederick|
|Cleaning Staff||Eleodoro Sorto, Ray Tobia|
|Landscaping||HTM Landscaping Company|
|House Staff||Eric Burt, Ryan Hudack, Martin Maningo, Ed Wecera|
|Hospitality Consultant||Mike Taylor|
|General Counsel||Ann L. Nowak & Associates|