This article was published on August 31, 2016

Denver’s acclaimed Phamaly Theatre Company, which exists to provide performance opportunities for actors with disabilities, is saying goodbye – and hello – to two of its most familiar faces.

Regan Linton

Artistic Director Bryce Alexander has resigned to assume the same position with the Naples (Fla.) Players. Regan Linton, who performed with Phamaly for six years before becoming a leading advocate for the inclusion of actors with disabilities in the national theatre, will run the company for at least the next year.

“We’re largely on the same page and have a shared vision for the company, so I anticipate a smooth transition,” Linton said Tuesday from her home in Bozeman, Mont. “Bryce has started a lot of great initiatives, and I get to pick up where he left off.”

It is believed that Linton, 34, will become the only Artistic Director in a wheelchair to be leading a major U.S. theatre company, according to the Theatre Communications Group.

Phamaly has produced professional plays and musicals since 1989, cast entirely with performers who have physical, cognitive and emotional disabilities. While the company now performs a full year-round season, including a statewide children’s tour, its primary offering each year is a Broadway musical staged each summer at the Denver Performing Arts Complex. Next up: Peter Pan in the Stage Theatre in July 2017.

“Having a person with a disability in a leadership role is an important statement for any theatre company to make,” Linton said. “This gives me an opportunity to engage with Phamaly’s vision in a more proactive way, and to engage with actors with disabilities in a new way.”

Linton, a graduate of Denver East High School, was paralyzed in a 2002 car accident while an undergraduate at the University of Southern California. After graduation, she won Denver Post Ovation Awards for her work in Phamaly’s productions of Side Show and The Man of LaMancha. Since then, her many “firsts” have included becoming the first paralyzed student ever accepted into one of the nation’s top masters acting conservatory programs (the University of California at San Diego), and Linton was the first actor in a wheelchair to be hired into the venerable Oregon Shakespeare Festival‘s year-round repertory company.

“Regan brings a national artistic presence as a renowned professional actress, but she also brings her hometown knowledge of the actors, the company and the community,” Alexander said of his successor. “Anytime a prominent artist returns home to her roots, that can be a very powerful tool for the company. I think Regan will be able to take Phamaly to the next level as a major regional theatre in America.”

Alexander has been with Phamaly since 2007 and became the company’s first full-time Artistic Director just 18 months ago. He said he would not be leaving now if he didn’t have full confidence in the company’s current course. He said he leaves Phamaly with a solid presence in the local national theatre communities, and solid relationships with the respective disability communities.

Under Alexander, Phamaly has instituted year-round season programming, doubled its staff to six, significantly increased its funding from both the local Scientific and Cultural Facilities District and the National Endowment for the Arts, and made an international goodwill tour to Japan. In addition to directing The Glass Menagerie, Cabaret, Taking Leave and Evita, Alexander counts among notable accomplishments the introduction and implementation of sensory friendly performances.

“All of that is clear proof that Phamaly is only on the way up,” Alexander said. “As bittersweet as it is for me to say, it is time for Phamaly to take the next step with someone who is living everyday with a disability and is able to truly connect with both the the disability community and the professional theatre community.”

Alexander worked tirelessly to eradicate any perception of his company as an “other,” preferring instead for Phamaly to be considered and compared by the same standards as any other Denver-area theatre company.

“I’ll miss the people the most,” Alexander said, “especially the actors who sacrifice and love far beyond any standard degree. Who so excellently explore our craft. I will never forget the passion they’ve taught me.”

In the Naples Players, Alexander will lead a venerable, year-round community theatre founded in 1953 in southwestern Florida. It performs mostly family friendly plays and musicals such as the upcoming Coney Island Christmas, Outside Mullingar and My Fair Lady. Alexander said the company services many socioeconomic backgrounds, has a strong arts-education program and subsists largely on 50,000 volunteer hours per year.

The move will represent a significant increase in scope for Alexander. The Naples Players operate on a $3 million annual operating budget, compared to Phamaly’s $850,000. He will have a full-time staff of 16 in Florida, while Phamaly has four. And while Phamaly performs before about 12,000 a year, the Naples Players draw about 60,000.

“The model of the Naples Players is one that large, regional professional theatres will be looking at,” said Alexander, “not only concerning how to engage their audiences on a significant level, but the community as well.”

Alexander graduated from Cherokee Trail High School in Aurora and earned his graduate degree in Theatre Performance from the University of Colorado-Boulder. He was trained under the wing of DCPA Theatre Company Producing Artistic Director Kent Thompson, who hired Alexander as his Assistant Director for White Christmas in 2012 and Just Like Us in 2013. He worked summers at the Colorado Shakespeare Festival.

“Bryce has raised the bar during his time with Phamaly Theatre Company,” said Phamaly Executive Director Maureen Johnson Ediger. “His passion for including artists living with all disabilities, combined with his innate talent for nurturing thought-provoking theatre, made him a profound artistic leader for our company.”

Alexander is married to local actor Katie Cross, who will be featured in the Avenue Theater’s The Money Shot, opening Friday and running through Sept. 24. They will move to Florida in October.

Linton’s interim position will be considered a part-time role while the executive staff defines  job roles moving into the future. That will allow Linton to continue her work as a national disability advocate, though she said there is a very good possibility that her role could transition into a full-time career change next year.

“I’m thrilled, honored, and really excited to see how I can support the company to keep doing great things, but also move into new directions,” said Linton, who has recently acted with The Arson Theatre in Minneapolis and the Griot Theatre in Los Angeles. “I am still very passionate about performing and developing as an artist, so I am going to continue to perform when it is beneficial to the company as well.”

Ediger said Linton’s charge is to focus on actor development, season implementation and development, and to continue to build partnerships with the theatre and disability communities.

“She is the ideal candidate to pick up the torch and seamlessly move the company forward with their mission to inspire people to re-envision disability through professional theatre,” Ediger said.

Phamaly is not currently accepting applications for the permanent position.