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Lookingglass Theatre Company’s

Lookingglass Alice

Adapted and Directed by David Catlin from the works of Lewis Carroll
In association with The Actors Gymnasium
Sep 11 - Oct 11, 2015
The Stage Theatre (View Map & Seating Chart)
Run Time: 90 minutes, no intermission
Ticket Price: Starts at $35
Age Recommendation: 4+
Advisory: Theatrical haze, bright flashes of light, loud noises and plenty of whimsy are used in the production. Actors move and perform in the aisles. There is no late seating for seats in Section 6 or in rows AA, BB, or CC.

Imagination soars and laughter and awe abound in Lookingglass Alice, Chicago’s gravity-defying hit inspired by Lewis Carroll’s beloved stories. Called “Spectacular” and “Pure, unadulterated magic” by the Chicago Sun-Times, Lookingglass Alice is a marvel for all ages, transporting audiences down the rabbit hole to a circus-infused playground. With breathtaking theatricality and wildly inventive acrobatics, this wonderland adventure is one you won’t want to miss.



Sponsored by the Colorado Cadillac Dealers

Discover how the wild world of Wonderland comes to life when you meet members of the cast for a behind-the-scenes conversation, insta-worthy photo op and signed limited-edition poster.

Limited number available following Friday, Saturday matinee, Saturday evening, and Sunday performances Sep 19 – Oct 11

Presenting Sponsor:
Cadillac logo

Show Sponsor:
Fairfield and Woods, PC

Producing Partners: Isabelle Clark, L. Roger & Meredith Hutson, Martin & Jo Ann Semple


Perspectives: 5 things we learned about 'Lookingglass Alice'
Perspectives is a series of free panel conversations moderated by DCPA Theatre Company Literary Manager Douglas Langworthy. Read More
Insider Perspectives
Insider Perspectives
Sep 11 | 6:00pm
Free • The Jones at Speer & Arapahoe
Get an exclusive insider's perspective of Lookingglass Alice when you join us for a professionally-moderated discussion with our Theatre Company's creative team.
Dine Out for DCPA
Dine Out for DCPA
Sep 15 | 3:00pm
3-9pm | The Kitchen Next Door
Eat at The Kitchen Next Door (at Union Station) on Tuesday, September 15 from 3-9 p.m., mention to your server you are there to support the DCPA, and 50% of the sale will be contributed back to our organization!

All diners must mention the DCPA in order for the donation to be counted.

The Kitchen Next Door - at Union Station
1701 Wynkoop Street, Suite 100
Denver, CO 80202
(720) 460-3730
Theatre Thursday
Theatre Thursday
Sep 17 | 5:30pm
Helen Bonfils Theatre Complex lobby
Jump-start your weekend with fun. Your ticket to Lookingglass Alice for Theatre Thursdays includes a cocktail and live music. Buy with code THURSDAY

Family Day
Family Day
Sep 20 | 12:30pm
Family 4 Pack: $140 with code FAMILYDAY

Spark your family’s sense of wonder with an amazing (and affordable) afternoon at the theatre. Get to the performance early for interactive activities, included with family 4-pack tickets.

Theatre & Theology Talkback
Theatre & Theology Talkback
Sep 22 | 9:00pm
Join Pastor Dan Bollman of the Rocky Mountain Evangelical Lutheran Synod to examine Lookingglass Alice through a theological lens.
Talkback with the Higher Education Advisory Council
Talkback with the Higher Education Advisory Council
Sep 27 | 3:30pm
Participate in a topical discussion of Lookingglass Alice led by members of our academic community.
Accessible Performance
Accessible Performance
Oct 3 | 1:30pm

Free with admission

To buy tickets for any accessible performance, select the appropriate code noted below. For optimal service, call the box office at 303.893.4100 or TTY 303.893.9582.

Sign Language promo code: ASL
Audio Description promo code: AUDIO

Video credit: David Lenk for the DCPA.
Check back soon for photos and videos of Lookingglass Alice. Head over to our blog for news, reviews, photos and videos of other DCPA shows and events.

Photo Credit: Adams Visual Communications.
Adeoye, Understudy Rev. Ralph Abernathy / Roy Wilkins / Aaron Henry / Bob Moses / David Dennis
At the Theatre Company: Lookingglass Alice. Other Theatres:  Lookingglass Alice, The Little Prince, Peter Pan, Icarus, and Black Diamond (Lookingglass Theatre), The Unmentionables (Step-penwolf Theatre), The Lost Boys of Sudan (Victory Gardens Theater), A Raisin in the Sun (Guthrie Theatre/Penumbra Theatre), Intimate Apparel (Clarence Brown Theatre). TV/Film: “DETROIT 1-8-7,” “LEVERAGE,” “Prison Break,” Vengeance is Mine, Chicago Over-coat. Training: MFA, The Academy for Classical Acting at The Shakespeare Theatre and The George Washington University, Wash-ington, DC. Love and gratitude to his family.


Molly Brennan
Molly Brennan, Red Queen and others

At the Theatre Company: Debut. Molly is an AEA actor, singer and clown. Credits include: Second City’s American Mixtape, Madam Barker in Red Tape’s The Life and Death of Madam Barker, Second City’s Guide to the Opera at Lyric, Peter Pan: A Play at Lookingglass, Animal Crackers at The Goodman, Theatrical Essays at Steppenwolf, and 500 Clown Macbeth and 500 Clown Frankenstein in multiple venues in Chicago and the United States. Molly served as Artistic Director of Barrel of Monkeys for three years. In 2016 she looks forward to presenting a new Clown Rock Musical collaboration co-written by Malic White and produced by the Neo- Futurists. Molly was named Chicago’s “Queen of Mischief and Make Believe” by American Theatre magazine, February 2015. She’s also received a couple of Jeff Awards.

Moly Brennan

  • Hometown: Chicago
  • Training: University of New Hampshire
  • What was the role that changed your life? There have been a lot of great ones. I've had a lot of opportunities and worked on all sizes of stages all over the country. For 10 years, I toured with an extraordinary physical theatre company called 500 Clown. I learned so much of my craft doing that work, and for it I am grateful. David BowieSomething more recently happened that also feels that it's changed my life, but it was so recent I can't yet tell exactly how. It sits in me like a fire, and it's waiting for more. I was invited to devise a piece for opening of the David Bowie exhibit at the Museum of Contemporary Art in Chicago. My partner Malic and I performed Heroes, and did all these things on stage that made us feel like heroes. Malic cut themself out of a box, then saved me from the prom dress I was wearing. We gave the audience decorated mirrors that when looked at, gave the user Bowie's "Aladdin Sane" makeup. So THEY could be heroes. We rode our bikes around on the stage. Being on stage with my love, committing outrageous and generous acts, was such a thrill. We have continued making this variety of work and have a full-length piece being produced in Chicago by the Neofuturists in February.
  • Why are you an actor? My favorite way to be with people is through theatre. Onstage or in the audience. I love to be with people that way, in story, in voice, in action, in reaction.

  • What would you be doing for a career if you weren’t an actor? I would work with animals.  Dogs are my other love. I'd run a sanctuary for senior dogs, or maybe train service animals.

  • Tom WaitsIdeal scene partner: Tom Waits. That guy has everything. His theatricality is delicious in his own work, and when he's using someone else's script. I'd love to make and perform a play with that guy.
  • Why does this play matter? Lookingglass Alice matters because we attempt the impossible, as Mr. Carroll suggests. We do these physically challenging feats, then coax the audience back inside their racing hearts. We show that difficulty and challenge can feel like magic, and that becoming "adult" doesn't have to be joyless or free of whimsy.
  • What do you hope the audience gets out of Lookingglass Alice? A boost of whimsy. A racing heart. Some big laughs. Maybe a tear or two? The want to do 6 impossible things before breakfast. Maybe want to take a circus class?
  • Finish this sentence: "All I want is ... " 

    To hear what people who are hurting have to say.

    To assume that if someone is saying they are hurt that this is true.

    To address a person's expression of pain, not the tone or the vernacular.

    To reject notions of a correct and polite way to express hurt.

    To ally with the injured.

    To ask how I can help, then do it to the best of my ability.

    To demand that leaders hold themselves to the same responsibility to our people that I have.

Kevin Douglas
Kevin Douglas, Mad Hatter and others

At the Theatre Company: Debut. He was last seen at Lookingglass in Mr. Rickey Calls a0 Meeting. Lookingglass credits: Black Diamond: The Years the Locusts Have Eaten, Lookingglass Alice, Around the World in 80 Days (Jeff nomination Best Supporting Actor), Our Town co-directed by Anna D. Shapiro and Jessica Thebus, and The Great Fire. He has performed at Actors Theatre of Louisville, Baltimore Center Stage, Kansas City Rep and Alliance Theatre. Kevin is a writer and lover of comedy. Graduate of the Theatre School at DePaul University. He would like to thank God for this opportunity.

White Rabbit and others In Lookingglass Alice

  • Hometown: Chicago, although I was born in Toronto and lived in Fort Worth, Texas, for 11 years
  • Training: BFA degree in Acting from The Theatre School at DePaul University
  • Meet the Cast: Kevin DouglasWhat was the role that changed your life? In college, I was the lead in a play called La Bete, by David Hirson. I had to learn a 13-page monologue that started the show. It was my first lead role and the biggest part I had ever had. That was the hardest thing I had ever done … well, until Lookingglass Alice.
  • Why are you an actor? Because of all of the jobs I have had, this is the one I truly love. Acting has provided me with other opportunities like: sketch comedy, teaching, playwriting, on-camera work, voice-over … it’s the job that keeps on giving.
  • What would you be doing for a career if you weren’t an actor? I would write music. I do sketch comedy and have written a few sketch-comedy shows. In every show I have written there have been original songs. I have written a play and it has three songs in it … I love music. 
  • Ideal scene partner: Eddie Murphy, because he was the first actor who made me go, “Wow, I wanna do that.” Watch his older stuff and you will see why.
  • Why does Lookingglass Alice matter? Because we live in a world where we rush to get to the next thing and do the next thing. This play asks you to take your time and enjoy every moment.
  • What do you hope the audience gets out of it? They should leave remembering that life is short short. Play, have fun and enjoy every single moment, especially, with loved ones.
  • Finish this sentence: "All I want is ... " for people to be nice to each other.
Micah Figueroa
Micah Figueroa, Understudy White Knight, Mad Hatter and others
At the Theatre Company: Debut. Micah is a proud member of the teaching artist staff at Lookingglass and Raven Theatre where he gets to create new and original works with children across Chicago. He was last seen this summer as Cabaco in Lookingglass’ Moby Dick and (once!) as White Rabbit/Mad Hatter/ Humpty Dumpty in an all-understudy performance of Lookingglass Alice. Micah would like to thank his family, both biological and acquired, for their love and support.

Micah Figueroa


Understudy White Knight, Mad Hatter and others, Lookingglass Alice

  • Hometown: Sachse, Texas  
  • Training: B.F.A. Theatre Studies: Directing and Playwriting, Southern Methodist University.
  • What was the role that changed your life? Playing Conrad Jarrett in Ordinary People while still in high school was the first non-comedic role I’d attempted, and it opened my eyes to the power of theatre in the community. Until that point, I hadn’t experienced first-hand how much people viscerally empathize with characters and began to understand the basic human need to witness live performance.
  • Why are you an actor? I’m a bit of a jack of all trades, and l love absorbing new knowledge, skills, and experiences. As an actor, you’re constantly asked to investigate further and further into the lives of your characters including whatever job, status or skills that character may have. I also believe practicing an art form of any kind is extremely beneficial to your community, and I absolutely love discovering the countless ways art positively affects life. 
  • What would you be doing for a career if you weren’t an actor? I wanted to be a wildlife biologist for my entire life before acting. I’m still amazed at the world around us, especially by billions of different plants and animals that share the world with us. I was a HUGE Crocodile Hunter fan as a kid (below).

Steve Irwin, Crocodile Hunter

  • Ideal scene partner: I’d love to work with Bill Irwin (right). I’ve been a big fan of his since seeing him as Mr. Noodle on Sesame Street and have always wanted to Bill Irwincreate the smart, specific and hilarious type of work he makes. He’s had quite the career. I would have given anything to have worked with Robin Williams as well. I believe he was one of the most talented entertainers of all time.  
  • Why does this play matter? In the show, Alice undergoes an enormous amount of change and, as we all do, experiences the confusion, stress, anxiety, and fear of growing older. Regardless of age, we’re always growing older and experience those same feelings. Despite everything, Alice learns to keep imagining, believing and climbing. The message I have taken to heart, as the caterpillar says, is “playing takes practice.” The world doesn’t like to provide the time or space to practice playing, using your imagination or even taking a long, deep breath for that matter - all practices essential to happiness. It sometimes takes extraordinary amounts of effort just to take a breath. But with practice, and definitely a lot of playfulness, the world becomes a much more beautiful place to live in. But you’ve got to practice. 
  • What do you hope the audience gets out of Lookingglass Alice? I hope they experience the joy and wonder of some amazing storytelling. 
  • Finish this sentence: "All I want is ... " to explore, play and love rather than destroy. .... And free daily baked goods!
Lauren Hirte
Lauren Hirte, Alice
At the Theatre Company: Debut. Lauren is thrilled to be making her Denver Center debut with this run of Lookingglass Alice! She originated the role of Alice, and besides several runs at Lookingglass Theatre in Chicago, has also toured with the show to The McCarter, The Arden, and Off-Broadway at the New Victory Theatre. Other regional credits include A Christmas Carol, Actors Theatre of Louisville; and the title role in Milwaukee Rep’s Diary of Anne Frank. Chicago Credits: Hard Times, Hephaestus, Fedra, Icarus, and The Little Prince, Lookingglass Theatre; Jewish Stories, Piven Theatre; The Tempest, Dream, Flying Griffin Circus, at Actors Gymnasium. Film: Trust, directed by David Schwimmer. Lauren is currently living in Los Angeles and when not performing, can be found teaching aerials at TSNY LA on the Santa Monica Pier.
Samuel Taylor
Samuel Taylor, White Knight and others
Samuel Taylor Quote

At the Theatre Company: Debut. Lookingglass credits: Lookingglass Alice (Chicago, Louisville, Atlanta, Syracuse), Peter Pan (A Play). Chicago credits include: The Feast (An Intimate Tempest) and Hunchback at Redmoon, Hot L Baltimore at Steppenwolf, and several productions at Chicago Shakespeare Theatre. Regional credits include: Doctor’s Samuel Taylor, 'Lookingglass Alice'Dilemma at American Players Theatre, A Christmas Carol at Actors Theatre of Louisville, The Boys Next Door at Syracuse Stage, and The Spy on tour with the Acting Company. TV Credits include “Boardwalk Empire,” “Mob Doctor,” and “Crisis.” Samuel is a Stakeholding Partner in the Back Room Shakespeare Project.


  • Hometown: Chicago
  • Training: University of Minnesota, Guthrie Theatre, BFA
  • What was the role that changed your life? No one role or play changes a person’s life. A life in the theatre is, like anything else, a lifelong process of rededication. 
  • Why are you an actor? Like any evolving process, I became an actor for different reasons than I stayed an actor, and those reasons will likely not be the reasons I am or am not one in 10 years. I studied acting because it offered a truer, harder, more loving way of looking at life. I stayed an actor because the community of people with which one gets to live as an actor is extraordinary.
  • What would you be doing for a career if you weren’t an actor? I’d be a baker.
  • Ideal scene partner: I’d like to work with Will Kemp, Richard Cowley and Richard Burbage.
  • Why does this play matter? Children tend to view childhood as a profound difficulty, which it is. Adults tend to view it as a hazy memory of better days. This play offers a way of communicating between adulthood and childhood that does better for everyone.
  • What do you hope the audience gets out of Lookingglass Alice? I hope the audience experiences the layer-cake of nonsense and truth in this play. I hope that they experience the delight of nonsense, the ...
  • Finish this sentence: "All I want is ... " I apologize. This is an impossible question. Life is a chaotic process of evolving needs and desires. No one thing can fulfill a person’s life-force.
More 'Meet the Cast' profiles:
Molly Brennan, Red Queen and others, Lookingglass Alice
Maurice Jones, Orlando in As You Like It
Lindsey Noel Whiting
Lindsey Noel Whiting, Alice

At the Theatre Company: Debut. Lindsey is excited to be back with the cast and crew of Lookingglass Alice. Lookingglass credits: Cascabel, The Great Fire, and Icarus. Regionally, Lindsey has performed at Actors Theatre of Louisville, The Alliance Theatre, and Syracuse Stage. Chicago credits include: The Snow Queen (Victory Gardens); Once Upon A Time (or The Secret Language of Birds), The Golden Truffle, The Cabinet, and Sink, Sank, Sunk (Redmoon), as well as several circuses at The Actors Gymnasium. Lindsey also performs with Mucca Pazza, a circus punk marching band. As always, thanks to Mom for her continued support.

Meet the Cast: Loindsey Noel Whiting

Alice in certain performances, Lookingglass Alice

  • Hometown: Elgin, Ill., about an hour outside of Chicago 
  • Training: BA in Theatrical Performance from Bradley University
  • What was the role that changed your life? Well, this play has certainly been a life-changer. I've met my fiance (castmate Samuel Taylor) and traveled to different cities. I began working with Lookingglass and The Actors Gymnasium. But here are some details on another life-changer. I was doing a theatrical event for a Chicago festival called Looptopia. I was wearing a mouse costume - a full, mascot, mouse costume. I was supposed to climb up a scaffolding, crawl into a giant hamster wheel rigged with fireworks and perform choreography to music I couldn't really hear. I was waiting to enter, sitting about 15 feet in the air on top of a crane that was going to drive me out in grand style, watching through my little mouse eyeholes as the crowd grew. We had barely rehearsed, never tested the fireworks, and there were more than 1,000 people attending. Right before we went on, I thought to myself, "You're going to do this crazy thing. And then you're going to go home and watch Netflix on the couch. This is the life you've chosen." Now, every time I'm in a situation where I have to do something intimidating or frightening I think, "You ran in a wheel of fire in front of a thousand people ... You can do this."
  • Why are you an actor? Oh man. Because it's really easy, steady work. ... Kidding. ... It's a good question and I can tell it's a good question because I'm having such a hard time answering. I think a big part of why I'm in this field has to do with the fact that the people I get work with are really great people. These are people that take pretending very seriously; they will spend hours working on silly voices and studying what makes a moment funny. I believe (castmate) Molly Brennan calls it "wearing a hat and doing a funny walk." Our show says, "Playing takes practice" and the theatre is full of play practitioners. 
  • What would you be doing for a career if you weren’t an actor? I do a number of other things to pay the bills. I teach kids how to use their bodies to tell stories. I do administrative work. Sometimes people pay me to play ukulele. I babysit. I'm told that actors have some marketable skills - working well within a team, public speaking, creative problem-solving. There may well come a time when it makes sense to put those skills to use in a different field. And I also like the idea of leaving the city and moving to an alpaca farm. 
  • Ideal scene partner: I'm going to be a jerk and not pick one. There are a number of people in the theatre community who I'd like to have as a scene partner. I suppose what they all have in common is a sense of openness and generosity. I'm going to steal a phrase from Samuel Taylor and say that I'd like to play with people "who show up with their pockets full." That's the kind of actor I'd like to be, and the kind of actor I'd like to work with.  
  • Why does this play matter? It's a story about growing up. And that's a universal experience. As Alice moves across the chess board, she's got one queen spouting nonsense and another insisting she follow the rules. She has to determine how to balance the two. 
  • What do you hope the audience gets out of Lookingglass Alice? I hope they leave a little more willing to believe in impossible things. 
  • Finish this sentence: "All I want is ... " to be in good health. In terms of personal happiness, everything else kind of seems like my responsibility.

Lindsey Noel Whiting in 'Lookingglass Alice.' Photo by Liz Lauren.Lindsey Noel Whiting in 'Lookingglass Alice.' Photo by Liz Lauren.

Samuel Zeisel
Samuel Zeisel, Understudy Red Queen and others
At the Theatre Company: Debut. Samuel is a Chicago-based actor/director/ educator. Since graduating from Northwestern University last year, Samuel has acted with Redmoon Theatre, Fearless Theatre, The Chicago Musical Theatre Festival, and Lookingglass. He also assistant directed Lookingglass’ recent production of Title and Deed and directed a world premiere, Splendour Without Diminshment, which just opened in the Chicago Fringe Festival. With his free time, he produces a monthly variety hour called Potluck with his best friends. Samuel still cannot believe that he has been accepted into the Alice family. He could not be more grateful!
Donterrio Johnson
Donterrio Johnson, Ensemble/Understudy Anthony Hope, Tobias Ragg
At the Theatre Company: Lookingglass Alice. Other Theatres: Lookingglass Alice (Lookingglass Theatre Company); Jesus Christ Superstar Jeff Award (Theo Ubique); Ain’t Misbehavin’ Jeff nominated, Golden Boy (Porchlight Music Theatre); The Color Purple, Avenue Q (Mercury Theatre); Rent (Brightside Theatre); Under A Rainbow Flag (Pride Films and Plays); Hairspray The Musical ITL Award winner (SRO Productions); Urinetown, Aladdin The Musical, Into The Woods and Kennedy The Musical (Broadway Workshop). Artistic Ensemble Member of Pride Films and Plays. Film/TV: USA’s “Sirens.” Commercials: McDonald’s McPick Two. Training: AMDA Los Angeles.
David Catlin
David Catlin, Playwright and Director
At the Theatre Company: Debut. Recent Lookingglass directing credits include: Moby Dick, Lookingglass Alice and The Little Prince. Other regional directing credits include: McCarter (Princeton, NJ), Arden (Philadelphia), The New Victory (NYC), Syracuse Stage, Actors Theater of Louisville, the Alliance (Atlanta) and the Getty Villa (Los Angeles). Other recent directing credits include: The Phantom Tollbooth (DePaul) and Moby Dick (Northwestern). David teaches acting with Northwestern University’s theater department. David lives in Chicago with his wife Kerry and their two daughters Emerson and Saylor.
Christine A. Binder
Christine A. Binder, Lighting Design
At the Theatre Company: Debut. Theater designs include work with Writer’s Theatre, Chicago Shakespeare, The Court Theatre, Northlight, Steppenwolf, Indiana Repertory Theatre, Actor’s Theatre of Louisville, and Oregon Shakespeare Festival. Her opera designs include work at the Lyric Opera of Chicago, Chicago Opera Theatre, San Diego Opera, New York City Opera, Pittsburgh Opera, and Houston Grand Opera. Recent designs include An Issue of Blood for Victory Gardens Theatre, A Kid Like Jake for About Face Theatre, and Onegin for Geneva Opera in Switzerland. Upcoming designs include Heir Apparent for Chicago Shakespeare, Onegin for the Houston Grand Opera, and Thaddeus and Slocum for Lookingglass Theatre. Ms. Binder is Jeff Award-nominated for her work with The Court, Lookingglass, and Northlight and has received two Jeff citations for her work with Redmoon Theatre. Christine is married to Claude Binder. The Binders have one son, Cody, and reside in Oak Park, Illinois.
Mara Blumenfeld
Mara Blumenfeld, Costume Design
At the Theatre Company: Debut. Mara has designed costumes for more than 30 Lookingglass productions, including Lookingglass Alice, In the Garden, Bengal Tiger at the Baghdad Zoo, Metamorphoses and Eastland. Elsewhere in Chicago, she has designed numerous productions for The Goodman Theatre, Steppenwolf Theatre Company, Chicago Shakespeare Theater and Court Theatre. A frequent collaborator with Mary Zimmerman, their credits include the Broadway and off-Broadway productions of Metamorphoses, The Notebooks of Leonardo da Vinci at Second Stage and Lucia di Lammermoor and La Sonnambula for the Metropolitan Opera. She is the recipient of four Joseph Jefferson Awards and was the 2012 recipient of the Michael Merritt Award for Excellence in Design and Collaboration.
Sylvia Hernandez-Distasi
Sylvia Hernandez-Distasi, Choreographer
At the Theatre Company: Debut. Florida native Sylvia is co-Artistic Director of The Actors Gymnasium in Evanston, Illinois, where she’s been teaching the art of circus since 1995. Sylvia has been an Artistic Associate of Lookingglass Theatre Company since 1999. She has won three of her four Jeff Awards for choreography for the company’s productions of The Baron in the Trees, Hard Times, and Lookingglass Alice. Other theater credits include Lyric Opera, Chicago Children’s Theater, Marriott Lincolnshire (where she won her fourth Jeff Award) and Steppenwolf Theatre, among others. Her most recent choreography was seen in Circuscope at The Actors Gymnasium. Sylvia is a recent recipient of The 3Arts Award for Design.
Ray Nardelli
Ray Nardelli, Sound Designer
At the Theatre Company: Debut. Off Broadway: Lookingglass Alice (New Victory Theater). Regional: Goodman Theatre, Steppenwolf Theatre Company, Indiana Repertory Theatre, Dallas Theater Center, McCarter Theatre, Long Wharf Theatre, Milwaukee Repertory Theater, Walnut Street Theatre, Guthrie Theater, Court Theatre, Hartford Stage, Alliance Theatre, Syracuse Stage, Actors Theatre of Louisville, Congo Square Theater Company, Alley Theatre, Chicago Shakespeare Theater, Northlight Theatre, Drury Lane Theatre, Lookingglass Theatre Company, Victory Gardens Theater, Meadow Brook Theatre, The Gift Theatre, American Girl Theater (New York, Chicago). David Bowie Is (U.S. Associate). He has recorded, mixed and produced CDs for many new musicals. More than 400 film, TV and computer-game credits worldwide. Awards: The Column Award nomination (Cabaret in Dallas); Elliot Norton nomination (Jungle Book, Boston); Suzi Bass Award (Lookingglass Alice, Atlanta); four Jeff Awards and eight nominations. Production work on pre-Broadway The Last Ship, Bring It On, Ann, The Addams Family, All Shook Up, Death Of A Salesman, Moonlight and Magnolias; assistant designer, Light in the Piazza. Professional affiliations: USA #829, ASCAP and IATSE #2.
Kent Thompson
Kent Thompson, Producing Artistic Director

Kent is in his 12th season as Producing Artistic Director of the Theatre Company. In Denver he directed productions of Sweeney Todd, Hamlet, Just Like Us, Other Desert Cities, Irving Berlin’s White Christmas, The Taming of the Shrew, A Midsummer Night’s Dream, Plainsong, Eventide, Benediction, Amadeus, The Liar and Measure for Measure, among others.

Three of Kent’s major accomplishments since coming to Denver have been the creation of Off-Center (innovative theatrical experiences aimed at millennial audiences), the Colorado New Play Summit (a premier national festival for new American plays), and the Women’s Voices Fund (an endowment that supports the commissioning and development of new plays by women).

Prior to moving to Denver he was Producing Artistic Director of the Alabama Shakespeare Festival for 16 seasons. Kent created the Southern Writers’ Project, which commissioned and produced 16 world premieres during his tenure. He served eight years on the Board of Directors for Theatre Communications Group (TCG) and as president for three years. He has served on peer review panels for the NEA (also chair), TCG, The Pew Charitable Trusts, The Fulbright Scholars Program, The Wallace Funds, The Doris Duke Foundation and The Andrew W. Mellon Foundation, among others.

Daniel Ostling
Daniel Ostling, Scenic Design
At the Theatre Company: Debut. Daniel is a San Francisco-based Lookingglass Ensemble Member. Recent designs include a new ballet Carmen (K-Ballet, Tokyo), Guys & Dolls (Oregon Shakespeare Festival, Ashland), Title and Deed (Sets & Lights, Lookingglass Theatre Company), Baskerville (McCarter/Arena Stage), Orphan of Zhao (A.C.T., SF/LaJolla Playhouse). On Broadway he has designed Clybourne Park (Walter Kerr; 2012 Tony nomination) and Metamorphoses (Circle in the Square; 2003 Tony nomination). Regional credits include the Brooklyn Academy of Music, New York Shakespeare Festival, Lincoln Center, The Public Theater, Playwrights Horizons, Long Wharf Theatre, Steppenwolf Theatre Company, La Jolla Playhouse, Seattle Repertory Theatre, Arena Stage, and Portland Center Stage, among others. Opera designs include Lucia di Lammermoor (La Scala, Milan/Metropolitan Opera, NYC/Tokyo), and La Sonnambula (Metropolitan Opera), Merry Widow (Lyric Opera of Chicago), and Philip Glass’s Galileo Galilei (NYC/London/ Chicago). He will be directing/ designing Lorca’s Blood Wedding at Lookingglass next season. He teaches at Northwestern University in Evanston.

Web site: danielostling.com
Charles Varin
Charles Varin, Managing Director
Charles Varin and his team are responsible for administrative, financial and business operations related to producing the Theatre Company’s season of productions and other artistic and educational initiatives. Prior to DCPA, Charles was General Manager for Geva Theatre Center in Rochester, NY and also has worked at Glimmerglass Opera, Asolo Repertory Theatre and Florida Studio Theatre.
Tess Golden
Tess Golden, Stage Manager
At the Theatre Company: Debut. Tess is so happy to have gotten a chance to take Lookingglass Alice on this road trip. Previous credits include: Wonderland: Alice’s Rock and Roll Adventure (Chicago Children’s Theatre), In the Garden: A Darwinian Love Story, The Little Prince, Mr. Rickey Calls a Meeting (Lookingglass Theatre Company), Northanger Abbey (Remy Bumppo Theatre Company), How Long Will I Cry?, Oblivion, Where We’re Born (Steppenwolf Theatre Company). She also has worked on projects with Chicago Shakespeare Theatre, The Raven Theatre, The Goodman Theatre and the side project.
Jeff Gifford
Jeff Gifford, Director of Production

Jeff is in his fourth season at the DCPA and oversees everything you see on stage except the actors. Guiding world premieres to their first opening night is especially gratifying and Jeff has worked on more than 35 of them. Among his favorites are Dinner with Friends, The Violet Hour, The Beard of Avon, Mr. Marmalade, and the new musical FLY. Jeff holds an MFA from California Institute of the Arts.

Kurt Van Raden
Kurt Van Raden, Stage Manager
At the Theatre Company: 35+ productions including Lookingglass Alice, Benediction, The Unsinkable Molly Brown, Animal Crackers, Hamlet, Just Like Us, Romeo & Juliet, Irving Berlin’s White Christmas, The Three Musketeers, Ring of Fire: The Music of Johnny Cash, The Taming of the Shrew, A Christmas Carol, The Liar, Superior Donuts, The House of the Spirits, Othello, Eventide, A Raisin in the Sun, A Prayer for Owen Meany, Richard III, Noises Off, The Merry Wives of Windsor, Our House, Pride and Prejudice, Third, Mrs. Warren’s Profession, 1001, Season’s Greetings, Living Out, After Ashley. At DCPA Cabaret: First national tour of Murder For Two. Other Theatres: Over 48 new plays at The O’Neill Theatre Center (National Playwrights Conference, Cabaret and Performance Conference, Artistic Associate and Production Stage Manager), The Great River Shakespeare Festival.
Bruce K. Sevy
Bruce K. Sevy, Associate Artistic Director and Director of New Play Development

Bruce K. Sevy has directed such memorable Theatre Company productions as Animal Crackers, When We Are Married, Heartbreak House, Mariela in the Desert, The Voysey Inheritance, A Prayer for Owen Meany, Doubt, All My Sons, Master Class, Mrs. Warren’s Profession, A Christmas Carol, Cat On a Hot Tin Roof, The Little Foxes, Molly Sweeney, Amy’s View, Valley Song, Pierre, Dinner With Friends and The Cripple of Inishmaan.

As Director of New Play Development, he oversees both the artistic and practical components of the Theatre Company’s successful Colorado New Play Summit, including commissions from outstanding American playwrights.

He has directed for Arizona Theatre Company, Cleveland Play House, Lark Play Development Center, Kansas City Repertory Theatre, Virginia Stage Company, Alabama Shakespeare Festival, Northlight Theatre, San Jose Repertory Theatre, Eugene O’Neill Theater Center, Pioneer Theatre Company, A Contemporary Theatre, Seattle Repertory Theatre, Empty Space and Intiman Theatre in Seattle, the Kimo Theatre in Albuquerque, and Utah Shakespearean Festival. His popular production of 2 Pianos, 4 Hands has been seen at more than 20 theatres nationally, including the Theatre Company’s successful 2003 production.

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