F A L L 2 019 // W I N T E R 2020 THE INAUGURAL ISSUE

Cirque in the
Burque
How to Create
A Blockbuster
Musical

Mighty
Pies
WAITRESS TO SERVE SWEET
SLICES IN POPEJOY

All Aboard
the Satellite
of Love

POPEJOY
Inside
WEBBER
WONDER
Jesus Christ Superstar,
50 years later HOW TO CREATE
A BLOCKBUSTER
MUSICAL
How big shows like Hamilton
become big shows.

16 44
BALLET BLANC/
BALLET NOIR
Celebrated Russian dancer
plays good swan/bad swan.

4 POPEJOY
12
 08 Q & A
Matthew Miller and
Popejoy group sales.

09 SUPER
TROUPER
50
BAD MOVIES,
GREAT FUN
Bigger than ABBA’s
hit song. Finding fun in foul flicks

11 ALWAYS
GET THE COOKIE
… and other insider tips.

30 BLUE
PATE SPECIAL
You’ll be left Speechless.

34 BAKE IT
IN A PIE
Waitress leaves us
craving a slice.
We share the recipe.

36 A VERY
POPEJOY
CHRISTMAS
Three reasons to celebrate
the season.

GRANDE 38 INSIDE HIT PARLAYED

CANTO THE RING Here, PTSD can stand for
26 … is not your next A menagerie of particularly tight swing
mechanical marvels. dancing.
Starbucks order.

52 KEEPING
IT REAL
Taking her job seriously.
20
F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 5
 BOARD OF DIRECTORS

PRESIDENT

DEBBIE HARMS
POPEJOY

VICE PRESIDENTS

MIKE STRIZICH

BRUCE ROBINSON

POPEJOY HALL // VOLUME 1 // ISSUE 1 S E C R E TA R Y

D A M O N M A D D OX

T H O M A S T KAC H R A C H E L L A M B - M O N T OYA
TREASURER
D I R E C TO R PAT R O N S E R V I C E S
M A N AG E R C H R I S VA L L E J O S
M AT T H E W C O S S U M
LAURA A. MANESS
A D M I N I S T R AT I V E A S S I S TA N T
E D U C AT I O N & O U T R E A C H
T E R R Y S . DAV I S SUPERVISOR HON. HENRY ALANIZ
M A R K E T I N G M A N AG E R
M AT T H E W M I L L E R
RICHARD APPLEBY
C H R I S D OW M A R K E T I N G A S S I S TA N T

FISCAL SERVICES TECH M A R Y E L L E N M I S S I K -T O W JEFFREY BARD

D E V E LO P M E N T D I R E C TO R
TA R A D U R S O
MARGARET MOSES BRANCH
PRODUCTION SERVICES PAT R I C I A O ’ C O N N O R - N AV R O T

M A N AG E R O P E R AT I O N S M A N A G E R
K AT H Y F R E S Q U E Z C H AV E Z
FA B I A N N A TA B E L I N G
MARK FERRIS
A S S O C I AT E D I R E C T O R , SUSAN HUDSON
T E C H N I C A L D I R E C TO R
B U S I N E S S O P E R AT I O N S
JESSICA HICKS BRANDI MUMMERT
JACO B T R UJ I L LO
SR. GRAPHIC DESIGNER C U S TO D I A N N I C K I PA N A G O P O U L O S
ALEX JONES CHRIS VELASQUEZ
P R O G R A M C O O R D I N AT O R L E A D C U S TO D I A N D R . T E R R A N C E S LOA N

L O N N I E TA L B E R T

D R . R AC H E L T U U R I
CONTRIBUTORS
LAURA ANDERSON • NICOLÁS CABRERA
S A N D R A M A R D E N F E L D • M A N DY M C A D O O
EMERITUS
M . B R I A N N A S TA L L I N G S

TO M C R O S TO N

COVER PHOTO
BRAD JUSTICE
R E N E C E R VA N T E S
T O N YA PAT T O N

REG RIDER

6 POPEJOY
Welcome!
Welcome to the inaugural issue of Popejoy Stage! We are very excited
to share with you these stories and photographs meant to enhance your
experience when you visit Popejoy.
We hope you find in these pages new reasons to like your favorite shows
and new shows to enjoy. We’ve also included information about Popejoy
itself that we think you’ll find useful or entertaining, or
maybe both!
In this issue, you’ll find a recipe for a favorite
New Mexico pie, so you can compare your own
pie-making skills with those of Jenna, the lead
character in Waitress.. We’ve also included a
profile of the creator of Mystery Science Theater
3000,, and another about the 10-time ballet
medalist dancing the leads in Swan Lake,, and
much more.
Our next issue of Popejoy Stage will hit your
mailbox in February. In the meantime, enjoy
this, our very first one.

T H O M A S T KAC H
D I R E C TO R

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 7
 the
PRE-SHOW BUZZ
lobby id you know that you can
bring a group of people
to Popejoy and receive a
D discount on tickets? To
learn more about the program, we
talked with Matthew Miller, our group
sales representative. Matthew worked
during his undergraduate years as
a student employee at Popejoy and
eventually joined our staff in 2016.

Where are you from?

I was born and raised in Truth or
Consequences. I became a Lobo and
moved to Albuquerque in 2008, and I’ve
been here ever since!

+Withthe Staff
Why do you enjoy working in the
performing arts?
I received my bachelor’s degree in
dance, so I obviously love being in and
around the performing arts. Some MATTHEW MILLER

of my favorite moments are hearing

about people’s first time experiencing a
professional Broadway production, so I
enjoy giving people that opportunity.
What is a group sale at Popejoy?
If you want to bring a group of 10 or
more people to Popejoy Hall, we offer
special discounts to make that possible.
This allows different types of groups to
attend our performances, like student
organizations, retirement communities,
company outings, fan groups, scouts,
and even just a group of friends wanting
to experience a show together.
What are the benefits to ordering
as a group?
The biggest benefit is that you get a
discounted rate for tickets. This year, we
added an Early Bird special, which gives
a deeper discount for purchasing tickets
early in the season. Additionally, we have
a larger discount for student groups
and organizations. We can also set you
QA
up with an online link that will allow
the members of your group to purchase
tickets individually, so that the group
leader does not have to be responsible
for collecting the money.
What do you like best about
working in group sales?
I enjoy working with all of the different
group leaders to match them up with
shows that they will love. Maintaining
these relationships is important to me
so that we can continue to bring many
different groups of people to experience
the performing arts.
What has been your favorite
show so far?
This is a tough one because, while I do
enjoy the hilarious satire of The Book of
Mormon,, I will always have a soft spot for
Wicked. The Wizard of Oz was one of my
favorite movies as a kid, so hearing the
story of the “Wicked” Witch of the West
was truly delightful.
What show do you think it would
be best to bring a group to?
I think a great show to bring a group to
this season would be Come From Away.
Away It’s
a story of the days following 9/11, and
how people came together to support
each other and to get through such a
devastating time. I think it’s an uplifting
show that will restore your faith in
humanity and make you truly appreciate
your relationships with the people
around you.

8 POPEJOY
 the
S O M OVED PRE-SHOW BUZZ
For the past 20 years,
Popejoy show and Lobo
athletic tickets have been
lobby
A still from the 1968 promotional
film, The Great Concert Hall Caper,
sold through UNM Ticketing showed off our Super Trouper.
Services with locations at
Dreamstyle Arena (The Pit)
and the UNM Bookstore.
This summer, UNM Ticketing
Services stopped selling
Lobo tickets and moved from
The Pit to a new office. You
can find them now at 800
Bradbury Drive SE, Suite 203.
Their hours in the new
office are Monday through
Friday, 8:30am to 5pm.
They offer free parking
on the south side of the
building. Of course, tickets
are still available at the UNM
Bookstore location, Tuesdays
through Fridays 10am to 6pm
and Saturdays noon to 4pm.
You can still call for tickets,
too — at 505.925.5858 on a
— or visit their website at SPOTLIGHT
SPOTLIGHT
unmtickets.com.
SPOTLIGHT
You’ve probably heard the ABBA rods charged with very high voltage
song “Super Trouper” about a were placed close together, producing
spotlight lighting up the lead singer of an intense flame as the rods burned.
a band. The light from that flame was
projected toward the stage through the
“Tonight the super trouper lights are
instrument’s lens, putting the performer
gonna find me
in an almost snow-white spotlight.
Shining like the sun …”
Our Super Trouper was retired
years ago, replaced by more modern
Popejoy had its own Super Trouper for
equipment. We put it on display in the
many years, projecting its beam of light
nearly 150 feet from the the back of the lobby before the musical Beautiful, where
hall above the balcony to the front of patrons were struck by its size. The barrel
the stage. of the instrument is about 6 feet long
Super Troupers used welding and the whole thing weighs about 300
technology, essentially. Two carbon pounds. Super Trouper, indeed!

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 9
 the
PRE-SHOW BUZZ
lobby
1. ARRIVE EARLY. This gives you time to
visit the UNM Art Museum (open during
our shows), have a drink at UNM’s tap
room, Draft & Table, or purchase a treat
from Satellite in our lobby.
2. CHECK OUR PARTNER
RESTAURANT LIST and enjoy dining
discounts before or after the show.
3. RIDE THE SHUTTLE. It’s fast, easy,
and free! Shuttles run continuously before
and after the performance and can take
you back to the car should you decide to
leave early.

4. DRESS IN LAYERS. Shows may

require us to keep the hall a certain
temperature, and we want to make sure
you’re comfortable at any temperature.
Subscribers 5. LOCATE THE RESTROOMS WHEN
YOU ARRIVE so if you need to exit
during a performance, you’ll miss as little
of the show as possible.
6. BRINGING FRIENDS? Add tickets at
special subscriber rates by calling the ticket
TOPTEN
If you’re new to Popejoy, here’s the run-down
on all you need to know about your visit.
office before the performance.
7. PICK UP A PERFORMANCE GUIDE
for your show at our booth. In it, you’ll
find all the information not available in the
program including the history of the genre
or more in-depth bios of the performers.
8. FORGOT OR LOST YOUR
TICKETS? Stop by the ticket office when
you arrive with your photo ID to have your
tickets reprinted.
9. CAN’T FIND YOUR SEAT? Ask one
of our friendly volunteer ushers to help
you find it.
10. SIT BACK AND ENJOY
THE SHOW.

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 11
 Olga Kifyak, winner of the
International Competition
Premio Roma and the 7th
International Festival-
Competition (Dance of
the 21st Century), dances
both Odette and Odile in
Swan Lake.

12 POPEJOY
 Following in the footsteps of her idol, Olga Kifyak
puts everything she has into her roles.
DOUBLE
DOUBLE
I
n order to reach the top of
Mount Everest, climbers
endure six months of training
to build up their physical
and mental stamina. To
become a prima ballerina, the
pinnacle of the ballet world,
a dancer trains for years to learn how her
body works and moves. Ballet teachers
prefer that students begin at an early age
because the body learns better how to
adapt to the movements ballet demands
while still young. Traditionally, those
selected to become prima ballerinas are
required to commit to years of training by
the age of 13.
Prima ballerina Olga Kifyak didn’t begin
dancing until the age of 12 even though
other students in her classes in Kiev had
started as young as age 5. Nevertheless,
she proved to have a passion for ballet.
Kifyak’s parents noted how she would
just stare at the television whenever
Bolshoi Ballet dancer Maya Plisetskaya
appeared. Plisetskaya earned praise
the world over as perhaps the greatest
ballerina of her time for both technical
accomplishment and passionate dance.
Kifyak trained at the Ukrainian
Academy of Dance for hours every day,
emulating her idol’s dedication. After
BY LAURA ANDERSON
Russian Ballet Theatre
Swan Lake
SUN OCT 13 6:30PM
her training, she gained the opportunity
to dance with the Ukrainian National
Opera Ballet, the Moscow Ballet, and
the Czech Opera Ballet. Later, she
landed in Moscow and performed in The
Sleeping Beauty, Karmen, Scheherazade,
Snow White, and Giselle, among others.
Competing internationally, she earned 10
medals from several different festivals.
Kifyak has been with the Russian
Ballet Theatre for over five seasons, and
performs the roles of Odette and Odile in
Swan Lake, just as Plisetskaya did in her
day. Typically, these roles are performed
by two separate dancers. Kifyak has
described performing the roles as
“climbing Mount Everest” because of the
changes both swans endure.
In an interview for Ronnie’s Awesome
List (ronniesawesomelist.com), Kifyak
described the demands of the two roles.
“In act one you see gentle Odette — the
purity, modesty, perfection. So, the dance
has to look light and effortless, but that
F A L L 2 0 1 9 // W I N T E R 2 0 2 0
takes a lot. The lighter it looks, (the) more
substantial power it takes. And then in
Act 3, Odile comes into picture. She is
a mean character, insidious, sarcastic,
reaching for her goal,” she said. “Odile is
personified by very sharp movements.”
In the third act, Kifyak as Odile
performs 32 fouettés, a major
accomplishment for any prima ballerina.
A fouetté requires one leg to be extended,
then coiled around the other in order to
whip the dancer around in a controlled
up-and-down turn. More impressively,
Kifya performs her fouettés in Swan Lake
en pointe (on the toes).
If asked to choose which of the two
roles she prefers, she would tell you it
depends on the day. “I don’t know which
role is closer to me, Odette or Odile. I like
dancing both. I think my favorite depends
on … my mood at that moment.”
Kifyak brings her passion for dance and
her technical abilities to the Popejoy stage
when the Russian Ballet Theatre brings its
production of Swan Lake to New Mexico
for the first time.
She has only one true goal for her Swan
Lake performance, though. “Bring joy to
other people. It is my passion, my hobby,
my life. Everything.”
POPEJOY 13
Timothy Sheader and Drew
McOnie won raves for their
direction and choreography
of the 2016 revival. They
assume those roles again for
the U.S. tour.

Jesus Christ Superstar

OCTOBER 17-20, 2019

PHOTO BY EVAN ZIMMERMAN

16 POPEJOY
Superstar
REBORN
New U.S. touring production uses an
Olivier-winning revival as its base.

E
B Y M . B R I A N N A S TA L L I N G S

nglish lyricist Don Black,

a frequent collaborator of
composer Lord Andrew Lloyd
Webber, once said that his
colleague “more or less single-
handedly reinvented
the musical.” Yet like so
many burgeoning artists in the 1960s and ’70s, Lloyd
Webber and his colleague, lyricist Tim Rice, also got
by with a little help from their friends — and some
excellent timing.
October 2019 marks the fiftieth anniversary of principal
recording of their iconic rock opera, Jesus Christ
Superstar, released in September 1971. It was released
at a critical cultural moment, when concept albums
were earning more respect. The original Broadway
cast recording of Hair was released in 1968, and The
Who’s epic album, Tommy, was released in July 1969.
Like Jesus Christ Superstar, both implemented new,
even controversial, approaches to their mediums, with
psychedelic rock and proto heavy metal influences; like
Jesus Christ Superstar, both Hair and Tommy also feature
messianic protagonists.
Newer theatre aficionados could easily assume that
Jesus Christ Superstar began its life as the internationally
acclaimed stage musical we all know, soon followed
by the smash hit soundtrack album with its singles,
“Superstar” and “I Don’t Know How to Love Him.”
That’s how musical theatre works, right? Not in this case.
With Jesus Christ Superstar, it was the other way around:
first came the concept album, then the musical.

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 17
 “As reinvigorated by the
director Timothy Sheader,
‘Superstar’ delivers a
genuinely primal jolt,”
according to The New York
Times’ review.
PHOTO BY EVAN ZIMMERMAN
That may not have been what Lloyd
Webber and Rice intended, but as risk
takers who knew they’d crafted an
epic story retold through fresh eyes,
they rolled with the punches. As Lloyd
Webber explained to Rolling Stone
in 2018, “the Superstar album was an
accident. Nobody thought it was even
remotely possible to produce onstage,
and the record company, MCA, said
they’d like to do it.
“Superstar was written like a radio play,
because that was the closest thing we
had available to us,” he continued. “I
think it works best when it’s closer to a
rock concert than to a stage show that’s
shoehorned into a proscenium theater.”
One of the many reasons why Lloyd
Webber decided to incorporate
elements of hard rock and heavy metal
in Jesus Christ Superstar was thanks to
18 POPEJOY
his original Jesus, Deep Purple vocalist
Ian Gillan. In the 2018 Rolling Stone
article, he describes Gillan’s powerful
baritone as “a revelation. Once I heard
his voice, I thought, ‘My gosh, I can go
so much further than I’d thought. I
can go much, much stronger with some
of the heavy-metal ideas.’” The album,
originally banned by the BBC for being
“sacrilegious,” went on to sell over 7
million copies; the show, launched in
1971, was nominated for five Tony Awards.
Jesus Christ Superstar was a risk that
many others — including director
Tom O’Horgan and impresario Robert
Stigwood — wisely chose to take.
O’Horgan was an influential theatre
and film director who made his
Broadway directorial debut in 1968 with
the groundbreaking Hair. So great were
his contributions to theatre of the day
that, at one point that year, there were
four simultaneous O’Horgan-directed
productions on Broadway — Hair, Jesus
Christ Superstar, Lenny, and Inner City.
As a director, O’Horgan was fond of
the freedom he found in Off Broadway
productions, and embraced many
elements of the then-burgeoning
experimental theatre scene, including a
greater focus on ensemble performance,
more physicality, and the Total Theater
concept in which the audience becomes
more closely involved in the work.
O’Horgan thought of his work as
“kinetic sculpture” and said his goal was
to be able to blend all aspects of the
theatre without letting any part become
secondary to the others. All of these
elements have since been incorporated
into stage and film productions of Jesus
Christ Superstar.

PHOTO BY EVAN ZIMMERMAN
Stigwood, meanwhile, had a long-
standing reputation as a business-savvy
music entrepreneur who knew how to
spot the next big thing. He launched
the careers of bands such as Cream and
The Bee Gees; served as a producer on
films such as Tommy, Grease, and Saturday
Night Fever; and brought his expertise to
theatrical productions like Jesus Christ
Superstar. In fact, Stigwood’s first outing
as a film producer was with the 1973
screen adaptation of Superstar, directed
by Norman Jewison.
Thanks to these combined efforts,
Jesus Christ Superstar remains one of
Lloyd Webber and Rice’s best known
collaborations, along with Evita and
their other Biblically influenced
production, Joseph and the Amazing
Technicolor Dreamcoat. Today, Jesus Christ
Superstar is still staged worldwide at
venues large and small. Contemporary
British theatre critics especially
appreciate the most recent production,
staged in 2017 at London’s Regent’s
Park Open Air Theatre.
Along with choreographer Drew
McOnie, designer Tom Scutt, and a
stellar cast, director Timothy Sheader
was praised for having “turn[ed] water
into top quality wine with his revival,”
according to a review by Lyn Gardner in
The Guardian, who gave the show four
out of five stars. “A simple praise-be is
owed to Timothy Sheader for mounting
a proper theatrical realization,”
exclaimed Dominic Cavendish of the
UK’s Telegraph. “Superstar’s youthful
potency and its Christ-like radicalism
— courting sacrilege, achieving
an essence of spiritual intensity
— is reborn in the nick of time.
F A L L 2 0 1 9 // W I N T E R 2 0 2 0
Regent’s Park Open Air
Theatre 2016 production of
Jesus Christ Superstar won
the 2017 Olivier Award for
Best Musical Revival.
Hallelujah!” Sheader’s Superstar went
on to receive the Olivier Award for
Best Musical Revival, and the Evening
Standard Award for Best Musical.
NBC continued to revive contemporary
interest in the rock opera with Jesus
Christ Superstar Live in Concert, which
aired on Easter Sunday, 2018. Starring
John Legend as Jesus, Sara Bareilles
as Mary Magdalene, and Alice Cooper
as King Herod (a role he’d previously
played onstage in the 1990s London
revival at the behest of Tim Rice).
Now, 50 years on and with an entirely
new generation introduced to the iconic
show, theatergoers, rock music fans,
and anyone else with “Heaven on Their
Minds” can enjoy Jesus Christ Superstar as
part of a limited touring engagement in
50 markets starting this October in Austin,
Texas before arriving at Popejoy Hall.
POPEJOY 19
Danny Novitski wants to forget all he saw in
World War II and make music. So do the others
he recruits for his band. But no matter how
white hot their music gets, the darkness of their
war experiences keeps invading their forward
march to fame. (Laura Osnes and Corey Cott in
the Broadway production of Bandstand).

Bandst
BOUNCING
BACK ON THE

It’s 1945 and the soldiers are home again.

PHOTOS BY MICHAEL POOL

20 POPEJOY
stand
F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 21
Her boyfriend never made
it home from fighting in
World War II, so Julia Trojan
throws her lot in with Danny
Novitski as lead singer for his
band of military veterans as
they decide to compete for
the title of best new band
in America. (Laura Osnes
in the original Broadway
production)

22 POPEJOY
 The Tony award-winning
choreographer of Hamilton, Andy
Blankenbuehler, staged Bandstand
on Broadway and his work is being
re-created for this all new touring
production. His dances earned praise
from critics and audiences alike and
won him his third Tony.

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 23
Even as the prize for best band in the
land becomes ever more reachable,
the music the group makes together
melds them in common cause with
their fans and gives all the musicians
a way forward for their new civilian
lives. Bandstand comes to Popejoy
Hall November 1st. (Corey Cott
and Laura Osnes from the original
Broadway production)

24 POPEJOY
 ENRICO CARUSO
Caruso was probably the world’s first
multimedia star. His nearly 300 recordings
sold worldwide. He appeared in movies
and on radio and traveled the globe to
star in operas and perform concerts.
While growing up in Naples, he earned
money as a street singer, and made his
professional opera debut there when he
was 22. Five years later, he took on his
first role at La Scala, Italy’s premier
opera house.
Caruso made his first recordings in
1901 and was soon in demand around
the world. He first performed at New
York’s Metropolitan Opera in November
1903, where he would sing in dozens of
operas, and contracted with Victor Talking
Machine Company, ultimately recording
260 gramophone discs for them.
When he died in 1921, his funeral was
attended by thousands, and his body
remained encased in glass until 1929 for
the sake of mourners.

ngress
Library of Co
United States
o
Enrico Carus s
Common
Creative

Never forget
Mario La
nza

where you
came from
The young stars of The Four Italian Tenors
pay tribute to four who preceded them:
Enrico Caruso, Mario Lanza, Luciano
Pavarotti, and Andrea Bocelli.
MARIO LANZA
As a boy, Alfredo Arnold Cocozza
listened to Caruso recordings constantly,
determined to be just like him. He was
born in Philadelphia the year Caruso
died. As a teen, his vocal gifts earned him
a concert appearance before conductor
Serge Koussevitzky. Upon hearing the
young tenor, Koussevitzky said “Caruso
redivivus (Caruso reborn).” When cast in

26 POPEJOY
Roberto Cresca, Alessandro D’Acrissa,
Federico Serra, and Federico Parisi (left to
right) are the Four Italian Tenors who will
come to Popejoy to celebrate the music of
four of Italy’s greatest tenors. Each of the
young singers are rising stars on their own.

The Four Italian Tenors

Perform “Viva Italia!”
SUN NOV 10 3PM

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 27
his first opera, he changed his name to
honor his mother, becoming Mario Lanza.
Contracted by MGM, he starred in The
Great Caruso, the top grossing movie in
1951. He also was a radio star and graced
the cover of Time Magazine. At concerts,
he was mobbed by fans who adored his
voice and his movie star looks.
After a dispute with MGM cost him his
contract, he moved to Rome where he
died of a heart attack in 1959. Tenors
José Carreras and Plácido Domingo
both credited Lanza with inspiring them
to pursue opera careers.

LUCIANO PAVAROTTI
Luciano Pavarotti said of Lanza, “I used
to go to (his) movies and then come
home and imitate him.” Pavarotti eased
into a musical career, studying voice
while selling insurance or teaching.
A few roles in operas across Europe
made him realize a career was possible.
He auditioned for Joan Sutherland
who needed a tall tenor for a tour and
was soon traveling the world with the
renowned soprano.
Over the next 15 years, Pavarotti’s
celebrity grew through his performances
in operas and recitals. In 1977, he played
Rodolfo in La bohéme for Live from the
Met, which attracted a huge television
audience. His recordings often achieved
platinum and gold status and he was
honored with several Grammy Awards.
After singing with Carreras and
Domingo as The Three Tenors,
Pavarotti’s popularity soared. He sang
for crowds in the hundreds of thousands
in New York, London, and Paris. He
recorded with pop singers and appeared
as a guest on Saturday Night Live. In
2004, at age 69, he undertook a 40-city
farewell tour. Pavarotti passed away in
2007. His funeral included a flyover by
mmons
Creative Co
Luciano Pavaro
tti
slowed his career. He sang to support song called “Miserere.” It was written
himself through college and, after earning as a duet by Italian rock star Zucchero,
his degree, practiced law for a year. who recorded it with Pavarotti. However,
Bocelli’s musical career started with a Zucchero hired Bocelli to sing the
song on tour. Audiences loved the
live version with Bocelli. So did Sugar
Music who signed him to a recording
contract. Meanwhile, Pavarotti had
heard Bocelli on a recording of the song
and immediately began to mentor him
in his career. In 1994, Bocelli began
singing at international festivals, invited
by Pavarotti, and released the first of 36
albums for Sugar Music.
Bocelli, who always loved opera, has
s
Common

the Italian Air Force and was televised made a career of mixing in pop music,
on CNN. too. His album Romanza led to a PBS
Creative

special that catapulted him to fame in

ANDREA BOCELLI
Born with congenital glaucoma,
Andrea Bocelli has been blind since the
age of 12, but his lack of sight has never
the United States. He has recorded over
Andrea B
ocelli
40 albums, winning seven World Music
Awards, and continues to perform with
stars from both pop music and opera.

28 POPEJOY
 Win a trip to
THE 2019-2020 RAFFLE

Broadway
Five unforgettable nights for two in New York City, round-trip
airfare and hotel accommodations included, plus tickets to
three Broadway shows of your choice.

2ndprize
2nd prize
Two tickets to opening
night of every 2020-
2021 Popejoy Presents
performance. Including
tickets to Hamilton
and access for two to
the Margaret & Turner
Branch Benefactors
Lounge.

Purchase raffle Puchase your raffle tickets during any Popejoy Presents
performance in the Popejoy Hall lobby or contact the

tickets for $100

Popejoy Development Office at 505.277.9464. Need not be
present to win. For complete rules call 505.277.9464 or visit
popejoyraffle.com. Drawing to be held on June 14, 2020.
Quiet Time

30 POPEJOY
It’s a new year and a new show for the trio of bald,
blue men. Catch Blue Man Group: Speechless on
November 12 & 13 at Popejoy Hall

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 31
It’s a fresh journey of discovery for
the Blue Man tribe, based in joy, art,
music, comedy, social commentary
and profound absurdity. The new
show features a mix of new and iconic
material.

32 POPEJOY
 Waitress
DECEMBER 12-15, 2019

3 4 POPEJOY
RENE CERVANTES
Sugar. Butter. Flour.
I
n the musical Waitress, Jenna
Hunterson bakes some amazing
pies. Her mother taught her to
bake a whole story into a pie. As
she sings in “What Baking Can Do:”
Even doubt can be delicious
And it washes off of all the dirty dishes.
When it’s done, I can smile.
It’s on someone else’s plate for a while.
The names of her pies reflect the
moment and her mood: Sweet Victory
Pie; Marshmallow Mermaid Pie; A
Little Wild, Wild Berry Pie. All of it
leaves audience
members
yearning for a
really good slice
of pie.
Albuquerque
chef Matt
DiGregory
understands
that desire. He DiGregory
owns The Range
Café. He suggests people try baking The
Range Café’s Green Chile Apple Pie, a
truly New Mexican dish. It’s sweet, tart,
and a little spicy.
Of course, you can also go to The
Range to get it. The pie and the meal (if
you insist on dinner before dessert) are
10% off the day of the show. Just bring
your tickets as your coupon.
You can tell them Jenna sent you.
If Jenna is right, just a little love from
you can make any pie you make really
special.
Green Chile Apple Pie
Recipe from The Range Café
PIE DOUGH
12 tablespoons (1 1/2 sticks) very
cold unsalted butter
3 cups all-purpose flour
1 teaspoon kosher salt
1 tablespoon sugar
1/3 cup very cold vegetable
shortening
6 to 8 tablespoons (about 1/2
cup) ice water
Mix all dry ingredients together.
Cut in the shortening until no
lumps are seen. Cut in the butter.
You want the butter to be about
a 1/4” in size. Slowly add water
until dough forms. Refrigerate
until ready to use.
STREUSEL TOPPING
5 oz butter (melted)
1 cup flour
3/4 teaspoon cinnamon
3/4 teaspoon nutmeg
5.75 oz oats
1/4 teaspoon salt
1/2 teaspoon vanilla
F A L L 2 0 1 9 // W I N T E R 2 0 2 0
Melt butter and set aside. Mix
together all dry ingredients and
add vanilla. Slowly add melted
butter to dry mixture and mix
until incorporated. Set aside.
PIE FILLING
1-1/4 pounds of apples
1/3 cup + 2 tablespoons
brown sugar
1 tablespoon flour
1/2 teaspoon cinnamon
1/2 teaspoon lemon zest
1-1/2 tablespoons butter
4oz. chopped green chile
Combine sugar, flour, cinnamon,
and lemon zest in a large
stainless bowl. Mix well. Fold in
apples and green chile. Mix well.
Roll out pie dough and place
in pie pan to cover the bottom
and sides, plus a little extra for
crimping. Crimp the crust all
around the edge. Fill pie shell
with filling and top with streusel.
Bake at 350° for approximately
45 minutes.
POPEJOY 35
36 POPEJOY
 TheHolidays
atPopejoy
Each December, Popejoy lights up for the holiday season
inside and out. Inside, we present a flurry of shows that help
New Mexicans ring in the holidays, including two new shows as
well as an Albuquerque favorite.

The Swingles: Winter Tales ’Twas the Night Mariachi Christmas

n December 19, the musical
O group The Swingles brings
their show “Winter Tales.”
Filled with both familiar and
lesser known songs celebrating
the season, as well as songs
made famous by the group,
“Winter Tales” offers a delightful
opportunity to welcome the end of
the year with the crisp harmonies
of their blended voices.
Ward Swingle, founder of the
group, changed a cappella music.
He had his Swingle Singers, formed
in 1963, vocalize as though they
were instruments. That concept
pushed vocal ensembles of all
kinds in new directions for the rest
of the century. Often singing notes
rather than words, the Swingle
Singers recorded and released
music not originally written for
voices. Their first album, Jazz
Sebastien Bach, won them great
praise. Over the next few years and
subsequent albums, they picked up
five Grammy Awards for their work.
Before Christmas
ow many of you can recite
H “’Twas the Night Before
Christmas” by heart? Okay,
that may be a tall order, but the
poem, nearly 200 years old, is
certainly familiar to many families.
Actually called “A Visit from St.
Nicholas,” Clement Moore’s poem
is commonly known by its first line
and now has been adapted to the
stage by Olivier Award-winning
playwright Ken Ludwig, who also
wrote Crazy for You, Lend Me a
Tenor, and Baskerville.
Ludwig decides there actually
is a creature stirring that night: a
mouse named Amos who is making
cookies. Amos is stewing because
Santa missed his house last year
when an elf finds him and recruits
him to help at the North Pole to
make sure everything goes right
on this fateful night. Soon, we’re
caught up in a fanciful and funny
farce with chases, hip-hop, sword
fights, a treacherous plane ride, and
kitchen utensils used as weapons.
bout 20 years ago, Noberta
A Fresquez was working
in UNM Continuing Education
and freelancing as producer
of Mariachi Spectacular. Her
knowledge of mariachi music
and the associated dances was
legendary. Popejoy Director Tom
Tkach asked her to create a show
for the stage.
She created Mariachi Christmas,
a festival exploring the traditions
of the season across Mexico as
well as the distinct cultures. Each
region has distinct modes of
dress, musical styles, and dances.
Fresquez wanted to represent as
many regions as she could on the
stage. What grew from her vision
is a colorful, vivid performance
that honors Christmas traditions
from many of the 32 states in
Mexico. The mariachi bands she
puts on stage play music from the
regions of the nation as well as
traditional Christmas favorites.

THU | DEC 19 | 7:30PM FRI | DEC 20 | 7:30PM SUN | DEC 22 | 3PM

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 37
Lords
Ring
OF THE

Cirque Mechanics
FRI JAN 31 7:30PM

38 POPEJOY
 We call them circuses because of the
42 foot ring at the center of them. The
newest show from Cirque Mechanics
is called 42ft — A Menagerie of
Mechanical Marvels. It’s old fashioned
circus acts enclosed in that ring and a
a rotating tent frame for strongmen,
acrobats and aerialists.

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 39
The company of Cirque Mechanics dares us
to leap into the circus ring to experience the
endurance of this evolving art form. Their
circus is more than acts of derring-do. It’s
ageless stories spun in midair, wrought from
the raw materials of American ingenuity.

40 POPEJOY
F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 41
The show’s unique mechanical
interpretation of the traditional and
its story full of the reality and lore of
the historic one-ring circus, create a
welcoming place, much like a big top,
where we can be amazed.

42 POPEJOY

PHOTO BY MAIKE SCHULZ

The Making
of a
How big hits like
Hamilton and The
Book of Mormon
became big hits.

broadway

Blockb
44 POPEJOY
buster
F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 45
Joseph Morales as Hamilton in the
national touring company. Hamilton,
written by Lin-Manuel Miranda,
opened to rave reviews, won 11 Tony
Awards, the Pulitzer Prize for Drama,
and became an almost instantaneous
box office success. It has sold out
every performance since it opened
in previews on Broadway more than
four years ago. In its short life, it has
already landed in the top 50 longest
running Broadway shows.
JOAN MARCUS

46 POPEJOY
 BY SANDRA MARDENFELD

W
hat makes a show successful? The amount
of awards won? Not necessarily. While
Hamilton took home 11 Tonys during the
2016 ceremony and The Book of Mormon
pulled in nine in 2010, Beauty and the Beast
won just one for costume design in 1994 and
still ran for 5,461 performances. (That’s 13
years of “Be Our Guest” for those keeping
track.) So what’s the secret behind super-hits like Hamilton
and The Book of Mormon?
It’s not just box-office triumph. Some shows certainly
become hits, earning a profit for investors and sometimes
receiving critical kudos. A blockbuster surpasses a hit’s
reach and runs for years, often creating a cult following with
people seeing the show multiple times (think Wicked or A
Chorus Line). While there’s no magic formula, factors such as
timing, originality, universality and brand recognition come
into play, according to Oliver Roth, producer/CEO at OHenry
Productions (Kinky Boots, Escape to Margaritaville).
“Broadway defies generalization in regard to predicting
commercial success,” said Philip Boroff, editor of “Broadway
Journal,” an online news site about the business of Broadway.
“That’s one reason that there are so many failures. And
musicals have any number of moving parts and ways to go
wrong. To some extent, I believe the first pre-requisite of
blockbuster status is making magic onstage.”
Executive Director Phil Santora of TheatreWorks Silicon
Valley, recipient of the 2019 Regional Theatre Tony
Award, agreed. “A blockbuster occurs when the right
alchemy comes together – great music, brilliant direction,
riveting performances, and a story that resonates with the
audience at the right moment. No one would have predicted
Hamilton would be on the covers of magazines as opposed
to living on the arts pages of newspapers. Conversely many
of the recent musicals based on beloved films have struggled
to find an audience, despite strong title recognition.”
Every show follows its own journey to Broadway. While
developing a production is a unique process for each,
there are a few core moments. First the script and score
come together. Then there’s a reading so the creators
can hear the work (since plays and musicals need to be
experienced, not consumed on the printed page) and make
necessary changes. At some point, the show is placed
before an audience either in a workshop or for out-of-town
development like at a regional theater. Then “they come
to Broadway and that’s when the fate is cast,” said Ken
Davenport, Tony Award-winning producer and founder of The
Producer’s Perspective blog.

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 47
Ryan Bondy and David
Aron Damane in the
touring production of
The Book of Mormon.
The show has sold out
all but the first two
weeks of its Broadway
run, when it was still
in previews, won nine
Tony Awards, and is
now the 14th longest
running in Broadway
history.

The whole process can take several
years. Once in previews on the Great
White Way, shows are sometimes worked
on until opening, with songs added and
cut, new scenes written, dance numbers
re-arranged, etc. — and changes can
be numerous. “I always ask my directors
and writers, what do you do during the
preview process,” Davenport said, “and
the most common response I hear is, ‘I
listen. I listen to the audience. I listen to
where they’re laughing, where they’re
clapping, where they’re crying, where
they’re coughing. I listen to what they
say outside of the restrooms … and then
I try to … solve some of those issues.’”
Some shows are more fully built before
coming to Broadway. “I would say that
the successes I’ve been associated with
had in common that, in addition to
being good ideas — ideas that had
popular appeal and also mattered to
people — they were carefully developed,
and didn’t go into rehearsal until they
were quite close to being in final form,”
said Jack Viertel, senior vice president
of Jujamcyn Theaters, which operates
five Broadway houses. “Once the
production process has begun and the
set has been built, etc., it is difficult and
expensive to make changes, so when
things go wrong, the show usually sinks.
Preparation is the key.”
An audience’s familiarity with the
material helps success, but doesn’t
guarantee it. While many blockbusters
have a well-known story (The Phantom
of the Opera, for example) or, a parade
JOAN MARCUS
of promotional products behind them
(Disney’s The Lion King), there are truly
innovative blockbusters that appear.
“What is interesting about Hamilton and
The Book of Mormon is that they pushed
the boundaries of what people thought
could be a blockbuster,” said Santora.
“Once these productions demonstrated
audiences would not only accept these
shows, but would clamor to see them,
the perceived artistic boundaries were
pushed back a bit.”
Tourism helps, too, with propelling a
blockbuster forward. Nearly two thirds
of Broadway audiences are made up
of out-of-towners who look for “must-
see” shows as part of their New York
experience. “The real, indisputable
blockbusters attract tourists,” said Derek

48 POPEJOY
Miller, John L. Loeb Associate Professor (opened in 2016) and The Book of
of the Humanities at Harvard University. Mormon (2011) may not benefit as much
“They speak a more spectacular from tourists in the long-run, though,
theatrical lingua franca that can easily because their topics and complex
cross linguistic borders. There aren’t (and, in some cases, foul) language
enough theatergoers in New York City to might intimidate travelers more than
sustain a show 10 years.” something they’ve seen in book or
Out-of-the-box shows like Hamilton film form, hypothesizes Peter Bogyo, a
Ginna Claire Mason and Mary Kate Morrissey in the
national touring production of Wicked. Wicked is
routinely selling more than 90% of its seats nearly
16 years after it opened, even though it only
scored three Tony Awards. It ranks sixth on the list
of longest running Broadway shows.
JOAN MARCUS
F A L L 2 0 1 9 // W I N T E R 2 0 2 0
theatrical general manager and author
of Broadway General Manager: Demystifying
The Most Important and Least Understood
Role In Show Business. While both shows
bring a non-traditional audience to the
theater, currently sell well, and appear
throughout the country in touring
companies, whether their Broadway-run
will reach the longevity of mega-musicals
such as The Lion King (1997) or Phantom
(1988) can’t be determined yet.
Timing matters in a show’s success. In
a season without much competition,
Viertel points out, “a modestly good
show like Big River can win a slew
of Tony Awards” and become a
hit. However, this doesn’t produce
blockbusters, just successes that might
have failed in a better year.
More often timing can dramatically
help (or hinder) a show in sync (or not)
with the times. Hamilton, for instance
deals with immigrants and governance
— something the country was talking
about at the time it opened.
When Chicago opened in 1975,
critics and often audiences thought
it was too cynical and it ran for only
936 performances. Yet, when it was
revived in 1996 as the O.J. Simpson
trial was stirring national outrage
and conversations about celebrity
supplanting justice, it became the
longest running musical revival in
Broadway history (and is still playing).
Ultimately, hit or blockbuster, when an
audience visits a theater they experience
something special. “We know that
comedies are funnier when you’re in
a room full of people laughing,” said
Sartora. “Hearing a live orchestra and
cast create a song just for you is truly
special. And when did you leap to
your feet for a standing ovation after
watching a great television show? There
is great art and entertainment all around
us, but going to the theatre is a live
community experience that can thrill
like no other.”
Popejoy will present The Book of Mormon
from February 4-9, 2020, and Hamilton
in their 2020-21 season.
POPEJOY 49
Q U IP S I N
S PACE
H
e was armed
with a couple of
homemade robot
puppets, the chops
of a successful
stand-up comedian,
and a desire to poke
fun at Sci-Fi and monster movies from
the 1950s. Most casting notices weren’t
requesting that particular set of skills and
abilities, so it was clear that Joel Hodgson
needed to strike out on his own. He did
just that and found himself living on the
Satellite of Love.
Though he had a successful comedy
career that included working with Jerry
Seinfeld and multiple appearances
on Late Night with David Letterman,
Hodgson decided to truly do his own
thing. The result was a comedy television
show set in space that featured some of
his homemade props and puppets. The
premise of Mystery Science Theater 3000, or
MST3k, is that Joel becomes the victim
of two mad scientists who trap him on
the aforementioned space station, the
Satellite of Love. The scientists force him
to watch terrible movies, and in response
Joel creates some robot pals from spare
50 POPEJOY
B Y M A N DY M CA D O O
Mystery Science
Theater 3000 Live:
The Great Cheesy
Movie Circus Tour
FRI FEB 14 7PM
parts to make the experience a bit more
tolerable.
The show ran for more than 10 seasons
airing on several networks with different
hosts along the way, and it was recently
relaunched on Netflix thanks to a record-
breaking crowdfunding campaign. Now
Mystery Science Theater 3000’s all new live
production “The Great Cheesy Movie
Circus Tour” is coming to UNM’s Popejoy
Hall. The show stars Hodgson in his final
tour, and of course he is accompanied by
his robot friends, Tom Servo, Crow, and
Gypsy.
Though the show’s focus was Joel
and the bots making cracks about
B-movies, arguably the best parts were
the sketches and comedy bits before and
after commercial breaks. This live show
promises to also deliver extras on the
“So-Bad-It’s-Good” feature film by adding
sketches and songs that turn the stage
into an off-the-wall, circus-themed party.
We can’t promise a lively, layered,
nuanced discussion of Rupert
Holmes’ “The Piña Colada Song,”
but you can always go to MST3k
Season 5 Episode 21, featuring
Monster A-Go Go,, to scratch that
decidedly particular itch.
For anyone who is curious about
how the iconic MST3k effects will be
translated to the stage, Hodgson and his
team regularly post videos to mst3klive.
com that give viewers a glimpse of how
the show will be brought to life in a live
theater setting. If one thing is clear from
those videos, the road from television
hit to live theatrical show is full of twists,
turns, surprises, and more iterations of a
colorful, Rorschach-influenced, space-
angel version of Crow than would ever
seem necessary. Warning: the videos also
reveal a couple of spoilers about the live
show (Tom Servo dances and Gypsy will
(likely) have a jet pack!)
It’s all coming to Popejoy on February
14, and, really, is there any better place
to take your Valentine than to the
Satellite of Love?
 Joel Hodgson and companions
are touring this part of the
galaxy with a live version of
their monster hit, Mystery
Science Theater 3000.

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 PHOTO BY GARY GLOVER

POPEJOY 51
 Silvia Lozano has been
at the forefront of Mexican
folkdance for decades.

Costumes for Ballet Folclórico

Nacional de México de Silvia
Lozano are as colorful as they
are true to tradition. Every
aspect of their production has
been carefully researched.

52 POPEJOY
 AUTHENTIC ESTÉTICA
ESTHETIC AUTÉNTICA /
•••••••••••••• BY NICOLÁS CABRERA ••••••••••••••
guitarrón’s deep strum in the State of Jalisco, the birthplace of mariachi
fills the hall as the precise music. In Lozano’s production, male dancers wear
footwork by dozens of sombreros and dress as charros (horsemen) which is
dancers joins in. The women, also the source of mariachi outfits. Female dancers
wearing beautiful white wear china poblana, a traditional outfit consisting of
dresses adorned with colorful white blouses and long, colorful skirts. At its core,
A lace, join men wearing white the piece is a courtship dance that was once frowned
shirts with red ties. Trumpets blast a melody—the
upon by religious authorities, but its quick tempo, swift
immediately recognizable“Cielito lindo”—and both
footwork, and memorable melody helped popularize
dancers and musicians perform in unison. Silvia
it. Lozano builds tension by having the dance pairs
Lozano, director, smiles as the audience erupts
refrain from touching with jovial flirting and air kisses
into cheers and applause for her Ballet Folclórico
Nacional de México de Silvia Lozano, just as they have to tease the audience.
for 60 years. Long before it became a rock ‘n’ roll hit, “La bamba”
Lozano has been at the forefront of Mexican was a folk song from Veracruz, a long, winding state on
folkdance for decades. Born in Puebla, the fourth the Gulf of Mexico. This huapango echoes the state’s
largest city in Mexico, she trained in contemporary maritime legacy and performances incorporate harps,
dance and classical ballet. After becoming a successful white outfits, and an iconic red ribbon. Lozano has
dancer in Mexico City, she started Cantos y Danzas de female dancers wear red scarves, flowing white dresses,
México in 1960. She later directed the Ballet Folclórico and red flowers in their hair. Men are dressed from
Nacional de México Aztlán which performed at head to toe in white, except for bright, red ties around
the Columbia Artists Festivals for 18 seasons and their necks. Lozano’s dancers are experts in zapateado,
had a year-long collaboration with Liberace in Las a type of quick and lively footwork that makes
Vegas. Later, when Disney launched Epcot Center, percussive sounds. Working together, the couples use
they featured Lozano’s company performing ballet
advanced dance skills to tie the red ribbon on the floor
folclórico to represent Mexico and Mexican culture.
into a bow, which they proudly show to the audience.
Mexican folkdance, accompanied by mariachis or
Traditionally, the dance is performed at weddings and
other musicians, is recognized
the bow symbolizes the union of
worldwide as a national art form.
Dances and songs hail from different two families.
regions and combine to showcase a
Ballet Folclórico With a lifetime dedicated to
blend of Native American, Spanish,
Nacional de México the arts, Silvia Lozano has taken
and African heritage.
de Silvia Lozano authentic folkdance to audiences
“Jarabe tapatío,” a type of Mexican •••••••••••••••• worldwide, showcasing the
hat dance, has become the national FRI JAN 17 7:30PM outstanding dance, culture, and
dance of Mexico. It originated fine arts of Mexico.

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 53
 1966
H E R I TA G E S O C I E T Y

W E I N V I T E YO U
TO JOIN THE 1966
H E R I T A G E S O C I E T Y.
Named for the year Popejoy Hall first opened its doors, the 1966
Heritage Society was established to honor those who have included
Popejoy in their estate plan. No matter the size, your legacy gift at
Popejoy Hall ensures that future generations continue to experience
the joy and celebration of the performing arts in New Mexico.

F O R M O R E I N F O R M AT I O N
P L E A S E C O N TAC T
Maryellen Missik-Tow, Development Director 505.277.2159
or Maryellen.Missik-Tow@unmfund.org.
MEMBERS

Richard & Dorothy Judith Mersereau

Appleby David & Annie Olson
Tom Croston Estelle Rosenblum
Mary Cathren Harris & Ellen Ann Ryan
Tom Barger Cora Lee Sisk
Clare & Jerry Ironside Terry Sloan
Kim Maxwell Ron & Sally Wilkins
F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 55
 Thank
Special thanks
to the donors who

you.
contribute to help
sustain Popejoy Hall
and enhance our
community.

SETTING THE STAGE PRODUCERS’ CIRCLE

CAPITAL CAMPAIGN ($10,000+)
$100,000 $50,000 Irwin & Debbie Harms
The Harroun Bella Vida Peter & Faye Renna
Health Care
Family: In Loving
Susan Hudson
Memory of Stuart
Dr. Darra Diane
Harroun
Kingsley &
Mr. Greg Parkhurst DIRECTORS’ CIRCLE
Damon Maddox & ($5,000+)
Jennifer Facio Bryon Bass & Dan Duarte
Malcolm Benjamin
Ronald & Donna Bohannan
THE EXCELLENCE Pug Burge & Richard Kinchen
FUND ENDOWMENT Randall & Donna Cygan
John Fernandez
David & Linda Harris
$50,000 $7,000
Dean Yannias Dr. Rachel Tuuri
Anna Mulkey
Andrew Rankin
Richard and Sophia Skolnik
PATRON OF THE ARTS Rondi & Duane Thornton
($15,000+) Eugene & Carol Venturini
Kevin S. Albert CEO, John & Sheri Williams
Universal Water Systems Woody Woodworth

58 POPEJOY
 STARS’ CIRCLE Patricia Hart
Jeff & Denise Hawkins
Scott & Carol Schaffer
Terry & Barb Shirrod
($2,500+) Marty & Bill Baker Carla & Scott Slezak
Susan Hudson Terrence Sloan
Anonymous (3)
Calvin & Darlene Hyer Martha Snow & K. Kelly
Henry & Maria Alaniz
Jerry & Clare Ironside Daryl & Betsy Burnett Snyder
Kevin Alexy
Jonathan “JJ” Jaramillo, New The Spitz Family
Maria Alvidrez York Life Mr. Tom Steeples & Ms. Michael
Richard & Dorothy Appleby Gary & Carol Jones Martinez-Steeples
Del & Rebecca Archuleta Lorraine Lester Edward & Sandra Streit in
John & Carrie Atkins Dena Lucas, In Loving Memory Memory of Brandy K. Streit
George & Lucy Barabe of Stuart Harroun Mike & Caroline Strizich
Jeffrey Bard Peggy P. Daskalos-Lycou Lonnie Talbert
Warren D. & Ingrid Baur Dr. Daniel & Janell Martinez Carol Tucker Trelease
Terri Berrenberg Dr. & Mrs. Ruben Sally Uebelacker Shaw and Ron
Blackman’s Championship Martinez, DDS Shaw
Martial Arts Kim Maxwell Chris Vallejos
Kenneth Bower Tara McDowell Yvonne VanArsdale-
The Branch Law Firm Anastasia McLaughlin Imani, MD
Ralph “Skip” Brown Mr. & Mrs. Michael J. Merrell The Walter Henry Freygang
Charles & Joanne Carter Judith Mersereau Foundation, Mr. W. Nicholas
Clare Castiglia & Larry Shore Dr. Andrew & Kathleen Metzger Freygang and Ms. Jean
Dr. Ricardo Rosenthal
Dr. Moheb & Brigitte Moneim
& Marcia Castillo Peter Wanco & Monica
Dr. & Mrs. John Mosman
P. Wade & Tami Cavitt Hardeman
Ryan & Brandi Mummert
Christos & Athena Herb & Michele Wright
Thomas & Ramona Murvin
Christodoulou Dolly Yoder
Nicki & Pavlos Panagopoulos
Paul Clem
Bert and Marta Parnall
Tony & Tracy Collyer
Dr. & Mrs. Chris Patton
Paul & Judi Cooper
Ken & Tonya Patton
Andrew Blakeman Core
Ellen Peterson
ARTISTS’ CIRCLE
Stan Damberger & Madeleine
Gregory Preston
Grigg-Damberger
($2,000+)
Sandra P. & Clifford E.
Bryan & Jaime Dyer Anonymous (2)
Richardson III, In Loving
Dr. & Mrs. Charles Eberle Memory of Priscilla L. & Clifford Ed & Sharon Ade
Dr. Mark & Sandra Ekman E. Richardson, Jr. & Josephine Roger C. Anderson & Deborah R.
Peter & Kathleen Fabian A. & Angelo “A.J.” Asciolla Bennett
Lucinda Fairfield Reg & Bev Rider Gary & Linda Andrews
& Jerry Van Slambrook Mark & Ami Rintoul Robert & Cia Arias
Al & Toby Fedoravicius Bruce & Ellen Robinson Duane and Jennifer Arruti
Herb & Miriam Friedman Gerri Rodriguez Ann Boland
Devon & Greg Frost Darryl & Janet Ruehle David & Tracie Brasier
Ron & Dena George Ellen Ann Ryan Dr. Andrew and Lissa Carlson
Lara & Bryan Goss Marcia Salazar and Ellis Roy D. Caton, Jr.
Anita & Jerry Harper Heustess Sylvester Chumley
David & Corky Harrell John and Jill Saugen Aleli Colón & Brian Colón, Esq.
Mary Cathren Harris Dr. Jeff Saul Fred and Bertie Denman
& Tom Barger & Joy Watnik-Saul Thelma Domenici
Doug & Chavonne Harroun Pamela Saxman Don & Pam Duke

F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 59
 Hillary Elwood
Mel & Renee Ennis
Dan & Irene Fernandez
Tom & Mary Foster
Dr. & Mrs. Henry A. Garcia, M.D.
Rudy J. Garcia & Renee Santillanes
David & Tanner Gay
Calvin & Jackie Gilmore
John & Donna Goodwin
Dr. Jeffrey & Barbara Griffith
Robert Hammerstein & Stephanie Eras
Don & Fran Hardy
Janice & Kenneth Harper
Eric & Kim Herrera
Sheila and Adam Hernandez
Corbin & Paula Hildebrandt
Dr. Terese Holguin & Mr. Stephen
Thomas
David & Mary Lou Holmes
Dianna Hughes
R. Jeff & Beth Jackson
Kristine Jaffa
PLAYERS’ CIRCLE
($500+)
Anonymous
Valerie Brooks
Dr. John & Mrs. Kristine Coffey
Terry Dunbar & Jeannette Velarde
Dunbar
Paul & Carrie Eaton
Bill & Susan Gloyd
ENSEMBLE LEVEL
($250+)
Anonymous
Duane H. Beers DMD, FAGD, AAACD
Patricia Beery
Cynthia & Karl Benedict
Anita Blanchette
Dennis Bley
60 POPEJOY
Edward & Carol Kandl
Charles & Carol Kreis
Christopher Kwapich
Oliver & Beverly Larson
Beverly Ledbetter
Rob & Carol MacIvor
Lisa Marbury
The Martin Family
David McKinney
Dr. & Mrs. Robert Mickelsen, II
Ina Miller
William O. & Lynn Miller
William Miller & Kathleen Jackson
Mike Nelson & Marron Lee Nelson
Dr. Timothy O’Brien & Dr. Jami Frost
David & Annie Olson
Terry Patrick
David & Jill Patterson
Elizabeth Pelz
Donald and Victoria Power
Jennie & Charles Richardson
Joe & Sharon Roberts
Frank & Cathy Gray
Gerald & Cheryl Hale
Michelle Harkins
Patrick Hurley, Jr. & Shannon Hurley
Phillip & Janelle Miller-Johnson
Diane Klepper
Linda & Charna Lefton
Dan & Nancy Markmann
Carrie & Steven Mitchell
Daleen Olson
Gary & Carol Overturf
Daniel Borrego & Jéan Pierre Arrossa
Yvonne Boudreaux
James & Katherine Brogan
Tony & Cheryl Brozena
Peter Burck & Susan Hoines
Robert D. Busch
Karen & Homer Campbell
Barbara Carpenter
William & Laurice Chappell
Hugh & Kathleen Church
Karen Roberts & Paulina Duran
Joan Olstad Robinson
In loving memory of Sidney Rosenblum
from his family
Russ & Carol Welsch Foundation
Andrew & Donna Sanchez
Gary & Linda Sandstrom
Donald and Nancy Schmierbach
Rhonda & Jerry Seidenwurm
William & Mary Ann Somers
Pat Soran & Ann Hayes
Marty Sterba in loving memory of Rob
Sterba
Charles & Frances Tapp
William & Sandra Thompson
Tom Tkach
Drs. Eliseo “Cheo” & Nieves Torres
Kevin Wilcox & Federico Rosas, Jr.
Ron & Sally Wilkins
Larry & Carolyn Willetts and Barbara
Stoddard
D’Nette Wood
Patrick Wylie
Donna Piatt
Patricia Renken
Chester Sakura
Andy Schultz & Debbie Good
Don & Marsha Simonson
Jacob Sisneros
Dr. Linda A. Smoker
Julie A. Walsh
Daniel C. Wascher
Terry & Cindy Yenson
Louise Criscenti
Timothy Cusack
Kevin Daly & April Adams
Kurt & Yvonne Deshayes
James Ellis, Esq. & Elida Lechuga
Bruce & Eva Elsner
Nada Fahnestock
Ralph A. Fevig
Eleanor & Trish Frawley
Barbara Hanna
 Kathleen Hedemann
Jon & Erin Height
Gina & Jim Hoyal
James Ellis, Esq. & Elida Lechuga
Donald & Jan Lewis
Dr. Kate & William Massengale
Geoffrey & Ellen Mather William & Penelope Schwinkendorf
Joanne Mech
David & Barbara Menicucci Matthew Segura & Nancy Herring
Gloria & Victor Moralez
Richard Nenoff
CHORUS LEVEL Kathleen Kennedy & Peter Lehrman
($100+)
Anonymous
Catherine Angell
Albert Antonson
Roberto & Melecita Archuleta
Allan & Amanda Armenta
Leslie Atler
Keith D. & Lurette Balkcom
Ranne Miller & Margo McCormick
Monique Blackman & Reese Gateley
Annette Blackwell
Renee Boyd & Michael LaBelle
Douglas Bailey & Dianne Brehmer
Karen Crow
Theresa Cull
James Culpepper
Nancy Deas
William Dial
Art & Donna Encinias
Henry & Mary Espinosa
Dr. Robert & Lorraine Peterkin
John Feddema
Kandy Frame
Abe & Sally Galanter
Chris & Sandra Garcia
Jennifer Gillette
James Gilmore
Jim & Gail Green
Colonel & Mrs. Hart Guenther
Maggie & Gary Gunter
George & Jean Havrilla
Peter & Elaine Hebard
Lamorris Herrin
Lorna Howerton
James Iden & Vangie Samora
BJ Jones & Orlando Lucero
Judy & Robert Kares
Michelle & Kathleen Nunn Cindy Smith & Charles Pichardo
Beth Pachak & Robert Robie Richard & Janet Steele
Russell Rhoades Larry & Susan Tackman
Bettie J. Rushing Joseph & Rosemary Valdez
John & Glynda Samford Ron & Lori Vanaman
Sara Sanasac Theresa Vigil
Fred and Demi Watson
Susan Scott Nancy Wilkins
Ken & Joyce Williams
Walter & Eileen Shedd
Marilyn Sheppard
Barbara and John Kolessar
Coralee Sisk
Matthew & Diane Sloves
Ronald & Janet Lohrding Harry & Patricia Smith
Kendra Lucero Thomas & Kathleen Swanson
Dick & Patty Maguire
Bruce Thomson & Phyllis Taylor
Fernando Maresma
Julia E. Vertrees
Dr. Richard & Nancy Martin
Carl Weis
Raquel Martinez
Dr. Sonlee West
Daniel Mason
Juneen Whorton
William & Mary McAndrew
Robert Wilkins
Kivie Wolfe
William & Rosanne McNeilly
Kenneth Yonemoto
Christine Mink
Tim & Gina Moynihan James Young & Esco Gallegos
Evelyn Mullen
Bridget Murphy
Stephen Northrop
David & Marilyn Novat
Cody & Jasmin O’Brien
Charles & Susan Paine FRIENDS
Leslie Porter
OF POPEJOY
Anil & Renu Prinja SCHOOLTIME
Jane Rael
Roger Rasley
SERIES
Lynn W. Reed Judith Mersereau
Mark & Valerie Rosenthal The Spitz Family
Michael Sakelaris Sun Vista Enterprises
John & Harriet Salathe
Wells Fargo
Andria Salazar
Nusenda Credit Union
Laura Salazar
Urban Enhancement Trust Fund
Elsie F. Sanchez
Jessica Sandoval The Eugene & Marion Castiglia
Susan Scott Popejoy Children’s Schootime
Cynthia M. Sedas Endowment.
Kay D. Sedler
Betsy Shaw
Barry & Georgia Sigmon
F A L L 2 0 1 9 // W I N T E R 2 0 2 0 POPEJOY 61
A Generous Tip
When you attend one of our shows, you can save money doing so.
Just dine at one of the restaurants who offer Popejoy patrons a discount.
Your tickets serve as your coupon.
To find out what restaurants are participating in this offer, check
popejoy presents.com/dining.
 POPEJOY PRESENTS

WINNER! 2019/2020 SEASON

Russian Ballet Theatre – Swan Lake SUN | OCT 13 | 6:30PM

BEST MUSICAL
Jesus Christ Superstar October 17-20, 2019
Bandstand FRI | NOV 1 | 7:30PM
The Four Italian Tenors
Perform "Viva Italia!" SUN | NOV 10 | 3PM
ALL ACROSS NORTH AMERICA Blue Man Group
Waitress
November 12-13, 2019
December 12-15, 2019
The Swingles – Winter Tales THU | DEC 19 | 7:30PM
'Twas the Night Before Christmas FRI | DEC 20 | 7:30PM
Mariachi Christmas SUN | DEC 22 | 3PM
The Peking Acrobats SUN | JAN 12 | 3PM
Ballet Folclórico Nacional
de México de SILVIA LOZANO FRI | JAN 17 | 7:30PM
Cirque Mechanics FRI | JAN 31 | 7:30PM
The Book of Mormon February 4-9, 2020
Mystery Science Theater 3000 FRI | FEB 14 | 7PM
We've Only Just Begun:
Carpenters Remembered SUN | FEB 23 | 3PM
1984 SUN | MAR 1 | 3PM
The Mikado THU | MAR 5 | 7:30PM
Pilobolus SAT | MAR 7 | 8PM
Michael Londra and the Celtic Fire SUN | MAR 8 | 3PM
Escape to Margaritaville March 12-15, 2020
The Tap Pack FRI | MAR 20 | 7:30PM
Broadway Princess Party SUN | MAR 22 | 3PM
THE REMARKABLE TRUE STORY OF Bollywood Boulevard FRI | MAR 27 | 7:30PM
THE SMALL TOWN THAT WELCOMED THE WORLD Killer Queen SAT | MAR 28 | 8PM
DRUM TAO 2020 FRI | APR 3 | 7:30PM
COME FROM AWAY Book, Music and Lyrics by Irene Sankoff and David Hein Directed by Christopher Ashley
The Play That Goes Wrong April 16-19, 2020
Canadian Brass SUN | MAY 3 | 3PM
Come From Away June 9-14, 2020

POPEJOYPRESENTS.COM

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The University of New Mexico Popejoy Hall Center for the Arts Permit No. 39
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