Posts Tagged ‘2018 Season’

Guadalupe in the Guest Room

Mon. Jan. 22

by Tony Meneses
directed by Sara Guerrero

Guadalupe has lost a daughter, Steve has lost a wife, and neither of them can find enough common ground to talk about it. Coupled with the fact that neither of them can speak the other’s language, they find a new way to connect: through an unlikely love of Telenovela–the wildly popular Latin American soap opera. How can such different people come together and take a step toward healing? Guadalupe offers a profound look into the complexities of language, grief, loneliness, love, laughter, and new beginnings.

Venue: The Ruth
Genre: Drama
Rating: R for some strong language, adult content


Creative Team
Director – Sara Guerrero
Scenic Design – Uldarico Sarmiento
Asst. Scenic Design – Natalia Avila
Costume Design – Celia Kasberg
Lighting Design – Mandi Wood
Sound Design – Becca Pearce

Management Team
Stage Manager – Devon Muko*
Asst. Stage Manager – Michael George

Guadalupe – Stephanie Diaz*
Steve – Dustin Bronson*
Raquel – Regina Fernandez
Roberto – Miguel Nuñez*


Director’s Note: Sara Guerrero
I’m delighted to be well received here at Creede Repertory and pleased to welcome you all to the production of GITGR. A play that invites us into the lives of a small family mourning the loss of a loving daughter and wife, Claudia. One person, two worlds. Two worlds that connect a grieving mother and a son-in-law. In their own way, the two attempt to move forward despite bearing their grief separately. The distance between them staggers their ability to heal, communicate, accept, set aside grievances, face fears, and mourn together. Will the love they had for Claudia be enough to bring them together and to accept her passing? And, how?

Recently, my family and I experienced the loss of my beloved grandfather. It brought us physically together and emotionally pulled us apart. Everyone grieving but mostly alone. Through the time planning his services we made ordinary everyday discoveries that broke our barriers. Like the simple act of drinking coffee and eating pan dulce (sweet bread) together, something grandpa always loved and how he started his day. Uncovering his favorite album leading us all to sing and dance until the wee hours. And, the stories, the endless stories he once told and lived that we laughed and shared. In those ordinary everyday moments, we came alive and together.

Maybe grandpa, in his quiet way, urged us to be there for one another. And through loving him we shared our love for one another. Maybe, in our play, something in the “ordinary everyday” that is Claudia will help bring these two worlds together.

I dedicate this to the memory of my loving grandparents: Juanita Robles (oak), our tree of strength and wisdom and Cruz Sarmiento (tree branches), our branches of courage and love.

“There is no death, daughter. People die only when we forget them,” my mother explained shortly before she left me. “If you can remember me, I will be with you always.” Isabel Allende


Guadalupe in the Guest Room is presented by special arrangement with Dramatist Play Service, Inc., New York.

Guadalupe in the Guest Room was originally produced by Two River Theater Company. John Dias, Artistic Director; Michael Harst, Managing Director.

*Member of Actors’ Equity Association the Union of Professional Actors and Stage Managers in the United States.

Barefoot in the Park

Mon. Jan. 22

by Neil Simon
directed by Michael Perlman

Corie is a romantic free spirit. Paul is a conservative young lawyer. This classic romantic comedy follows these six-day-old newlyweds as their dream marriage and five-story walk-up apartment fall apart in front of their very eyes. This hilarious and profoundly touching 1963 play by Tony and Pulitzer Prize winner Neil Simon explores universal questions about love, compatibility and relationships. Sometimes unpacking the emotional baggage is the biggest move of all.

Venue: The Ruth
Genre: Romantic Comedy
Rating: PG for mild language


“With Neil Simon, you can sort of walk out of the theater and hum the jokes, like humming the tunes from a musical.” — David Ives, Playwright

Creative Team
Director – Michael Perlman+
Scenic Design – Tristan Jeffers
Costume Design – Asa Benally
Lighting Design – Mandi Wood
Sound Design – Elisheba Ittoop

Management Team
Stage Manager – Nia Sciarretta*
Asst. Stage Manager – Alex Skaar

Corie Bratter – Caitlin Wise*
Paul Bratter – Dustin Bronson*
Corie’s Mother, Mrs. Banks – Christy Brandt*
Victor Velasco – Logan Ernstthal*
Telephone Repairman – Antony Terrell


Director’s Note: Michael Perlman 
Welcome to 1963. A time in our history when everything seemed to be in flux: the younger generation was proudly standing up for its values, the role of women’s voices in our society was moving closer to the center, and America was about to be confronted with its most turbulent time in many years. In other words, a time of transition.  In many ways,  Barefoot in the Park can seem to be a step behind the revolution that was occurring surrounding its debut on Broadway. The truth is, however, that transition is at the heart of what Barefoot is about. Each of our characters is undergoing a shift from one phase in life to the next and discovering that it is much more difficult than they ever expected it to be. Whether it’s getting married, becoming an empty-nester or accepting the fact that as time marches on, the effects of age catch up with us, Neil Simon captures something essential about the human experience in these characters’ experiences. As we know, the only constant in life is change.  Well, and maybe the everlasting joy and catharsis great writers like Neil Simon can give to those of us lucky to be in a room with his characters.


Barefoot in the Park is presented by special arrangement by Samuel French, Inc.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
+ Member of the Stage Directors and Choreographers Society

9 to 5

Mon. Jan. 22

Music and Lyrics by Dolly Parton
Book by Patricia Resnick
Based on the 20th Century Fox Picture
directed by Amanda Berg Wilson

A toe-tapping smash musical with music and lyrics by the one and only Dolly Parton. What happens when three female co-workers are pushed to the limit by their sexist, lying, conniving boss and decide to take matters into their own–very capable–hands? Based on the groundbreaking and popular 1980 film, this hilarious and timely story about friendship and revenge will leave you feeling triumphant and your heart singing. Cause when the going gets tough, What Would Dolly Do? Write a hit musical, darlin’!

Venue: Main Stage Theatre
Genre: Musical. Comedy.
Rating: PG-13 for mild language, fantasy violence, comedic drug use


Creative Team
Director – Amanda Berg Wilson
Music Director – Ian LeRoy
Choreographer – Maddy Apple
Scenic Design – Robert Mark Morgan
Costume Design  – Tatyana de Pavloff
Lighting Design – Matthew Schlief
Sound Design – Dustin Lacy

Management Team
Stage Manager – Nia Sciarretta*
Asst. Stage Manager – Devon Muko*
Asst. Stage Manager – Alex Skaar
Asst. Stage Manager – Michael George
Dance Captain – Emily Van Fleet*

Violet Newstead – Kate Berry*
Doralee Rhodes – Emily Van Fleet*
Judy Bernly – Regina Fernandez
Franklin Hart, Jr. – Zayaz Da Camara
Roz Keith – Anne Faith Butler*
Joe/Others – Scott Kuiper*
Dwayne/Others – Antony Terrell
Josh/Others – Claudio Venancio
Maria/Others – Rachel Maria Ines
Dick/Tinsworthy/Others – Logan Ernstthal*
Secretary/Others –  Yael Chanukov
Secretary/Others – Heidi Carann Snider

Conductor/Keys – Ian LeRoy
Guitar – McKinley Foster
Bass – Krista Kopper
Drums – Vita E. Cleveland


Director’s Note: Amanda Berg Wilson
9 to 5 is the 2009 musical adaptation of the 1980 movie that is the 20th top grossing comedy film of all time. It launched Dolly Parton to multi-hyphenate stardom, has an 82% approval rating on Rotten Tomatoes, and the American Film Institute lists it as one of the top 100 funniest movies ever. Needless to say, the movie is beloved.

The musical 9 to 5, presented here to you in what we’ve crafted to be a great romp of a production, preserves what is so essential about the movie. Like its cinematic predecessor, it is the story of three low-status working ladies whose degradation at the hands of their “smarmy, pompous, his own biggest fan” predator of a boss drives them first to fantasize, then to actualize, a comeuppance.

As a director, I love that the musical keeps the story in 1979, instead of updating it for today. It has allowed the designers and me a delicious deep-dive into a particular and brief cultural moment–the no-longer-70’s, not-quite-80’s feel of 1979. Disco was on its way out, as was any possibility that the Equal Rights Amendment would be ratified by two-thirds of the states and made a part of our constitution. Reaganism was on its way in, and the second wave of feminism had crashed, with the third wave not to arrive until a decade later. Women were integrated into the workplace, but rarely with any leverage or power. 1979 is one of those strange in-between time periods in American history, and its transitional quality lends our musical such specificity and delightful nostalgia.

But while this story is firmly planted in 1979, it is right on time for now. A way to lean-in to our current #metoo moment without having to feel so damn despairing about the whole mess. A reminder that we’ve come a long way, baby, but still have far to go.

9 to 5 celebrates the joy to be found when we can finally and definitively call out the “sexist, egotistical, lying, hypocritical, bigots” among us, and actually kick the sonofaguns out.

And ultimately, it’s for all of us, male or female, who have been kept down by the old systems, and are itching for the new systems to be born, who are ready for “a better day.”

Originally produced on Broadway by Robert Greenblatt, April 2009.
9 to 5, The Musical is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Miss Holmes

Mon. Jan. 22

by Christopher M. Walsh
based on characters by Arthur Conan Doyle
directed by Jessica Jackson

An anonymous note, a fearful wife, and a pair of curious shoes? Sounds like a perfect case Holmes and Watson. Ah but there’s a twist: Miss Sherlock Holmes and Dr. Dorothy Watson sleuth their way through the twists and turns of this classic mystery. The Chicago Tribune calls it “a cunning and highly enjoyable gender-bent take on Sir Arthur Conan Doyle’s maddeningly brilliant detective.” If you fancied Around the World in 80 Days, you’ll love the lightning-quick pace and skillful character swaps of Miss Holmes. The game’s afoot!

Venue: Main Stage
Genre: Detective, Mystery, Suspense
Rating: PG for some suspense


Creative Team
Director – Jessica Jackson
Scenic/Lighting Design – Matthew Schlief
Costume Design – Tatyana De Pavloff
Sound Design – Becca Pearce
Fight Choreographer – John DiAntonio
Asst. Director – Dustin Bronson

Management Team
Stage Manager – Devon Muko*
Asst. Stage Manager – Alex Skaar

Sherlock Holmes – Kate Berry*
Dorothy Watson – Caitlin Wise*
Lizzie Chapman/Peggy/Martha – Heather Michele Lawler*
Elizabeth Garrett Anderson/Mrs. Hudson/Eudora Featherstone – Stephanie Diaz*
Thomas Chapman/ Superintendent/Orderly – Scott Kuiper*
Mycroft Holmes/ Vagrant/Edwin Greener – Dustin Bronson*
Geoffrey Lestrade/Orderly – Logan Ernstthal*
Michael Stamford/Reginald/Orderly – Zayaz De Camara


Director’s Note: Jessica Jackson
Were women to “unsex” themselves by claiming equality with men, they would become the most hateful, heathen, and disgusting of beings and would surely perish without male protection. – Queen Victoria in a private letter to Sir Theodore Martin, 1870.

I think he will probably come round in time, I mean to renew the subject pretty often. –  Dr. Elizabeth Garrett Anderson upon her father’s objection to her pursuit of medicine, 1860. She became Britain’s first female licensed physician.

I adore a juicy mystery. Keep me on the edge of my seat. Keep me guessing. Keep me one step behind the mind of the brilliant detective. In Miss Holmes, Christopher Walsh gives us two incredible mysteries: 1. Who is behind the mysterious letters and murders? 2. What if Sherlock Holmes and Doctor Watson were women?

Walsh wrote a play that turned on one simple alteration to literary history and its oceans of luminous male masterminds. Into that ocean he dropped a female Sherlock Holmes and Dr. Watson. The females of 19th century literature are almost entirely supporting characters: virtuous wives, sisters who die of wasting diseases, and plucky virgins who become virtuous wives (or die of wasting diseases). Walsh’s play is entertaining, nostalgic, and gives Sherlock Holmes fans everything we love about his mysteries – while making the daring choice to place England’s greatest mind in the head of a woman.

Sir Arthur Conan Doyle wrote during a century that defined literature for the English-speaking world. This period gave us Dickens, the Brontes, Thackeray, Trollope, Collins, Eliot, Stevenson, Hardy, Wilde, both James’, Byron, Keats, the Shelleys, Kipling. During this same century, and arguably for every century prior, the acceptable range of women’s behavior and morality was perilously narrow. A woman’s destiny was to devote themselves to the domestic sphere and play supporting roles in the  adventures of husbands, brothers, fathers. Consequently, female characters played supporting roles in most of literature.

There are more female protagonists in today’s culture, but we haven’t gained as many as you’d think: In the top 100 grossing films of 2017, females comprised 24% of sole protagonists,  37% of major characters, and 34% of all speaking characters. My wish is that bookish nerd-girls like me see themselves reflected in the smart, brave, resilient characters named Holmes and Watson. You aren’t supporting characters in someone else’s story. You are the protagonist. Get out there. Catch the killer.


Produced in special arrangement with Dramatic Publishing, Woodstock, Illinois.
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Young Audience Outreach Tour

Wed. Oct. 11

The Guava Tree / El Guayabo

2020 tour:

Book and Lyrics by Diana Grisanti
Directed by Ismael Lara

“When I was a child, we had  un guayabo, a guava tree.”

Emiliano is all grown up now, but he has a story to share about the hardest year of his life: the 3rd grade. This was the year Emiliano moved from Mexico to Colorado – from one tiny mountain town to another – uprooting everything he had ever loved. El Guayabo / The Guava Tree is a story of displacement and resilience, of thinking back on the bullies who hurt us and the friends who saved us.

The Guava Tree is :

  • Geared for students in grades K-6!
  • In alignment with National Core Arts Standards!
  • Full of audience participation!


$715 per performance 

Housing Discount – Provide housing for our 3-person Tour Company while they are in your community (either hotel or home-stay) and receive an additional 15% off your performance fee.

To book the show or if you need financial assistance, please contact Brittni Shambaugh Addison our Education Director: 719-658-2540 x227

Supported by The National Endowment for the Arts, Charitable Krueger Foundation, RLC Foundation, Allan and Stefani Simon, Dane G. Hansen Foundation, and Clarence V. Laguardia Foundation.

Developed under CRT’s Headwaters New Play Program


The Young Audience Outreach Tour’s mission is to bring high quality musical theatre to rural and underserved communities. This program annually produces an original children’s show, grades K-6 grade, that tours throughout the southwest.




A look at the 2019 tour!

Best Foot Forward!: El Mejor Pie Adelante! 

Play, Book & Lyrics by Lojo Simon
Music by Brandon Scott Grayson
Directed by Melissa Firlit

Sawyer McNally really wants to win the “Dance Starz” crown, but the competition is fierce, and “Lil G” Gonzalez has all the right moves. When a storm forces the two dancers from different walks of life to get to know one another, Sawyer learns that there are more important things in life than winning. An original, bilingual musical, Best Foot Forward exposes students to a variety of music and dance styles, promotes appreciation of differences and reinforces positive behavioral patterns.






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To support your community’s literacy endeavors, each student receives a free original children’s book after our shows. These books reinforce the themes of the study guide and play, while making reading exciting!

“The students were positively engaged with the performance. They were laughing, responded to the actors and left wanting to read books. What teachers could ask for anything more?”

Cynthia Bills, Teacher, High Rolls, NM.

“Our children loved it! They were very engaged, they really responded to the presentation being bilingual and the cast was so professional. I was amazed at how the cast included the students and really controlled the behavior through the presentation. We truly appreciate your support.  You are AWESOME!”

Joe Gutierrez, Principal, Killip Elementary, Flagstaff, AZ


Developed under CRT’s Headwaters Program.

For YAOT play submission instructions please click HERE.



2018: Seeds of Change
Play and Lyrics by Lojo Simon and Music by Ian LeRoy
Directed by Melissa Firlit

2017: Albert Porter: Boy Explorer
Play and Lyrics by Lojo Simon and Music by Ian LeRoy
Directed by Melissa Firlit

2016: Bodyguard! Protector of the Anatomy/ Guardaespaldas! Protector de Anatomía
Play by John DiAntonio and Music by Alexander Tom
Directed by Crystal Mercado

2015: Reading! And Other Superpowers/ Leyendo! Y Otros Súper Poderes
Play and Lyrics by John Di Anotonio and music by Richard Rischar
Directed by Tosin Morohunfola

2014: Math-Stronaut!: A Cosmic Adventure/ Una Aventura Cosmica
Play by John Di Antonio and Music by Joe Montelione
Directed by Logan Ernstthal

2013: Viva Agua/ Long Live Water
Play by John Di Antonio and Music by Joe Montelione
Directed by John DiAntonio

2012: The Geography of Adventure
Play by Steven Cole Hughes and Music by Jessica Jackson
Directed by John DiAntonio

2011: The Wright Stuff! The Science of Flight
Play by Steven Cole Hughes and Music by Jessica Jackson
Directed by Jessica Jackson

2010: The Presidents!
Play by Steven Cole Hughes and Music by Jessica Jackson
Directed by Jessica Jackson
This show has been picked up by CU-Boulder for a season and produced twice at the Coterie Theatre in Kansas City, as part of their educational outreach programs.

2009: Zeus on the Loose
Play by Jeff Carey and music by Jessica Jackson
Directed by Jessica Jackson

2008: Meet the Beasts
Play by Jeff Carey and music by Jessica Jackson
Directed by Jessica Jackson

2007: Grimm Pajamas
Play by Jeff Carey and music by Jessica Jackson
Directed by Jessica Jackson

2006: Giggle and Weep
By T. Jefferson Carey


Tue. Sep. 5


DateTimeAdditional Information

The KID Show – 2020

Fri. Jan. 13


Are you 10+ and would like to be part of The KID Show?

Simply reach out to Education Director, Brittni Shambaugh Addison at to register.

Rehearsals start July 20 with performances August 6, 7, and 8.


Supported by The Hitchcock Foundation and developed under CRT’s Headwaters New Play Program.


The KID Show’s mission is to provoke and empower the creative minds of local youth while placing them in a professional environment and encouraging them to play. Since 2003, as part of CRT’s annual summer season, a professional team of actors, directors, playwrights, painters, designers, and stage managers mentor local kids (ages 10–18) through the process of creating a fully produced, original show. Participants are involved in every aspect of the play-making experience from the very beginning; they design and assist in building costumes, scenery, and puppets while rehearsing the play they ultimately perform in CRT’s state-of-the-art Ruth Humphreys Brown Theatre.

The KID Show’s success is built around an in-depth mentorship model. Each year, approximately 12-16 young people work alongside our team of highly skilled teaching artists and professional theatre makers. The professional artists inspire these youth and model healthy collaboration skills, strong work ethics, and innovative problem solving.


The goal is to equip students with the tools needed to become successful and whole-hearted artists, community members, and human beings. This curriculum fosters the following skill sets:

• Critical discussion
• Listening to others
• Collaborating with peers
• Innovative problem solving
• Advocating for themselves, while being compassionate towards others
• Creativity
• Discipline and hard work


In 2014, 2015, 2016 and again in 2017, The KID Show program was named a finalist for the National Arts and Humanities Youth Program Award for outstanding after-school and out-of-school programs that are transforming the lives of young people. This is a prestigious award supported by Michelle Obama and the President’s Committee.

In 2015, Animating Democracy, a program of the Americans for the Arts, has nationally recognized The KID Show program for fostering civic engagement and social change through the arts.


“As a twelve year old growing up in the tiny nest of Creede, CO, dreams and dreaming often felt impossible and impractical. With The KID Show, not only did I feel allowed to wonder, I felt compelled to do so. As a founding member, I completed seven years of shows, builds, and hard work with the unbelievable artisans and craftspeople that contributed their own talents and passions to the project. Ultimately, this led me to a successful undergraduate career at Colorado College and a year living in the heart of Florence, Italy. Without The KID Show, I would not have dreamed so openly and worked so hard to continue facilitating the same sort of experience in my now adult pursuits.”  Hanna Waters, Participant

“Before The KID Show, I was stumbling blindly through the confusing years of puberty, trying to find myself. This program sparked something inside of me that I was previously unaware of. I had always been curious, wanting to explore; but what? The KID Show gave me an outlet for my curiosity. The KID Show gave me a way to explore myself and the world around me at the same time. I don’t know where I would be without the support of this amazing program. Certainly not about to launch into a career in Theatre.”   Heather Brophy, Participant

“I was really excited to be in my first show in 2007. Being able to work with such talented actors/actresses and directors gave me more confidence to not be nervous in front of people.”   Matthew Fowler, Participant

“My first year of The KID Show made me happy, and I wasn’t a very happy kid. I was just so enthusiastic about it. If I hadn’t done it, I don’t know where I would be now. It is a life changing thing.”   Luciana Branda, Participant

“I would never be the person I am today without The KID Show. I remember being a kid in Creede and wanting more than anything to be part of CRT. It was The KID Show that gave me that opportunity. The KID Show is about more than just letting kids act on stage – it’s about exploring the possibilities of who we can be. Through it I found that behind the scenes stimulated my brain more than the acting aspect, and for the first time I was able to be part of designing, building, and idea-mashing. It’s truly a collaborative experience with creative individuals. Because of The KID Show, I am a writer, a puppet maker, and filmmaker.”   Allie Quiller, Participant

“Our district students receive an intimate look into the arts that few students in a rural area like ours ever do. Our partnership with the theater has opened doors for our students we could not imagine without this collaboration.”  John Goss, Creede School, Principal

“Without Creede Repertory Theatre, these youth would have very limited access to arts and culture opportunities. The next closest arts center is about 200 miles away. This KID Show program provides a safe environment for youth to be creative and high-quality arts education that rivals the most esteemed urban organizations. Creede’s kids are empowered by the KID Show experience. It is where they learn to find and use their voices, grow their confidence and empathy, and discover that their hard work creates lasting and positive change in their lives and those around them.”  Debbie Whitmore, Creede Arts Council, President

“If I had to use one word to describe my experience during The KID Show, I would use the word “inspirational” because the design team and the students in the show taught me something new every day. I would most definitely recommend this show to anyone who wants to have fun and feel the magic of putting on an amazing show!”  Stella, Participant

“My daughters were part of The KID Show from its beginning. I cannot say enough about how it enriched Hanna and Hailey’s childhood.”  Chere Waters, Parent

“Without The KID Show, I would not have been able to stand in front of a large group of people and just be silly!”  Genevieve LaMee, Participant


Developed under CRT’s Headwaters Program.

For The KID Show play submission instructions please click HERE.



2019 – Derring Do, written by Diana Grisanti, directed by Brittni Shambaugh Addison
2018 – Abandoned Way Out West, written and directed by Diana Burbano
2017 – I, (Mac)kers written and directed by Emily Van Fleet and Nathan Jones
2016 – Rodeo and Juliet written and directed by Emily Van Fleet and Nathan Jones
2015 – BONES! written by the ensemble and co-directed by Johamy Morales and Anna Paniccia
2014 – A Midsummer Night Trapeze by John DiAntonio and Caitlin Wise
2013 – Alice in the Bookstore Palace by John DiAntonio
2012 – Saving Red by John DiAntonio
2011 – BUGS
2010 – DRAGONS
2009 – The Story of Babar the Little Elephant by Jean de Brunhoff with music by Francis Poulenc
2008 – Scruff Turbo and the Children of the Future by Jeff Carey with music by Jessica Jackson
2007 – Lullaby Bay by Jeff Carey with music by Jessica Jackson
2006 – Emilia’s Tree by Jeff Carey
2005 – The Rainbow Goblins
adapted from a story by Ul de Rico
2004 – The Minpins: A Roald Dahl Puppet Show
2003 – An Afternoon of Mime