RANDY HARRISON (Emcee) is pleased to return to his role as the Emcee after performing the role in Roundabout Theater Company’s 2016 National Touring Production. His most recent roles include Prior in Angels in America Parts 1 & 2 at Berkeley Repertory Theater and George in Sunday in the Park with George at the Guthrie Theater. In New York, Randy has appeared on Broadway in Wicked and Off-Broadway in Harbor (Primary Stages), Edward the Second (Red Bull Theater), Antony and Cleopatra (Theatre for a New Audience) and The Singing Forest (The Public Theatre/NYSF). Regional Credits include Red at Cleveland Playhouse, The Habit of Art at the Studio TheatreDC, Twelfth Night at Shakespeare Theater, Pop! at Yale Rep, and The Glass Menagerie at the Guthrie. Randy’s TV credits include Mr. Robot, Bang Bang You’re Dead and Queer as Folk.

KATE SHINDLE (Sally Bowles) Ogunquit debut! Most recent: Season 3 of CBS’ The Good Fight (Rachelle Max), The Sting (Billie) opposite Harry Connick, Jr. at Paper Mill Playhouse; the acclaimed 1st National Tour of Fun Home (Alison). Broadway: Legally Blonde original cast (Vivienne), Cabaret (Sally Bowles), Wonderland (Hatter), Jekyll & Hyde; Other favorites: After the Fall (Maggie), A Midsummer Night’s Dream (Helena), Gypsy (Louise), Restoration (Daphne), Rapture, Blister, Burn (Catherine), Into the Woods (Witch), First Lady Suite, The Last Five Years; TV/Film: Lucky Stiff (Dominique), Capote, Elementary, SVU, White Collar, Gossip Girl, The Stepford Wives. Kate has written for Newsweek, Salon, The Daily Beast, and others. She is President of Actors’ Equity Association, the union representing 51,000 actors and stage managers, and President of the Theatre Authority. 2017 recipient of Chicago’s Sarah Siddons Award. Lover of dogs, road biking, and single malt scotch. twitter.com/kateshindle and twitter.com/AEApresident.

MARIETTE HARTLEY (Fräulein Schneider)has established herself as an enduring star of stage, screen and television for more than 50 years. Her first film was Sam Peckinpah’s classic western, Ride the High Country, with Joel McCrea and Randolph Scott, followed by Marnie with Sean Connery, directed by Alfred Hitchcock, Marooned with Gregory Peck, directed by John Sturges, and many, many more. An Emmy winner and five time nominee, her TV credits include a range from the original Star Trek and Twilight Zone to Grey’s Anatomy and Big Love. In recent years she’s had large recurring’s on FOX’s hit 911, and Law & Order SVU. She received a Drama-Logue Award for Trojan Women and an Ovation nomination for Enchanted April, and toured in The Sisters Rosensweig (Drama-Logue Award) and Copenhagen (for which she received the Broadway Ovation Award). Other Broadway credits include, A.R. Gurney’s, Ancestral Voices at Lincoln Center, Sylvia at MTC, and the Broadway production of Cabaret. Mariette has been a mental health advocate since 1987, when she cofounded the AFSP. For years she has been blessed to co-facilitate 8 week survivor groups through Didi Hirsch, and speaks all around the world. Her autobiographical bestseller, Breaking the Silence, is a deeply personal, revealing and funny look at her life and career, a must for film buffs. It has been republished and is available through Amazon and Barnes and Noble. Mariette Hartley lives with her family in Los Angeles, and is represented by Chris Roe Management.

JOHN RUBINSTEIN (Herr Shultz) created the title role in the Broadway musical Pippin, directed by Bob Fosse, and won the Tony and Drama Desk Awards for his performance in Children of a Lesser God. Other Broadway appearances include Charlie and the Chocolate Factory, Ragtime, Hurlyburly, M. Butterfly, The Caine Mutiny Court-Martial, Love Letters, Getting Away with Murder, and the Diane Paulus Pippin revival. He won the Lucille Lortel Award as Best Actor for Elmer Rice’s Counsellor-at-Law off-Broadway. He has starred in two TV series, Family (Emmy nomination) and Crazy Like A Fox, and in over 300 episodes and miniseries. Films include Hello, I Must Be Going, 21 Grams, Red Dragon, The Boys from Brazil, Someone To Watch Over Me, Daniel, The Car, and Getting Straight. He is a director, a composer of film music (Jeremiah Johnson, The Candidate), and has recorded over 200 audio-books. He is married to Bonnie Burgess, and their son Max is the youngest of his five children, joining Jessica, Michael, Peter, and Jacob.

BILLY HARRIGAN TIGHE (Cliff) is thrilled to make his debut at the Ogunquit Playhouse. Broadway: PIPPIN (Pippin U/S, Music Box Theatre); West End: The Book of Mormon (Elder Price, Prince of Wales Theatre); Off Broadway: Sweeney Todd (Anthony, Barrow Street Theatre); National Tours: Finding Neverland (JM Barrie), The Book of Mormon (Elder Price), Wicked (Fiyero), La Cage Aux Folles (Jean-Michel), Dirty Dancing; Favorite Regional: The Heart of Rock & Roll (Tucker, The Old Globe), Back Home Again (Ben, Lesher Center), Hairspray (Link, Marriott Theatre), Happy Days (Potsie, Goodspeed Opera House); Guest soloist for symphonies across the country and internationally. Training: CCM BFA, CCCEPA graduate. Love and thanks to BRS/GAGE, family, friends and Kristine for the endless support. @billyharrigantighe.

NOAH PLOMGREN (Ernst) is excited to make his Ogunquit Playhouse debut. National Tours: Finding Neverland (Lord Cannan), Hair (Claude); Regional: From Here to Eternity, Treasure Island (Finger Lakes MTF), Guys and Dolls (Benny Southstreet, Goodspeed), Noises Off (Garry, Pittsburgh Public), Circus in Winter (Elephant Jack, Goodspeed), Lend Me A Tenor (Max, Bay Street Theater), Tigers Be Still (Zack, City Theater Company), Titanic (Charles Clarke, Westchester Broadway Theater). Education: Carnegie Mellon. @plomegranate www.noahplomgren.com

KATRINA YAUKEY (Fräulein Kost) is thrilled to be making her debut here at the Ogunquit Playhouse. Broadway: Natasha, Pierre, and the Great Comet of 1812, Cabaret (2014), Billy Elliot, Warhorse, Company, Cabaret (1998); National/International Tours: Anything that Gives Off Light, Billy Elliot, Sweeney Todd, Cabaret, Victor/Victoria; Regional: The Public, American Repertory Theatre, American Conservatory Theatre, Paramount Theatre, Indiana Repertory Theatre, The Cape Playhouse, Totem Pole Playhouse. @katrinayaukey www.katrinayaukey.com

JOEL D. BAUMAN (Hans/Rudy) is pleased to return to the Ogunquit Playhouse after appearing Jersey Boys earlier this season! National Tour: Cabaret; Regional: Buddy:The Buddy Holly Story (John W. Engeman Theatre, Palace Theatre), Footloose (Willard, Theatre Workshop Nantucket), Grease (Teen Angel), and more. In addition to acting, Joel has an active schedule as a freelance musician and arranger. Recently, he performed with the cabaret duo “The Skivvies” at Joe’s Pub in NYC. Thanks to everyone at Ogunquit for the opportunity! @joel_bauman

RYAN DENARDO (Victor) is excited to make his debut at the Ogunquit Playhouse. National Tour: Cabaret (Hans/Rudy u/s Cliff, Ernst); Regional: Grease (Danny Zuko, Forestburgh Playhouse), Cabaret (Victor, Maltz Jupiter Theatre), West Side Story (Diesel, Barn Theatre), The Odyssey: Part II (Achilles, Kitchen Theatre), Buddy: The Buddy Holly Story (Joe, Millbrook Playhouse), Pump Boys and Dinettes (Eddie, Heritage Theatre Festival), Les Misérables (Combeferre, Barn Theatre), and more. TV/Film: My Crazy Love (Oxygen), Billions (Showtime), Fakers which he co-wrote and produced, and most recently a national commercial for Grubhub. He holds a BFA from Ithaca College and studies and performs at both the Upright Citizens Brigade and The Groundlings in Los Angeles. Love to Laura and my parents. www.ryandenardo.com

MARGARET DUDASIK (Texas) is thrilled to make her Ogunquit Playhouse debut, especially as she is a longtime Kennebunkport vacationer. Off-Broadway: A Child's Christmas in Wales (Irish Repertory Theatre). National Tour: Roundabout Theatre Company's Cabaret (Texas); Regional: Once (Reza, Ivoryton/St. Michael's Playhouse), Buddy: The Buddy Holly Story (The MUNY/Fulton), Once (Ex-Girlfriend, Weston/Actors' Playhouse), Ring of Fire (Gretna). Margaret is also an accomplished Irish fiddle player, having represented the US at the All-Ireland World Championships seven times. Proud Pace University MT. Hey boo! www.MargaretDudasik.com

STACI JO JOHNSTON (Lulu) is ecstatic to be joining the Ogunquit Playhouse family and to be returning to the Kit Kat Klub. National Tour: Cabaret (Lulu); Off-Off-Broadway: Louisiana Purchase (Quartet, Musicals Tonight!), Fade Out Fade In (Ensemble, Musicals Tonight!). Regional: Thoroughly Modern Millie (Ms. Dorothy, R.J. Reynolds Playhouse), Wizard of Oz (Ensemble, Stained Glass Playhouse); Other Productions: The Caffeine Cabaret (Featured Performer, New World Stages). Love to Jason.

JOEY KHOURY (Bobby) Ogunquit Playhouse debut! National Tours: Cabaret (Roundabout), Altar Boyz (1st National), Radio City Christmas Spectacular (Arena Tour); Off-Broadway/New York: Altar Boyz, Radio City Christmas Spectacular; Regional: The Pirates of Penzance (Frederick), Fiddler on the Roof (Motel), Little Shop of Horrors (Seymour); Love as always to Mom & Dad.

TOMMY MCDOWELL (Max/Herman) is so thrilled to be making his onstage debut at Ogunquit Playhouse! National Tours: Roundabout Theatre Company's Cabaret (Max, Herman, Cliff u/s), American Idiot (Swing, First National Tour); Regional: Jersey Boys (Nick Massi, Phoenix Theatre Company), Hairspray (Link Larkin, Circa ’21), Grey Gardens (Joe Kennedy, Jr, Virginia Samford Theatre), Urinetown (Bobby Strong, Hudson Guild Theatre), The Who's TOMMY (Tommy), Once (Eamon, Theatre Raleigh); So many thanks to my friends/representation Eddie and Steve, and to my ever-supportive parents Jane and Jim. IG: @tommy_mcdowell www.tommymcdowell.com.

KARI NELSON (Rosie) is thrilled to make her debut at the Ogunquit Playhouse! National Tours: Cabaret (Rosie). Graduate of CAP21 Conservatory and DePauw University. Many thanks to the creative team, everyone at Ogunquit, and as always, mom and dad. www.kari-nelson.com.

LAURA SHEEHY (Frenchie/Gorilla) is pleased to make her debut at the Ogunquit Playhouse. Broadway: Cabaret ( Frenchie/Helga/Gorilla, Studio 54); Off-Broadway: Joe Fearless (Cindy, Atlantic Theater) Cycle (choreographer, Cherry Lane); Regional: The Heart of Robin Hood (multiple, A.R.T.), Cabaret (Lulu/Gorilla, Maltz Jupiter), Mental Head Circus (pianist/aerialist, KingKing); National Tour: Cabaret (Frenchie/Rosie/Gorilla, Roundabout); Film: (upcoming) The True Adventures of Wolfboy, Singularity, Shooting Livien, Glow Ropes, American Standard, What’s Left Behind (short), The Shadower in 3D (short). TV: Saturday Night Live, Smash, Country Music Awards (with Sara Evans), MTV Music Awards (with Ricky Martin), American Idol (with Rihanna), The Miraculous Year, The Jon Stewart Show, As The World Turns; Other: Cirque Du Soleil, Superbowl VIP Performance. She produced and directed her first film, Chasing the Win, and it is now available on Amazon & iTunes worldwide. Love to Ryan and my family. www.laurasheehy.com

JENNA ZITO CLARK (Helga) is pleased to make her debut at the Ogunquit Playhouse! Broadway Tours: Cabaret (Rosie, Roundabout Theatre Company), Saturday Night Fever (Pauline); Regional: Come From Away (Sherri/Hannah, Goodspeed Musicals), Thoroughly Modern Millie (Millie, Broadhollow Theater), Les Miserables (Eponine, Woodstock Playhouse). Jenna also can be heard on Douglas Cohen’s Helen of Troy album alongside Eric Anderson. She would like to thank her family and her husband Michael for their love and support. Life is beautiful.

JOHN KANDER (Music) and FRED EBB (Lyrics) The John Kander and Fred Ebb collaboration of four decades has created what many would consider Broadway standards and contemporary classics. One of their first collaborations became a hit song for Barbra Streisand, “My Coloring Book,” earning John and Fred a Grammy nomination. In 1965 the pair began working on their first Broadway show Flora the Red Menace, produced by Hal Prince and directed by George Abbot. Flora also introduced a rising new star, Liza Minnelli, and was followed by Cabaret (Tony Award music and lyrics), The Happy Time, Zorba, 70 Girls 70, Chicago, The Act, Woman of the Year (Tony Award for Music and Lyrics), The Rink, Kiss of the Spider Woman (Tony Award Music and Lyrics), and Steel Pier. Their collaboration also transferred itself to movies and television as they wrote original material for the Academy Awards, Liza with a Z and HBO’s Liza Minnelli’s Steppin’ Out (both Emmy Winners), Baryshnikov on Broadway, Goldie and Liza Together, Funny Lady, Lucky Lady, New York New York, Steppin’ Out, and Chicago the movie. In 1985 the song “New York, New York” became the official anthem of New York City. At the time of the unfortunate death of Mr. Ebb in 2004, Kander and Ebb had several projects in different stages of completion waiting in the wings; Tony nominated Curtains which played at the Al Hirschfeld theater on Broadway in 2007, twelve time Tony nominated The Scottsboro Boys which opened on Broadway in 2010, All About Us (an adaptation of Thornton Wilder’s The Skin of Our Teeth), and The Visit which opened on Broadway in 2015. Mr. Kander is currently collaborating with author/playwright Greg Pierce on two new projects: The Landing and Kid Victory.

JOE MASTEROFF (Book) Born in 1919 in Philadelphia, he had only one dream from infancy: to write for the theatre. After the essential lonely childhood and four-year stint in the Air Force, he came to New York to face his future: book-writer or book seller? Luckily, luck intervened. Before long, he had three shows on Broadway bearing his name: The Warm Peninsula starring Julie Harris, and two musicals, She Loves Me and Cabaret, for which he was the book writer. Thanks to indulgent parents, the New Dramatists, Hal Prince and many others, he is now retired and living in subdued luxury.

BT MCNICHOLL (Director) is delighted to return to Ogunquit, where he first directed Cabaret in 2006. Subsequent successes at Ogunquit include West Side Story (winner, Moss Hart Award), Fiddler On The Roof, La Cage Aux Folles, Seven Brides For Seven Brothers, and the regional premiere of Billy Elliot. Serving on the creative team of 12 Broadway shows, he has been associated with directors Sam Mendes, Rob Marshall, Stephen Daldry, Jerry Zaks, David Hare and the legendary Mike Nichols. A BMI Award-winning songwriter, he wrote the lyrics for The It Girl (published by Samuel French). International productions and National Tours include Spamalot and The Producers for Stage Entertainment. Currently, he is the Producing Artistic Director of La Mirada Theatre in Los Angeles.

ANDREA LEIGH (Choreographer) is pleased to return to the Ogunquit Playhouse having performed in the past production of Cabaret. Choreography: Cabaret (John W Engeman Theatre, Folies Bergere- Asst., National Tour- Asst., Maltz Jupiter- Asst.); National Tours: Phantom (Belladova), Brigadoon (Jean McLaren), Oklahoma! (Hannah), Cabaret Ensemble); Regional: Cabaret (Ensemble) at Ogunquit, Westchester Broadway Theatre, Foothills Theatre, John Engeman Theatre; Dance: Pittsburgh Ballet Theatre, Alvin Ailey American Dance Theatre, Buffalo City Ballet, Boston Ballet, Hartford Ballet. Currently, you can see her movements in the animation for Nickelodeon’s Shimmer and Shine. In addition to dance and choreography, Andrea’s passions lie with Pilates and Personal Fitness. She runs a successful business in LA, where she resides with her husband, Tony, and sweet boys, Dylan and Cameron. Much thanks to BT for once again supporting my obsession.

BRUCE BARNES (Music Director) is pleased to return to the Ogunquit Playhouse. OP: Nunsense 2 starring Pat Carroll, Cabaret starring Andrea McArdle; Broadway: Peter Pan, Cabaret, CATS; Off-Broadway: Peter and the Wolf, Everything the Traffic Will Allow, Class Mothers of ’68; National Tours: Cinderella, Peter Pan, Camelot, Happy Days, Jesus Christ Superstar, Kiss Me, Kate, CATS; International: Teatro alla Scala’s West Side Story, Lincoln Center’s Meet the Artist Series; Regional: Hoodoo Love (The Juilliard School), The Little Mermaid, Nunsense, Damn Yankees (North Shore Music Theatre), The Wildest, He Wrote Good Songs (Seven Angels Theatre), Cabaret (Engeman Theater); TV: Cathouse The Musical (HBO). Accompanist for: Patti LuPone, Penny Fuller, Dee Hoty, Ruthie Henshall, Beverly Sills, Billy Porter and Eartha Kitt. He also works as a private vocal coach in New York City and as a Musical Supervisor for Norwegian Creative Studios. Big thank you to my wonderful and supportive family.

ROBERT BRILL (Original Broadway Scenic Design) Broadway credits include Ain’t Too Proud: The Life and Times of The Temptations (Tony nomination), Summer: The Donna Summer Musical, Assassins (Tony nomination), as well as the set and club design for the critically acclaimed revival of Cabaret. His other Broadway credits include the recent revivals of Jesus Christ Superstar and Guys and Dolls (Tony nomination), A Streetcar Named Desire, Design for Living, Buried Child and many others. Brill’s other credits include Frozen (Disney California), Faust (Metropolitan Opera/ English National Opera), The Laramie Project (presented throughout the US including The Brooklyn Academy of Music), as well as numerous opera world-premieres, including Moby-Dick, Cold Mountain, Everest, Doubt, The Manchurian Candidate and It’s A Wonderful Life. He is a founding member of Sledgehammer Theatre, a recipient of the Michael Merritt Award for Excellence in Design and Collaboration, and professor of scenic design at the University of California San Diego.

RICHARD LATTA (Lighting Design) designed last seasons' Oklahoma!, An American in Paris (IRNE Award Nomination), Grumpy Old Men the Musical and Jersey Boys. He is currently the longest serving employee of the Ogunquit Playhouse; beginning as a crew member in 1985 and as a Lighting Designer since 1987. In that time he's designed hundreds of shows and watched in amazement as the Playhouse evolved from its humble Summer Stock beginnings to a producing entity that presents musical classics, re-inventions of more recent musicals and gives life to brand new shows. For that he thanks the many Electricians, Programmers, Associates and Follow Spot Operators who participate in making the Playhouse great, with an extra shout out to Travis Maynard.

WILLIAM IVEY LONG (Original Broadway Costume Design) is a Tony Award winning costume designer. He is currently represented on Broadway with Tootsie: The Musical, Beetlejuice: The Musical, and Chicago, now in its 22nd year. He also recently designed The Prince of Broadway for legendary director Hal Prince, and the revised stage musical Young Frankenstein in London’s West End for Mel Brooks, having previously designed the original production on Broadway in 2009, as well as A Christmas Story, Live! for the FOX Television Network. He recently completed a 4 year elected term as Chairman of the Board for The American Theatre Wing. Mr. Long has designed costumes for over 70 Broadway productions, and has been nominated for 15 Tony Awards. He serves as Production Designer for North Carolina’s oldest running seasonal outdoor drama, The Lost Colony, which was the 2013 recipient of the Tony Honor for Excellence in the Theatre. He returns in 2017 for his 47th season with the production. He was inducted into the Theatre Hall of Fame in 2005.

KEVIN HEARD (Sound Design) is delighted to return for his sixth season and 18th production at this great American theatre. OP favorites, as Sound Designer: Ragtime (IRNE Award Winner for Best Sound Design), Jersey Boys, Grumpy Old Men, An American in Paris, From Here to Eternity, Mamma Mia!, The Hunchback of Notre Dame, Anything Goes, White Christmas, Million Dollar Quartet, Nice Work If You Can Get It; Broadway: All The Way, The Cherry Orchard, The Country House, Sylvia; Off-Broadway: Smokey Joe’s Cafe, In & Of Itself, The View Upstairs, The Total Bent, Clinton The Musical, For The Last Time, Long Story Short, The Underclassman; Along with dozens of productions at regional theatres across the US, Kevin designed the sound for the International Premieres of Fun Home (starring Lea Salonga), Kinky Boots, and Matilda in Manila, Philippines. Kevin is the Associate Producer for BenDeLaCreme Presents and founded the sound design & consulting firm Heard Audio, LLC. www.HeardAudio.com

ROXANNE DE LUNA (Wig/Hair & Make-Up Design) is pleased to make her second design at the Ogunquit Playhouse. OP: Elf the Musical (Wig Designer, 2018 Christmas Season), 2018 Season (Wig & Make-Up Shop Supervisor), 2017 Season (Wig & Make-Up Shop Supervisor); LORT-D: My Fair Lady (Wig Designer, PlayMakers Repertory Company), Intimate Apparel (Wig Master, PlayMakers Repertory Company). Wig & Make-Up Assistant- Glimmerglass Festival Seasons 2013-2015, Central City Opera Season 2016, Kansas City Lyric Opera: Marriage of Figaro (2016), Sarasota Opera House Winter Seasons 2016-2019. She was born and raised in El Paso, TX. She graduated with a Bachelor of Arts at New Mexico State University and moved to Ohio to graduate with her Master of Arts from University of Cincinnati- Conservatory of Music in Wig & Make-Up Design, 2015.

ANTHONY C. DANIEL (Casting Director) Casting: Ogunquit Playhouse's productions of Anything Goes, The Hunchback of Notre Dame, Seven Brides for Seven Brothers, Disney’s Beauty and the Beast, Sister Act, Victor/Victoria, Nice Work If You Can Get It, Million Dollar Quartet, Saturday Night Fever, White Christmas, Grease, Billy Elliot, Mary Poppins, Witches of Eastwick, Buddy: The Buddy Holly Story, and The Addams Family. He has also served as Associate Director on the Playhouse’s productions of Victor/Victoria, Mary Poppins and Witches of Eastwick. Anthony is a faculty member at The Growing Studio in NYC, where he serves as the Director of Musical Theatre Showcase. As an Associate Director, Anthony has worked alongside Matt Lenz on the National Tour of Cheers: Live On Stage! and the upcoming production of Chasing Rainbows: The Road to Oz. www.anthonycdaniel.com

ROBERT V. THURBER (Associate Director/Production Stage Manager) is pleased to return to the Ogunquit Playhouse, and to this seedy little Berlin dive known as the Kit Kat Klub. OP: Deathtrap (Advance SM) and Cabaret (Asst. Director); Broadway: 700 Sundays (SM). Favorite other credits include tours of Cabaret, Les Miserables, Miss Saigon, Mamma Mia! and Disney’s The Little Mermaid, as well as sit-down productions in New York and across the country. Thank you to BT for including me on this journey, and thank you to Rob for the last thirty-four years, and for those yet to come.

JASON MAY (Associate Music Director) is thrilled to make his AMD debut at the Ogunquit Playhouse this season! He is a multi-instrumentalist and has been a keyboardist and woodwind player here, and on many National Tours: Aladdin, A Bronx Tale, Something Rotten, Motown, The Color Purple, Grease and Annie. He has also been heard regularly at The Boston Opera House, Riverside Theatre (Vero Beach, FL), and North Shore Music Theatre. Past Regional engagements include: Yale Repertory Theatre, Trinity Rep. (Providence, RI), Theatre By the Sea, Pittsburgh City Theatre. Other performance credits include: Cleveland Jazz Orchestra, Frankie Valli, The Temptations, Little Anthony, Johnny Mathis, Cab Calloway Orchestra, and Youngstown Symphony. He has also served as the Music Director for many of the Broadway Gives Back benefits here in Ogunquit for our local charity organizations. Jason would like to thank his family, friends, and especially Anne for their love and support.

SEAN FRANCIS PATRICK (Assistant Stage Manager) is thrilled to be making his Ogunquit Playhouse debut! National Tour stage management credits include: Cabaret (Roundabout Theater Company), Anything Goes (Roundabout Theater Company), and The Gershwin’s Porgy & Bess. Recent regional credits include: The Producers (Casa Mañana), Fiddler On The Roof, in Yiddish (Production Manager with the National Yiddish Theater), and Having Our Say (North Carolina Theatre). Sean presently serves as the Executive Producer of Cleveland Musical Theatre, the Operations Manager of Werk With Bway, and is a busy freelance stage manager/production manager. Additionally, Sean operates a small vocal/acting studio in NYC. BFA training in Musical Theater Performance from Wright State University. Proud member of AEA.

GEOF DOLAN (Technical Director) is returning for his 13th season as the Technical Director and Scenic Coordinator. Immediately prior to Ogunquit, he served as Technical Director for Worcester Foothills Theatre. He has done supplemental design work for several shows. He is also the Technical Supervisor for the Children's Theatre program. Geof began his technical career working backstage for both of his parents who are theatre directors and began his professional career at Sierra Repertory Theatre in California. For five years, he split his seasons between Maine and Florida, working the same technical areas for the Orlando Shakespeare, but now stays with the Playhouse year-round. His wife Cheryl (Scenic Charge Artist at the Playhouse for 12 seasons) has designed award-winning parade floats and designs many of the Children’s Theatre shows. Their daughter Ash is an aspiring writer and artist.

CHERYL DOLAN (Resident Scenic Charge) has returned to the Ogunquit Playhouse for her 12th season. After taking over as Resident Scenic Charge nine years ago, she has designed several Children's Theatre sets, as well as adding her artistic eye to many of the main stage productions. Since falling in love with the Ogunquit Playhouse, Cheryl, her husband Geof Dolan (the Ogunquit Playhouse Technical Director) and their daughter Ash, who is a budding writer, have made the Seacoast their home year-round. Cheryl considers the staff at OP her family and hopes that her love and passion for theater is translated through the productions to all of you.

AMANDA WOODWARD (Production Manager) is elated to be joining the Ogunquit Playhouse family after ending her touring career with FELD Entertainment. Amanda has worked over 20 years in the industry wearing many hats, but most recently spent 6 years with Norwegian Cruise Line as Entertainment Production Manager/ Project Manager overseeing new shows and installing entertainment on new ships and new shows during operations on older ships; all while she was a freelance TD for Boone High School (Orlando, FL) and lived/worked in NYC for 13 years as a PSM, LD, Programmer, Entertainer, and had her own organization business. Other Companies Amanda has worked with include The Imagination House (Double Dare Live!) American Family Theater (8 Tours), The Santa Fe Opera, The Cumberland County Playhouse, The Brick Theater, Orlando Reparatory Theater and various Off-Broadway theaters.

BRIAN J. SWASEY (Associate Producer) Originally from South Portland, ME and a graduate of the University of New Hampshire. After moving to NYC in 1995 and focusing on pursuing a career as an actor, he changed focus and became the Founding Artistic Director of The Astoria Performing Arts Center, followed by the Associate Producer position at Queens Theatre in the Park in Flushing, NY. There he was involved in producing the 20th Anniversary Revival of Closer Than Ever starring Sally Mayes and Lynne Winterstellar. Prior to coming to Ogunquit, he was the Managing Director for The New York Theatre Barn. NYC developmental projects have included: the rock musical The 12 and a new holiday musical entitled Tim and Scrooge. As a Director/Choreographer, Brian has had the pleasure of directing such shows as Pump Boys and Dinettes, Hairspray, Chicago, A New Brain, and Altar Boyz. He was the Assistant Director for the NYC Revival of Die, Mommie, Die! staring Charles Busch. At the Playhouse, Brian directed the TYA productions of The Berenstain Bears and The Cat In The Hat. In addition, Brian has been involved with booking cabaret entertainment at The Triad in NYC, as well as bringing such artists as Christina Bianco and Bruce Vilanch to MaineStreet in Ogunquit, ME.

KENT BRIDGES (Managing Director) is a seasoned business leader with 30 years of experience in business administration, finance and strategic planning both in the private sector and as an independent consultant. He joined Ogunquit Playhouse in the fall of 2017. Working with the Board of Directors, the Executive Artistic Director, dedicated managers and staff, the community, and the organization’s business partners, Kent’s focus is to strengthen the theatre’s financial position, guide its long-term future, and ensure its rich and well-respected legacy is firmly secured. A native of Presque Isle, Maine, Kent returned to the state in late 2014 after a successful career in the Washington, D.C. metro area. He is excited to be back in Maine and to call Ogunquit his home.

BRADFORD T. KENNEY (Executive Artistic Director) is an artistic director, producer, stage and film director, and artist. Since joining the Ogunquit Playhouse in 2005, the Playhouse has tripled its audience growing from a single season summer stock theatre into one of the America's pre-eminent regional theatres with a three-season performance schedule and year round operation. During his stewardship, the Playhouse has garnered a number of awards and honors including the Moss Hart Trophy, Regional Theatre Award for Outstanding Achievement in the American Theatre from the New England Theatre Conference, multiple IRNE Awards and a number of BroadwayWorld Awards including Best Musical and others. Mr. Kenney is also noted for his work at Carnegie Hall including directing the holiday special The Christmas Rose starring Jane Seymour and producing An American Christmas Carol with Tim Janis. Mr. Kenney’s film work includes the movie musical “Buttons” starring Dick Van Dyke, Jane Seymour, and Charles Shaughnessy. In New England, Mr. Kenney has been proud to be associated with a number of different theatre companies. He was also formerly the Artistic Director of the Foothills Theatre and Wachusett Theatre Companies in Massachusetts. He is a fourth generation plein air landscape artist, having studied with Beth Ellis and at Rhode Island School of Design, Heartwood College of Art, and Maine College of Art.

Raw and Powerful Jazz Musical Cabaret to Open at the Ogunquit Playhouse

Ogunquit, Maine – Come to the Cabaret, your table’s waiting! Decadent nightlife meets dangerous times at Berlin’s alluring Kit Kat Klub in the iconic Broadway musical Cabaret, on stage July 17 through August 10. Set in the cabaret underworld on the eve of Hitler’s rise to power, the Ogunquit production is based on the searing Sam Mendes and Rob Marshall musical recently revived on Broadway and is staged by BT McNicholl, who directed the Playhouse production of Cabaret back in 2006. This unforgettable musical stars stage and screen actors Randy Harrison as the Emcee and Kate Shindle as Sally Bowles. The Ogunquit production also features Billy Harrigan Tighe as Cliff Bradshaw, Mariette Hartley as Fraulein Schneider, John Rubinstein as Herr Schultz, Noah Plomgren as Ernst Ludwig, and Katrina Yaukey as Fraulein Kost. The Ogunquit production features the Broadway set based on the original design by Robert Brill and the Broadway costumes by William Ivey Long.

Cabaret tells the story of Cliff Bradshaw, a young American writer newly arrived in Berlin, who falls in love with cabaret singer Sally Bowles. Their romance sizzles amid the back room culture of the cabaret and the tumultuous atmosphere of pre-Nazi Germany. Cabaret is a raw and powerful jazz musical that explores the dark life of Berlin’s natives and expatriates as Germany slowly yields to the emerging Third Reich. The show has had numerous Broadway and London revivals, features a book by Joe Masteroff and is the winner of multiple Tony Awards, including Best Musical and Best Original Score for John Kander (music) and Fred Ebb’s (lyrics) compelling musical numbers which include, “Willkommen,” “Money,” “Tomorrow Belongs To Me,” “Maybe This Time” and “Cabaret.”

Starring as the cabaret’s master of ceremonies is Randy Harrison. He returns to this role after his standout performance in the Roundabout Theatre Company’s 2016 National Touring production. Mr. Harrison’s recent roles include Prior in Angels in America Parts 1 & 2 at Berkeley Repertory Theater and George in Guthrie Theater’s Sunday in the Park with George. In New York, he has appeared on Broadway in Wicked and Off-Broadway in Harbor, Edward the Second, Antony and Cleopatra, and The Singing Forest. Mr. Harrison’s television credits include Queer as Folk, Mr. Robot, and Bang Bang You’re Dead.

Kate Shindle makes her Ogunquit Playhouse debut as the sultry Sally Bowles. On Broadway, she has starred in Cabaret, Wonderland, Jekyll & Hyde, and was an original cast member of Legally Blonde. Her recent credits include Rachelle Max on CBS’s The Good Fight, her performance as Billie in The Sting opposite Harry Connick, Jr. at the Paper Mill Playhouse, and as Alison in the acclaimed First National Tour of Fun Home. In film and television, she can be seen in Lucky Stiff, Capote, Elementary, Law & Order SVU, White Collar, Gossip Girl, and The Stepford Wives. Ms. Shindle is the President of Actors’ Equity Association and President of the Theatre Authority.

Star of the stage, screen, and television Mariette Hartley joins the cast as Fraulein Schneider, revisiting the role she first portrayed on Broadway in the 2003 revival of Cabaret. Her first film was Sam Peckinpah’s classic western, Ride the High Country, with Joel McCrea and Randolph Scott, followed by Marnie with Sean Connery, directed by Alfred Hitchcock, Marooned with Gregory Peck, directed by John Sturges, and many more. An Emmy winner and five-time nominee, her TV credits include Star Trek, Twilight Zone, Grey’s Anatomy, Big Love, and in recent years includes recurring roles on FOX’s hit 911 and Law & Order SVU. Her numerous Broadway credits include Trojan Women, for which she received a Drama-Logue Award and Enchanted April for which she received an Ovation nomination. Starring opposite Ms. Hartley is Tony Award-winner John Rubinstein as Herr Schultz. Mr. Rubinstein originated the title role in Bob Fosse’s Pippin and won the Tony and Drama Desk Awards for his performance in Children of a Lesser God. His other Broadway appearances include Charlie and the Chocolate Factory, Ragtime, Hurlyburly, M. Butterfly, The Cain Mutiny, Getting Away with Murder and the Diane Paulus Pippin revival. He won the Lucille Lortel Award as Best Actor for his performance in Elmer Rice’s Counsellor-at-Law Off-Broadway. Mr. Rubinstein has recorded over 200 audiobooks, starred in over 300 television episodes and miniseries, and his film credits include Hello, I Must Be Going, 21 Grams, Red Dragon, The Boys from Brazil, Someone to Watch Over Me, Daniel, The Car, and Getting Straights.

Joining the cast as Cliff Bradshaw is Billy Harrigan Tighe. He performed on Broadway in Pippin, Off-Broadway in Sweeney Todd, and the West End as Elder Price in The Book of Mormon. Mr. Tighe has been in numerous National Tours including Finding Neverland as JM Barrie, The Book of Mormon as Elder Price, Wicked, La Cage Aux Folles, and Dirty Dancing. Noah Plomgren makes his Playhouse debut as Ernst Ludwig. Mr. Plomgren has performed in the National Tours of Finding Neverland and Hair, and Regionally in From Here to Eternity, Treasure Island, Guys and Dolls, and Lend Me a Tenor among others. Portraying Fraulein Kost is Katrina Yaukey. Her numerous Broadway performances include Natasha, Pierre, and the Great Comet of 1812, productions of Cabaret in 2014 and 1998, Billy Elliot, Warhorse, and Company, as well as the National Tours of Billy Elliot, Sweeney Todd, Cabaret, and Victor/Victoria.

Performing in the ensemble as Kit Kat Klub Girls and Boys are Joel D. Bauman as Hans, Ryan Denardo as Victor, Margaret Dudasik as Texas, Staci Jo Johnston as Lulu, Joey Khoury as Bobby, Tommy McDowell as Herman, Kari Nelson as Rosie, Laura Sheehy as Frenchie and Jenna Zito Clark as Helga.

Returning to Ogunquit to direct the Playhouse production of Cabaret is BT McNicholl. He has helmed many shows for the Playhouse including Cabaret in 2006, Fiddler on the Roof, (2008), La Cage Aux Folles, (2007), the Moss Hart Award-winning West Side Story (2013), the award-winning regional premiere of Billy Elliot (2014), and Seven Brides for Seven Brothers (2016). Serving on the creative team of twelve Broadway shows, he has associated with directors Sam Mendes, Rob Marshall, Stephen Daldry, and the legendary Mike Nichols, among others. His international productions and National Tours include Spamalot and The Producers. Mr. McNicholl is a BMI Award-winning songwriter and wrote the lyrics for The It Girl, published by Samuel French. He is currently the Producing Artistic Director of La Mirada Theatre in Los Angeles.

Choreographer for Cabaret is Andrea Leigh, who performed in the 2006 Ogunquit Playhouse production of Cabaret. She has served as Choreographer and Assistant Choreographer on numerous productions of Cabaret, including at the John Engeman Theatre, Maltz Jupiter Theatre, and on the National Tour. Additionally, she has performed in the National Tours of Phantom, Brigadoon, Oklahoma!, and Cabaret, and at the Westchester Broadway Theatre, Foothills Theatre, John Engeman Theatre. She has danced with the Pittsburgh Ballet Theatre, Alvin Ailey American Dance Theatre, Buffalo City Ballet, Boston Ballet, and Hartford Ballet.

Returning to the Ogunquit Playhouse as Music Director of Cabaret is Bruce Barnes. Mr. Barnes was last at the Playhouse in 2006’s Cabaret and 1993’s Nunsense II. On Broadway he has worked on the productions of CATS, Peter Pan, and Cabaret, as well as Off-Broadway on Peter and the Wolf, Everything the Traffic Will Allow, and Class Mothers of ’68, and the National Tours of Cinderella, Peter Pan, Camelot, Happy Days, Jesus Christ Superstar, CATS, and Kiss Me, Kate. His work can be seen on television on HBO’s Cathouse the Musical, and he has served as accompanist for Patti LuPone, Penny Fuller, Dee Hoty, Ruthie Henshall, Beverly Sills, Billy Porter, and Eartha Kitt.

The original Broadway scenic designs are by Robert Brill, whose Broadway credits include the Tony-nominated Ain’t Too Proud: The Life and Times of The Temptations, Summer: The Donna Summer Musical, the Tony-nominated Assassins, Jesus Christ Superstar, Guys, and Dolls, as well as the set and club design for the critically acclaimed revival of Cabaret, among many others. Original costume designs are by six-time Tony Award winner, William Ivey Long. He most recently designed costumes for the Broadway productions of Tootsie: The Musical and Beetlejuice: The Musical, as well as FOX’s A Christmas Story, Live!, The Prince of Broadway for legendary director Hal Prince, and the revised stage musical Young Frankenstein in London’s West End for Mel Brooks, as well as for the original Broadway production in 2009. He was nominated for an Emmy Award for his work on FOX’s Grease: Live!, and designed the re-imagination of The Rocky Horror Picture Show starring Laverne Cox and Tim Curry. Mr. Long has designed costumes for over 70 Broadway productions and has been nominated for 15 Tony Awards.

Lighting Design for Cabaret is by Richard Latta. Mr. Latta is the resident lighting designer for Ogunquit Playhouse and recently was nominated for an IRNE Award for Best Lighting Design for his work on the 2018 production of An American in Paris. Kevin Heard joins the creative team for Cabaret as Sound Designer, returning to the Playhouse for his 18th Ogunquit production. Mr. Heard won an IRNE Award for Best Sound Design for his work on the 2017 production of Ragtime. Wig/Hair & Makeup Designer for Cabaret is Roxanne De Luna. Her previous creations were seen in the recent Ogunquit Playhouse productions of 42nd Street and Elf the Musical. Casting for the Ogunquit Playhouse production of Cabaret is by Anthony C. Daniel. Associate Director and Production Stage Manager is Robert V. Thurber.

A success in every decade in which it has been produced, Cabaret continues to evolve in its form – with songs added or re-ordered in each major interpretation since its debut in 1965 – but its message remains steadfastly, and all too sadly, relevant. Originally conceived by Hal Prince during the civil rights era as a cautionary tale about racism (and how what happened in Berlin in the ‘30s can happen here in the States), the piece resonates today; all one has to do is read the headlines on any given morning. Questions about national identity, scapegoating a minority group, the dangers of a blindly faithful populace and the steep price of apathy are found coursing through Cabaret, pin-pricking and prodding us into self-reflection and, hopefully, action.

Amazingly, Cabaret manages to propel its thematic aims via one of the theatre’s most astute scripts and enduringly vibrant scores. How it manages to entertain and seduce while stirring up such a profound mix of political and social issues is nothing short of masterful. It is, perhaps, why audiences keep coming back for more. But not just audiences: artists, too – particularly the actors on stage at this performance, some of whom have been with this brilliant Sam Mendes and Rob Marshall interpretation for almost two decades. Whether they played the show on Broadway (where it initially ran from 1998 to 2004), on tour or in the regional theatres, they continue to return to it (as do I) – heeding the siren’s call – because it is a production that is uniquely fulfilling on every level. It uses every part of the artist, and, because it was conceived as an actor-driven show (with little more than 3 doors and 6 chairs), it exposes and celebrates all of who and what we are. The risk and responsibility are enormous – as are the rewards.

Fortunately, Sam and Rob’s stunningly theatrical vision is expansive enough to welcome intelligent, deeply human and skillful actors to the fold with each incarnation. This new Ogunquit staging is no exception. Together, this committed ensemble of actors (many of whom are also musicians) collaborates and conspires to live the text and music with their own truths, bringing new facets of their characters to light as no one before them has– nor as anyone in the future will. That’s the beauty of this Cabaret – it is True Theatre, possessing the immediacy of the here-and-now in performance and theme, while viscerally evoking a civilization of the way-back-then: scandalous, romantic, dizzying, and teetering on the brink of an abyss. As Sam has said, it’s about the time when the world was about to spin off its axis, changing history forever. All set to song and dance.

So willkommen, bienvenue, welcome. Leave your troubles outside. In here, life is beautiful.

-- BT McNicholl, Director

“Leave your troubles outside! Life is disappointing? Forget it!”

World War I completely devastated Europe, leaving most nations desperately struggling to feed their people. Forced to bear the blame of causing the war, pay reparations to the Allied powers, and attempt to build some semblance of a government, Germany faced especially dire circumstances. After the forced abdication of Kaiser Wilhelm II, the Weimar Republic was born. Under this new government, with the help of the American affluence of the 1920s, Germany was seemingly on the path to recovery until the U.S. stock market crash of 1929 sent the economy into meltdown yet again. With economic downturn came poverty and unrest which paved the way for the Nazi party to ascend to power, and eventually, would lead to the onset of World War II.

Though poverty was fairly severe and the political climate was tumultuous through the duration of the Weimar era (which lasted from 1919 until 1933), arts communities flourished, and Weimar Germany was considered an epicenter of artistic innovation, creativity, and experimentation. The precarious political environment proved perfect for inspiring the creative minds of the day. While cinema, dance, and music all found new expressions in Weimar Germany, perhaps the most dramatic growth was in the theatre.

During this Era, a new propagandistic theatre emerged which provided artists a means to express their distress at their country’s political situation and was pioneered by iconic duo Bertolt Brecht and Kurt Weill who were best known for their work, The Threepenny Opera (1928) which still serves as a beautiful representation for what life was like in this time period. This artistic work is regarded as a direct predecessor of the “Book Musicals” that populate Broadway, Ogunquit Playhouse, and other stages across the globe today. The best expression of the theatricality of the Weimar Era is, of course, through cabaret, or Kabarett as it was known, where Berlin’s theatergoers could enjoy food and libations while watching their favorite performers satirize current events through music, dance, and monologues. This art form expanded during the Weimar Era to crowded underground theatres bustling boozed-up patrons, bodacious women, and boundary pushing and bold performance artists. Kabarett gained infamy as an art form filled with bawdy references, political satire, and a very distinct German gallows humor. Berlin’s Cabaret scene thrived with theatres and shows for people of different ethnic groups and walks of life.

The Berlin Kabarett scene with its decidedly vulgar humor and discussion of taboo topics was a place where members of the LGBT+ community could flourish even though homosexuality was illegal in Germany. Throughout the country, as well as the U.S., a period of traditionalism was in fashion, however, Berlin’s underground and cabarets were safe places where gender and sexuality were interchangeable and fluid. It was not uncommon to see men in dresses and rouge or women with short-shorn hair in suits. Cabarets were the home to diverse communities where people could be free to express themselves, despite rising tensions and intolerance that awaited them just outside the door.

As the Nazi party rose to power, anti-Semitism began to rise with it. Cabaret culture, though decidedly more progressive and tolerant than the general German society, was not immune to this injustice. Berlin had cabarets for every social group, which meant significant segmentation. Jews frequented Jewish clubs, young people frequented young clubs, and rich people attended wealthier clubs. Anti-Semitic tensions also rose as Jews like Max Reinhardt, and Albert Einstein found notoriety in the arts and sciences through their tremendous contributions. These successes brought fame and eminence, but also fostered tensions and jealousies between the ethnic groups that called Berlin their home.

Since its debut on Broadway in 1966, Cabaret quickly became one of the best-beloved musicals in the history of theatre. Through its three popular stage renditions and iconic film adaption starring the Liza Minelli and Joel Grey, the story of an American novelist and English cabaret dancer in Berlin’s seedy underground has infiltrated our vernacular. The story told in Cabaret was first portrayed on Broadway in the play I Am a Camera by John Van Druten, which was based on a short story by Christopher Isherwood entitled Goodbye to Berlin. Cabaret adapts this story and uses the metaphor “Life is a Cabaret” as well as the contrast between heavy book scenes and delightfully preposterous musical numbers to explore this tumultuous time.

The content of the musical has changed in its various revivals over the years to better reflect the relevance of these themes. Among these distinctions is the addition of musical numbers, “The Money Song” and “I Don’t Care Much” to the 1987 and 1998 revivals as well as the treatment of Cliff’s, sexuality which becomes more outright with each new interpretation. The 1998 revival originally starred the late Natasha Richardson as Sally Bowles and Alan Cumming as Emcee and was remounted in 2014 featuring modern-day A-List celebrities Michelle Williams and Emma Stone. It is from this most recent revival by stellar creative team Sam Mendez and Rob Marshall that Ogunquit Playhouse’s production draws its inspiration.

July 31, 2019

Dear CABARET Company, Crew and Management:

Today, as you know, we lost a legend. Hal Prince meant a great deal, of course, to the American Theatre in general, but to CABARET, in particular. In short, there would be no CABARET if it weren’t for Hal. Sam has said as much, noting that it was Hal who did the difficult work of conceiving the show and its contrapuntal structure, wherein the cabaret numbers amplify the themes and values articulated in the book scenes. As John Kander said to me not long ago, while acknowledging the contributions of the many other creative talents over the years, “Make no mistake: this is Hal’s show.”

We have a special honor now with Hal’s passing. CABARET is the show that put him on the map as a major director. He practically invented the “concept” musical, starting with CABARET. He is the one who commissioned the show in first place – securing the rights to the Isherwood novel, bringing Masteroff, Kander and Ebb together, approving and vetoing the songs, conceiving the MC character – then producing it singlehandedly (convincing investors, taking it out of town to Boston, editing the material, casting it brilliantly, overseeing the unique design, etc.). He is the one who took the biggest risk when everyone else thought it was madness. We stand on his shoulders, tonight and at every performance.

No other theatre in the world is presenting this, the most successful, longest-running version of CABARET. Others have the same materials, but this production stands alone. You are it. And I am especially pleased that it is you; you are a beautiful company, and I know you take the show as seriously and perform it with as much passion and urgency as its original creator, Hal (and Sam and Rob and Fosse and all of Hal’s later torchbearers), would wish.

On a personal note, I will say that Hal was my hero. I read from a ratty, dog-eared copy of his 1974 autobiography “Contradictions” almost every day in college. I was not alone, of course. Every young director wanted to be Hal Prince.

Some of you got to work with Hal, or crossed paths with him. You have your stories of those interactions; I have mine. Share them, please. If you didn’t get that opportunity to meet or work with him, I hope you’ll listen to (or read) the stories. It’s a way of getting to know him; you’ll get a sense of the man, his unbelievable work ethic, his drive, and his passion. That’s one thing I love about the Theatre, honestly – the genuine respect we have for those that came before us, and how we value them (or should). Theatre is one of the few remaining professions that survives and thrives on apprenticeship and handing-it-down. It’s part of our noble profession. We may not get rich, but we have dignity. And tradition. We’re rich in that.

Missing you all, and with you in spirit on this special day, honoring Hal and all he created for us.

Much love,

BT McNicholl, Director