Brigadoon

In This Program

• About the Show
• Credits
• Musical Numbers
• Milestones
• A Note from Adam Immerwahr, Artistic Director
• A Note from Derek Watanabe, Managing Director
• Who’s Who
• Out of the Mist: How Brigadoon borrows rom the past to remain in the present
• Sponsor Spotlights
• Coffee Talk with Katy Tabb
• Print Edition
• More About Village Theatre

About the Show

ADAM IMMERWAHR, Artistic Director

DEREK WATANABE, Managing Director

Book and Lyrics by 

ALAN JAY LERNER

Music by

FREDERICK LOEWE

Original dances created by

AGNES DᴇMILLE

Revised book by 

BRIAN HILL

Francis J. Gaudette Theatre
September 16–October 19, 2025

Everett Performing Arts Center
October 25–November 16, 2025

Scenic Designer
PARMIDA ZIAEI

Costume Designer
NANETTE ACOSTA

Lighting Designer
AHREN BUHMANN

Sound Designer
JUSTIN SCHMITZ

Conductor
BRUCE MONROE

Stage Manager
LAUREL NICHOLS*

Music Director
TIM SYMONS

Choreographer
KATY TABB

Director
KAREN LUND

Lerner and Loewe's Brigadoon is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTISHOWS.com

Any video and/or audio recording of this production is strictly prohibited.

Setting

The Highlands of Scotland and a New York City Bar. 1946.

Season Sponsors

4Culture
Artsfund
Boeing
Microsoft
Enzo's Bistro & Bar
Hook & Cleaver | Lombardi's Italian Restaurant and Bar

Producing Sponsors

Everett, WA
City of Issaquah Arts Commission
Seattle NorthCountry, made possible in part by assistance from the Snohomish

Show Sponsor

Rowley Properties

Credits

*The Actors and Stage Managers are members of the Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. 

Special Thanks

Rod “Red” Gibson, Christie Lites Seattle
Quest Physical Therapy
Karen Shelton-Johnson
Totem Lake Shoe Repair

Musical Numbers

Act I

“Introduction”
Orchestra

“Prologue”
Ensemble

“Brigadoon”
Ensemble

“Down on MacConnachy Square”
Townsfolk

“Waitin’ for My Dearie”
Fiona, Jean, Maggie, Meg

“I’ll Go Home with Bonnie Jean”
Charlie and Townsfolk

“The Heather on the Hill”
Tommy and Fiona

“The Love of My Life”
Meg 

“Jeannie’s Packin’ Up”
Girls

“Come to Me, Bend to Me”
Charlie

“Almost Like Being in Love”
Tommy and Fiona

“Sword Dance”
Townsfolk

Act II

“The Chase”
Men of Brigadoon

“My Mother’s Weddin’ Day”
Meg and Townsfolk

“From This Day On”
Fiona

“Reprises”
Fiona, Tommy, Townsfolk

“There But For You Go I”
Tommy

“Finale”
Ensemble

After 12 years as a House Manager in Issaquah, Raymond “Ray” Lapine is looking forward to his (almost) retirement. He started with Village in 2011 doing videography work, drawing on his background as a TV news photographer and producer (which earned him a Peabody Award!). Looking for an opportunity to stay, he applied to two positions at Village: one in the Box Office (“They turned me down cold,” Ray shared with wry amusement) and one as a House Manager. The latter was a good fit, and he worked with the Front of House team from 2013 to 2025.

Ray was particularly drawn to the role’s problem-solving responsibilities. In the minutes before the show began, he clarified confusion over seating, answered questions from parents about content guidelines, addressed patron health concerns that arose unexpectedly, and helped guests who had tickets to the wrong show—all before the curtain went up. Reflecting on his approach to the role, Ray said, “I wanted to be the most informative and helpful.” House Managers are not only tasked with assisting patrons, but also with enforcing the theater’s policies when necessary. Front of House Manager Leah Gibson recalled how Ray could always be counted on: “We have a great dynamic with lively banter, and he would play the ‘Bad Cop’ to my ‘Good Cop’ when I needed it.”

Village thanks Ray for his years of dedicated service. Although he’s hanging up the House Manager’s badge, you’ll see Ray around the lobby again soon. He’s already signed up to volunteer as an usher for Brigadoon! 

Dear Patrons,

It is a true honor to open Village Theatre’s 2025–2026 season with Lerner and Loewe’s Brigadoon. With its lush score, sweeping romance, and breathtaking ballets, this musical stands as one of the crown jewels of early musical theater. Like all great works of art, beneath its beauty lies a meditation on the human condition that remains strikingly urgent today.

For me, the heart of Brigadoon emerges in an exchange between Fiona and Tommy. Tommy admits, “The world always finds you—and it’s full of pain and fear and heartache.” Fiona counters, “But it’s also full of hope and kindness and love.” That tension—between despair and joy, loss and love—runs through the very fabric of the piece.

When two weary American soldiers, Tommy and Jeff, stumble upon the mystical Scottish village of Brigadoon, they discover a place seemingly untouched by time. But Brigadoon reminds us that nostalgia can be deceptive, and that the past, no matter how idealized, always harbors shadows alongside its light. The townspeople have chosen to step outside the world’s timeline to preserve themselves, only to learn how fragile isolation can be—and how costly. Even amid the musical’s romance, Brigadoon does not let us forget the lingering toll of war: not only the lives lost, but the burdens carried by those who remain. This is a world where sweetness and sorrow intermingle, where beauty cannot be separated from its thorns. Perhaps that is why Brigadoon endures: it reminds us that in life, as in this musical, joy and grief, hope and heartache, always walk hand in hand.

It is a delightful coincidence that so many artists bringing this time-skipping story to life are returning to our stage from past seasons. Harter Clingman (Tommy) and Jessica Skerritt (Fiona) reunite after their recent Camelot performances as Arthur and Guenevere. Our company of actors and musicians features familiar faces galore, and our orchestra is under the baton of maestro Bruce Monroe, celebrating 40 years at Village. We welcome back director Karen Lund, whose luminous She Loves Me was cut short by the pandemic (Karen serves as Artistic Director of Seattle’s Taproot Theatre—if they’re not yet on your radar, I urge you to give them a visit). Choreographer Katy Tabb, who has graced our stages for over a decade as both performer and choreographer, returns later this season to make her mainstage directorial debut with 9 to 5—you won’t want to miss it.

I’ll see you in the lobby.

Adam Immerwahr       
Artistic Director              

Dear Patrons,

My first day as Managing Director of Village Theatre was during the 2024 Festival of New Musicals. Now, just over a year later, I can admit the journey from a career in banking, business management, and finance to managing one of the region’s finest producing theaters is anything but linear. 

I’ve had the privilege to learn so much more about what goes on behind the scenes. I joined Resident Stage Manager Miranda Mikolaizik in the booth during a performance of Legally Blonde: The Musical and watched her work her magic to weave together all the cues and technical elements, bringing the show to life. I joined a backstage tour of the Dial M for Murder set led by Artistic Director Adam Immerwahr and learned about trick scissors, stairs to nowhere, and onstage rain. And I constantly confronted the unexpected that comprises live theater: from bomb cyclones, to dog understudies, to gallons of vodka in costume storage (ask me about it in the lobby).

I owe tremendous gratitude to the staff for all their work with the changes we’ve made to promote sustainable growth, and I’m floored by all we’ve accomplished together in the past year. In the 2024–2025 season, subscriptions grew over 20%, we had record single ticket sales, and Legally Blonde sold the most single tickets of any show in the theater’s history! 

We implemented a new ticketing system that allows you to renew and purchase subscriptions fully online, and gives us better tools for communicating relevant information to our audiences. For the new season, we not only simplified our ticket pricing structure, we also expanded our price tiers to offer new, lower price points to every show. 

Last year, we created great momentum as we continue to recover from the pandemic,
but that work is not over. Our goal is to move forward with consistent growth as
we continue to rebuild. 

How can you help? If this is your first time at Village, come back and see another show. If you’re a subscriber, consider referring a friend or making your first gift. If you’re a longtime supporter and want to do more, consider increasing your donation this year. 

My first year as Managing Director was so memorable, but perhaps the most gratifying experiences were speaking with you in the lobby and hearing your thoughts and passion for the art we share with our communities in Issaquah and Everett. I am honored to share our journey with you, and I hope you enjoy your trip to Brigadoon!

Derek Watanabe
Managing Director
Village Theatre

Who’s Who

Cast

ANNE ALLGOOD, (Mistress Lundie, Mrs. Beaton) has appeared at Village Theatre in Cabaret, Little Women, Rodgers & Hammerstein’s Cinderella, and others. Her credits encompass Broadway, regional theater nationwide, and starring roles throughout Seattle. CORE Company member at Union Arts Center (formerly ACT Theatre): POTUS, Sweat, The Women, Old Times, Mary Stewart, Das Barbecü!, Rock ‘n Roll, multiple Christmas Carols, and more. At The 5th Avenue Theatre (selected): Sweeney Todd: The Demon Barber of Fleet Street, Candide, Oklahoma!, Memphis, The Sound of Music, The Music Man, Carousel.

SUSANNA CATHRYN BALLENSKI, she/they (Jean MacLaren) is thrilled to be returning to Village Theatre! Susanna has been classically trained in dance at The Edge Performing Arts Center in Los Angeles, and musical theater at The American Musical and Dramatic Academy in New York City. Most recently, Ballenski has been seen on The 5th Avenue Stage as Kim in Bye Bye Birdie. Other credits include Ariel in Disney’s The Little Mermaid and Lucy in Jekyll and Hyde (The Candlelight). Insta: @susanna.ballenski

HARTER CLINGMAN, he/him (Tommy Albright) was last seen at Village as King Arthur in Camelot. Harter played Oz on the first Broadway Tour of Come from Away. Additional touring: Peter and the Starcatcher (first Broadway tour). Favorite collaborations: The 5th Avenue Theatre, Seattle Rep, The Muny, Chicago Shakespeare Theater, Steppenwolf Theatre, The Gift Theatre, Paramount Theatre Aurora, Drury Lane Theatre, Mercury Theater Chicago, Marriott Theatre, The Barnstormers Theatre (New Hampshire), Peninsula Players (Wisconsin). All my love to Ashley, Charley, friends and family! More at harterclingman.com and @harter.clingman

ERIC POLANI JENSEN, (Andrew MacLaren, Fight Captain) has been part of the Pacific Northwest theater scene for over 30 years. Recent credits at Village Theatre include: Norm Waxman in Jersey Boys, Mushnik in Little Shop of Horrors and Mr. Maraczek in She Loves Me. He has performed with The 5th Avenue Theatre, ACT Theatre, Seattle Children’s Theatre, Taproot Theatre and Harlequin Productions amongst others. Thank you for supporting live theater.

JORDAN KING, he/him (Ensemble, Dance Captain, u/s Charlie Dalrymple) is blithely euphoric to be back at Village Theatre. Previously at Village Theatre: Swing in Disney’s Newsies and Ensemble in Guys and Dolls. Other local credits include The 5th Avenue Theatre and Seattle Opera. A proud University of Washington alumnus, Jordan is a dance educator and choreographer in the area. Love you, Mom & Dad. jordanbking.com @thatjordanking

MALLORY COONEY KING, (Ensemble, u/s Fiona) feels fortunate to be swept up in Brigadoon this season. Her last appearance here was as Miss Sarah Brown in Guys and Dolls. Village Theatre favorites include Kathy in Singin’ in the Rain, Susie in Snapshots, The Noteworthy Life of Howard Barnes and Billy Elliot. Most recently, Mallory starred as Mary Poppins at The 5th Avenue Theatre. All my love to my little laddies and lad.

LISA KWAK, (Maggie Anderson) is delighted to be back at Village Theatre! Previous Village credits include The Mute in The Fantasticks, Hello, Dolly!, and Rodgers & Hammerstein’s Cinderella. Lisa was a 2021 Village Theatre Northwest Creator Resident and has performed with Ronald K. Brown/EVIDENCE, Chamber Dance Company, Alana O Rogers Dance, Gansango Dance, PRICEarts, dani tirrell, and The Guild Dance, among others. Lisa holds a BA from the University of Washington. lkwak.com

MARQUEZ LINDER, he/him/any (Ensemble) is excited to make his Village Theatre debut revisiting his first musical, Brigadoon! A Florida native, NYC transplant, and avid crochet artist, Marquez’s past credits include Andre in the first national tour of Mrs. Doubtfire: The Musical, Max/Jeff cover in the first national tour of Tootsie: the Musical, and various roles in Beautiful: The Carole King Musical, The Bodyguard, and Evita. @marquezjlinder

ADAM MANDALA, he/him (Ensemble, u/s Harry Beaton) is thrilled to be making his Village Theatre debut! A New Jersey native and Temple University alum, Adam was most recently seen in the touring company of Disney’s Aladdin. Regional: Walnut Street Theatre (Philadelphia); Rev Theatre Company (New York); Riverside Theatre (Florida); Arts Center of Coastal Carolina (SC). Television: “iCarly” (Nickelodeon); “30 Rock” (NBC). Cruise: Royal Caribbean International. Endless love to his family and friends on the East Coast. @adammandallla

TENILLE MANSON, she/her (Ensemble) is a recent graduate of New York University’s Tisch School of the Arts, receiving a BFA in drama, as well as completing a minor in dance. There, she performed in roles such as Joanne in RENT, Miller in Waiting for Lefty, and Benvolio in Romeo and Juliet. Tenille was also once a Village Theatre’s KIDSTAGE student and she is thrilled to be making her Mainstage debut!

ROBBI A. MOORE, they/them (Ensemble) is from Hamden, CT, and was the Associate Choreographer for Village Theatre’s Little Shop of Horrors in 2022. They graduated magna cum laude from the Ailey/Fordham BFA program and danced in New York City with Amanda Selwyn Dance Theatre and The Steps Repertory Ensemble, as well as Seattle-based companies including Spectrum Dance Theater, Khambatta Dance Company, and many others. Robbi is thrilled to make their Village debut as a performer!

CARLOS NARVAEZ, (Harry Beaton) makes his Village Theatre debut as Harry. From San Francisco, he is currently a dancer with Olympic Ballet Theatre. He began his acting training at the Beverly Hills Playhouse San Francisco, and continued at Freehold Theatre Seattle, studying Meisner under Robin Lynn Smith. He made his first theatre appearance in 2019 in the ensemble of West Side Story (The 5th Avenue Theatre) and most recently as Jim in The Glass Menagerie (Heart Repertory Theatre).

JASMINE JEAN SIM, she/her (Meg Brockie). Last sighted on the Mainstage in The Noteworthy Life of Howard Barnes and Hairspray (Village Theatre)! Jasmine is a founding Core Company member at Union Arts Center (formerly ACT Theatre) and has worked with many of Seattle’s major theaters and burlesque houses. She was nominated in 2019 for two Gregory Awards (one for Howard Barnes) which she lost gracefully. Training: Pacific Conservatory for the Performing Arts and Cornish College of the Arts. Love always to my incredible family, Andie, and hot server Ben.

JESSICA SKERRITT, she/her (Fiona MacLaren). Village Theatre: Guenevere in Camelot, Irene Malloy in Hello, Dolly!, Atropos in String, Lina Lamont in Singin’ in the Rain, Ulla in The Producers, Kira/Clio in Xanadu, Gwendolyn in Chasing Nicolette, Corie Bratter in Barefoot in the Park, Dyanne in Million Dollar Quartet, and many more. The 5th Avenue Theatre: Grace in Annie, Elsa Schraeder in The Sound of Music, Hedy LaRue in How to Succeed in Business Without Really Trying, and Mother in A Christmas Story. Union Arts Center (formerly ACT Theatre): Audrey in Little Shop of Horrors and Young Little Edie in Grey Gardens. Endless gratitude to Village Theatre. Love always to Dane.

VALERIA SUAREZ, she/her (Ensemble) is honored to join Village Theatre in Brigadoon! With over 15 years of ballet training, she’s eager to bring her skills into the world of musical theater. Off the stage, Valeria enjoys reading, photography, and adventuring with friends. She is currently a student at University of Washington, pursuing a BA in dance and a BS in human centered design & engineering. As always, sending endless love to her dad for his enduring support. @valeriasuarezq

DANIEL VELASQUEZ, he/him (Charlie Dalrymple) is so excited to be at Village Theatre! Some regional favorites: Jersey Boys (The Fulton Theatre, Maine State Music Theatre, Norwegian Cruise Line), Mamma Mia! (Arvada Center, Arkansas Repertory Theatre), Grease (Hard Rock Hotel Atlantic City, The Fulton Theatre), and Waitress (Arts Center for Coastal Carolina). Film credits include Kiss of the Spider Woman (2025). @dkvelasquez 

MIKE WU, he/him (Jeff Douglas) is thrilled to be back on Village Theatre’s stage this season! He was last seen in Wooden O’s tour of As You Like It and has been privileged to perform with: The Seattle Shakespeare Company, Union Arts Center (formerly ACT Theatre), Seattle Rep, Seattle Public Theater, Milwaukee Repertory Theatre, The Pacific Conservatory Theater, and the San Jose Stage. He would like to thank his family and friends, and you for coming to the show!

Understudies

ANNALISA BRINCHMANN, she/her (Swing, u/s Jean, u/s Maggie) is a performer, choreographer, and teaching artist from Seattle, Washington. She is excited to be returning to Village Theatre after appearing in Guys and Dolls. Other favorite credits include Disney’s Mary Poppins (The 5th Avenue Theatre), La Traviata (Seattle Opera), and Damn Yankees (Reboot Theatre Company). Proud University of Washington alum.

JENNY VAUGHN HALL, she/her (u/s Meg, u/s Mistress Lundie/Mrs. Beaton) is over the moon to be back with Village Theatre, and is so grateful to Karen, Katy, and Tim for the opportunity! Jenny’s favorite shows are marked by the friendships formed: Mallory Cooney King and Taylor Symons from Billy Elliot (Village Theatre), and Faith Bennett Russell from Best of Enemies (Taproot Theatre). Love you!

JOSH KRUPKE, he/him (Swing, u/s Andrew MacLaren). Like Brigadoon, Josh mysteriously re-emerges at Village Theatre after many years and for just one day. Legend has it, he’s appeared in one-time-only performances such as Mr. Mushnik in Little Shop of Horrors, Franz Liebkind in The Producers, and as both The King and The Duke in Big River. Will you see him in this show? I suppose anything is possible...

EDDIE MCCLARY, he/him (Swing) is a student at the University of Washington pursuing degrees in biochemistry and dance. Previous theatre credits include: The SpongeBob Musical, Urinetown (Village Theatre’s KIDSTAGE) and choreography for Pippin (University of Washington Stagenotes). Recent dance performance credits include Meteor (Cameo Lethem), The Dream is Always the Same (Rachael Lincoln, Jennifer Pray), Grit (Chris Kaiser), and go in, stay with, move at the speed of trust (Alana Isiguen).

BRIAN PUCHEU, he/him (u/s Tommy, u/s Jeff) is very happy to be a part of Village Theatre once more. Select theater credits include: Ensemble in My Fair Lady (Village Theatre), Ingvar in Ingvar: A Musical Furniture Saga (Latitude Theatre), George in Sunday in the Park with George and Karnak in Ride the Cyclone (SecondStory Repertory), Jimmy Ray in Bright Star, and Mr. Darcy in Christmas at Pemberly 1, 2, & 3 (Taproot Theatre).

LEXI WARDEN, she/her (Swing) is a theater artist, educator, and advocate based in Seattle. Recent credits include Phoebe in Phoebe in Winter (Strawberry Theatre Workshop), Portia in Hula Hoopin’ Queen (Seattle Children’s Theatre), A Lonely Realization (Shattered Glass Project), and Ozzie in Damn Yankees (Reboot Theatre Company). Lexi has also been involved offstage as a director, choreographer, intimacy consultant and dramaturg with Dacha Theatre, Seattle Shakespeare Company, Village Theatre’s KIDSTAGE and others.

Creative Team

KAREN LUND, she/her (Director) happily returns to Village Theatre where she enjoyed directing She Loves Me in 2020. Karen is the Producing Artistic Director of Taproot Theatre in Seattle. Taproot was voted the Seattle Times People’s Choice Best of the Northwest for Theatre 2024 and received the 2024 Gregory Award for Outstanding Performing Arts Organization. Recent directing work includes Taproot’s Murder on the Links, Always Patsy Cline, and Lewis and Tolkien. Karen thanks her amazing family.

TIM SYMONS, he/him (Music Director) is the Resident Music Supervisor at Village Theatre, where he has overseen all aspects of music for the company since 2005. Select credits include The Color Purple, Legally Blonde: The Musical, Jesus Christ Superstar, The Fantasticks, Songs for a New World, The Who’s Tommy (Village Theatre); Rock of Ages, The Hunchback of Notre Dame (The 5th Avenue Theatre); Assassins (Union Arts Center, formerly ACT Theatre); Man of La Mancha, Xanadu (Arizona Theatre Company). Love to Taylor, Cedar and Winslow!

KATY TABB, she/her (Choreographer) is honored to return to Village Theatre after choreographing Legally Blonde: The Musical, The Fantasticks, Rodgers & Hammersteins’ Cinderella, Mamma Mia!, Singin’ in the Rain, Billy Elliot, ZM, and Disney’s Newsies. Katy’s work has been presented at The 5th Avenue Theatre, Theatre Aspen, The Great Lakes Center for the Arts, Olney Theatre Center, Interlochen Center for the Arts, Seattle Symphony, Cornish College of the Arts, The Triple Door, and Taproot Theatre. Next: directing 9 to 5 at Village Theatre!

PARMIDA ZIAEI, she/her (Scenic Designer) is an Iranian multidisciplinary artist, designer, and co-founder of Seda Theatre. As a designer, Parmida has contributed to a diverse range of projects, including interior, architectural, immersive, and entertainment spaces. She has worked as a scenic and production designer for numerous Seattle theaters, such as Village Theatre, Union Arts Center (formerly ACT Theatre), The 5th Ave Theatre, Seattle Public Theatre, Seattle Children’s Theatre, and more. When not designing, Parmida performs, choreographs, and teaches as a movement artist. Parmidaziaei.com

NANETTE ACOSTA, she/her (Costume Designer) is happy to return to Village Theatre after a long hiatus, having previously designed Babes in Arms and Grease!  Recent Seattle work includes Murder on the Links, Book of Will and Hello Girls (Taproot Theatre). Nanette has been designing award-winning costumes for over 25 years for theater and film across the county. Her designs have been seen onstage in Austin, Seattle, Chicago, Los Angeles, St. Paul, Bloomington and Charleston. Nanette is an Associate Professor of Practice and the Costume Production Director at The University of Texas at Austin.    

AHREN BUHMANN, he/him (Lighting Designer) is a Lighting and Video designer based in Seattle. His previous shows include Jersey Boys, Beautiful: The Carole King Musical, MISS STEP and Eastbound (Village Theatre); Legally Blonde: The Musical (Village Theatre’s KIDSTAGE); The Moors (Seattle Public Theater); Or, Nonsense and Beauty (Theatre22); Solaris and My Antonia (Book-It Repertory Theatre); White Noise, The Good Book, Angels in America and Out of Character (Berkeley Repertory Theatre); and Carefree (New Jersey Performing Arts Center). Ribbet.

JUSTIN SCHMITZ, he/they (Sound Designer) is ecstatic to make his Village Theatre debut. He has collaborated Off-Broadway with 59E59 Theaters, Dixon Place Theatre, Chautauqua Theatre Company, Cincinnati Playhouse, St. Louis Black Repertory Theatre, The Kennedy Center, Signature Theatre, Olney Theatre, Shakespeare Theatre Company, Woolly Mammoth Theatre Company, Studio Theatre, Constellation Theatre, Theater J, Gala Hispanic Theatre, Imagination Stage, Round House Theatre, Folger Theatre, amongst many others. Justin is the Eastern Region Trustee for USA829’s LUEB. For more information please visit: justinschmitztheatre.com

BRUCE MONROE, he/him (Conductor, Additional Orchestrations). Celebrating 40 years at Village Theatre, most recently in Hello, Dolly! (2023), Bruce has worked here as a musician since 1985 (The Pirates of Penzance), as an orchestrator/arranger since 1991 (Jungle Queen Debutante), as a conductor since 1995 (On the Town!) as a music director since 1997 (Guys and Dolls) as a writer/composer/lyricist since 1998 (Bootlegger) and as an actor in 1999 (Babes in Arms) for a total of over 60 shows, including Brigadoon (2001). Past favorites as a conductor: The Mystery of Edwin Drood (2000), West Side Story (2001), The King and I (2008), Show Boat (2009) and Singin’ in the Rain (2016). Also composed, conducted, and arranged for The 5th Avenue Theatre. Recent NYC credits: music, lyrics and scoring for Alva Rogers’ The Harlem Doll Palace at Dixon Place (2024) and HERE Arts Center (2025). Special thanks to Moira Macdonald for making this impossible career possible.

LAUREL NICHOLS, she/her (Stage Manager) is happy to be back for this beautiful musical after most recently working on Jersey Boys! Past Village credits also include Legally Blonde: The Musical, Beautiful: The Carole King Musical, Hello, Dolly!, Songs for a New World, The Noteworthy Life of Howard Barnes, Disney’s Newsies, Pump Boys & Dinettes, and Billy Elliot. In her free time, Laurel enjoys exploring new places & reading in her hammock. Proud AEA member. Love to Mr. Nichols! @laurelleemarie

ANNIKA EVENS, she/her (Assistant Stage Manager) is excited to be back at Village Theatre. Past credits include: Jersey Boys, Camelot, The Fantasticks, and Sense and Sensibility. Other experience includes work at Seattle Shakespeare Company, The 5th Avenue Theatre, The New London Barn Playhouse, and KÀ by Cirque du Soleil. Additionally, she enjoys mentoring students through Village Theatre’s KIDSTAGE and Intiman Theatre’s STARFISH Project. Annika is a graduate from Carnegie Mellon University with a BFA in Stage and Production Management.

NICOLA KRAUSE, (Assistant Stage Manager). Nicola was recently an Assistant Stage Manager for Village Theatre’s Festival of New Musicals. Previous credits at Village Theatre include Production Assistant for Ken Ludwig’s Sherwood: The Adventures of Robin Hood and Assistant Stage Manager for Becoming Dr. Ruth.

ETHAN SWIM, he/him (Assistant Stage Manager) is thrilled to be joining such an amazing stage management team! Previous Village Theatre credits include: Beautiful: The Carole King Musical, Jersey Boys, Les Misérables School Edition (Village Theatre’s KIDSTAGE), and more. Thanks to Drew and family for their constant love and support! “The world is your oyster and we’ll all be Cosmopolitans.” Instagram: @ethan_swim22

KARIE KOPPEL, (Koppel Casting). Off-Broadway: Fatherland, Maybe Tomorrow, Deadly Stages, Queens Girl in the World, and Fruit Trilogy. Regional: Denver Center Theatre, Geva Theatre, Cleveland Playhouse, Cape Playhouse, Oregon Shakespeare Festival, Actors Theatre of Louisville, Trinity Rep, A.C.T. of Connecticut, Milwaukee Repertory Theatre, Arrow Rock Lyceum, Northern Stage, Syracuse Stage, and Alabama Shakespeare Festival. Feature Films: The Empath, The House of Usher and The Visit; upcoming Smashing. For PBS: “Walter Winchell,” “The Vote,” “Charles M Russell.”

BRIAN HILL, (Revised Book) has written the book for the stage adaptation of Disney’s classic Bedknobs & Broomsticks (UK tour), Broadway’s The Story of My Life (Booth Theatre – 4 Drama Desk Award nominations including Outstanding Book and Outstanding Musical), Something Wicked This Way Comes (11 Barrymore Award nominations), the English language adaptation of Michel Tremblay’s Les Belles-Soeurs (Canadian National Tour), a solo voice musical You Are Here (Off West End), a fresh take on The Adventures of Pinocchio (Chicago Shakespeare Theater and Young People’s Theatre Toronto), a musical fable Senza Luce and the international licensing hit The Theory of Relativity, all with composer/lyricist Neil Bartram. He wrote the new book for the Old Globe’s production of NBCUniversal’s October Sky and the revised book for the Goodman Theatre’s acclaimed production of Brigadoon. Directing credits include new works, revisited classics and works-in-development for Disney Theatrical Productions, Mirvish Productions, Chicago Shakespeare Theater, Goodspeed Musicals, TheatreWorks, The 5th Avenue Theatre, The Segal Centre, The Shaw Festival and The Stratford Festival of Canada. He helmed the early developmental readings, workshops and production of Come From Away. He was resident director of the Toronto and Broadway companies of Disney’s The Lion King and associate director of Disney’s The Little Mermaid on Broadway.

ALAN JAY LERNER, (Book and Lyrics) and FREDERICK LOEWE (Music) wrote some of the American theater’s most memorable musicals, including My Fair Lady, Camelot, Brigadoon, Paint Your Wagon and Gigi. Among their most famous songs are ‘’Almost Like Being in Love,’’ ‘’I Could Have Danced All Night’’ and ‘’Thank Heaven for Little Girls.’’  Lerner was born in New York City in 1918 and attended Choate and Harvard.   Loewe was born in Berlin in 1901 to Viennese parents, made his piano debut with the Berlin Symphony Orchestra at the age of 13 and came to the United States in 1924. The two met in 1942 at the Lambs Club in New York City when Loewe approached Lerner about collaborating on a show. In 1947, they had their first Broadway hit, Brigadoon, followed in 1951 by a second success with Paint Your Wagon which included such songs as “They Call The Wind Maria,” “I Talk to the Trees” and “Wand’rin’ Star.” In 1956, My Fair Lady, with Rex Harrison and Julie Andrews, opened on Broadway. Often called the “perfect musical,” the show ran for 2,717 performances and the cast album sold more than five million copies. Their 1958 film musical, Gigi, won nine Academy awards and, in 1960, came the last great success of their partnership, Camelot, starring Richard Burton and Julie Andrews.  In 1974, Lerner lured Loewe out of retirement to work on their last venture together:  a film version of Antoine de St Exupéry’s The Little Prince. Lerner went on to collaborate with other composers including Burton Lane, Leonard Bernstein and Andre Previn. He died in 1986 at the age of 67.   Loewe died two years later at the age of 86.

Music Theatre International (MTI) is one of the world’s leading theatrical licensing agencies, granting theaters from around the world the rights to perform the greatest selection of musicals from Broadway and beyond. Founded in 1952 by composer Frank Loesser and orchestrator Don Walker, MTI is a driving force in advancing musical theatre as a vibrant and engaging art form. MTI works directly with the composers, lyricists and book writers of these musicals to provide official scripts, musical materials and dynamic theatrical resources to over 100,000 professional, community and school theaters in the US and in over 150 countries worldwide. MTI is particularly dedicated to educational theatre, and has created special collections to meet the needs of various types of performers and audiences. MTI’s Broadway Junior® shows are 30- and 60-minute musicals for performance by elementary and middle school-aged performers, while MTI’s School Editions are musicals annotated for performance by high school students. MTI maintains its global headquarters in New York City with additional offices in London (MTI Europe) and Melbourne (MTI Australasia).

ADAM IMMERWAHR, (Artistic Director) is responsible for season selection and also oversees the artistic, education, and production departments. He recently directed Village’s productions of Dial M for Murder, Lerner and Loewe’s Camelot, Ken Ludwig’s Sherwood: The Adventures of Robin Hood, and The Fantasticks. He previously served as Artistic Director of Theater J, the Associate Artistic Director at McCarter Theatre, and the Resident Director of Passage Theatre. Adam’s producing credits include new works by Edward Albee, Christopher Durang, Danai Gurira, Fiasco Theater, Will Power, Stephen Wadsworth, Tarell Alvin McCraney, and Ken Ludwig, several of which have transferred to Broadway or off-Broadway. As a director, Adam’s work has been seen from Aspen to Zimbabwe, including at some of the top theaters in the country: The Public and Theater Row (both for Summer Play Festival), Ensemble Studio Theatre, Walnut Street Theatre, Woolly Mammoth, McCarter Theater, Cleveland Play House, Lyric Theater of Oklahoma, Theater J, Passage Theater, Hangar Theater, Bristol Riverside, and many others. He serves on the Board of the Issaquah Chamber of Commerce and is an inaugural member of the Drama League Director’s Council.

DEREK WATANABE, (Managing Director) has served as the Managing Director of Village Theatre since the beginning of the 2024-25 season and oversees the marketing, finance, fundraising, patron services, operations, and facilities areas of the organization. He has been a long-term champion of Village Theatre, as subscriber (27 years), Board member (15 years), Village Originals member, KIDSTAGE parent, and donor. During his tenure as Board President, he helped lead Village through the construction of the Watjen Technical Studios, Hunt Family Theatre and Cope Gillette Theatre. Originally from Honolulu, Derek moved to the west coast to pursue his bachelor’s and graduate degrees at Pomona College, UCLA, and USC. He and his wife, Anne, have lived in Issaquah for 28 years, where they raised their three children. He can be reached at derek@villagetheatre.org.

The Director and Choreographer are members of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.

All stage work performed by members of IATSE Local 15.

All costume construction and hair/make-up work is performed by employees represented by IATSE TWU Local #887.

All scenic painting work is performed by employees represented by IATSE Local 488.

United Scenic Artists represents the designers and scenic painters for the American Theatre.

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

The theatre operates under an agreement with Local 76-493, American Federation of Musicians, AFL-CIO, representing the musicians.

Village Theatre proudly participates in the Theatre Puget Sound presented Gregory Awards for Excellence in Local Performing Arts.

Out of the Mist:

How Brigadoon borrows from the past to remain in the present

By Ellen Morgan Peltz

Brigadoon might only appear out of the mist once every hundred years, but the musical itself was very much a product of its time.

When Brigadoon premiered on Broadway in 1947, it was stepping into a world already changed by Oklahoma! — the Rodgers and Hammerstein sensation that redefined how musicals could tell a story. Gone were the days when a musical was just a patchwork of songs, dance numbers, and a paper-thin plot designed to spotlight a star. Oklahoma! showed that music, dance, and narrative could work together as equal partners to move a story forward. This “integrated musical” approach became the prototype for everything that came after.

Lerner and Loewe, the duo behind Brigadoon, used everything that worked for Oklahoma! and added a Highland twist. Instead of cowboys and cornfields, they gave audiences kilts, misty moors, and a village frozen in time. But beneath the Scottish folklore was a structure—and a story—that felt very familiar.

Like Oklahoma!, Brigadoon centers on multiple couples navigating their way toward happiness, with obstacles (both internal and external) in their path. Both shows open with songs that establish setting, which functions more as a character than a location in both stories. Each features a secondary couple containing an ardent young woman who provides comic relief. The romantic leads sing “I’m-not-in-love-but-maybe-I-am” ballads early in Act I, denying their true feelings and setting up the emotional arc of the story. And both shows use folk-inspired dance (in both cases originally choreographed by Agnes de Mille) to deepen the connection between character and setting.

Even the plot beats echo one another: a wedding that symbolizes community unity, a love-lorn antagonist who tries unsuccessfully to upend the celebration, and a resolution that’s equal parts joy and bittersweet reflection.

The formula worked. Brigadoon ran for 581 performances on Broadway, a solid hit that established Lerner and Loewe as major players in the musical theater world. A few years later, MGM brought Brigadoon to the big screen with a 1954 film adaptation starring Gene Kelly and Cyd Charisse. Though the movie didn’t reach blockbuster status, it cemented the show’s place in musical theater history.
But while Oklahoma! became a cultural juggernaut, Brigadoon has always existed slightly off the beaten path—popping up every so often in New York, London, and regional theaters, but never quite achieving the same permanent spotlight. In 2014, director and playwright Brian Hill took on the task of revisiting Brigadoon with a fresh adaptation that premiered at Chicago’s Goodman Theatre.

“Brigadoon is a classic for a reason, and we’ve approached this version with the care and respect that a classic deserves,” Hill said at the time.

Inspired by Scotland’s history, Hill’s adaptation adds emotional depth and relevance to the story by grounding the reason for Brigadoon’s disappearance in a desire to escape the social and political strife of the Jacobite rebellions and wars which pitted Highlanders against the British in the mid-18th century.

“When we nod to the historic events of the time,” Hill said, “the villagers’ choice to preserve their way of life by seceding from their besieged land becomes not a whimsical dream but a brave, passionate act of courage.”

Brigadoon’s significance has always depended on its connection with the past. Lerner and Loewe borrowed from the innovations of their time; Hill borrows from history. As with the village itself, it’s the fragile balance between past and present that keeps Brigadoon returning from the mist, ready to be rediscovered.

PHOTO CREDITS
Scene from “Oklahoma,” 1943-1944. Theatre Guild production. Library of Congress. Reproduction Number: LC-USW331-054947-ZC (b&w film neg.). Call Number: LC-USW331- 054947-ZC.

Billy Rose Theatre Division, The New York Public Library.
“Scene from the stage production Brigadoon” The New York Public Library Digital Collections. 1947. https://digitalcollections.nypl.org/items/510d47d9-ea1f-a3d9-e040-e00a18064a99

Hill, Brian. “Neil Bartram & Brian Hill.” Bartram and Hill, www.bartramandhill.com.

ArtsFund is proud to support Village Theatre’s mission as they continue to produce dynamic programming that highlights innovative artists in the Pacific Northwest. ArtsFund’s support of local arts organizations is only possible through the contributions of donors in this community, and we are immensely grateful to the generous individuals and businesses who have supported ArtsFund as well as Village Theatre. We will continue to support arts organizations, like Village Theatre, that elevate the voices of Washington state through our leadership, advocacy, and grantmaking programs. We are excited to see what will be performed throughout this season!

The Boeing Company is committed to improving the quality of life within the communities where our employees live and work. Our Global Engagement programs implement Boeing’s philanthropy through local charitable investments, volunteerism, employee drives, personal giving, disaster response, and other integrated programs. Boeing is proud to be a supporter of Village Theatre’s productions and musical theatre education programs, and we are pleased to welcome you back to live theatre. Enjoy the show!

Microsoft is pleased to sponsor Village Theatre’s 2025–2026 Season, and to welcome you to this production of Brigadoon. Village Theatre is a favorite among our employees and their families, and we are delighted to support a vibrant community arts organization that brings high quality entertainment to the Eastside. We encourage employee engagement and volunteerism in the community throughout the year and through support of great organizations like Village Theatre, we aim to foster a strong community culture where the arts will thrive for generations to come. Enjoy the show!

Lombardi’s Italian Restaurants & Catering is honored to be a long-time Village Theatre sponsor! Lombardi’s delights diners at their three locations: at the scenic Everett Marina, the bustling Bellingham Marina, and their newest culinary venture, Hook & Cleaver, in Mukilteo. Date night or any night, experience Lombardi’s classic and contemporary Italian cuisine from all around Italy. Sip your favorite Washington and Italian wines, savor a handcrafted cocktail, or enjoy one of the many local brews with your meal. Village Theatre and Lombardi’s, the perfect pairing!

When she was about 13 years old, Katy Tabb saw West Side Story right here at Village Theatre—and now she will make her professional directing debut with 9 to 5 The Musical. We caught up with Katy to find out how Village has been part of her story every step of the way. 

How did you get involved in theater?

KT: Growing up, I was a competition dancer. My love of dance led me to pursue a BA in dance from Chapman University, with an aim to dance professionally but ultimately to pursue a career as a physical therapist. As luck would have it, my first professional performing job was as a featured dancer in Thoroughly Modern Millie–I was HOOKED! From that point on, I auditioned for every musical I could, enrolled in private voice lessons, and bartered tap dance lessons for monologue coaching. 

What is it like transitioning from choreographing to directing?

KT: I am beyond honored to step into the driver’s seat as director for the first time on the Mainstage. As a choreographer, I collaborate with the director to support their overall vision with movement. Having the opportunity to helm 9 to 5 and being the ultimate weaver of all the ideas of the experts on the creative team and cast is a gift! 

Which show was your first at Village?

KT: The first time I performed on this stage was as an ensemble member in The Producers (2012).

What’s been your favorite Village Theatre show?

KT: My favorite show I worked on was my professional choreography debut, Billy Elliot. Spending nine months training our four young “Billys” and getting to create the show alongside director Steve Tomkins and the all-star cast was a dream come true!

What do you think audiences will enjoy about Village’s production of 9 to 5?

KT: I think audiences will enjoy fabulous performances from some of Seattle’s greatest local talent. The incredible voices and comedic chops of the cast are truly unmatched! I can’t wait for them to experience the story and songs by the icon, Dolly Parton. The fabulous scenery, costumes, and large-scale production numbers will transport audiences back to 1979 and provide them with some magical surprises along the way (I won’t spoil them here!). I am certain that everyone will leave with a big smile on their face.

Last question: Coffee, tea, or other? 

KT: Coffee in the morning and tea in the afternoon!

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