Beauty and the Beast Playbill

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Disney’s Beauty and the Beast Music by Alan Menken Lyrics by Howard Ashman and Tim Rice Book by Linda Woolverton Originally Directed by Robert Jess Roth Originally Produced by Disney Theatrical Productions Original Music Supervision and New Arrangements by Michael Kosarin Dance Music Arrangements by Glen Kelly Orchestrations by Danny Troob Cadet Directors Asst. Director/Stage Manager Brendan “Neo” Anderson & Lt Col Kayla Georgiafandis Emma Jones Vocal Directors Set Design and Construction Alicia Jumonville & Jandy Viloria, Steven Perry & Sgt Kayla Highsmith Kevin Conroy Rehearsal Accompanist Costumes Captain Lauren Mackiewicz Disguises Costume Superstore Lead Choreographers RATTEX Tech Crew CICs Adrienne Weaver & Joshua Quarterman & Anna Caldwell Angie Maravi-Campos Waltz Choreography MSgt Bonnie Rushing Tower Fight Choreography Tristan Barton Playbill and Poster Layla Bohl & Tyler Suess Special Thanks Dorinda Epps, Karen House, Stephanie Huzij, Hannah Kim, Sage Korte, Jennifer Land, Susan Manst, Ashleigh McCoy, and Falcon Theatre Foundation DISNEY'S BEAUTY AND THE BEAST is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com

Cast Belle Cassandra Dudas & Isabella Gentile Beast Erik Pfaffenbichler & Thomas Corpuz Gaston Aidan Corcoran & Viet Zaengle Mrs. Potts Anna Caldwell & Nevaeh Mitchell Lumiere Santos Colon, Jr. Cogsworth Matthew Sharkey LeFou Jacob Brady Maurice Charles Erwin Babette Francesca Moore Madame Le Grande Bouche Christiana Paljug Chip Scarlet Nation Enchantress Adrienne Weaver Young Prince Dylan Murray Narrators Caitlyn McGarry & Ian Garrett M. D’Arque Michael Prater Les Filles De La Ville Rachel Parillo, Makaila Freeman, Elayna Caron & Myriah Heydt Gaston’s Cronies Liam Champagne, Garen Seibert, David Gomez & Dylan Murray Villagers Layla Bohl, Therese Davison, Ethan Erazo, Bethany Firooz, Ian Garrett, Riley Gurganus, Zion Johnson, Michael Lee, Connor Martfield, Caitlyn McGarry, Alyson Phinney, Sawyer Stone Castle Staff Anastasia Barnett, Cassidy Bassett, Layla Bohl, Samantha Emma, Ethan Erazo, Bethany Firooz, Riley Gurganus, Kaarin Holter, Gina Jenkins, Martay Mayfield, Taylor Metzger, John Rust, Tyler Suess, Fair Sornprasit, Jocelyn Stevenson, Sawyer Stone, Adrienne Weaver

Setting: Provincial France, in a time when faerie tales could still come true... Act One Prologue, The Castle Scene 1, The Village “Belle” Belle, Gaston, LeFou, Les Filles De La Ville, Villagers Scene 2, Outside Belle’s Cottage Scene 3, The Forest “Maurice’s Travels” Maurice Scene 4, The Main Hall of the Castle Scene 5, Outside Belle’s Cottage “Me” Gaston, Belle “Belle” (reprise) Belle Scene 6, The Main Hall of the Castle Scene 7, The Dungeon Scene 8, Belle’s Bedchamber “Home” Belle “Home” (reprise) Mrs. Potts, Madame Le Grande Bouche Scene 9, The Village Tavern “Gaston” LeFou, Gaston, Les Filles De La Ville, Gaston’s Cronies, Villagers “Gaston” (reprise) Gaston, LeFou Scene 10a, The Castle Dining Room Scene 10b, Belle’s Bedchamber Scene 11, The West Wing “How Long Must This Go On?” Beast Scene12, Near Belle’s Bedchamber Scene 13, The Castle Dining Room “Be Our Guest” Lumiere, Mrs. Potts, Chip, Babette, Madame Le Grand Bouche, Cogsworth, Castle Staff Scene 14, About the Castle Scene 15, The West Wing “If I Can’t Love Her” Beast *Intermission*

Act Two Scene 1, The Forest Scene 2, The Main Hall of the Castle Scene 3, The Main Hall and the Library “Something There” Belle, Beast, Lumiere, Cogsworth, Mrs. Potts Scene 4, Outside the Library “Human Again” Lumiere, Mrs. Potts, Cogsworth, Babette, Madame Le Grande Bouche, Chip, Castle Staff Scene 5, The West Wing Scene 6, The Ballroom “Beauty and the Beast” Mrs. Potts Scene 7, The West Wing “If I Can’t Love Her” (reprise) Beast Scene 8, Outside Belle’s Cottage “A Change in Me” Belle “The Mob Song” Gaston, M. D’Arque, LeFou, Gaston’s Cronies, Villagers Scene 9, The West Wing and the Battlements “Home” (reprise) Belle Scene 10, The Ballroom “Duet” Belle, Prince Adam “Beauty and the Beast” (reprise) Company Director’s Note In late November of 1991, shortly after its premiere, I went to the cinema and watched Disney’s Beauty and the Beast for the first time; this film left such an indelible impression upon me, that every minute of that afternoon is permanently etched in my memory. I recall traveling to the General Cinema movie house in Co-Op City (we passed that theatre every weekend when we drove to the Bronx to visit my grandparents). I remember the surprise of bumping into some of my cousins who just happened to be attending the same showing. I recollect our settling in somewhat closer to the screen than was our custom (my cousins insisted), though I was content so long as I was sitting between my parents, my brother, and my sister. And I recall my reactions to virtually every iconic scene and iconic song in what was about to become an iconic film. After the screening, we returned to my grandparents’ house, and I was filled with a remarkable sense of joy as everything seemed to align: I had just watched what would become one of my favorite films

with my favorite people at my favorite time of year, and we were coming off this wonderful shared experience in my favorite place: Nanna’s house. In short, the day I saw Beauty and the Beast was one of those perfect days from our childhoods...the sort of day that stays with us forever. Disney movies tend to foster strong feelings of nostalgia, and yet I would not describe my feelings about Beauty and the Beast as nostalgic, for nostalgia can be light, twee, or even frivolous. Re-watching Beauty and the Beast has always called up strong feelings and ideas for me, to the point that I have been very deliberate about when I choose to revisit the film. I always do so with a suspicion that this particular viewing will help to further illuminate why this particular movie meant so much to me even as a nine- year-old. Whether I was popping the VHS into the VCR in the 90s, running the DVD in the 2000s, or streaming it on Disney+ in the present, Beauty and the Beast was not something I could re-watch casually, and certainly not something I could have running in the background as I played with my action figures, or did my homework, or graded my students’ papers. Even the soundtrack (which I ran on an endless loop on my cassette player) could not serve as mere “incidental music.” When I listened to the Beauty and the Beast score, I listened intently. Alan Menken’s sumptuous music and Howard Ashman’s brilliant lyrics demanded nothing less. My investment in the film was strengthened three years later when my parents took me to see the Broadway production starring Susan Egan and Terrence Mann; while I was delighted to watch the animated film come to life onstage, the stage production prompted my realization that the film which I so adored had adopted all the conventions of a traditional Broadway musical. No wonder then that it could translate to the musical stage so seamlessly despite the myriad technical and physical challenges it presented: the narrative epitomized the traits of the integrated musical. For the first time, I fully appreciated the magnitude of what Menken and Ashman had achieved, for it was so similar to what the pioneers of the integrated musical format had achieved decades earlier: the harmonious blurring of the line between plot and music...story and song. It would be folly for me to assert that my appreciation of Beauty and the Beast has not changed in any way since my childhood. When we return to key films from our formative years, we inevitably do so with new contexts and frameworks that enhance our understanding of those films: as a child, I was aware that, tragically, Howard Ashman had died of AIDS-related illness before the film’s release, but as an adult, I understood the poignant parallel that people drew between Ashman’s living with a terminal illness and the image of the enchanted rose wilting and withering. As a child, I perceived that Gaston was an incredible villain, but as an adult, I appreciated how effectively the creative team had rewritten the story along gender lines; in the source text by Jeanne-Marie Leprince de Beaumont, Beauty’s cruel sisters are the chief antagonists, and this 18th-century faerie tale (like Charles Perrault’s definitive version of “Cinderella”) is essentially a conduct book for aristocratic young ladies. By drawing critical parallels between the Beast and Gaston, and by tracing how their character arcs —

which begin so similarly — diverge, the film prompts male viewers to reflect on challenging topics such as masculinity and entitlement, and to aspire to the selfless compassion that once defined true chivalry. As a child, I felt profoundly moved and even spiritually uplifted by the climactic transformation scene, but as an adult I grasped how the sequence of images (from the bleeding wound in the Beast’s side, to the beams of light shooting from the prince’s hands, to the lowering of his body in a shot that so clearly mirrors artistic depictions of the descent from the cross) evoked ideas that spoke to my Catholic faith. And yet, for all the new things that I discovered about Beauty and the Beast as I matured, perhaps its true significance was clear to me even in my youth because the film put forth ideals that my hopelessly optimistic nine-year-old self unhesitatingly accepted as truths: that there is an inextinguishable spark of human dignity and decency in each of us...that there is a spiritually redemptive and transformative power in the selfless love we show toward others...and, of course, that it is critically important to surround oneself with great books! Perhaps that is the answer to my question regarding why this film resonated so strongly with me, for those ideals are still deeply engrained within me nearly 32 years later. Belle reaches a similar conclusion in my favorite moment from the stage version; her eleven o’clock number, “A Change in Me,” affirms that our ideals evolve and come to mean even more to us as we lose our innocence and gain experience. It is both ironic and fitting that Belle is the character who reaches this epiphany, given that Belle has been an unchanging ideal for so many of us who grew up with the 1991 film. As is always the case, my ideals have become realities through my work with the outstanding young people who constitute this troupe. The tireless efforts on the part of the cast members and the cadet directors to bring this production to life stemmed from many factors: their own passion for the story and the music, their fondness for one another, and the sense of responsibility that comes with (re)telling a “tale as old as time.” To the cadets in the cast and crew: like Belle, you may face a world that is skeptical of or even hostile to the beautiful ideals you embody, but, like Belle, you will exert a transformative effect everywhere you go, just as you have transformed this institution, this troupe, and me. I am indebted to and grateful for each and every one of the cadets involved in this production. I am likewise incredibly thankful to Alicia Jumonville, Kayla Highsmith, Bonnie Rushing, Lauren Mackiewicz, and Kayla Georgiafandis for the countless hours they have invested in the rehearsal process. This production could not have come to fruition without them. I must conclude by expressing my gratitude to the members of the Class of 23, with a special nod to those who joined this organization their freshman year, just before the start of the pandemic; their passion kept Bluebards alive in the years that followed, and their contributions have left an enduring mark on this troupe and the cadets who constitute it. I dedicate my efforts on this show to the cast: God bless you all; I love you all. Marc Philip Napolitano

Who’s Who In the Cast and Crew Neo Anderson (Cadet Director) is a senior who is participating in his sixth Bluebards show. In the fall, he played the sinister Prof. Moriarty in Sherlock Holmes: Convergence. Last year, he played geek-dad Jim Haller in All Shook Up, and solved a Murder on the Orient Express as Poirot. Previously, he performed as Wilkins and one of the collectors in A Christmas Carol and as Edmund in King Lear. He'd like to thank his fellow bards for all of the wonderful memories, and his family and Marissa Hansen for their inspiration. Anastasia Barnett (Castle Staff) is a cadet third class who is excited about performing in her first Bluebards musical. Previously, she performed in many other musicals and plays, whether in school productions or in her local theater group back home. In addition to Bluebards, she is involved in the i5 program. She consciously admits that she is a space nerd, hence being an Astro major. She also loves reading all kinds of books, which is why she was so excited to learn that Bluebards was going to perform Beauty and the Beast; growing up she always felt a special bond with the character Belle: a fellow bibliophile! Cassidy Bassett (Castle Staff) is a senior from Hurlburt Field, Florida, who is making her one-time Bluebards debut. While she has been on and off the stage in talent shows, childhood theater productions, and high school comedy shows, this is her first major musical. Cassidy is a weather nerd, majoring in meteorology and preparing to be a Weather Officer in the Air Force, confirming Lucius D. Clay Kaserne, an army garrison in Germany, as her first base! When her friends are not bothering her with questions regarding whether USAFA is going to have a snow day, you can find her playing D&D in A- Hall or singing with the Cadet Chorale. She would like to thank her friends and family for supporting her through this crazy place! In addition, a special thanks to her dad Phil, who is with us tonight, watching the show from the stars. Layla Bohl (Villager; Castle Staff) is a freshman from Yorkville, Illinois and will be appearing in her third Bluebards production following her performances in The Addams Family (Cowgirl Ancestor) and So This Is Love. She has been singing and dancing since elementary school and is so grateful for the opportunity to continue pursuing these passions. Before USAFA, she performed in Urinetown (McQueen), Mary Poppins (Mary Poppins/Mrs. Brill), and Shrek The Musical (Fairy Godmother/Ensemble). Outside of Bluebards, Layla is an English and Law major and sings in the Women’s A Capella group, the Aerodynamics. She would like to thank everyone who put time and effort into this show, and her friends and family for supporting her creative endeavors. Jacob Brady (LeFou) is a sophomore from Terry, Mississippi, who is happy to be performing in his sixth Bluebards production; previous shows include Murder on the Orient Express, All Shook Up, The Addams Family, Sherlock Holmes, and the recent revue. Jacob enjoys playing guitar, reading, and of course, singing. He’d like to thank his friends in the cast, his squad mates, and his family for their amazing support. Anna Caldwell (Mrs. Potts; Co-Lead Choreographer) is a senior from Milledgeville, Georgia, who is delighted to be back on the stage following a semester abroad in Latvia. She has been a member of Bluebards since her freshman year at the Academy, and you

may have seen her in previous productions of A Christmas Carol, King Lear, Murder on the Orient Express, and All Shook Up. Anna is an English major with a Russian minor and upon graduation, she will head to grad school and begin her career as an Intelligence Officer. She would like to thank Dr. N for his mentorship, as well as her fiancé Jared for his selfless love and unending support. Elayna Caron (Odette) is a freshman at USAFA and is thrilled to be involved in Bluebards because it has given her an outlet for her passion for theater, as well as an opportunity to forget about her busy cadet life. Before USAFA, Elayna participated in her local community theater back in Fauquier County, VA, and in her high school theatre department. Besides singing and acting, you can find Elayna playing the drums for the Cadet Chapel, taking naps (now that she is recognized!), and joyously learning the Russian language. She would like to extend a huge thanks to the wonderful cadets in Bluebards for welcoming her into the family, to MSgt. MoRo for encouraging her to get involved with this club, to her family for supporting her from the east coast, and to God for blessing her with these gifts. Liam Champagne (Stanley; Wolf; Gargoyle) is a sophomore from New Orleans who is making his Bluebards debut. He previously helped to organize plays and musicals at his high school. Liam is involved with several research projects across USAFA, working with several social sciences and \"techie\" majors despite being a Military Strategic Studies major. As a doolie, he has published research with the Physics Department and has scheduled two generations of research to go on the International Space Station. In addition to Bluebards, Liam is on the i5 Space Squadron Leadership Team, participates in Schulte Assembly and Women's Initiative Team, and attends several affinity clubs. Despite his height and his hyperactivity, he is very sociable and an excellent conversationalist! (Shout out to Mom and Dad!) Santos Colon, Jr. (Lumiere) is a sophomore from the NY/NJ area and is thrilled to be playing one of his dream roles. This is his fifth Bluebards show following performances in Murder on the Orient Express (Michel the Head Conductor), All Shook Up (Ensemble), Sherlock Holmes: Convergence (Lucas), and So This is Love: A Musical Revue (Director/Emcee). In high school, Santos performed in Shrek the Musical (Donkey), Memphis (Perry Como), Thoroughly Modern Millie (Dance Trio), Godspell (Jesus), and Singin' in the Rain (Don Lockwood). Santos would like to say how grateful he is for finding a welcoming community in the Bluebards troupe: an organization that allows him to take creative liberties here at USAFA. He would not be able to do what he does here without the constant support of his family and all of his friends and loved ones. He looks forward to continuing to build the Bluebards legacy. Thomas Corpuz (Beast) is a firstie from Omaha, NE, who is still considered a Bluebards rookie. Though he has been heavily involved in music since he was seven, he made his theater debut just last year in All Shook Up as the roustabout, Chad. Thomas enjoys musical production, flag football, and stand-up comedy. Besides Bluebards, Thomas is a setter for USAFA Men’s Club Volleyball and bolsters his creative mind with his friends through D&D. He would like to thank every member of the Bluebards club, past and

present, for establishing a space that has brought him so much joy. He’d also like to thank his friends and family for their constant support. Lastly, Thomas would like to thank Dr. Marc Napolitano for being the most influential mentor he has had at USAFA. Aidan Corcoran (Gaston) is a freshman from Warwick, RI. This is Aidan’s third Bluebards production and he is thrilled to be a part of such a talented and passionate group. He wants to thank everyone who devoted the countless hours required to produce this show, especially since this musical carries such important memories and cultural significance for so many people. Special thanks to Dr. N for breathing the life of the story into this production and onto the stage. Therese Davison (Villager) is a freshman from Charlotte, North Carolina, who has performed onstage with the Opera Carolina Troupe and in the Georgia Military College Performing Arts Club prior to joining Bluebards. This is her third Bluebards performance, having played Agnes Woodridge in Sherlock Holmes: Convergence and performed in the So This is Love revue. Therese plays on the Women’s Water Polo Team and enjoys hanging out with her brother and sister who are a senior and a junior here. Many thanks to her prep school classmates, cast-mates, squad-mates, and teammates! Cassandra Dudas (Belle) is a senior from Missouri who is ecstatic and nostalgic to be appearing in her sixth and final Bluebards play! Previously, she was seen on the USAFA stage in A Christmas Carol (Ghost of Christmas Present), King Lear (Regan), Murder on the Orient Express (Countess Andrenyi), All Shook Up (Miss Sandra), and Sherlock Holmes: Convergence (Irene Adler). She also sang in the So This is Love revue. Outside of Bluebards, you can find her at the gym, on a run, or singing when no one is watching. Cassie also enjoys narrating for the Cadet Narration Team, and leading fitness classes. As an engineering major with a French minor, she is grateful to Bluebards for granting her the chance for self-expression throughout her time at the Academy, and for giving her a community of amazing friends. She'd like to thank her family for their unending love and support, and Jesaiah for showing her that doing what she loves will take her far! Samantha Emma (Castle Staff) is a freshman from Bridgewater, New Jersey, who is super excited to be performing in her first ever musical. Sam has never danced or sang before, but she has enjoyed the learning process. Outside of Bluebards Sam is on the softball team and enjoys lifting weights. She would like to thank her squad-mates and family for supporting her throughout the production process! Ethan Erazo (Castle Staff; Villager; Wolf; Choreography Team) is a senior from Redondo Beach, CA. He joined Bluebards in the Spring of 2022 as an ensemble member and Asst Choreographer in All Shook Up, and he will be performing in the same roles for Beauty and the Beast. Ethan pushed himself out of his comfort zone and began to perform in dance and song as a freshman at USAFA; he is currently the CIC for the Swing Dance Club and a member of the Cadet Catholic Choir. He would like to thank his family, friends, and the entire cast for supporting him throughout the production process. Special thanks to his parents for encouraging him in the performing arts!

Charles Erwin (Maurice) is a senior, born and raised in Spring Hill, Florida; he has been participating in theatre since sophomore year of high school, and he has worked with Bluebards since freshman year. Prior roles include Peter Cratchit in A Christmas Carol, the Duke of Cornwall in King Lear, Colonel Arbuthnot in Murder on the Orient Express, Joe in Tampons, Dead Dogs, and Other Disposable Things, Sherriff Earl in All Shook Up, and Sherlock Holmes in Sherlock Holmes: Convergence. He is incredibly excited for everyone to see him perform as Maurice in one of his favorite adaptations of a Disney animated film. He would like to thank his family and friends, as well as the directors for all the work they have put into this production, and he hopes he can live up to the many great takes on this sweet character. Bethany Firooz (Villager; Castle Staff) is a freshman from Richmond, Virginia, who is excited to be making her Bluebards debut in Beauty and the Beast. In her free time, she enjoys singing, swing dancing, rock climbing, and lifting. At USAFA she is a part of the Cadet Chorale, mountaineering club, and Martinson Honors Program, as well as working on her double major in Aerospace Engineering and Applied Math. She would like to thank her fellow bards and her friends for supporting her in this theatrical journey. Makaila Freeman (Paulette) is a sophomore from Kingsport, Tennessee. She has participated in four Bluebards shows including this one; previous shows include All Shook Up, The Addams Family, and the musical revue So This is Love. In her free time Makaila is training to be an instructor pilot for the 94th training squadron and is a board member of USAFA’s IEEE student cell. She is studying Electrical Computer Engineering and will be conducting research for the department at MIT over the summer. When she is not singing, flying, or tinkering in the lab, Makaila enjoys any and all outdoor activities, including kayaking, hiking, and snowboarding. Ian Garrett (Narrator 2; Villager; Wolf) is a sophomore from Madison, Mississippi, and is proud to participate in his fourth Bluebards musical (and his fifth overall show) alongside so many talented members of the Class of 25. In high school, he was featured in the ensemble in The Sound of Music, and he played a jock in everybody’s favorite guilty pleasure High School Musical. Freshman year, he played the Warden in All Shook Up; more recently, he rose to the occasion of playing Lurch in The Addams Family, as well as John Clay and a constable in Sherlock Holmes: Convergence. He also sang as a “Jersey boy” in So This is Love. Ian is ecstatic to help retell a “tale as old as time” as a narrator. Congratulations to the cast; love sharing the stage with each of you! Isabella Gentile (Belle) is extremely excited to take on the role of Belle. She is pleased to add this role to a list of roles she has enjoyed playing previously, some of which include Ursula in The Little Mermaid, Mother Abbess in The Sound of Music, Helena in A Midsummer Night’s Dream, Mayor Matilda in All Shook Up, Alice Beineke in The Addams Family, and Ava Baxter in Sherlock Holmes: Convergence. Isabella is in her senior year as a Cyber Science major, and she is delighted that she will soon be continuing her Air Force career as a pilot. When she's not performing on stage, you'll likely find her instructing students in airmanship or competing in national aerobatic competitions! She is super thankful to her family for always supporting her in her endeavors and for all the friends she

has made at the Academy. She'd like to especially thank her grandparents for their never- ending support, and her teammates for their love and encouragement. David Gomez (Dick) is a sophomore from Romeoville, Illinois. He has participated in high school musicals back home, to include Footloose, Wicked, and The Addams Family. He also narrated a children’s show about superheroes. In addition to Bluebards, David is a part of the Cadet First Responder Team, Hispanic Heritage Club, and the cadet skydiving club. He would like to thank all those that came out to watch the show today, and he hopes to see them at future shows. Riley Gurganus (Villager; Castle Staff) is a junior from Burgaw, NC. She is very excited to be a part of Bluebards, as this is her first ever performance. Riley has always had a love for theater and was moved to audition for Beauty and the Beast after watching the fall musical, The Addams Family. In addition to Bluebards she also volunteers off base with Younglife, plays women's hockey, and is a member of the USAFA Beekeeping club. She’d like to thank her former roommate Anna for pushing her to audition. Myriah Heydt (Laurette) is a junior and is thrilled to be participating in her fifth Bluebards show. One year ago, she made her Bluebards debut in All Shook Up and the troupe has not been able to get rid of her ever since! Highlights of Myriah’s time with Bluebards include cadet directing for The Addams Family, screaming “FIRE!” in Sherlock Holmes: Convergence, and watching her peers “pop off” in the musical revue, So This is Love. Myriah is particularly thankful for the cast and crew’s constant encouragement, as well as Dr. Napolitano’s incredible investments in the club. Much love to everyone who has supported her in all of her musical endeavors! Kaarin Holter (Castle Staff) is a freshman from Hudson, Wisconsin, who is elated to be participating in her third Bluebards show. So far in her time at the Academy, she has performed in The Addams Family (Renaissance Ghost) and Sherlock Holmes: Convergence (Mary Watson). When not rehearsing or going to school, Kaarin is an active member of the USAFA Nordic Ski Team and travels on the weekends throughout the winter to compete around Colorado. However, when Kaarin has a free moment, she loves to spend her time outside hiking, hammocking, stargazing, and penny boarding. She would like to thank her squad-mates, cast-mates, family, and friends. Gina Jenkins (Castle Staff) is a senior from Aurora, Illinois, who is delighted to be making her Bluebards debut. This is her first time taking part in a musical, but she has always enjoyed watching them. She is thrilled at the opportunity to take part in a production with Bluebards and to involve herself in theatre. Gina is an English major with a passion for music; she enjoys reading, writing, crocheting, and playing the piano. In addition to Bluebards she is a member of the USAFA Women’s Swim Team. She’d like to extend a special thanks to her friends and teammates who encouraged her to audition, and to her loved ones inside and outside the theatre. Special thanks to Zoe, Hannah, Sophie, and Yujin who helped her prepare for her audition and gave her the final push!

Zion Johnson (Villager) is a senior from California, who is making his Bluebards debut. Though this is his first musical, he had the privilege of performing in his high school’s production of Robin Hood. Zion leaves no stone unturned with a major in Economics, a minor in Russian, and a minor in Nuclear Weapons and Strategy. He enjoys both the music and the theatrics that come with being part of Bluebards. He’d like to thank the people who contributed to the serendipitous set of circumstances that resulted in his joining Bluebards, and to the wonderful cast which has made it a place worth staying. Emma Jones (Cadet Director) is a senior and is pleased to have had the opportunity to direct this outstanding cast! She made her Bluebards debut in A Christmas Carol (Martha Cratchit), and followed up with roles in King Lear (Herald), Complete Works of William Shakespeare (abridged) (Ophelia, Cleopatra, et cetera), All Shook Up (Ensemble) and The Addams Family (Grandma). She recently co-directed and emceed the revue So This is Love. When not on stage or working behind the scenes, Emma likes to spend time with her friends, either in the gym or dining out around the Springs. She would like to thank her family and friends for their support; also, congratulations and thanks to the entire cast, especially her classmates in the Class of ‘23. It’s been an honor working with you. Michael Lee (Villager) is a sophomore from Vernon Hills, Illinois, and is very excited to showcase his creative side as a member of this wonderful cast. This is Michael’s first time being part of a theater production; however, he has been involved in the fine arts through his playing the violin for over a decade. As a Foreign Area Studies major, Michael loves to travel and learn about new cultures, but when he is not doing that, he is active in SPIRE, club volleyball, and planetarium outreach events. He’d like to thank his family and especially his friends who encouraged him to explore his curiosity for acting and singing. Connor “Marty” Martfield (Villager) is a sophomore management major from Rogers, AR, and is happy to be making his Bluebards debut. Marty is new to theater and has enjoyed the new experiences that have come with working on a play. He is grateful to Neo for encouraging him to get involved, and he hopes everyone enjoys the show. Martay Mayfield (Castle Staff; Choreography Team) is a senior from SURPRISE, Arizona. He is performing in his final show with Bluebards after being inspired during freshman year by their performance of A Christmas Carol. Since then, Martay has been able to expresses his passion for dance and the arts with other Bluebards members. He will be heading to San Antonio as an RPA pilot, and he hopes to continue dancing while in the great state of Texas. Special thanks to all Bluebards members, as they have been so welcoming and created an environment to escape the stress of the Academy. Caitlyn McGarry (Narrator 1; Bookseller; Villager) is a junior from Boise, Idaho, who is delighted to be making her Bluebards debut in Beauty and the Beast. She has always enjoyed theater and found this casting call to be a welcome invitation into the scene! Caitlyn is currently pursuing a foreign area studies major with a French minor. In addition to Bluebards, she spends her time bragging about her sister Riley, taking behavioral science classes for fun, and FaceTiming her son, Tommy. She’d like to thank her family and friends, and everyone in the cast who has worked so hard to make it all possible!

Taylor Metzger (Castle Staff) is a senior from Colorado Springs. This is Taylor’s third show as a member of Bluebards, having played Doctor Watson in Sherlock Holmes: Convergence and having sung “Seventeen” in the revue So This is Love. This is his first time ever performing in a full-scale musical! Taylor enjoys the outdoors, specifically going hiking and camping, and he is a professional photographer as well as a licensed bartender. He is eternally grateful for the friendships and opportunities Bluebards has given him during his last year at USAFA, and he wants to thank the entire cast and Dr. N especially for making his firstie year unforgettable! Nevaeh Mitchell (Mrs. Potts) is a junior from Pennsylvania who is ecstatic to be participating in her second Bluebards show! She was (almost) seen in her high school’s production of Beauty and the Beast as Mrs. Potts, however the show was never staged due to COVID shutting down her school the night of the final dress rehearsal. She has since made an appearance in the Bluebards revue, So This Is Love. Nevaeh enjoys reading, hitting the gym, spending time at the stables, and singing wherever she goes! As a biology major, Nevaeh finds that Bluebards is a welcome escape from the rigidity of her major and allows her to relax and have fun! She’d like to thank her amazing family and friends for always encouraging her. Francesca Moore (Babette) is a senior (hooray!) from Nashville, Tennessee. She has been dancing all her life, including classical training with the Nashville Ballet and the American Ballet Theatre. She is also a 4th-year member on the IC dance team. Fran loves to perform and made her Bluebards debut last spring as ensemble in All Shook Up...she is so thankful that the arts exist at USAFA! When she isn’t dancing, Fran loves to goof off with her roommate, FaceTime her dog, and lift super heavy weights. Upon graduation, she will be attending Johns Hopkins to pursue a master’s degree in nursing. She’d like to thank her parents for affording her so many opportunities, and for their constant dedication and love. She would like to thank Catherine for always sticking by her side. She thanks Jacob for his unwavering kindness and support. She thanks the rest of her family and friends for coming to this performance. Lastly, she thanks God for His blessings and comfort. Dylan Murray (Young Prince; Tom) is a sophomore from Palm Beach Gardens, Florida. He has previously performed in Sherlock Holmes (Pearce), All Shook Up (Warden), and Complete Works of William Shakespeare: Abridged (OOB!); whatever the production, Dylan does his utmost to provide a performance that is easy, breezy, and beautiful. As a digital artist, actor, “singer”, and world-class Russian kicker, Dylan finds it ironic that he attends a STEM-school. While Bluebards is his favorite child in terms of club activities, Dylan is also an active participant in the AETC program, the album-making industry, and the president of a club so exclusive, it makes the Illuminati look like a Costco (because he is the only member). He’d like to thank his fellow cast members, friends, and family for having faith in him as he strives to be his true and best self. He’d also like to thank God for His enduring love, forgiveness, and patience. Scarlet Nation (Chip) is a freshman from Biloxi, Mississippi, and she is very excited to be performing in her second Bluebards production. She’s enjoyed participating in theatre

since the 7th grade and has been cast in several musicals including Little Shop of Horrors (Crystal), Curtains (Carmen), Sister Act (Mother Superior), and Shrek the Musical (Donkey). She is a declared Operations Research major and enjoys math and coding, but she also engages in the arts through her OCF Worship Team, Drum & Bugle, and of course, Bluebards! Scarlet would like to thank her parents, her panther family (too fine), and the cast and crew for supporting her throughout the year, especially Nevaeh and Anna (Mrs. Potts) for being such great moms. Christiana Paljug (Madame Le Grande Bouche) is a junior from Pittsburgh and is excited to perform in her fourth Bluebards stage-show following All Shook Up (Henrietta), Murder on the Orient Express (Head Waiter), and the recent spring revue. She has also performed in Importance of Being Earnest (Gwendolyn), The Crucible (Tituba), Cinderella (Fairy Godmother), and Les Miserables (Claquesous), and Once on This Island (Lead Story- teller). Outside of theater Christiana is a member of USAFA’s Sabre Drill Team and Cadet Chorale; she spends her free time reading, knitting, and singing. Best wishes to this outstanding cast! Rachel Parillo (Claudette) is a junior from Monument, and is excited to perform again with Bluebards! She has been performing for 12 years in various capacities, with her most notable prior roles being the aristocratic and aloof matriarch Morticia Addams in The Addams Family, and the aristocratic and aloof blackmailer Lady Milverton in Sherlock Holmes (catching a theme here?). Bluebards has played a vital role and been an important outlet for her throughout her time at USAFA; it has fostered her creativity, her friendships and her overall happiness, and she is very thankful for all she has gleaned from this group! Outside of Bluebards she is a legal studies major hoping to become a JAG, as well as the cadet in charge of the mock trial team, and the NCLS NCOIC. She enjoys painting, baking and all things creative. Rachel would like to thank her parents for their love and support, Sawyer for his love and patience, and her squad-mates in 33 for coming to every show! Erik Pfaffenbichler (Beast) is a junior from Tampa, who is excited to continue his Bluebards career. Last year, he played Hector MacQueen in Agatha Christie’s Murder on the Orient Express and Dean Hyde in All Shook Up. More recently, he portrayed Uncle Fester in The Addams Family as well as making an appearance in the spring musical revue. He is very excited to be playing the role of the Beast in this production, for Beauty and the Beast was the first musical he saw live; the Beast has been a dream role ever since. Outside of Bluebards, Erik is a member and team captain of the USAFA Dive Team. He enjoys writing and playing music on the piano, as well as watching sports and lifting. He’d like to thank his family for their continuous support, as well as his late mother who always supported him in any decision and who guided him to Bluebards. Alyson Phinney (Villager) is a senior from Peachtree City, GA, and is excited to be making her theatrical debut in Beauty and the Beast. She has no previous theater experience, but has enjoyed playing piano since she was eight years old, and she looks forward to furthering her musical experiences. Alyson is an Instructor Pilot for the Soaring program: exposing cadets to aviation without an engine and teaching the next class of instructors. Alyson would like to thank her family and friends for encouraging her to step

out of her comfort zone and do something she has always dreamed of doing, and the entire cast for making the experience so memorable. Michael Prater (Monsieur D’Arque) is a firstie who will graduate shortly after this production and ship off to Vandenberg SFB as a Space Ops officer. He is an Army brat who calls Colorado home, and he enjoys skiing, 3D design, D&D, triathlon, and tending to his Astronautical Engineering classes. He is honored to be able to perform in an iconic musical and hopes to continue participating in theatre as an officer, as his performances in Addams Family (Mal), Catch Me If You Can (Roger Strong), and the revue are some of his most cherished memories spent with some of the best company (ba-dum-tchss). John “Jack” Rust (Castle Staff; Choreography Team) is a freshman from Monclova, Ohio, who is delighted to be making his Bluebards debut. Previously, Jack took the stage for his high school and local community theatre companies: favorites roles include Van Buren in Damn Yankees, Rudolpho/Escapologist in Matilda, Ensemble/Featured Dancer in Something Rotten!, Cinderella’s Prince in Into the Woods, Thomas Putnam in The Crucible, and Chorus/Featured Tapper in 42nd Street. In his free time, Jack loves anything with skis! He is a Team Candidate on the USAFA Sabre Drill Team and the CFO for the ’26 cabinet. He would like to thank his family, his fellow Barons, and the entire cast and crew for all of their support. Special thanks to the dedicated directing team for all the behind-the-scenes work; the show wouldn’t happen without them. Garen Seibert (Gramps) is a freshman from Portsmouth, Rhode Island. This will be Garen’s third show with Bluebards having performed in both The Addams Family (Cowboy Ancestor) and Sherlock Holmes: Convergence (Sir Edward Fraser) in the fall. Outside of theater, Garen enjoys being outdoors, hiking and spending quality time with friends. Big thanks to his friends in the audience. Matthew Sharkey (Cogsworth) is a sophomore from Shrewsbury, Pennsylvania, who is delighted to be making his Bluebards debut. He has been involved in musical theater since middle school and has enjoyed performing in shows including Beauty and the Beast, Shrek, The Wizard of Oz (in which he played the title character), and Big Fish. Matthew is a systems engineering major focusing on computer science, and he hopes to become a pilot. He would like to thank his family, his squad-mates, and the entire cast for supporting him throughout the production process. Fair Sornprasit (Castle Staff; Choreography Team) is a freshman from Thailand. Beauty and the Beast will mark his first performance with Bluebards. He is an Astro Major who has no idea what this major is all about; the only thing he knows about space is that space is very cool. Fair always complains about the food at Mitchell Hall because in addition to being a fiery dancer, he also cooks fiery authentic Thai food. He also likes playing video games as much as playing the piano and violin. Fair can be a little shy...he enjoys conversations, but also is afraid he might say something silly in Tinglish (Thai- English). Still, Fair is always grateful for the opportunity to embark on new adventures. He would like to thank all the Bluebards cast-members that helped him get out of his comfort zone, and he is thrilled to be a part of this production.

Jocelynn Stevenson (Castle Staff) is a rookie to all things theater but has enjoyed the new experiences that come with Bluebards, including her previous role as Mrs. O'Shaughnessy in the fall production of Sherlock Holmes. Jocelynn enjoys reading novels, watching movies, and writing poetry. She also admires the beauty of nature and can be seen outside running or hiking in the warmer months. Jocelynn would like to thank God for granting her the ability to try something new, as well as her friends for encouraging her throughout this new endeavor. Sawyer Stone (Villager; Castle Staff) is a sophomore from Biloxi, Mississippi, and is thrilled to once again be performing onstage with Bluebards. This production will mark eight years that Sawyer has been involved with the performing arts. Previous USAFA roles include Dennis in All Shook Up and Gomez Addams in The Addams Family. Sawyer also performs with the cymbal line for D&B Corps in addition to spending his weekends with his Dungeons and Dragons troupe. Music is one of Sawyer’s foremost passions, and he plays drums with one of the Protestant Worship Teams on Sundays. He would like to extend his utmost gratitude to his fellow cast-mates, friends, family, and Rachel for their unwavering support through all of his work with Bluebards. Sawyer looks forwards to his continued growth under this organization and eagerly awaits what’s to come next! Tyler Suess (Castle Staff) is a C4C from Batavia, Illinois. This is his first show with Bluebards; initially, he had no idea USAFA had a theater program, and he is super-excited to be part of a theatrical troupe. Tyler also sings with In the Stairwell and participates with the rocketry team. Thank you to the cast for being so welcoming. Adrienne Weaver (Enchantress; Castle Staff; Wolf; Co-Lead Choreographer) is a sophomore from Hudson, Wisconsin. She has danced for over 16 years in multiple forms with competitive experience. Previous shows with Bluebards include All Shook Up (Ensemble; Choreography Team), as well as The Addams Family (Ballerina Ghost; The Moon; Lead Choreographer). She is excited to work with the cast as co-lead choreographer of Beauty and the Beast, and she is very grateful to the ensemble (villagers, enchanted servants, and wolves alike!) for all of their hard work. Outside of dance, Adrienne likes to play percussion instruments, ski, hike, powerlift, and volunteer. She’d like to thank her parents, her brothers, and her friends for supporting and encouraging her in all she does. Viet Zaengle (Gaston) is a freshman from Arizona. He participated in many theatre productions when he was a kid, and, after a brief hiatus, he resumed these theatrical pursuits during his junior year of high school. He is excited to be able to continue engaging in theatre at the Academy, having recently performed in The Addams Family (Gangster Ghost), Sherlock Holmes: Convergence (Von Ormstein), and So This is Love. He’s delighted to be playing Gaston, and he hopes to stay involved with Bluebards in the years to come.

Beauty and the Beast Texts and Contexts; Adaptations and Interpretations A complete textual history of Disney’s Beauty and the Beast could run for hundreds of pages, especially when one considers two traditions that anchor it: first, the mythic/folk-tale tradition, which some scholars trace all the way back to antiquity, and second, the Disney tradition. Walt Disney Studios considered adapting Beauty and the Beast into an animated film in both the 1930s and the 1950s, but ultimately abandoned the project due to thematic challenges presented by the narrative. Even after the studio returned to the property in the 1980s, the story treatment went through extensive rewrites. A behind-the-scenes documentary on the Diamond Edition Blu-Ray of Beauty and the Beast provides a trove of material regarding the latter of the two traditions (including a lengthy story reel featuring an early concept of Gaston as a mincing marquis rather than a burly hunter.) This early version was stylish yet staid, and it was described by some on the creative team as “animated Masterpiece Theatre.” In addition to their incredible work on the score, Howard Ashman and Alan Menken helped revise and revitalize the story. This section is meant to provide a short overview of some of the tropes, texts, adaptations, and remakes associated with Beauty and the Beast. As is always the case when dealing with a “tale as old as time,” there is an extensive intertextual tradition, as different myths, texts, adaptations, and remakes invariably built upon and borrowed from one another…. The “animal as bridegroom” trope; Beauty and the Beast is arguably the most famous version of this myth/folk-tale/faerie- tale trope which revolves around a young woman being betrothed or wed to an animal or beast; typically, these stories revolve around the young woman’s being tested re: the contradiction between the character and appearance of her husband. Specifically, she must overcome the temptation to judge him by how he looks. An ancient version of this trope can be found in the tale of “Cupid and Psyche,” as recounted in Ovid’s Metamorphoses. Psyche established the precedent of the young woman “failing” the test by becoming fixated on the (potentially) hideous appearance of the beast/bridegroom. The antagonistic role played by Psyche’s jealous and corruptive sisters preceded the villainous role played by Beauty’s sisters in the key version of Beauty and the Beast written by Gabrielle-Suzanne Barbot de Villeneuve and Jeanne-Marie Leprince de Beaumont. As stated in the director’s note, the Disney film breaks with the tradition of evaluating the young lady’s conduct and instead focuses on the Beast’s need to reform (and redeem) himself… 1740—Gabrielle-Suzanne Barbot de Villeneuve’s La Belle et la Bête; this French tale became the best known version of the story in the European faerie-tale tradition, though it was the heavily abridged version by Jeanne-Marie Leprince de Beaumont, published in

1756, that became the “source” for virtually every major adaptation that would follow (including the 1991 Disney film). Beaumont’s shorter version simplifies the story (eliminating an extensive backstory that Villeneuve created for the title characters). Notably, unlike most of her mythical predecessors, Beauty “passes” the tests posed by the animal-bridegroom trope, while her sisters are punished for their negative traits, though the focus remains on her conduct rather than the Beast’s. As in the faerie tales of Charles Perrault, the tale serves as behavioral guide for aristocratic women. 1946 and 1984—Jean Cocteau’s film adaptation and the FTT remake; this 1946 live- action film is a classic piece of French cinema; the imaginative and elaborate production design gives the film a visual richness that was considered groundbreaking at the time. While not as widely known as its Disney-produced successor, the Cocteau interpretation is highly regarded by cinephiles and film historians; indeed, the film was so iconic that Shelley Duvall essentially remade it in 1984 as part of her Faerie Tale Theatre television series. The 1984 telefilm stars Susan Sarandon as Beauty and Klaus Kinski as Beast. 1991—Disney’s animated adaptation; among the many noteworthy differences between the Disney film and the Villeneuve text, perhaps the most significant is the Beast’s characterization. Whereas the French faerie tales present the Beast as gentle, shy, generous, and self-deprecating, Disney’s Beast has many faults, flaws, and inner demons that he ultimately conquers as he comes to understand (and embrace) Belle’s kindness, hopefulness, and empathy. Despite Belle’s getting “top billing” in the title, one could argue that the Beast is the protagonist of the film, in as much as the plot revolves around the character’s moral and spiritual reclamation, as symbolized by his physical transformation. 1994 and 2017—The live-action stage and film adaptations; the 1994 Broadway production was a groundbreaking effort by Disney to translate one of its animated films to the contemporary Broadway stage. While some traditionalists wryly observed that the “Disneyfication” of Broadway had started more than a decade earlier by way of Andrew Lloyd Webber’s “mega-musicals,” others perceived the benefits of getting younger audiences interested in going to Broadway shows (the stage adaptation is frequently licensed by schools, and thus, performed by young people). Disney reportedly considered filming the stage version, either for television or cinema, in the early 2000s; instead, an original live-action film starring Emma Watson was developed and released in 2017. Notably, the 2017 film did not include any of the songs written for the Broadway stage adaptation, but instead explored similar musical moments by way of new songs (e.g., Beast’s “If I Can’t Love Her” became “Evermore”; the enchanted servants’ “Human Again” became “Days in the Sun”; et cetera.)

To learn more about Bluebards, please follow us on Instagram: bluebardsusafa To learn more about how alumni, USAFA parents, and community members are promoting the theatre arts at the Academy, please visit our booster group’s webpage: www.falcontheaterfoundation.org Please Note: The videotaping or other video or audio recording of this production is strictly prohibited.