Bluebards ALL SHOOK UP Playbill

USAFA Bluebards Cadet Theatre Troupe Presents ALL SHOOK UP is presented through special arrangement with and all authorized performance materials are supplied by Theatrical Rights Worldwide, 1180 Avenue of the Americas, Suite 640, New York, NY 10036. www.theatricalrights.com

ALL SHOOK UP Inspired by and featuring the songs of ELVIS PRESLEY® Book by JOE DIPIETRO Originally Produced on Broadway by Jonathan Pollard, Bernie Kukoff, Clear Channel Entertainment, Harbor Entertainment, Miramax Films, Bob & Harvey Weinstein, Stanley Buchthal, Eric Falkenstein, Nina Essman/Nancy Nagel Gibbs, Jean Cheever, Margaret Cotter, in association with Barney Rosenzweig, Meri Krassner, FGRW Investments, Karen Jason, Phil Ciasullo Conard. Originally produced for Goodspeed Musicals, Michael P. Price, Executive Producer, Sue Frost, Associate Producer. ALL SHOOK UP is presented through special arrangement with and all authorized per- formance materials are supplied by Theatrical Rights Worldwide, 1180 Avenue of the Americas, Suite 640, New York, NY 10036. www.theatricalrights.com Vocal Director Vocal Coach Chloe Hagener TSgt Kayla Highsmith Cadet Vocal Coach Cadet in Charge Anna Little Amy Padilla Set Design Costumes Jandy Viloria, Dorinda Epps, Gabby Gerving, Hannah Kim, & Kevin Conroy Sage Korte, & Nya Oster Properties Set Painting Brendan “Neo” Anderson Rachel Price Asst. Officers in Charge RATTEX Tech Directors Lt Colonel Kayla Georgiafandis Mayer Goldberg, Angie Maravi & Captain Lauren Mackiewicz Campos, Joshua Quarterman, Rionna Sparrow, & Josiah Stearns Lead Choreographer Jesaiah Lingenfelter Choreography Team Anna Caldwell, Staci Davis, Cassandra Dudas, Ethan Erazo, Martay Mayfield, Francesca Moore, Kennedy Nevling, Curi von Schlag, & Adrienne Weaver Special Thanks Major Ron Hustwit Please Note: ALL SHOOK UP contains suggestive situations/lyrics, and explores themes regarding gender. It is recommended for ages 10 and up. See the director’s note for details.

Cast of Characters Chad, a guitar-playing roustabout Thomas Corpuz Natalie, a starry-eyed young mechanic Hailey Routson Dennis, Natalie’s brainy best friend, an aspiring dentist Sawyer Stone Sandra, the beautiful and bookish museum curator Cassandra Dudas Sylvia, the cynical owner of the local honky-tonk Devon Grundvig Jim, Natalie’s father, a shy widower Brendan “Neo” Anderson Lorraine, Sylvia’s sassy teenaged daughter Amber Norman & Mickey Donahue Mayor Matilda, the pertly conservative mayor Isabella Gentile & Anna Caldwell Dean, her son, a military-school cadet Erik Pfaffenbichler Sheriff Earl, Matilda’s strong and silent assistant Charles Erwin Ensemble Jacob Brady ● Santos Colon ● Brynn Crownover ● Staci Davis Brian Engelke ● Ethan Erazo ● Alexis Ford ● Makaila Freeman Ian Garrett ● Gabriella Gerving ● Myriah Heydt ● Sophia Hirtle Emma Jones ● Jesaiah Lingenfelter ● Martay Mayfield Francesca Moore ● Dylan Murray ● Kennedy Nevling Christiana Paljug ● Curi von Schlag ● Adrienne Weaver Wei-Hao Lin

Setting: A small, drab, you-never-heard-of-it-town in the Midwest; Summer of 1955 Act One Scene 1, A prison outside of town Chad, Jailbirds “Jailhouse Rock” Scene 2, Sylvia’s honky-tonk “Heartbreak Hotel” Henrietta, Dennis, Sylvia, Lorraine, Natalie, Jim, Barflies Scene 3, Main Street, outside the honky-tonk Chad “Roustabout” Natalie “One Night” Chad and Company “C’mon Everybody” Scene 4, Main Street, outside the honky-tonk, a few minutes later Chad, Natalie “Follow that Dream” Scene 5, Outside the town museum Chad “One Night” (reprise) Chad, Sandra, Dennis, Natalie “Teddy Bear”/“Hound Dog” Scene 6, Sylvia’s honky-tonk Jim “One Night” (reprise) Chad, Dennis, Lorraine, Sylvia, Dean, Barflies “That’s All Right” Scene 7, The bus stop Dean, Lorraine, Passengers “It’s Now or Never” Scene 8, Main Street, outside the honky-tonk Chad “Love me Tender” Natalie “Love me Tender” (reprise) Scene 9, Outside (then inside) the shoe store ‘Ed’, Chad, Dennis, Gents Ensemble “Blue Suede Shoes” Chad, Jim, Shoe Store Clerks “Don’t be Cruel” Scene 10, The museum’s statue garden ‘Ed’ “Follow that Dream” (reprise)

“One Night” (reprise) Sandra “Let Yourself Go” Sandra, Statues Scene 11, Main Street Company “Can’t Help Falling in Love” ***15-minute Intermission*** Act Two Company Scene 1, A bare stage in Arnold Hall “All Shook Up” Scene 2, The old fairgrounds Dennis, Gents Ensemble “It Hurts Me” Scene 3, The same part of the fairgrounds, a little later ‘Ed,’ Ladies Ensemble “A Little Less Conversation” Jim, Chad, Sandra “The Power of My Love” Chad “I Don’t Want To” Scene 4, Another part of the fairgrounds Matilda, Angels, Devils “Devil in Disguise” Scene 5, Another part of the fairgrounds Sylvia “There’s Always Me” Scene 6, Near the tunnel of love Chad, Lorraine, Dean, Gospel Choir “If I Can Dream” Scene 7, Another part of the fairgrounds Earl, Jim, Sylvia, Matilda “Can’t Help Falling in Love” (reprise) Dennis “One Night” (reprise) Natalie “Fools Fall in Love” Scene 8, The town church Company “Burnin’ Love”

Director’s Note “It’s based on Twelfth Night, but it uses Elvis’s songs to tell the story.” These were the words that our Cadet-in-Charge Julia Rochester used to describe All Shook Up to me in the fall of 2019. I could not quite wrap my head around what I had been told, but my trust in Julia was marrow deep; her passion for producing and directing this show was palpable, so we began work on All Shook Up in January 2020. We were halfway through the rehearsal period when the cadets were sent home due to the pandemic. Whatever my initial confusion regarding All Shook Up, I grew increasingly determined to stage this show when it became clear that doing so would provide a sense of closure to the COVID- era. Moreover, producing All Shook Up felt rather like fulfilling a promise to Julia. Still, I knew I was woefully unqualified to direct this musical, perhaps because I am a bit “old school” in my musical tastes (the cadets are always bewildered when they find out that only one of my ten favorite musicals was written after 1975), or perhaps because I could not conceive how the two essential components — the Shakespearean comedy and the Elvis Presley score — connected. Why was Elvis’s music the most appropriate music for telling this particular story? Or, why was this particular story the most appropriate story for a “jukebox musical” celebrating Elvis’s music? Happily, this quandary gave me an excuse to learn more about Elvis and his remarkable music. Given his evolution from artist to institution, it seemed natural to analyze Elvis through the lens of cultural studies, and yet, I so wanted to know more about the man himself. I was fascinated to read about the many ways in which Elvis transcended, obscured, or erased what were then traditional boundaries. This tendency is most apparent in his music, as he merged the genres of blues, hillbilly, rock & roll, pop, and gospel. Racial lines were also blurred: when Southerners first heard Elvis on the radio, they assumed they were listening to a black singer. It is the boundary of gender that proves the most instructive in regard to All Shook Up. Elvis’s very name evokes images of an unrestrained masculinity that drove women to hysteria. And yet, as early as his high school days, Elvis defied gender norms; he grew his hair long at a time when his male peers were sporting crew cuts. He dressed in loud pink shirts. He wore mascara before he became a star. Elvis’s back-up guitarist, the great Scotty Moore, was well aware of the singer’s formidable virility; however, Moore simultaneously perceived Elvis’s antithetical femininity: “Let’s face it: the man was damned near too pretty to be a man.” In his outstanding biography of Elvis, Joel Williamson analyzes the complicated “politics” of gender and sexuality in regard to Elvis’s life and legacy: “Elvis looked like a girl and acted like a sexual superman [. . .] Offstage, Elvis [. . .] [w]as a male replica of [. . .] a ‘good girl’ [. . .] a perfectly mannered, seemingly pure and even virginal Southern boy. Onstage, he was a devil, pumped up with carnal knowledge [. . .] Both Elvises seemed real, yet they were incompatible” (30-33). Reflecting on these ambiguities, I finally began to recognize a fundamental connection between the two most noteworthy threads of All Shook Up — the Elvis-based

score and the Shakespearean comedic framework — for ambiguity regarding gender is essential to Shakespeare’s comedies. All Shook Up utilizes the Shakespearean comedic trope of “mixed up” lovers who behave absurdly after falling in love, but more noteworthy is the crossdressing trope: like Viola in Twelfth Night, the heroine in All Shook Up disguises herself as a boy and serves as a messenger between a man and a woman, only to unwittingly capture the hearts of both. As the American Shakespeare Center notes, “Olivia is in love with Cesario, who is actually another woman [Viola], while Orsino thinks he’s falling for a boy, who is actually a woman, who is still played by a male actor.” Is it any wonder that Shakespeare’s characters are so confounded by gender and sex? In Act 2 of All Shook Up, there is a moment of near-perfect synthesis between the Shakespearean component and the Elvis score, though it is Shakespeare’s As You Like It that serves as the basis for the merger. In As You Like It, the heroine Rosalind “dresses as a boy named Ganymede to travel into the forest; when she runs into her crush, Orlando, she offers, as Ganymede, to pretend to be Rosalind so that Orlando can practice wooing.” In All Shook Up, the heroine Natalie dresses as a boy named Ed in the hope of bonding with her crush, Chad; she offers, as Ed, to teach Chad about wooing, and this sets up her rendition of Elvis’s “A Little Less Conversation” (a song traditionally sung by men, but sung here by a woman – dressed as a man – and a female chorus). As in Shakespeare, lines are blurred, roles are reversed, and binaries break down. Some may find these topics discomforting or even mildly offensive, and certainly, the characters in All Shook Up (like their Shakespearean predecessors) must cope with discomfort as their beliefs about love, gender, and attraction are thrown into complete disarray. However, it is here again that the basis for utilizing Elvis’s music becomes clear, for when I think of Elvis’s music, I think of absolute comfort and universal love. From the remarkable warmth of his voice, to his unwavering adoration of his fans, to the reality that everyone enjoys his songs, Elvis continues to transcend, to blur lines, to bridge gaps, and to remind us that music and love are forces for good in this world. For all of its ostensive frivolity, All Shook Up offers a bold message: loving other people (and learning to love oneself) sometimes requires a willingness to “shake up” the status quo. On the subject of love, I must express my affection for this troupe and for the cadets who constitute it. Like any production, this one had its share of stresses, conflicts, and heartbreaks. Through it all, the love and the trust that the cadets in the cast felt toward one another were tangible. As a USAFA educator, I worry endlessly about my students and the world they will face as they transition to adulthood. As Elvis put it in “If I Can Dream” (the song he used to close his phenomenal Comeback Special), “We're trapped in a world/That's troubled with pain.” The verse ends on a hopeful note, however: “But as long as a man/Has the strength to dream/He can redeem his soul and fly.” To the cast: you give me the strength to dream, and you are an endless source of hope and faith for me — hope for the future, and faith in the essential goodness of people. –Marc Philip Napolitano

Who’s Who In the Cast and Crew Neo Anderson (Jim) is a junior who is appearing in his fourth Bluebards show. Last term, he solved a Murder on the Orient Express as Poirot. Previously, he performed as Richard Wilkins and one of the charity collectors in A Christmas Carol; and as Edmund in King Lear. Outside the theater he enjoys running, aerial fabric dancing, and cosplay. He'd like to thank his family, and Heidi McGowan and Marissa Hansen for their inspiration. Jacob Brady (Bus Driver; Ensemble; Jim u/s) is a freshman from Jackson, Mississippi, appearing in his second Bluebards production. He recently declared as an English major and is grateful to his professor, Dr. Mark Kaufman. In addition to acting, Jacob enjoys playing guitar and soccer. Big shout-out to the cast (and especially to all the members of his Murder on the Orient Express family who came back for this show)! Anna Caldwell (Mayor Matilda - 22/23 May) is a junior from Milledgeville, Georgia, who is thrilled to be performing in her fourth Bluebards show. Last semester, she played the endearingly obnoxious (or obnoxiously endearing) Mrs. Hubbard in Murder on the Orient Express. Previously, you may have seen her fiddling around and asking for money in A Christmas Carol, or stabbing some very bad people in King Lear. Anna is an English major/Russian minor, so when she's not reading, writing, or rehearsing, you can find her struggling through STEM classes or procrastinating with friends. She’d like to thank Dr. Napolitano, her friends and family, and especially Jared for his unending support and for keeping her grounded. Santos Colon, Jr. (Ensemble; Chad u/s) is a freshman from the New York/New Jersey area and is excited to be appearing in his second Bluebards show following his debut in Murder on the Orient Express (Michel). In high school, Santos performed in Shrek the Musical (Donkey), Memphis (Perry Como/Club-goer), Thoroughly Modern Millie (Dance Trio), Godspell (Jesus), and Singin' in the Rain (Don Lockwood). In his free time, he enjoys listening to music, singing, and playing any competitive sport. Santos would like to give a special shout-out to his parents for always supporting his theatrical endeavors, and to God for granting him the opportunity to pursue an education at USAFA while simultaneously engaging his love for the stage through this wonderful organization. Thomas Corpuz (Chad) is a junior from Omaha, Nebraska. His only theater experience comes from ensemble work in the spring of 2020, when Bluebards first got the rights to All Shook Up. Though this production marks his first musical, he has always enjoyed the musical arts, as he grew up listening to Les Miz, Hamilton, and Dear Evan Hansen. Thomas is constantly distracted by his guitar, ukulele, and any piano he can find (there are six pianos in Arnold Hall, so getting him to focus during A-Hall rehearsals is no small feat!) He’d like to thank his siblings and his parents for their support, and Deb, his barber, for always making him look as cool as Chad. He’d also like to thank Amy Padilla, Jesaiah Lingenfelter, and Anna Caldwell for their steadfast dedication to this production. Brynn Crownover (Ensemble) is a freshman from Boise, Idaho, who is thrilled to debut in her first performance with the USAFA Bluebards as a member of the dance and vocal

ensemble. She is a gospel choir member and intercollegiate dance athlete for USAFA, who loves dance, acting, and music overall. Brynn is planning to major in Behavioral Science, pursuing a job in psychology. Brynn has performed in the following productions: Midsummer’s Night Dream (Fairy); Sherlock Holmes (Alice Faulkner); The Lion, the Witch, and the Wardrobe (Hunter Wolf); Clue! (Chief of Police). She would like to thank her parents, her peers in Bluebards, Francesca Moore, and Dr. Napolitano. Staci Davis (Shoe Store Clerk; Ensemble) is a senior from Tucson, Arizona, and is happy to return to Bluebards following her debut in A Christmas Carol (Traddles/ Fezziwig Christmas party dancer). Her primary experience with the performing arts has been dance (which she participated in from age 3). She also sings in the Catholic Cadet Choir. Staci is a member of the Mountaineering Club, and she's greatly enjoyed her time at the Academy – and in Colorado – because there is always one more peak to climb! Mickey Donahue (Lorraine - 22/23 May) is a senior from Michigan who is both delighted and a little bit sad to be wrapping up her Bluebards career with this, her fifth and final show. She has previously performed as Lord Hastings in Richard III, Gracie Shinn in The Music Man, Caddy in A Christmas Carol, and the Narrator in Captain Evil. Mickey is a biology major and is minoring in Arabic; in her free time, she enjoys watching movies, reading, and skiing. She’d like to thank her family, including her sponsor mom. Cassandra Dudas (Sandra) is a junior from St. Peter's, Missouri, who is ecstatic to return to the A-Hall stage! Previously, she was seen in Bluebards’ A Christmas Carol (Ghost of Christmas Present), King Lear (Regan), and Murder on the Orient Express (Countess Andrenyi). 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 a systems engineering major with a French minor, she is grateful to Bluebards for granting her the chance for self-expression, and for giving her a wonderful community. She'd like to thank her family and friends for their unending love, and Jesaiah for showing her that doing what she loves will take her far! Brian Engelke (Fergus; Ensemble; Earl u/s) is a senior from Bossier City, Louisiana. This is his first Bluebards production and he is grateful to have had the chance to participate in theatre during this, his final semester at the Academy. He enjoys climbing, skiing, and spending time in the gym. He would like to thank his squadron mates and friends who have supported him in pursuing this new adventure. Ethan Erazo (Ensemble) is a junior who is delighted to debut in this dance-heavy musical; in addition to dancing in the ensemble, he is proud to have helped out with the choreography (Ethan frequently leads swing-dance lessons in F1). He is also a member of the Cadet Catholic Choir and recently served as ACIC for a church retreat. Big shout out to the choreography team for their outstanding work on this show. Charles Erwin (Sheriff Earl) is a junior and has participated in theatre since sophomore year of high school; moreover, he has been performing with Bluebards for three years

now: first, as Peter Cratchit in A Christmas Carol, then as the Duke of Cornwall in King Lear, and recently as Colonel James Arbuthnot in Murder on the Orient Express. He also recently played Joe in the encore staging of Shairi Engle’s Tampons, Dead Dogs, and Other Disposable Things. He would like to thank his family, friends, and cast-mates for supporting him in all he does, and he hopes everyone enjoys the show! Alexis Ford (Ensemble) is a senior rejoining Bluebards after having performed in Richard III (Murderer; Lord Mayor), The Music Man (Alma), A Christmas Carol (Belle), and King Lear (Cordelia). Looking back on these shows, she regards Bluebards as one of the first places that felt like home at USAFA. After years of performances, she knows the friendships and confidence that Bluebards provided her will endure as she prepares to graduate. She is grateful for this final show and for those who made it happen. Makaila Freeman (Ensemble) is a freshman who spends her free time singing and participating in robotics. She participated in multiple shows throughout middle school and high school such as The Hunchback of Notre Dame, The Little Mermaid, The Grinch, and 10 Ways to Survive Life in Quarantine. Besides participating in theater, she was captain of her high school’s robotics team and led them to the international championships. She also led a nonprofit organization known as STREAMWORKS that promoted STEM education to children grades K-12. At USAFA, Makaila is a member of the robotics team and the gospel choir. She also participates in space organizations like i5, and is a satellite operator for the Cadet Space Operations Squadron. Ian Garrett (Warden; Ensemble) is a freshman and is proud to participate in his first Bluebards 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 likewise played a jock in everybody’s favorite guilty pleasure High School Musical. Congratulations to the cast; looking forward to sharing the stage with all of you again in the years to come. Isabella Gentile (Mayor Matilda - 19 May) is a junior who is proud to be making her Bluebards debut. Bella has enjoyed performing in musicals previously; favorite roles include Ursula in The Little Mermaid, Mother Abbess in The Sound of Music, and a member of the ensemble in Grease. In addition, Bella sings in Catholic Choir and participates in the soaring program. Congratulations to the cast, and big thanks to Charles and Erik for being pillars of Mayor Matilda’s administration! Gabriella Gerving (Randi; Ensemble) is a senior who has been involved with Bluebards since her first term at USAFA; she is appearing in her final show, and is happy to do so in the company of several of her fellow seniors who debuted with her during that first semester. Gabby has previously performed in the troupe’s productions of Richard III (Princess Elizabeth), The Music Man (Ensemble), A Christmas Carol (Belinda Cratchit), King Lear (Oswald), Captain Evil (Star Girl), and Murder on the Orient Express (Mary Debenham). In April, she played Jen in a cadet performance of Shairi Engle’s Tampons, Dead Dogs, and Other Disposable Things. She’d like to thank her parents and friends, and she hopes everyone enjoys this musical.

Devon Grundvig (Sylvia) is a junior from New Jersey who is delighted to be appearing in her first Bluebards production. In addition to Bluebards, Devon is a recruiting manager for the football team. She’d like to thank her family and friends, and she apologizes to her roommates and her squadron for singing nonstop in the room and in the shower. Myriah Heydt (Ensemble) is a sophomore who is delighted to be making her Bluebards debut. She has always loved being involved in music and she is constantly looking to learn something new. Past performances she enjoyed taking part in include The Addams Family (Pugsley Addams) and Hairspray (Corny Collins). Myriah would like to thank her family and friends for supporting her as she pursues her passions. She would especially like to extend a shout-out to her roommate, who tolerates her frequent random singing when ASU songs are stuck in her head. Sophia Hirtle (Shoe Store Clerk; Ensemble) is a junior from Pinehurst, North Carolina, and is excited to continue her Bluebards career. She previously appeared in A Christmas Carol (Child Scrooge), King Lear (Fool), and Murder on the Orient Express (Greta Ohlsson). Last month, she directed the cadet performance of Shairi Engle’sTampons, Dead Dogs, and Other Disposable Things having previously helped to organize the 13 April performance with the USAFA Sexual Assault Prevention and Response (SAPR) Office. Prior to USAFA, Sophie appeared in The Wizard of Oz (Jitterbug, Crow, Ozian), The Addams Family (Grandfather Ghost), and Cinderella (Count). Outside the theatre, Sophie can be found reading, watching movies, or enjoying the outdoors. Emma Jones (Ensemble) is a junior and is pleased to work with this wonderful cast. In high school, she appeared in School House Rock Jr., Seussical Jr., and The Little Mermaid Jr. She made her Bluebards debut in A Christmas Carol (Martha Cratchit),and followed up with roles in King Lear (Herald) and Complete Works of William Shakespeare (abridged) (Ophelia, Cleopatra, et cetera). When not on stage, Emma likes to spend time with her friends watching movies. She’d like to thank her family and her old teacher Mrs. Oxley for helping her gain an interest in theater. Jesaiah Lingenfelter (Lead Choreographer; Ensemble) is a senior who has been a hip-hop dancer for 14 years. He has participated in competitions and assisted with the choreography of several shows such as The King and I and Pirates of Penzance. This is Jesaiah's first official Bluebards show, though he is a longtime fan of the organization and he is very excited to see this musical finally come together. In his spare time, he enjoys dancing, snowboarding, and hanging out with friends. Jesaiah gives all the credit to his family and all those who have supported him. Finally, big thanks to Cassie. Anna Little (Cadet Vocal Coach) is a junior from Ohio who is delighted to contribute to Bluebards’ long-awaited return to the musical stage. High school theatre roles include the title character in Peter Pan and Jenny Lind in Barnum; at USAFA, she played the noble Duke of Albany in Bluebards’ version of King Lear. Outside of being a part of this amazing team, she is a leading member of the Cadet Chorale. She’d like to thank the cast for allowing her to share in and enjoy their musical talent.

Martay Mayfield (Ensemble) is a junior who was first inspired to join Bluebards after seeing their version of A Christmas Carol; that was the last play produced before COVID, but he is happy to finally be able to perform in a Bluebards musical (good things are worth waiting for!) He enjoys video games, dancing, and volunteering in his free-time. He’d like to thank his family: “Thank you for helping me get to where I am today.” Francesca Moore (Ensemble) is a junior from Nashville and trained with the Nashville Ballet for five years, starring as Clara in The Nutcracker. She participated in theater through middle and high school, and was captain of the dance team. Fran is part of the USAFA dance team; in her free time she enjoys face-timing her parents, reading, and laughing with her roommate. She’s thrilled to debut in her first Bluebards show, and would like to thank her family, friends, and most of all God, for guiding her. Dylan Murray (Warden - 19 May) is a freshman and is excited to be making his second Bluebards appearance. He previously appeared in Complete Works of William Shakespeare (abridged) (in which he performed with a perfect Scottish accent.) He is grateful to the cast for their encouragement and creativity. Kennedy Nevling (Ensemble) is a junior from San Diego, California, who has been dancing since she was fourteen (following eight years of cheerleading). She has previously performed in childhood musicals such as Grease (Jan) and A Midsummer Night’s Dream (Hermia) and is excited to perform in her first Bluebards show at the Academy. She is a behavioral science major working on independent study research and pursuing graduate studies after the Academy. She would like to thank her family and friends that have constantly encouraged her to continue doing what she loves. Amber Norman (Lorraine - 19 May) is a sophomore who is appearing in her first ever Bluebards show at the Academy. She has previously performed with the Cadet Catholic Choir, Schola Choir and has experience as a radio DJ for the cadet radio station, 97.7 KAFA. She is a political science major pursuing a minor in Spanish; in her free time, she enjoys spending time outdoors and trying new restaurants. She would like to thank her family, especially her little sister Isabel, for their constant love and support. Amy Padilla (Cadet in Charge) is a senior who has been involved with Bluebards since freshman year, acting in Richard III (York), The Music Man (Amaryills), A Christmas Carol (Tiny Tim), King Lear (Gentleman), Captain Evil (Henchman), and Complete Works of William Shakespeare (abridged) (Herself). Amy is a proud English major and would like to thank her DFENG mentors, her Bluebards family, and the rest of her family. Christiana Paljug (Henrietta; Ensemble; Sylvia u/s) is a sophomore from Pittsburgh, Pennsylvania, and is so excited to perform in her first Bluebards musical! Last term, she played the Head Waiter in Murder on the Orient Express; she has previously performed in The Importance of Being Earnest (Gwendolyn), The Crucible (Tituba), Cinderella (Fairy Godmother), and Les Miserables (Claquesous), as well as playing the Lead

Storyteller in Once on This Island. Outside of theater Christiana is a member of USAFA’s Sabre Drill Team and Cadet Chorale. Thanks to the cast! Erik Pfaffenbichler (Dean) is a sophomore from Tampa, Florida, who is very excited to be appearing in his first Bluebards musical (especially since COVID cancelled his one prior high-school musical). Last term, he played MacQueen in Murder on the Orient Express. Erik is a member of the USAFA Dive Team and enjoys singing, playing piano, writing songs, and watching sports. He’d like to thank his family and teammates for their constant support. Special thanks to Mom for encouraging him to join Bluebards. Hailey Routson (Natalie) is a freshman from West, Texas (which is in fact central Texas) and is excited to be making her Bluebards debut! This is her first show on the hill, but she’s no stranger to the stage; prior productions include Animal Farm (Napolean), A Midsummer Night’s Dream (Snug), Pinocchio (Pinocchio), A One Act Play Disaster (Kimya), A Hallmark Christmas Special (Carol), Almost Maine (Rhonda), Eurydice (Loud Stone), and She Kills Monsters (Ferrah). She also enjoyed making people laugh as part of her high school improv troupe, Mission Improvable. Along with Bluebards, Hailey is very active in her SPIRE group, CRU, where she enjoys sharing her passion for Christ with her community. Hailey would like to thank God, all the people in her life who have supported her, and her new Blubards family who make USAFA feel like home. Sawyer Stone (Dennis) is a freshman from Biloxi, Mississippi, and is thrilled to once again be performing onstage. Some of his previous theater credits include roles in school productions of Little Shop of Horrors (Orin Scrivelo DDS), Willy Wonka and the Chocolate Factory (Willy Wonka), and Curtains: The Musical (Aaron Fox). Last term, he made his Bluebards debut as Monsieur Bouc in Murder on the Orient Express. In addition to Bluebards, Sawyer performs with the cymbal line for USAFA's D&B Corps, and is a member of the USAFA I5 Public Affairs Team. Music is one of Sawyer’s foremost passions, and he plays with one of the USAFA Protestant Worship Teams on Sundays. He’d like to thank everyone in this incredible cast for supporting him! Curi von Schlag (Ensemble) is a senior from Maryland. She is thrilled to return to Bluebards; in 2019, she played a River City Teen in The Music Man, and last year, she played one of the “Punchettes” in Jimmy Cummings’s original work Captain Evil. Despite few roles in recent years, she spent much of her childhood participating in theatre. In addition to Bluebards, she is a member of the Diving Team and loves competing on the Academy's behalf. In her free time, she loves to play music and sing with her friends. Adrienne Weaver (Ensemble) is a freshman from Hudson, Wisconsin. She has danced for over 15 years in multiple forms with competitive experience and joins Bluebards this year as a member of the ensemble and as a choreographer. This is her first chance to perform with a musical group, but she is excited to work with the cast and expand her repertoire! Outside of dance, Adrienne likes to play percussion instruments, ski, hike, powerlift, and volunteer in the community. She would like to thank her parents, brothers, and squadmates for supporting her and hyping her up in everything she does.

Wei-Hao Lin (Ensemble; Dean u/s) is a senior from Taiwan who has 10 years of singing and instrumental performance experience. This will be his first production with Bluebards, but he enjoys all types of performance art; Wei-Hao’s favorite performance took place during his high school years before an audience of more than 2000 people. In his off time, he likes to create songs, play sports, and go snowboarding. He'd like to thank to his family, friends, and his partner for giving him everything he has. Finally, he wants to thank the Bluebards team for giving him this chance to help put on this show. Joe DiPietro Biography Joe DiPietro has won two Tony Awards, a Drama Desk Award and 2 Outer Critics Circle Awards. Broadway: Nice Work If You Can Get It (Tony noms – Best Book, Best Musical), Memphis (Tony winner – Best Book, Best Score, Best Musical.) All Shook Up, Living on Love. Off-Broadway: Clever Little Lies, The Toxic Avenger, The Thing About Men, Over the River and Through the Woods, I Love You, You’re Perfect, Now Change. His most recent play, “Hollywood,” recently debuted at LaJolla Playhouse. Other recent regional credits include: The Second Mrs. Wilson (Long Wharf Theatre & George Street Playhouse) Chasing the Song (La Jolla Playhouse,) Ernest Shackleton Loves Me (Arts Emerson,) The Last Romance (Old Globe,) Creating Claire (George Street Playhouse.) He sits on the board of Only Make Believe, a charity dedicated to bringing interactive, therapeutic theatre to chronically ill children. Elvis Presley Biography Elvis Aaron Presley, in the humblest of circumstances, was born to Vernon and Gladys Presley in a two-room house in Tupelo, Mississippi on January 8, 1935. His twin brother, Jessie Garon, was stillborn, leaving Elvis to grow up as an only child. He and his parents moved to Memphis, Tennessee in 1948, and Elvis graduated from Humes High School there in 1953. Elvis’ musical influences were the pop and country music of the time, the gospel music he heard in church and at the all-night gospel sings he frequently attended, and the black R&B he absorbed on historic Beale Street as a Memphis teenager. In 1954, he began his singing career with the legendary Sun Records label in Memphis. In late 1955, his recording contract was sold to RCA Victor. By 1956, he was an international sensation. With a sound and style that uniquely combined his diverse musical influences and blurred and challenged the social and racial barriers of the time, he ushered in a whole new era of American music and popular culture. He starred in 33 successful films, made history with his television appearances and specials, and knew great acclaim through his many, often record-breaking, live concert performances on tour and in Las Vegas. Globally, he has sold over one billion records, more than any other artist. His American sales have earned him gold, platinum or multi-

platinum awards for 150 different albums and singles, far more than any other artist. Among his many awards and accolades were 14 Grammy nominations (3 wins) from the National Academy of Recording Arts & Sciences, the Grammy Lifetime Achievement Award, which he received at age 36, and his being named One of the Ten Outstanding Young Men of the Nation for 1970 by the United States Jaycees. Without any of the special privileges his celebrity status might have afforded him, he honorably served his country in the U.S. Army. His talent, good looks, sensuality, charisma, and good humor endeared him to millions, as did the humility and human kindness he demonstrated throughout his life. Known the world over by his first name, he is regarded as one of the most important figures of twentieth century popular culture. Elvis died at his Memphis home, Graceland, on August 16, 1977. *** Bluebards Cadet Theatre Troupe would like to dedicate this production to the life and memory of Ryong Adams. A member of Cadet Squadron 24, Ryong was also a prior- enlisted cadet, a graduate of the USAFA Prep School, and a manager on the USAFA football team. Two of the lead actors in this play — C2C Thomas Corpuz (Chad) and C2C Devon Grundvig (Sylvia) — and two members of our ensemble — C3C Myriah Heydt and C4C Santos Colon — had the pleasure of knowing and working with Ryong over the course of the past year. Thomas affirms that “Ryong brought positive energy to every room he walked into. His CS24 family will miss him dearly.” Myriah adds that Ryong “really wanted to be a great leader who inspired others, and he has inspired all of us through the legacy of joy and kindness that he leaves behind.” On behalf of the entire cast and crew, we would like to offer our deepest sympathies to Ryong’s family and friends, his AOC and AMTs, and to everyone in Cadet Squadron 24. “‘Til we meet again, may God bless you. Adios.” - Elvis Presley, 1977, at the end of a concert during his very last tour

We hope to see you next spring when Bluebards will produce its 2023 grad week musical: Disney’s Beauty and Beast the Any cadets interested in auditioning should look for announcements in the fall! The video or audio recording of this performance by any means is strictly prohibited.