Ragtime

Show Information
The Ruth and Nathan Hale Theater
PROUDLY PRESENTS
BOOK BY
Terrance McNally
MUSIC BY
Stephen Flaherty
LYRICS BY
Lynn Ahrens
BASED ON THE NOVEL "RAGTIME" BY
E. L. Doctorow
Ragtime 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
Cast List
Coalhouse Walker Jr.
Yahosh Bonner Mon, Wed, Sat
Kiirt Banks Tue, Thu, Fri
Mother
Amy Shreeve Keeler Mon, Wed, Fri
Brittany Sanders Tue, Thu, Sat
Tateh
Taylor Morris Mon, Wed, Fri
Dustin Bolt Tue, Thu, Sat
Sarah
Brittany Andam Mon, Wed, Sat
Aria Love Jackson Tue, Thu, Fri
Father
Christopher Higbee Mon, Wed, Fri
David Morley-Walker Tue, Thu, Sat
Mother's Younger Brother
Isaac Moss Mon, Wed, Fri
Kelton Davis Tue, Thu, Sat
Emma Goldman
Marcie Jacobsen Mon, Wed, Fri
Dianna Graham Tue, Thu, Sat
Evelyn Nesbit
Morgan Fenner Mon, Wed, Fri
Amanda Baugh Tue, Thu, Sat
Harry Houdini
Clayton Barney Mon, Wed, Fri
Blake Barlow Tue, Thu, Sat
Booker T. Washington
Chad Brown Mon, Wed, Fri
Krispin Banks Sr. Tue, Thu, Sat
Grandfather
Jeff Thompson Mon, Wed, Fri
Michael Smith Tue, Thu, Sat
The Little Boy
Porter Sparks Mccormick Mon, Wed, Fri
Aaron Salazar Tue, Thu, Sat
The Little Girl
Hailey Burnham Mon, Wed, Fri
Tessa Jensen Tue, Thu, Sat
Henry Ford
Trevor B. Dean Mon, Wed, Fri
Scott Rollins Tue, Thu, Sat
J.P. Morgan / Admiral Peary
Bradley Moss Mon, Wed, Fri
Doug Irey Tue, Thu, Sat
Sarah's Friend
Jenny Rock Mon, Wed, Fri
Sibley Snowden Tue, Thu, Sat
Willie Conklin
Carson Davies Mon, Wed, Fri
Patrick Kintz Tue, Thu, Sat
Brigit / Ensemble
Brandalee Bluth Streeter Mon, Wed, Fri
Bronwyn Andreoli Tue, Thu, Sat
Houdini's Mother / Ensemble
Shawnda Moss Mon, Wed, Fri
Mary Jane Smith Tue, Thu, Sat
Kathleen / Ensemble
Laurel Asay Lowe Mon, Wed, Fri
Tatem Trotter Tue, Thu, Sat
Female Ensemble
Brooke Holladay Mon, Wed, Fri
Amelia Rose Moore Tue, Thu, Sat
Ileah Washington Mon, Wed, Fri
Blythe Snowden Tue, Thu, Sat
Melanie Fernelius Mon, Wed, Fri
Josephine Bailey Tue, Thu, Sat
Rosemay Jolicoeur-Webster Mon, Wed, Fri
Mak Milord Tue, Thu, Sat
Charles S. Whitman / Ensemble
Andrew Reeser Mon, Wed, Fri
Keith Goodrich Tue, Thu, Sat
Harry K. Thaw / Ensemble
Zack Elzey Mon, Wed, Sat
Josh Valdez Tue, Thu, Fri
Matthew Henson / Ensemble
Adam Girum Frasier Mon, Wed, Fri
Oba Bonner Tue, Thu, Sat
Stanford White / Ensemble
Nate Brogan Mon, Wed, Fri
Collin Larsen Tue, Thu, Sat
Male Ensemble
Noah Burket Mon, Wed, Fri
Nicholas Warren Tue, Thu, Sat
Philip Childs Mon, Wed, Fri
Asher Head Tue, Thu, Sat
Tremaine Lomax Mon, Wed, Fri
Kile Allen Tue, Thu, Sat
Coalhouse Walker III
Alexander Andam Mon, Sat 7:30pm
Iris Fernelius Wed, Fri, Sat 4pm
Adanna Ugoh Tue, Thu, Sat 4pm
Production Team
DIRECTION BY
Jennifer Hill Barlow
MUSIC DIRECTION BY
Anne Puzey
CHOREOGRAPHY BY
Joshua Whitehead
SET DESIGN BY
Jo Winiarski
COSTUME DESIGN BY
Dennis Wright
ASSISTANT COSTUME DESIGN BY
Ryver Mecham
LIGHTING DESIGN BY
Ryan Fallis
HAIR & MAKEUP BY
Bekah Wilbur
PROP DESIGN BY
Megan Heaps
SOUND DESIGN BY
Cole McClure & Dan Morgan
STAGE MANAGEMENT BY
Jordan Liau
DEI CONSULTANTING BY
Conlon Bonner
DIALECT COACHING BY
Dianna Graham
FIGHT DIRECTION BY
Ben Henderson
Artistic Direction by
Anne Swenson
Associate Artistic Direction by
Jennifer Hill Barlow
Resident Director & Choreographer
Jennifer Hill Barlow
Production Manager
Meagan M. Downey
Technical Director
Jason Baldwin
Costume Shop Manager
Dvorah Governale
Show Operations Manager
Richie Trimble
Head of Sound
Cole McClure
Head of Lighting & Media
Michael Gray
Head of Automation & Rigging
Scott Freeland
Master Electrician
Ryan Fallis
Head Draper
Jessica Barksdale
Assistant Draper/Cutter
Danielle Dulchinos
First Hand
Maria Solesbee
Costume Shop Staff
Lauri Baird, Monica McNeill, and Erin Smith
Additional Stitching
Sarah Baldwin, Sarah Boden, Amy Handy, Keri Johnson, and Tannis Poynter
Assistant Costume Shop Manager
Alyssa Baumgarten
Craft Shop Manager
Olivia Kline
Crafts & Costume Construction
Megan Conde, Brooklyn Corner, Rowan Forsyth, Kaely Hope, McKayla Howlett, Sara McCorristin, and Brienna Michaelis
Resident Assistant Costume Designers
Christa Didier, and Lexi Goldsberry
Archive Managers
Merrium Black, and Ryver Mecham
Hair & Makeup Supervisor
Melinda Wilks
Hair & Makeup Assistant
Emilie Ronhaar, Mattie Victor, and Bekah Wilbur
Additional Hair & Makeup
Laura Bikman, and Krista Sommer
Wardrobe Supervisor
Danielle Tanner
Head Dressers
Carli Bringhurst, and Elizabeth Moss
Wardrobe & Wig Crew
Angela Beaty, Carlie McCleary, Zach Raddatz, Alexis Sanders, Annika Stenquist, Brooklyn Swallow, and Seneca White
Child Guardian
Alyssa Steck and Kate Watkins
Assistant Technical Director
Paul Hintz
Master Carpenter
David Knowles
Carpenters
Lincoln Oliphant and Ian Scott
Purchasing Coordinator / Props Artisan
Elisabeth Goulding
Prop Supervisor
Megan Heaps
Prop Artisan
Allen Lafferty
Automation Operator
Ryder Spotts, Noah Sheen
Deck Crew
Quinn Bennett, Mitch Brown, Sarah Dalley, and Kate Hales
Audio Engineer (A1)
Rachel Carr and Andy Keele
Sound Assistant
Devon Parikh
Scenic Charge Artist
Morgan Dawn Golightly
Stage Managers
Jordan Liau, Tannah O’Banion, Ashtyn Waters, and Courtney Byrom
Assistant Stage Managers
David Knowles and Kati Torrie
Scenes and Musical Numbers
Act One
• Prologue •
Ragtime
The Company
• Scene 1 •
Dock in New York Harbor/At Sea
Goodbye My Love
Mother
Journey On
Father, Tateh, and Mother
• Scene 2 •
A vaudeville theater, New York City
The Crime of the Century
A vaudeville theater, New York City
Evelyn Nesbit, Mother’s Younger Brother, and Ensemble
• Scene 3 •
Mother’s garden, New Rochelle
What Kind of Woman
Mother
• Scene 4 •
Ellis Island/Lower East Side
A Shtetl Iz Amereke
Tateh, The Little Girl, and Ensemble
Success
Tateh, J.P. Morgan, Harry Houdini, and Ensemble
• Scene 5 •
The Tempo Club/Harlem/Ford’s assembly line
Gettin’ Ready Rag
Coalhouse Walker Jr. and Ensemble
Henry Ford
Henry Ford, Coalhouse Walker Jr., and Ensemble
• Scene 6 •
Railroad station, New Rochelle
Nothing Like the City
Tateh, Mother, The Little Boy, and The Little Girl
• Scene 7 •
Emerald Isle Firehouse
• Scene 8 •
Mother’s house, New Rochelle
Your Daddy’s Son
Sarah
New Music
Father, Mother, Mother’s Younger Brother, Coalhouse Walker Jr., Sarah, and Ensemble
• Scene 9 •
A hillside above New Rochelle
Wheels of a Dream
Coalhouse Walker Jr. and Sarah
• Scene 10 •
A union hall in New York City/Lawrence, Massachusetts/A train
The Night That Goldman Spoke at Union Square
Mother’s Younger Brother, Emma Goldman, and Ensemble
Gliding
Tateh
• Scene 11 •
New Rochelle and New York City
Justice
Coalhouse Walker Jr. and Ensemble
President
Sarah
Till We Reach That Day
Sarah’s Friend, Coalhouse Walker Jr., Emma Goldman, Mother’s Younger Brother, Mother, Tateh, and Ensemble
Intermission
Act TWO
• Scene 1 •
The streets of New Rochelle/Mother’s house
Coalhouse’s Soliloquy
Coalhouse Walker Jr.
Coalhouse Demands
The Company
• Scene 2 •
The Polo Grounds
What a Game
Father, The Little Boy, and Ensemble
• Scene 3 •
Mother’s house
Atlantic City
Evelyn Nesbit and Harry Houdini
New Music Reprise
Father
• Scene 4 •
Atlantic City/Million Dollar Pier/Boardwalk
Atlantic City Part II
Evelyn Nesbit, Harry Houdini, and Ensemble
Buffalo Nickel Photoplay Inc.
Tateh
Our Children
Mother and Tateh
• Scene 5 •
Harlem/Coalhouse’s hideout
Sarah Brown Eyes
Coalhouse Walker Jr. and Sarah
He Wanted To Say
Emma Goldman, Mother’s Younger Brother, Coalhouse Walker Jr., and Coalhouse’s Gang
• Scene 6 •
The beach, Atlantic City
Back to Before
Mother
• Scene 7 •
The Morgan Library, New York City
Look What You’ve Done
Booker T. Washington, Coalhouse Walker Jr., and Ensemble
Make Them Hear You
Coalhouse Walker Jr.
• Epilogue •
Ragtime/Wheels of a Dream Reprise
The Company
Director's Note
By Jennifer Hill Barlow
Welcome to Ragtime
...and to the inaugural production at The Ruth at dōTERRA - a place built to inspire, connect, and celebrate the transformative power of storytelling.
The opening of this beautiful new theater represents a bold step forward, much like the characters in the story we bring to life this evening. Just as The Ruth embodies hope, innovation, and community, so too does Ragtime, a story that invites us to reflect on where we’ve been and dream about where we’re headed.
From the moment the first chords of this musical echo through the theater, we are drawn into a world brimming with hope, conflict, and change. This story, set at the dawn of the 20th century, feels like a mirror reflecting the struggles and triumphs of our own time. It is a story about dreams — how they unite us, how they divide us, and how they shape the world we create together.
The music is the soul of this show. Stephen Flaherty’s score and Lynn Ahrens’ lyrics are nothing short of genius, creating a soundscape that captures the heartbeat of America at a crossroads. The syncopated rhythms of ragtime symbolize the push for progress, the spirituals carry weight and resilience, and the sweeping melodies give voice to the unshakable dreams.
We made deliberate choices to ensure the music feels as alive as the characters themselves. For example “The Wheels of a Dream,” where Coalhouse and Sarah imagine a future for their child that feels impossibly bright. It’s not just a song — it’s a prayer, a promise, a challenge. And when Coalhouse later sings “Make Them Hear You,” the music transforms into a call to action, a declaration of the power of one voice to ignite change.
The ensemble numbers, like “Ragtime” and “Till We Reach That Day,” are more than moments of spectacle—they are moments of reckoning. Every harmony, every dissonance, is intentional, reflecting the complexity of a society struggling to define itself.
We focused deeply on the emotional journeys of these characters. Coalhouse’s transformation from hope to despair and defiance is both heartbreaking and galvanizing. Sarah’s quiet strength speaks volumes about the resilience of love. Mother’s awakening to a world far bigger than the one she’s known shows us the power of compassion and courage. Tateh’s relentless hope reminds us of the extraordinary courage it takes to dream.
But this production isn’t just about telling their stories. It’s about challenging us—here, now—to consider our own. What do we do when faced with injustice? How do we respond to those whose lives and experiences differ from our own? What choices will we make to build a better world?
The music of Ragtime gives us an answer. It tells us that we cannot stay silent. That we must listen to one another, even when it’s difficult. That change is possible, but only if we take action.
So, tonight, I ask you to truly hear this story—not just with your ears, but with your heart. Let it inspire you to look more deeply at the world around you. Speak out when you see injustice. Extend compassion to those in need. Choose hope when despair feels easier. And, most importantly, take action—big or small—toward creating the world that Coalhouse, Sarah, Tateh, and Mother dream of.
The final notes of Ragtime are not an ending—they are a beginning. They are a call, asking us to stand together, to fight for what is right, and to ensure that the wheels of a dream never stop turning.
Make them hear you.
Interesting Facts
By Mark Fossen
The Real Lives of Ragtime
Ragtime takes place between the years of 1902 and 1912 in “The Progressive Era,” mixing the historical and fictional in a look at the birth of modern America and the lives that shaped it.
The Progressive movement was a political and social-reform movement that brought major changes to the United States during the late 19th and early 20th centuries. […] Progressives saw elements of American society that they wished to reform, especially ending the extreme concentration of wealth among the elite and the enormous economic and political power of big business. The U.S. population nearly doubled between 1870 and 1900. Increasing immigration and urbanization had helped the shift from small-scale manufacturing and commerce to large-scale factory production and enormous national corporations. The leaders of the Progressive Era worked on a range of overlapping issues that characterized the time, including labor rights, women’s suffrage, economic reform, environmental protections, and the welfare of the poor, including poor immigrants.
Encyclopedia Britannica, The Progressive Era Key Facts
J.P. Morgan was perhaps the key financial figure in America during the Progressive Era, particularly between 1902 and 1912. Born in 1837 in Connecticut, he became known as America’s “greatest banker.” His firm, J.P. Morgan & Company, dominated the banking sector and played a critical role in consolidating various industries.
During the Financial Panic of 1907 (also known as the Bankers' Panic or the Knickerbocker Crisis), Morgan's decisive intervention helped stabilize the banking system as he invested his own money and persuaded other bankers to do the same, averting a financial crisis. This event underscored the need for a central banking authority, leading to the creation of the Federal Reserve System.
By 1912, Morgan controlled nearly $23 billion in assets, reflecting his immense influence. His legacy extended beyond finance; he was also a prominent philanthropist, notably founding the Metropolitan Museum of Art. Morgan’s death in 1913 prompted national mourning, underscoring his profound impact on American finance and culture.
Born in Pennsylvania in 1884 or 1885, Florence Evelyn Nesbit rose to fame as the quintessential Gibson Girl and an in-demand model in New York City. Her lasting fame came as she became embroiled in a sensational love triangle that would captivate the nation.
After a long and troubled relationship with architect Stanford White, who assaulted her and preyed on her emotional and financial vulnerability, she met the son of an incredibly wealthy family, Harry Kendall Thaw. Thaw was infatuated with Nesbit and eventually married her in 1905. His obsession with her and deep-seated paranoia about White led to a tragic confrontation. On June 25, 1906, at the Madison Square Garden premiere of the musical revue Mam'zelle Champagne that all three were attending, Thaw shot White in a fit of rage, declaring, “I did it because he ruined my wife!” Thaw’s trial became one of the early “Trials of the Century,” capturing public attention and raising questions about morality and justice.
Thaw was declared insane and committed to a mental institution, and Nesbit faced a struggle for independence, ultimately divorcing him in 1915. Her later life saw her making peace with her past, including serving as a technical adviser on the film The Girl in the Red Velvet Swing.
Born Erik Weisz in Hungary in 1874, became one of the most famous escape artists in history. Immigrating to America in 1878, his early career as a magician was unremarkable until he pivoted to escape acts. By 1900, Houdini was a sensation in Europe, astonishing audiences by escaping from handcuffs, chains, and even jails. His daring performances, often staged in public, earned him widespread fame.
Between 1902 and 1912, Houdini’s career rose to new heights. In 1908, he abandoned his handcuff act in favor of more dangerous stunts, such as escaping from a water-filled milk can. His acts became more elaborate, involving crates, boilers, and even the belly of a whale.
Despite the thrill of his performances, Houdini was deeply affected by the death of his beloved mother in 1913, a loss he never fully recovered from. After attempts to reach her through mediums and seances, Houdini spent his later years debunking spiritualists, including a public rift with friend Sir Arthur Conan Doyle, before his untimely death in 1926.
Born in 1869 in Lithuania, Emma Goldman became one of the most radical and controversial figures of her time. Immigrating to the United States in 1885, Goldman’s early years were shaped by the hardships of factory work and personal struggles, including a failed marriage. Moving to New York, she quickly aligned with anarchist ideals, using public speeches to call for revolution. In 1901, her rhetoric led to a brief arrest following President McKinley’s assassination, though she was released due to lack of evidence.
Immediately after this arrest, Goldman lived a relatively quiet life, often in seclusion as a nurse, though she remained dedicated to activism. In 1906, she founded Mother Earth magazine, advocating for anarchism, labor rights, feminism, and free speech. Her publication of Anarchism and Other Essays in 1910 solidified her influence, as she continued to challenge social norms. She was arrested in 1917 for her opposition to the draft, and in 1919 was exiled with 200 others to the Soviet Union. After living throughout Europe, she died in Canada in 1940.
Born in 1863 in Michigan, Henry Ford revolutionized the automotive industry and modern manufacturing. After working for the Edison Illuminating Company and experimenting with gas engines, Ford founded the Ford Motor Company in 1903. His breakthrough came in 1908 with the debut of the Model T, an affordable and durable car that would transform American society. By 1918, half the cars in the U.S. were Model Ts, making driving accessible to the masses.
Ford cemented his place in history by introducing the assembly line in 1913, which dramatically cut production time and revolutionized industrial manufacturing. His 1914 decision to pay workers $5 a day—double the industry rate—also set a new standard for labor. Ford's innovative ideas about efficiency and wages helped shape the modern workweek and redefine American industry.
However, Ford’s legacy is tarnished by his anti-Semitic views, which he propagated through The Dearborn Independent and his controversial book The International Jew. Despite his industrial triumphs, his personal beliefs left a troubling mark on history.
Born into slavery in Virginia in 1856, Booker T. Washington became the preeminent African American leader in the post-Civil War United States. Freed by the Emancipation Proclamation in 1865, he was appointed the first leader of the Tuskegee Institute in Alabama in 1881, where he dedicated his efforts to vocational training for Black students, believing that economic self-reliance would lead to social progress.
His 1895 Atlanta speech advocating for Black individuals to improve their circumstances without demanding immediate equality marked a turning point in his public profile. This approach garnered both support and criticism, notably from contemporaries like W.E.B. Du Bois. Washington also championed Black entrepreneurship, founding the National Negro Business League in 1900 to foster commercial development. His autobiography, Up from Slavery, published in 1901, solidified his influence, leading to an unprecedented invitation to dine with President Theodore Roosevelt.
Dubbed the "Age of Booker T. Washington," his leadership spanned from the 1880s until his death in 1915, when over 8,000 mourners attended his funeral at Tuskegee Institute, honoring his legacy in the fight for Black education and economic empowerment.
This unlikely but inseparable duo shared a single goal: conquering the vast and unforgiving Arctic. Born a decade apart, Peary, a white Navy man from Pennsylvania, and Henson, a Black sharecropper’s son from Maryland, met by chance in 1887. Henson became Peary’s “first man” on Arctic expeditions, mastering Inuit survival techniques that were vital for their success.
Their most famous expedition began in 1908, as they set out to reach the North Pole. While Peary commanded the journey, it was Henson who scouted ahead, using the skills he had perfected over the years. In 1909, Henson became the first to stand at—or near—the Pole, though Peary received most of the credit.
Despite their achievement, recognition came slowly for Henson. While Peary was celebrated by Congress and promoted, Henson's contributions were largely overlooked until much later. The paths they forged together serve as a testament to their endurance, though history only belatedly acknowledged the full partnership behind the legendary feat. Both men now rest in Arlington National Cemetery, side by side in recognition of their shared journey.
Archduke Franz Ferdinand, heir to the Austro-Hungarian throne, was assassinated in Sarajevo in 1914, triggering the outbreak of World War I. His death ignited a chain reaction of alliances and hostilities, fundamentally reshaping Europe's geopolitical landscape.
Emiliano Zapata was a key figure in the Mexican Revolution, beginning in 1910, renowned for advocating agrarian reform and peasant rights. His rallying cry, "Tierra y Libertad" (Land and Liberty), became a powerful symbol of the struggle for social justice in Mexico.
Interested in Learning More?
Books
- Ragtime by E. L. Doctorow Immerse yourself in story that inspired the musical.
- The Age of Reform by Richard Hofstadter This definitive historical look at the era won the 1955 Pulitzer Prize.
Movie
- Ragtime - The 1981 movie
Ragtime characters can also be found in:
- Emma Goldman in Reds.
- Booker T. Washington in The Gilded Age.
- Harry Houdini played by Adrien Brody in Houdini.
- J.P. Morgan in The Alienist.
- Henry Ford in Ford: The Man & the Machine.
Meet the Cast

Yahosh Bonner

Kiirt Banks

Amy Shreeve Keeler

Brittany Sanders

Taylor Morris

Dustin Bolt

Brittany Andam

Aria Love Jackson

Christopher Higbee
David Morley-Walker

Isaac Moss

Kelton Davis

Marcie Jacobsen

Dianna Graham
Morgan Fenner

Amanda Baugh

Clayton Barney

Blake Barlow

Chad Brown

Krispin Banks Sr.

Jeff Thompson

Michael Smith

Porter Sparks McCormick

Aaron Salazar

Hailey Burnham

Tessa Jensen

Trevor B. Dean

Scott Rollins

Bradley Moss

Doug Irey

Jenny Rock

Sibley Snowden

Carson Davies

Patrick Kintz

Brandalee Bluth Streeter

Bronwyn Andreoli

Shawnda Moss
Mary Jane Smith

Laurel Asay Lowe

Tatem Trotter

Brooke Holladay

Amelia Rose Moore
Ileah Washington

Blythe Snowden

Melanie Fernelius

Josephine Bailey

Rosemay Jolicoeur-Webster

Mak Milord

Andrew Reeser

Keith Goodrich

Zack Elzey

Josh Valdez

Adam Girum Frasier

Oba Bonner

Nate Brogan

Collin Larsen
Noah Burket

Nicholas Warren

Philip Childs

Asher Head

Tremaine Lomax

Kile Allen

Alexander Andam

Iris Fernelius

Adanna Ugoh
Meet the Production Team

Jennifer Hill Barlow

Anne Puzey

Joshua Whitehead

Jordan Liau

Jo Winiarski

Dennis Wright

Bekah Wilbur

Ryan Fallis

Dan Morgan

Cole McClure

Megan Heaps
Conlon Bonner

Dianna Graham

Ben Henderson
Theater Staff
Leadership
Founders
Cody & Linda Hale
Cody & Anne Swenson
Education
Managing Director of Education
Linda Hale
Director of The Ruth Academy
Jon Liddiard
Youth Artistic Director
Amelia Rose Moore
Acting Instructors
Kelly Coombs, Morgan Gunter, Jon Liddiard, and Clara Wright
Vocal Instructors
Amanda Baugh, Amanda Crabb, Marcie Jacobsen, Rex Kocherhans, Chelsea Lindsay, Amelia Rose Moore, Rachel Ryan Nicholes, Ted Reedy, Brandalee Bluth Streeter, and Marcie Yacktman
Group Class Instructors
Amanda Baugh, Rachel Carter, DeLayne Dayton, Ben Henderson, Collin Larsen, Jon Liddiard, Amelia Rose Moore, Kolton Nielsen, Hailey Bennett Sundwall, Emma Wadsworth, and Dylan Wright
Administrative
Executive Director
Cody Swenson
Senior Vice President
Bill Woahn
Director of Development
Jeff Fisher
Director of Operations
Troy Anderson
Director of Finance
Mark Ostler
Director of Human Resources
Camie Shepherd
Director of Public Relations & Strategic Partnerships
Sydney Dameron
Senior Manager of Corporate Partnerships
Sean Firmage
VP of Advancement
Jeremiah Christenot
Director of Marketing
Brighton Sloan
Creative Marketing Director
Curt R. Jensen
Video Content Creators
Josh Beck and Chad Goldsberry
Patron Services
Box Office Manager
Brooke Wilkins
Assistant Box Office Manager
Risa Bean
Box Office Staff
Gwen Carlson, Emily Ellis, Eli Estrada, Logan Kneeland, Katlin LeBeau,
Chloe Loveridge, Laurel Lowe, Emma Macfarlane, Lori McClure, Melanie Muranaka, Elizabeth Rotz, Erin Smith, Opal Tolman, and Tia Trimble
Front of House Manager
Fiona Hartvigsen
Assitant House Managers
Kevin Bigler, Gwen Carlson,Brielle Giles, Logan Kneeland, Abigail Munoz, Opal Tolman, and Tia Trimble
Ushers
Alice Byrom, Chloe Barrus, Alli Cloward, Parker Eggleston, Zoe Fawcett, Abby Henry,
Braden Johnston, Katrina Jorgensen, Addysn Kidd, Miley Ledyard, Kelsey McClain, Anna Sanford, Liberty Sondrop, Annabelle Wagner, Danielle West, Lilly Wright, and Makelle Young
Hale Center Foundation for the Arts & Education
Board Chair
Jeff Wilks
Board of Trustees
Anne Brown, David Doxey, Linda Hale, Carl Hernandez, Derrin Hill, William Jeffs, Karen McCandless, Jani Radebaugh, Cody Swenson, and Lincoln Westcott
Advocacy Council
Heidi & Bill Woahn (Volunteer Chairs)
Advisory Council
Craig Simons, Ella Simons, Jerry Simons, Adele Swenson, Maren Mouritsen, Robert Lee Swenson, and Melany Wilkins
Donors
Thank You!
We appreciate all those who have contributed to the Hale Center Foundation for the Arts & Education (The Ruth and Nathan Hale Theater | The Ruth Academy). If your name has been misspelled or inadvertently omitted, please contact Jeff Fisher at 435.668.3861.
Lifetime Benefactors
Cumulative contributions over $100,000
- Ruth & Nathan Hale
- Cody & Linda Hale
- Cody & Anne Swenson
- Alan & Karen Ashton
- Gregory & Julie Cook
- dōTERRA
- Mayor Guy & Paul Fugal
- Dr. David & Chrissi Hill Family
- Barbara Barrington Jones
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- Dean & Joan Lindsay
- Martha Ann & Walter J. Lindsay
- Larry H. & Gail Miller Family Foundation
- National Endowment for the Arts (NEA)
- John Pestana Family
- Pleasant Grove City
- Scott & Karen Smith
- Utah Arts & Museums
- Utah County
- WCF Insurance
- David & Rachel Weidman
- Mark & Carol Wolfert Family
- Rob & Debbie Young Family
Major Gifts
Donations from January 1, 2023 - December 18, 2024
Prince & Princess over $10,000
- Peter & Susan Bagwell
- Child Family Foundation
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- Kendall Hulet & Carolina Nunez
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Count & Countess $2,500 to $4,999
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Duke & Duchess $1,000 to $2,499
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Our History
The Ruth and Nathan Hale Theater
From Orem to Pleasant Grove: A New Act Begins

Married in 1933, the Hales worked in perfect harmony, blending Ruth’s creative brilliance with Nathan’s practical support to bring theatrical magic to life.
In 1934, they were asked by their church leader to put on a play. They found one that had a $25 royalty, but $25 was more money than was in the church activity budget for an entire year. “Write one,” they were told. They did just that and launched a lifetime of entertaining millions and a legacy that lives on.
In 1947, Ruth and Nathan debuted their first act: the Glendale Centre Theatre in California. Known for its welcoming atmosphere and wholesome entertainment, the Glendale venue became a hit with audiences. Over time, their family joined them onstage and behind the scenes, making the Hales’ work a true family production.
After decades of success in California, the Hales found themselves drawn to Utah, ready to set the stage for their next adventure: Retirement. It wasn’t long before their retirement turned into an intermission, and they were ready to begin their second act.
In 1985, they established the Hale Centre Theatre in South Salt Lake. Their hallmark theater-in-the-round design created an immersive experience, bringing every member of the audience closer to the action.
In 1990, Ruth decided it was time to step into the spotlight again, founding Hale Center Theater Orem. With Nathan by her side, she enlisted the help of their youngest son, Cody, and his wife, Linda; their grandson, Cody Swenson, and his soon-to-be wife, Anne, to transform a former wedding reception center in Orem into a vibrant cultural hub. For 35 years, this tiny 300-seat theater welcomed 100,000 guests annually, enchanting audiences with its intimate stage and heartfelt storytelling.

Hale Center Theater Orem's first production:
Burr Under My Saddle written by Ruth Hale
Starring Ruth and Nathan Hale
Today, we celebrate their encore and honor their legacy with the opening of The Ruth and Nathan Hale Theater, aptly called “The Ruth.” This state-of-the-art venue on the dōTERRA campus in Pleasant Grove, will provide expanded opportunities for performances, larger audiences, and theatre education through The Ruth Academy. It will ensure that Ruth and Nathan Hale’s dream of bringing joy, inspiration, and connection through theater will continue to thrive for generations to come.
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