Digital Program
ANGELS IN AMERICA
Part 1: Millennium Approaches
WRITTEN
by Tony Kushner
In the heart of chaos, love finds its voice.
PRESENTED by
Cara Seguin, Realtor
TEAM
co-Director
gabriel garcia
co-Director
hunter rogers
stage manager
bryan jager
ASSISTANT STAGE MANAGER
SYDNEY MORTON
INTIMACY COORDINATOR
AYÖFÉMI demps
COSTUME DESIGN
MARIA TEW
FIGHT COORDINATOR
BILL WARRINER
SOUND design
gabriel garcia, bryan jager
LIGHTING DESIGN
DEREK CRITZER
projection design
bryan jager
scenic design
derek critzer, gabriel garcia
wig design/wardrobe assist
natalie rodriguez
PRIOR WIG DESIGN
Ryan Moore
backstage assist
GREG MORTON
executive director
quinn roberts
artistic director
derek critzer
marketing associate
leigh green
meet the cast
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Ben Gaetanos
PRIOR WALTER
Ben is an actor and director based in Orlando. He received his B.A in Theatre Arts from Loyola Marymount University in Los Angeles. He is grateful for the opportunities he has had with Disney International, Disney Cruise Line, Theater West End, Osceola Arts, Theatre South Playhouse, The Ensemble Company, The Garden Theater, and The Colloquial Theater. "Thank you to my incredible husband, Steve."
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Jeffrey Correia*
LOUIS IRONSON
Jeffrey is honored to be part of this production of his favorite American play. Select credits include Buyer and Cellar (Alex) at Theatre Aspen, The Glass Menagerie (Tom) at The Mountain Playhouse, and …Charlie Brown (Snoopy) at The Winter Park Playhouse (Best Featured Actor nomination-Matt Palm/Orlando Sentinel). He originated the role of Lumiere in the multi-award-winning DCL production of Beauty and the Beast, directed by Connor Gallagher, and has worked with The Walt Disney Company for well over a decade across multiple shows and productions in Orlando and abroad. He currently plays Marlin in Finding Nemo The Musical…a job his two year old daughter thinks is the COOLEST. Jeffrey dedicates this performance to Reed, Wayne, David, and all the other brave gay men lost far too soon—floating upward, limbs akimbo. Proud Union member. VOTE! www.jeffreycorreia.com IG: @notsandyduncan
* Denotes member of AEA
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Lauren Elizabeth Reed
HARPER PITT
Lauren Elizabeth Reed is eternally grateful to be making her Theater West End debut, especially as Harper Pitt, a role she is honored to be playing. Recent credits include Lady Macbeth in Macbeth (Orlando Shakes), Dr.Carey/Dog in Stuart Little (Orlando Shakes), Charlotta in The Cherry Orchard (UCF), and Detective O'Dell in The Interference (UCF), which earned her a Best Featured Actor nomination from the Orlando Sentinel. She holds a BFA from the University of Minnesota Duluth, an MFA from the University of Central Florida, and recently trained as member of the Guthrie Theater’s Actors Lab in Minneapolis. She thanks her husband for his constant encouragement, her dogs for their unwavering companionship, and her ever Supportive Parents | www.laurenelizabethreed.com
Minneapolis is her second home. If you are able, please visit this link to view a list of resources and consider donating. F*ck ICE. Activism is not Terrorism.
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Celestino De Cicco
JOE PITT
Celestino is thrilled to be joining the cast of Angels in America at Theater West End! As an actor who has been performing professionally in the Central Florida for the past 4 years his favorite recent performance credits includes Capone’s Dinner Theater, Grinchmas at Universal Studios and Peter the Starcatcher at Osceola Arts. He also want to thanks his family for also believing in him.
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Zoa Starlight Glows
BELIZE
Zoa Starlight Glows is a powerful force of a performer. She's made waves online being vulnerable about her experience as a black neurodivergent trans woman. She graduated from UCF with a BFA in musical theatre and a minor in dance. You can often catch Zoa performing at The Renaissance Theater Company. She's performed as a lead international cruise ship singer, at local theme parks and regional theatres. Zoa creates uplifting trans videos on social media and hopes to inspire people believe in themselves. She is very vocal about mental health and care through community support. Finding work as a trans person is a struggle. During the day Zoa gives care and support to others trans and nonbinary people going through hard times. You can Support Zoa here: Venmo & PayPal @zoaglows Cashapp $zoaglows
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Janine Papin
HANNAH PITT
Janine Papin works at Trinity Preparatory School as the theater teacher and Thespian sponsor for both a middle school and high school troupe. Her life's passion is split between performing on the stage and mentoring young talent. She has been honored to be listed in Orlando Sentinel’s “Best of Orlando Theater” for the past four years for her acting. She is thrilled to be back on the Theater West End stage. She is a founding member of GOPAR, Greater Orlando Performing Arts Relief.
mainstage
PART TWO: PERESTROIKA
FEBRUARY 20 - MARCH 8
Revelation and reckoning collide as Angels in America, Part Two: Perestroika brings the raw urgency of the 1980s AIDS crisis to life with unforgettable characters and soaring theatrical vision. Tony Kushner’s Pulitzer Prize-winning masterpiece returns in a bold, breathtaking production that explores love, identity, and hope at the edge of despair. TICKETS START AT $28
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Thomas Muniz
ROY COHN
Thomas Muniz is so grateful to be welcomed to the Theater West End family. He was last seen in the Ensemble Company’s The Other Place, It's Only A Play, HIR, The Inheritance, Misery, Other Desert Cities, Six Degrees of Separation, Mother of the Maid and Hysteria. With the Wildfire Players at Imagine Performing Arts Center in Oviedo, he performed in Assassins, Dali & Lorca, The Skin of Of Our Teeth, and Equus. Thomas has also appeared at the Athens Theater in Deland as Daddy Warbucks in Annie, Teddy in Arsenic and Old Lace, Fester in The Addams Family, Tito in Lend Me A Tenor, Herr Schultz in Cabaret, Col. Mustard in Clue, and Walter Hobbs in ELF. Other performances include Life Sucks and Yankee Tavern at the Daytona Playhouse, and Hedda Gabler, House of Blue Leaves, and Spamalot at the Limelight in Saint Augustine.
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Ame Livingston
THE ANGEL
Ame and was hired to sing for Walt Disney World and she thought, “Maybe I’ll stay a year”. Fast forward 27 years, many a commercial, industrial, film, TV production, and 20+ theme park shows have filled her creative spirit to a brim. Yet, Ame’s true love, is her time in the theatre….and golden retrievers (she has 4, yes 4). A sampling of favorite local credits include Margery in Hand to God (Mad Cow Theatre), Blanche Dubois in Streetcar Named Desire (Orlando Shakes), M’Lynn in Steal Magnolia’s (St. Luke’s), Alison Bechdel in Fun Home (Titusville Playhouse) and Regina in Little Foxes (Mad Cow Theatre). Ame was the female lead, Lynn Patton, collaborated on the script development, and Directed the military play: Last Out: Elegy of a Green Beret. She toured the United States with the show for two years, and is featured in their TedX talk (2019) “The Generosity of Scars”. Ame is a certified Empathy and Emotional Intelligence coach (United States Air Force), is a Certified Mindful Breath Coach, and was an Opening Team Member for Epic Universe. Many thanks to her small circle of awesome humans, with a special shout out to Sprout.
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Brenna Arden
DIVINE TRINITY (U/S ANGEL)
Brenna Arden is ecstatic for her debut with Theater West End. Recent credits include Laura in "Meteor Shower" , Mrs. Daldry in "In the Next Room", Catherine Holly in "Suddenly Last Summer", First Witch in "Macbeth", The Bastard in "King John", and Baby Doll in "Tiger Tail." She trained at the Royal Academy of Dramatic Arts in London, and received a Bachelor of Arts in Theatre from UCF. She would like to thank her friends and family for supporting her crazy life of theatre educator by day, and performer by night. The great work begins!
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Ayanna Lúa Rodríguez Santiago
DIVINE TRINITY
Ayanna is delighted to be making her debut with Theater West End. Ayanna is a Dr. Phillips High School Theatre Magnet Program 2023 graduate, and is currently working as a hairstylist. Performance credits include Ariel in Footloose, Sherrie in Rock of Ages, Mimi in Rent, Gabriella in Boeing Boeing, Mrs. Higgins in My Fair Lady, and Mother Courage in Mother Courage and her Children. She wants to thank her friends and family for their love and support. Also, she would like to thank the cast and crew of Angels in America for making this a truly rewarding experience for her.
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Director’s Note
Angels in America is a massive undertaking, but it is also a necessary one. This play is not merely a history lesson, a political argument, or a moral debate. It is an epic story, and stories, not facts alone, are what change people. A good story can move hearts before it hopefully convinces minds. They unsettle, awaken, and demand empathy. That is the work we are committing to together.
Our production embraces storytelling as a revolutionary force. One that disrupts comfort, challenges certainty, and invites transformation without instruction.
Angels in America exists at the intersection of the deeply personal and the fiercely political. The AIDS crisis, the Reagan era, and America’s spiritual reckoning are not presented as distant events, but as lived experiences unfolding in real time. Every character, regardless of ideology, virtue, or failure is telling themselves a story in order to survive. Some of these stories protect. Some imprison. Some must be broken open, violently and painfully, for progress to occur. Our responsibility is to tell these stories honestly, without judgment, so that the audience might recognize themselves inside them.
Theatrically, this production leans fully into the boldness of Kushner’s form. The epic and the intimate can and do coexist. Supernatural forces interrupt the mundane. Magic lives in everyday interactions. Scene changes, doubling, and visible theatrical mechanics remind us that this is a constructed world, because America itself is a constructed story, constantly rewritten. Nothing in this production is meant to feel safe, sealed off, or complete. The style is one of a deconstructed dollhouse: exposed, fragile, and alive. The audience is invited into a shared act of witnessing, where laughter, discomfort, grief, and hope exist simultaneously.
Rather than offering answers, Angels in America asks radical questions, about responsibility, community, faith, love, progress, and what we owe one another in moments of crisis.
The Great Work, as the play reminds us, is not finished. It may never be. But it continues through acts of empathy, through bearing witness, and through art that dares to reflect the struggles of marginalized communities and the unfinished promise of justice. Thank you for joining us in this moment, for leaning into the storytelling, and for taking part in this ritual of remembrance, reckoning, and hope.
Welcome to Angels in America Part 1: Millennium Approaches
Gabriel Garcia & Hunter Rogers
CO- DIRECTORS
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