The Actors Behind Broadside

Some theatre partnerships just click. Director Kelly McAllister returns for his fourth Edinburgh Fringe, while Olivia Kisicki embarks on her second. Together, they bring curiosity, creativity, and the kind of teamwork that makes new musicals come alive.

Behind every production is a leadership team that helps turn ideas on the page into a living, breathing performance. Choreographer Heather Westenskow and Stage Manager Jacob Frye are at the heart of that process, guiding rehearsals, shaping performances, and keeping the countless moving pieces of Broadside on course.

 

One of the greatest joys of creating a new musical is collaborating with actors. They take words and music on a page and transform them into living characters, bringing fresh ideas, insight, and heart to every rehearsal. Broadside has become a stronger show because of them.

We're thrilled to welcome Adam Johnson and Madge Guerra to the cast of Broadside! From day one, they've jumped in with enthusiasm, embraced the history, the music, and the challenge of creating a brand-new musical.

Sonsharae studied theatre at Queen Mary University of London, B.A; Metro State University. She sends love to her Mom, Dad, Genetra, and Allenette.

Cooper holds a Bachelors from Berklee College Of Music in Boston, MA. Outside of theatre, Cooper is a professional tarot reader, songwriter, and educator.

Originally from Long Beach, California, Libby moved to Colorado to attend the University of Colorado Boulder, where she earned a BFA in Musical Theatre, BA in History, and Minor in Dance.

Building a Musical, One Rehearsal at a Time

One of the joys of creating a new musical is watching a group of people come together around a shared story. Every rehearsal of Broadside brings new discoveries, whether it's finding a better moment in a scene, uncovering a character choice, or hearing a song come alive in a new way. As the show takes shape, so does the company behind it.

A few Broadside cast members at Charlie Brown's

After rehearsal this week, part of the cast gathered at Charlie Brown's to unwind over some food and drinks. Away from scripts and scores, there was plenty of laughter, storytelling, and conversation, a reminder that the friendships formed during a production are often just as memorable as the performances themselves. With opening night now just weeks away, it's exciting to see both the show and the community around it growing stronger together.

The Broadside Behind the Broadside

The thing I love most about this broadside is that while it looks like something pulled from a Boston print shop in 1770, part of the process is unmistakably modern. Back then, an engraver would etch an illustration directly into copper or wood by hand. For our poster, we created a digital drawing of an 18th century common press, then used a modern 3D printing process to create the image plate itself. Different century, same idea: carve an image into relief so it can be inked and pressed into paper.

3d printed plate and test print

The actual printing process, though, is still wonderfully old-fashioned. First we lock up and print the type, just as printers would have done with a colonial broadside. Then the form comes apart, the image plate is mounted separately, inked in a contrasting color, and the sheet runs through the press a second time. That second pass is what gives the press illustration its own texture and presence on the page. You can even see little imperfections and pressure variations from the press itself, which is exactly the charm of letterpress printing.

Finished Letterpress Broadside

So in a strange way, this poster became a collaboration between centuries. A digital illustration turned into a physical relief plate, hand inked and pressed using techniques that would have been instantly familiar to printers in Revolutionary Boston. Same process. Same smell of ink. Just with a 3D printer standing in for the engraver’s burin.

Smells Like Ink and Rebellion

There’s a moment in letterpress printing when the machine goes quiet and you lift the sheet to see whether the ink, pressure, and paper all agreed with one another. For Broadside, we recently spent the afternoon hand-printing posters on a Vandercook proof press surrounded by trays of type, ink rollers, and decades of printing history. While the Vandercook is a 20th-century machine rather than an 18th-century common press, it still shares some of the qualities that made colonial broadsides feel alive: the slight bite of the type into paper, the unevenness of ink, and the sense that every sheet carries the mark of the human being who pulled it.

Broadside is a musical about words becoming action, long before social media existed.

That physicality matters to us. Broadside is a musical about words becoming action, about pamphlets, songs, satire, and printed pages shaping public opinion long before social media existed. Standing in a working print shop, watching fresh ink roll across metal type, it suddenly becomes very easy to understand how a single broadside could stir up an entire city. You can fake the look of an old broadside on a computer screen. But there’s something different about hearing the rollers turn, smelling the ink, and holding the paper in your hands.

Building the Common Press for Broadside

One of the most exciting parts of developing Broadside the Musical has been designing and building the common press that anchors the show visually and thematically. In Revolutionary Boston, the printing press was more than a machine, it was a weapon of ideas. For the stage, though, it also has to survive rehearsals, scene shifts, lighting cues, actor movement, and the occasional last-minute adjustment. Building something that looks period-accurate while remaining practical for live theatre becomes its own kind of balancing act.

Colonial press structure for music theatre show

There are a lot of steps in the process, and honestly, some of it comes down to throwing a few ideas against the wall just to better understand what works. Early prototypes are rarely elegant, but they help reveal the safest and simplest path toward something functional and easy to implement. In technical theatre, every extra hinge, hidden wheel, or moving part becomes another possible point of failure, especially under performance conditions. I’ve learned it’s better to discover those weaknesses early in the shop than during a scene change in front of an audience.

Common press mechanism for the musical "Broadside"

One interesting discovery during the build was realizing the common press might be able to double as a witness stand within the staging. Once that idea appeared, it started influencing the overall design language of the piece. Instead of building two separate scenic elements, the challenge became creating one structure capable of serving multiple storytelling purposes without feeling forced. That’s often where technical theatre becomes most creative: not simply constructing scenery, but designing objects that actively participate in the storytelling.

What I love about this stage of development is how collaborative and experimental it feels. A common press in a museum can simply exist as a historical object, but a common press in theatre has to live, move, transform, and support performers safely night after night. Every rehearsal teaches something new about weight, sightlines, actor traffic, or audience perception. Little by little, the rough sketches turn into something real, and somewhere in the sawdust and problem-solving, the world of Broadside starts coming to life.

Before the curtain falls… a spark. 💥

Broadside the Musical doesn’t end with a polite bow, it ends with the shot heard ’round the world. On this date, 251 years ago, Dr. Joseph Warren quietly set history in motion. A physician by trade, but a revolutionary at heart, he had intelligence that British troops were marching to seize colonial supplies and arrest Samuel Adams and John Hancock.

Minute Man Park Overview

So he turned to a silversmith. Paul Revere didn’t just “ride at midnight”, he first had to slip out of Boston by rowboat, quietly crossing the Charles River past a British warship. Once ashore, he borrowed a horse and began the ride most of us only half remember. (And here’s the twist: he wasn’t alone, other riders like William Dawes and Samuel Prescott carried the alarm too.) Behind him, in the North End, lanterns were raised in the tower of Old North Church, one if by land, two if by sea, a signal system as fast and urgent as any 18th-century “notification feed.”

The Midnight Riders

Ink had done its work. The broadsides had stirred the people. Now… the message was moving and gaining momentum. By the next morning, April 19, 1775, on the green at Lexington, about 70 militia stood facing hundreds of British regulars. No orders clearly given. No plan to begin a war. And the, a shot rang out. No one knows who fired it. A British officer later called it “a random shot.” Ralph Waldo Emerson would later immortalize it as “the shot heard ’round the world.” Eight colonists lay dead. The war had begun.

Witness on the Battle Road

That’s where we leave you:

Right at the moment when words give way to history, when broadsides become bullets, and a story becomes a revolution.

Not Quite Broadway, But We’ve Got Barrels

Most years, we don’t really build a set. We get the cast in front of an audience, tell the story, sing the songs, and trust that a little imagination will do the rest. A table, a chair, maybe a suggestion of time and place and off we go. It’s scrappy, it’s fast, and honestly, it’s kind of our thing. We put it in front of an audience early, so the actors can feel where the laughs land, where the room leans in, and where the story still needs to breathe. But somewhere along the way this year, it started to feel like maybe the world of the show wanted a little more to stand on.

Broadside staging for Vintage Theatre in Denver

Part of that shift came from having a longer run at Vintage Theatre, which gave us the rare gift of time to actually settle into the space. And part of it came from the moment we’re in the 250th birthday of the United States creeping closer, and a story about ink, ideas, and argument suddenly feeling very present again. It didn’t feel like a year to just suggest the world. It felt like a year to build it; carefully, simply, and with a bit of purpose behind every piece.

Typical common press for 1770

Now, before anyone imagines chandeliers flying in from the rafters, let’s be clear, we’re still working without a massive budget for costumes or scenery. What we do have is a plan. The set comes together in three parts: stage left, the print shop, Edes & Gill with a wooden replica of a common press (yes, the devil’s tail is there), a work table, and a flat layered with broadsides that look like they’ve been mid-argument since 1770. Center stage, a single building that does a little of everything, a government space that, with a shift in light, becomes the Green Dragon Tavern. And stage right, Griffin’s Wharf: a small dock, three sturdy barrels (the stars of the show, really), and a thick tug rope, just enough to suggest the harbor without committing to the Atlantic.

Broadside staging for Vintage Theatre in Denver

At the center of it all sits a long table with a few stools, which might be the most important piece we’ve got. Because no matter how big the ideas get, they tend to start the same way: with people sitting down, talking things through, and deciding what happens next. That’s what this set is here to do. Not overwhelm, not distract, just hold the story. Give it shape. Give it somewhere to live. And for us, it feels like a small but meaningful step forward, same spirit as always, just with a little more wood, a few more nails… and yes, a few very important barrels.

Meet the cast of Broadside the Musical

Meet the cast of Broadside the Musical

Playing at Vintage Theatre

July 3,4,5,17,18,19, TBD
Tickets at VintageTheatre.org
Box Office (303) 856-7830

ADAM JOHNSON - Joseph Warren
ANTIGONE BIDDLE - Mercy Otis Warren
COOPER KAMINSKY - General Thomas Gage
GUNNAR BETTIS - Paul Revere
HEATHER WESTENSKOW - Abigail Adams
JACOB FRYE - Robert Paine
KELLY MCALLISTER - John Adams
LIBBY SHULL - Sarah Revere
MADELYNN GUERRA - Sarah Bradlee Fulton
OLIVIA KISICKI - Margaret Gage
PATRICK BROWNSON - Governor Thomas Hutchinson
SONSHARAE TULL - Philiss Wheatley
TANNER KELLY - Sam Adams

Broadside poster meets Colorado sunset at Vintage Theatre

Margaret Gage Pulls the Devil’s Tail

Margaret Gage doesn’t exactly belong in the Edes & Gill print shop, which is precisely why her arrival is so delicious. In this scene from Broadside, the wife of General Thomas Gage steps unexpectedly into Boston’s most ink-stained corner, where Paul Revere and the printers are busy shaping the arguments of a restless city. She’s polished, thoughtful, and dressed with unmistakable taste; he’s practical, outspoken, and covered in the honest grime of the trade. Put them in one room with a printing press between them, and suddenly politics gets very personal.

Margaret Gage visits Edes & Gill

What makes the moment so fun is that Margaret isn’t there to scold, threaten, or spy. She comes with an idea. She wants to know whether words, images, and a well-placed broadside might help calm a city that seems determined to split itself in two. For Margaret, this scene deepens her arc in a meaningful way: she is trying, sincerely, to support her husband’s success in Boston, not through force, but through influence, tact, and persuasion. She still believes there may be a way to shape public feeling before anger hardens into something irreversible.

Margaret Gage makes a proposition

Of course, this is Edes & Gill, so nothing stays polite for long. The press itself becomes part of the flirtation and the fun, especially when Margaret launches into a lively number built around printing language, persuasion, and the famous “Devil’s Tail,” the long bar that brings the press together. It’s witty, rhythmic, and a little dangerous; in other words, exactly the kind of theatrical trouble we like. Margaret tries to sell the power of messaging; Paul, naturally, pushes back with the steady conviction of a man who prints what he believes. Ink flies, sparks fly, and nobody in the shop is looking away.

Margaret Gage pulls the Devil's Tale

And then, just when the tension has tightened to the breaking point, the scene swerves into charm. Paul reaches for a mandolin, Margaret’s carefully ordered composure starts to soften, and what began as a political visit turns into something warmer, stranger, and much harder to define. That’s the pleasure of this sequence: it isn’t just about broadsides, slogans, or sides being chosen. It’s about attraction, ideology, performance, and the thrilling possibility that sometimes the most dangerous thing in a revolution is not a musket or a mob, but a well-timed song in a room full of ink.

Building a Broadside Costume, One Detail at a Time

There are few things I love more than tumbling headfirst into a costume project, and this one started about four months ago when I began working with the wonderful Kathy Page. I had found the pattern on eBay, a Butterick historical costume pattern from their “Making History” line and I was immediately obsessed. It wasn’t just vaguely colonial-ish. It was the full fantasy: coat, vest, shirt, breeches, hat. The kind of pattern that says, with complete confidence, “Yes, we are doing this properly,” which is exactly my kind of drama.

Butterick Pattern 3072

Once Kathy and I got started, the real fun began. She pulled together fabric swatches, and we spent time choosing materials and colors that felt right for the period but also theatrical in the best possible way. That part always feels a bit magical to me, when a flat pattern starts becoming an actual person. We thought about texture, weight, and how the colors would play together, building the look piece by piece until it started to feel less like sewing and more like time travel with opinions.

Fugawee Pewter Buttons

And then came the buttons, which of course deserve their own paragraph because buttons like these are not merely functional, they are a commitment. I ordered them from Fugawee, and they are glorious pewter buttons in multiple sizes, dozens of them, each one with that wonderfully weighty little historical presence. The smooth domed front, the loop shank on the back, the slightly imperfect hand-cast character — honestly, they are tiny metal divas. Once those arrived, the whole project suddenly felt deliciously real. Nothing says “I take costuming far too seriously” quite like gleefully sorting pewter buttons by size.

Colonial American fifer costume reproduction

What I love most about costuming is how it turns research into something tactile and joyful. You’re not just imagining a character or a time period; you’re choosing the fabric, fussing over trims, admiring the buttons, and watching the whole thing come alive detail by detail. Working with Kathy has been such a treat because she understands that the magic lives in those choices. And when it all starts coming together, it doesn’t just look historical, it feels like you’re getting dressed in 1770 in the Colonies, one glorious layer at a time.