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at the Catholic Diocese of Shreveport's Catholic Center Auditorium

CREATIVE TEAM

Libretto by Bertolt Brecht
Music by Kurt Weill
Directed by Alan E. Hicks
Music Direction by Robert Cruz
Scenic, Projections, and Concept by Alan E. Hicks
Scenic Construction and Technical Direction by Josh Talley

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CAST

(in order of appearance)
Jeremy Do*
César Augusto Vélez Gámez ∅
Steve Valenzuela
Justin Ramm-Damron*
Gwenyth Sell*
Cambria Metzinger*

* current SOX artist
∅ Shreveport Opera debut

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SYNOPSES

Mahagonny Songspiel

Set in the fictional city of Mahagonny, Alabama, a place devoted entirely to pleasure, excess, and the pursuit of money, visitors and townspeople alike indulge in drinking, gambling, and fleeting relationships. As the money runs out and the whiskey runs dry, what is left is the emptiness and moral decay of a society driven by profit and instant gratification. Despite the despair, when God tells them they must all go to Hell, the people of Mahagonny reject his command saying, “Can’t you tell we are in Hell already?”

The Seven Deadly Sins

When Anna I and her “sister” Anna II (truly, another side of Anna) set out from their home in Louisiana in search of fame and fortune, they encounter each of the seven deadly sins: sloth, pride, anger, gluttony, lust, greed, and envy. As the journey progresses, the work exposes the hypocrisy of a society where traditional sins are redefined—kindness, self-respect, and emotional honesty become liabilities if they interfere with profit. By the end, the Annas achieve their goal, but at the cost of suppressing individuality and humanity.

SONG TEXTS

MAHAGONNY SONGSPIEL

I. Mahagonny-Song
Off to Mahagonny,
the air is clean and fresh,
they've booze and poker tables there
good whores and good horse flesh.

Green and glowing moon of Alabama, 
light the way!
Tucked into our shirts today 
we've the dollar bills to pay
for a great big grin upon your big and stupid mouth.

Off to Mahagonny,
the wind is blowing free,
fresh meat for sale on every street
and no bureaucracy.

Green and glowing...

Off to Mahagonny,
the boat will sail at dawn.
Our civilization
will soon be gone.

Green and glowing...


II. Alabama Song
Oh, show us the way to the next whisky-bar.
Oh, don't ask why.
For we must find the next whisky-bar,
for if we don't find the next wisky-bar,
I tell you we must die!

Oh, moon of Alabama, 
we now must say goodbye.
We've lost our dear old mamma,
and must have whiskey, 
oh, you know why...

Oh, show us the way to the next pretty boy.
Oh, don't ask why.
For we must find the next pretty boy,
for if we don't find the next pretty boy,
I tell you we must die!

Oh, moon of Alabama...

Oh, show us the way to the next little dollar,
Oh, don't ask why.
For we must find the next little dollar, 
for if we don't find the next little dollar,
I tell you we must die!

III. Mahagonny-Song
If you had five bucks a day,
you could stay in Mahagonny,
but a guy who liked to play,
needed lots of extra money.

Guys would sit and look for action
in Mahagonny's bar and gambling room.
Never got them no satisfaction,
but they all felt satisfied...

On the sea and on the land...
Everybody's getting skinned in one big operation,
all the people sit around and sell their skin
because they've found that every little bit they sell
brings back some dollars compensation.

If you had five bucks a day...

People sell their skin
because their needs are so intensive.
There's a big demand for skin,
but these poor bastards never win
because they sell their hide so cheap,
and then buy shisky, that's expensive.

If you had five bucks a day...

You can see the many mills
of God are grinding slowly.
Lots of people have no pride.
To pay their way they sell their hide
because they'd rather show off their bonds
than pay cash and hide those bare bones.

If you had five bucks a day,
living in your little boxes,
if you'd rather work than play, 
then you don't need all the extras.

There are those who get their action
in God's suburban furnished living room,
and they all call it satisfaction, 
but they don't feel satisfied.

IV. Benares-Song
There is no whisky in this town.
There is no bar to sit us down.
Where is the telephone?
Is here no telephone?
Oh, Sir, God damn me: No!

Let's go to Benares
where the sun is shining, 
Johnny, let us go.

There is no money in this land.
There is no boy with whom to shake hands.
Where is the telephone?
Is here no telephone?
Oh, Sir, God damn me: No!

Let's go to Benares...

There is not much fun on this star.
There is no door that is ajar.
Where is the telephone?
Is here no telephone?
Oh, Sir, God damn me: No!

Worst of all, Benares is said
to have perished in a earthquake!
Oh, my good Benares!
Oh where shall we go?

Worst of all, Benares is said 
to have been punished by an earthquake!
Oh, my good Benares!
Oh where shall we go?

V. Mahagonny-Song
One morning when the sky was gray,
feeling our whisky,
God came to Mahagonny;
feeling our whisky,
we saw God had come to Mahagonny.

Must you drink like sponges
all my precious grain from year to year?
Did you think that I was never coming?
Are you ready now that I am here?

They thought the matter over in Mahagonny.
Yes, answered the people of Mahagonny.

One morning when the sky was gray...

Where were you on Friday evening?
I saw Mary Weeman in the lake
floating belly up like some dead codfish,
and she won't dry out, make no mistake.

They thought the matter over in Mahagonny.
Yes, answered the people of Mahagonny.

One morning when the sky was gray...

Does this gun look familiar?
Would you shoot a man who served me well?
Do I have to live with you in Heaven,
with your dirty hair and drunken smell?
They thought the matter over in Mahagonny...
One morning when the sky was gray...

You can all go to Hell now!
Grab a pack of cigarettes and go!
Down to my inferno on the double!
Soon you'll all be burning there below!
They thought the matter over in Mahagonny...

One morning when the sky is gray...
feeling our whiskey,
you come to Mahagonny, 
make trouble in Mahagonny!

Well, we won't move a muscle!
We call a strike!
If you make us leave,
you can’t send us to Hell forever.
Can't you tell we are in Hell already?
VI. Finale
People only dream of Mahagonny
because the world is so rotten.
The world is so rotten.
There is no peace in us
and no compassion,
and there is nothing
a man can depend upon.
But Mahagonny  does not exist.
For Mahagonny never occurred!
For Mahagonny is only a made up word! 

THE SEVEN DEADLY SINS

Prologue
So my sister and I left Louisiana
where the moon on the Mississippi is a shining ever 
like you always hear in the songs of Dixie.
We look forward to our homecoming
and the sooner the better. 
(And the sooner the better)

It's a month already since we started
for the great big cities where you go to make money.
In seven years our fortune will be made
and then we can go back. 
(In six would be nicer.)

Our Mom and Dad and both our brothers
wait in old Louisiana,
and we'll send them all our money as we make it.
For all the money's got to go to build a little home,
down by the Mississippi in Louisiana.
Right Anna? 
(Right Anna.)

She's the one with the looks. I'm realistic.
She's just a little mad, my head is on straight.
But we're really one divided being,
even though you see two of us.
And both of us are Anna.
Together we've but a single past, a single future,
one heart and one savings account
and we only do what suits each other best.
Right Anna? 
(Right Anna.)


I. Sloth 
Will she now? Will our Anna pull herself together?
Lazy bones are for the Devil's stockpot.
For she was always quite a one for the armchair.
Lazy bones are for the Devil's stockpot.
Unless you came and hauled her off the mattress.
Lazy bones are for the Devil's stockpot.
The lazy slut would lie abed all morning.
Lazy bones are for the Devil's stockpot.

Otherwise, Anna was, we must admit, 
a most respectful child.
Lazy bones are for the Devil's stockpot.
Did what she was told
and showed affection for her parents.
Lazy bones are for the Devil's stockpot.
This is what we told her 
when she left home.
Lazy bones are for the Devil's stockpot.
Think of us and mind you
keep your nose down to the grindstone.
Lazy bones are for the Devil's stockpot.

O Lord, look down upon our daughter.
Show her the way that leads the good to Thy reward.
In all her doings preserve her and comfort her.
Incline her heart to serve all Thy commandments.
That her works on earth may prosper. 

II. Pride
So we saved up bought ourselves an outfit,
nighties, nylons, beautiful dresses.
Soon we found a job that was going. A job as Dancer in a Cabaret.
A job in Memphis, the second big town we came to.

Oh, how hard it was for Anna.
Beautiful clothes can make a good girl particular
when the drinking tigress meets herself in the pool;
she's apt to become a menace.

She began talking about Art (of all things).
About the Art (if you please) of Cabaret.
In Memphis, the second big town we came to.

It wasn't Art that sort of people came for.
That sort of people came for something else.
And when a man has paid for his evening,
he expects a good show in return.
So if you cover up your bosom and thighs like you had a rash,
don't be surprised to see them yawning.

So I told my art loving sister Anna,
"Leave your pride to those who can well afford it.
Do what you are asked to do and not what you want,
for that isn't what is wanted." 

Oh, but I had trouble, I can tell you
with her fancy, pigheaded notions.
Many night I sat by her bedside,
holding her hand and saying this:
Think of your home in Louisiana. 

III. Anger
We're at a standstill.  
What she's been sending,
it's not any money a
man can build a house with.
She's as giddy as a cyclone.  
All the profits go for her pleasure.
And we're at a standstill,
for what she's been sending,
is not any money a  man can build a home with. 
Won't she settle down to business,
won't she ever learn to save something?
For what the featherbrain is sending
is not any kind of money
a man can build a little home with.
We're making progress.
We have come to Los Angeles.
And every door is open here to welcome extras.
We only need a bit of practice
avoiding possible faux pas,
and what can stop us going straight to the top then!
O Lord, look down upon our daughter,
show her the way that leads the good to Thy reward.
If you take offense at injustice,
Mister Big will show he's offended.
If a curse or a blow can enrage you so,
your usefulness here is ended.

Then mind what the Good Book tells us
when it says "Resist not evil!"
Unforgiving anger
is from the Devil.
It took time to teach my sister that wrath would not do
in Los Angeles, the third big town we came to,
where her open disapproval of Injustice
was so widely disapproved.

I forever told her "Practice self-control, Anna,
for you know how much it costs you if you don't!"
And she understood and answered:
(Yes, I know, Anna.) 

IV. Gluttony
We've gotten word from Philadelphia, 
Anna's doing well,
she’s making lots of money.
Her contract has been signed
to do a solo turn.
It forbids her ever eating
when or what she likes to eat.

Those are hard terms for little Anna who
has always been very greedy.
Oh, if only she does not break her contract.
There's no market for hippos in Philadelphia.
Every single day they weigh her.
Gaining half an ounce means trouble.
They have principles to stand by.
"It's a hundred and eighteen that you were signed for."

Gaining half an ounce means trouble.
More than that would mean disaster.
Half an ounce more flesh means trouble,

But our Anna is not all that stupid.
And she knows a contract is a contract.
So she'll reason: After all you still can
eat like little Anna in Louisiana.  

Crab meat , pork chops,  sweet corn, chicken, 
And those golden biscuits spread with honey.

Think of our house in Louisiana!
Look! It's growing! More and more it needs you!

Curb your craving, stop it at once.  
Gluttons will be punished.
Curb your craving, stop it at once!  
Gluttons never go to heaven.

V. Lust
Then we met a wealthy man in Boston.
And he paid her a lot because he loved her.
But I had to keep a watch on Anna
who was too loving but she loved another.
And she paid him a lot. Because she loved him.

So I said: "Cheat the man who protects you
and you've lost half your value then.
He may pay once although he suspects you.
But he won't pay time and time again.

You can have your fun with money
when you've no provider you must face.
But for girls like us, it's not funny,
if we ever even once forget our place."

"Don't try to sit between two stools," I told her.
Then I went to see her young friend
and said: "If you're kind you won't hold her,
for this love will be your sweetheart's bitter end."

"Girls can have their fun with money
when the money is their own to give.
But for girls like us it's not funny,
if we even once forget the way we live."

But alas, I then saw him quite often.
There was nothing going on (naturally).
Until Anna found out and, worse luck,
blamed the whole affair on me.

O Lord, look down upon our daughter,
show her the way that leads the good to Thy reward.
Incline her heart to observe all Thy commandments,
that her works on earth may prosper.

Now she shows off her little round white fanny,
worth twice a little Texas motel.
And for nothing the pool room can stare at Annie,
as though she'd nothing to sell.

That's why most girls don't get rich,
for they go wrong when they forget their place.
You're not free to buy what you itch for
when you've got a good provider you must face.

Who fights the good fight and all self subdues,
wins the Palm, gains the Crown.

It wasn't easy putting that in order
saying goodbye to young Fernando.
Then back to Edward to apologize.
Then the endless nights I heard my sister sobbing
bitterly and repeating:
(It's right like this, Anna, but so hard!)

VI. Covetousness
Anna, so the papers say,
is now set up in Baltimore.
Lots of folk seem to be
shooting themselves for her.

She must be near to the top,
and raking it in
to get in the news like that.
Well, so far, so good:
to be talked about helps
a young girl up the ladder.

But isn't she overdoing it?
Let her beware of overdoing it.
Some people might think she was mean.
Folk shy away from a girl who's said to be mean.

Folk give a wide berth
to those who grab all they can get.
Point unfriendly fingers at those
whose greed goes beyond all bounds.

In the measure you give,
you will surely be given.
And as you do,
so will you be done by. Fair is fair.
All must keep this law.

We sincerely hope our smart little Anna
also has common sense.
And will let them keep a shirt or two
when she lets them go for good.
Shameless hoarders earn themselves a bad name.

VII. Envy
And the last big town we came to
was San Francisco.
Life there was fine, only Anna felt so tired
and grew envious of others:

of those who pass the time at their ease and in comfort;
those too proud to be bought;
of those whose wrath is kindled by injustice;
those who act upon their impulses happily;
lovers true to their loved ones;
and those who take what they need without shame.

Whereupon I told my poor tired sister
when I saw how much she envied them:
"Sister, from birth we may write our own story
and anything we choose we are permitted to do.

But the proud and insolent
who strut in their glory,
little they guess, 
the fate they're swaggering to.

Sister be strong,
you must learn to say "No,"
to the joys of this world,
for this world is a snare.

Only the fools
in this world
will let go,
who don't care a damn,
will be made to care.

Don't let the flesh
and its longings get you.
Remember the price
that a lover must pay
and say to yourself
when temptations beset you,
what is the use,
beauty will perish
and youth pass away.

Sister, you know when
our life here is over:
Those who were good,
go to bliss unalloyed.

Those who were bad
are rejected forever,
gnashing their teeth,
in a gibbering void.

Who fights the good fight
and all self subdues,
wins the Palm,
gains the Crown.

Epilogue
Now we're coming back to you in Louisiana,
where the moon on the Mississippi is a shining ever.
Seven years we've been away in the big towns
where you go to make money;

and now our fortune's made
and now you're there,
little home in old Louisiana.

We're coming back to you,
to our little home
beside the Mississippi
in Louisiana.
Right, Anna?
(Right, Anna!)

ARTISTS' BIOS

(in alphabetical order)

Robert Cruz
Pianist & SOX Music Director

A versatile musician whose musical passions and expertise run the gamut from Gregorian chant to contemporary musical theatre, Robert Cruz currently works as a freelance musician based in Shreveport, Louisiana. Robert is the organist at the historic Noel Memorial United Methodist Church, resident pianist and chorus master for the Shreveport Opera, the artistic director of the Carrefour Collaborative Music Project, and regularly performs as keyboardist with the Texarkana Symphony Orchestra and the Shreveport Symphony Orchestra. He has also regularly served as music director for productions at Stage Center, the Emmett Hook Center, and the Shreveport Little Theatre and as an accompanist and non-credit instructor at Northwestern State University in Natchitoches, Louisiana. Originally from the flatlands of central Indiana, Robert completed his graduate studies in organ and sacred music at Indiana University with additional study in collaborative piano at Boston University. 

Jeremy Do
Charlie & Father

Jeremy Do, tenor, is excited to be joining Shreveport Opera for their 2025-2026 season as a Resident Artist. Do recently graduated with a Performer’s Diploma and Master of Music from the Indiana University Jacobs School of Music. At Jacobs he performed the roles of Peter Quint (The Turn of the Screw), Anthony (Sweeney Todd), Tybalt (Roméo et Juliette), and Peter Van Daan in the world premiere of Shulamit Ran’s Anne Frank. He was also featured as the tenor soloist in the Jacobs Oratorio Chorus and Concert Orchestra’s performance of Carl Orff’s Carmina Burana. Do has also worked as a Vocal Fellow with Spoleto Festival USA where he performed as the tenor soloist in Handel’s Dixit Dominus and in the chorus of Spoleto’s production of Vanessa.

César Augusto Vélez Gámez
Billy & Brother

Honduran tenor César Augusto Vélez Gámez is pleased to be making his Shreveport Opera debut this season. Upon completion of a Master of Music in Vocal performance at Texas Tech, Cesar relocated to Dallas-Fort Worth and is currently performing locally with organizations such as DFW Opera Underground and the Fort Worth Opera. Cesar's notable recent opera performances include the chorus in La Cenerentola, Don Ottavio in Don Giovanni, the titular role in Albert Herring, and Rinuccio in Gianni Schicchi.

Alan E. Hicks
Stage Director, Scenic & Projection Designer

Alan E. Hicks, stage director and designer, joins Shreveport Opera for the 2025-26 season as General & Artistic Director. Prior to his appointment, Alan directed productions San Diego Opera, Minnesota Opera, Palm Beach Opera, Tulsa Opera, Opera Santa Barbara, Miami Music Festival, Green Mountain Opera Festival, Saint Paul Chamber Orchestra, OpernFest Berlin, Austro-American Mozart Academy, Shenandoah Conservatory, the University of Texas at Austin, the University of Iowa, and the University of Houston. Alan has also served on the directing and production staffs of Central City Opera, Chautauqua Opera, Florida Grand Opera, Lyric Opera of Chicago, Michigan Opera Theatre, New York City Opera, Seattle Opera, and Tulsa Opera. In 2013, he was appointed Director of the Emerging Artist Program at Green Mountain Opera Festival, a position he held until the company's closing in 2015. Alan served as Resident Stage Director at San Diego Opera from 2018-2023. Alan is the 2025 receipient of the Charles Nelson Reilly Prize​​ in Stage Direction for his production of Tosca at San Diego Opera.

Cambria Metzinger
Bessie & Anna

Cambria Metzinger, mezzo-soprano, is delighted to return to Shreveport Opera for their 2025–2026 season. Last season, she performed the role of Mercedes in Carmen and will return to perform Musetta in La Bohème and Zerlina in Don Giovanni. Cambria’s other credits include performances with Opera Santa Barbara—where she was a Chrisman Studio Artist during the 2021–2022 season—and Pacific Lyric Association, where she sang the role of Prince Orlofsky (Die Fledermaus). She holds a Master of Music in Vocal Performance from the San Francisco Conservatory of Music, where she studied with Catherine Cook. While at SFCM, Cambria performed roles including Véronique (Le Docteur Miracle), Teodata (Flavio), Taller Daughter (Proving Up), Amastre (Serse), and both Le Tasse Chinoise and La Libellule (L’Enfant et les Sortilèges).

Justin Ramm-Damron
Jimmy & Mother

Justin Ramm-Damron, bass-baritone, is excited to return to Shreveport Opera for their 2025-2026 season. Last season, he performed the roles of Angelotti and Jailor in Tosca and Zuniga in Carmen. This year he is excited to reprise the roles of Colline in La Bohème and Leporello in Don Giovanni. Justin has been described as a “...poised and characterful bass-baritone...” (Opera Today) and known to give “a menacing performance” (KDHX). He has performed roles with several reputable opera companies throughout the United States, including Opera Theatre of Saint Louis, Sarasota Opera, Central City Opera, Teatro Grattacielo, Bronx Opera, Tundi Productions, Opera Magnifico, Shakespeare Opera Theatre, New Jersey Lyric Opera, and St. Petersburg Opera.

Gwenyth Sell
Jessie & Anna II (voice)

Gwenyth Sell, soprano, is thrilled to be returning to Shreveport Opera as a Resident Artist. Last season she performed the roles of Micaëla (Carmen), Dater (Speed Dating) and Shepherd Boy (Tosca). Recently, Gwenyth graduated with her Performer Diploma and Master of Music from Indiana University’s Jacobs School of Music, where she studied under the tutelage of Jane Dutton and was awarded two Performer’s Certificates. During her time at Jacobs, Gwenyth performed the roles of Arminda (La Finta Giardiniera), Nella (Gianni Schicchi), Le Prince (Cendrillon by Pauline Viardot), and Georgette (La Rondine). As a Mary Jacobs Smith Singer of the Year Competition Finalist, she was awarded the Dr. & Mrs. Bob Robinson Award. Gwenyth has also been a Young Artist at Cedar Rapids Opera, where she performed the role of the Sandman (Too Many Sopranos) and was in the chorus of Tosca.

Steve Valenzuela
Bobby & Brother

Baritone Steve Valenzuela is a dynamic and versatile performer known for his magnetic stage presence, warm vocal timbre, and compelling character work. With a passion for storytelling and a commitment to artistic authenticity, he has brought a wide range of iconic roles to life across stages throughout the United States. Recent performances include Zarzuetta in the Northern California premiere of Zorro with Opera San José (also covering the role of Octavio Rivera y Moncada), Escamillo in Carmen with Shreveport Opera, and Papageno in The Magic Flute with Winter Opera St. Louis, where critics praised his "consistently amusing" portrayal and "hearty baritone." Other notable appearances include Marcello in La Bohème with First Coast Opera and Marchese d’Obigny in La Traviata.

FROM THE GENERAL &
ARTISTIC DIRECTOR

It is my pleasure and my honor to assume the reins of General and Artistic Director at Shreveport Opera. As a Southerner (raised in Mississippi) whose career has taken me all over the world, I feel a great responsibility to maintain the rich artistic tradition that is opera in the South. Most are unaware that the first operatic performances in the United States were not in New York, Boston, or Philadelphia, but in the South (specifically, South Carolina), and it is up to us as an artistic community not just to retain that tradition but to strengthen it. The retiring Steve Aiken leaves very large shoes to fill. I am not replacing him – only following him. As there is no Steve but Steve, some of you will notice changes. Steve always maintained an open line of communication with our patrons, and I intend to do the same. Send me an email and let me know what you think. The Arts should reflect the community.

Alan E. Hicks, D.M.A.

CORPORATE SPONORS

A special thanks for the ongoing support of our Corprate Sponsors.

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PATRONS

*Gifts received between July 1, 2025 & April 29, 2026

Diamond

$20,000+

Shreveport-Bossier Opera Guild
Mike & Judy McCarthy
Mark & Paula McCrocklin

RUBY

$10,000 - $19,999

Total Wine & More
Cynthia Murray
Stephen Roberts & Mitzie Kilpatrick
*Louisiana Division of the Arts (LDOA) - Louisiana Office of Cultural Development
*Noel Foundation, Inc.
*Shreveport Regional Arts Council (SRAC)
*Willis Knighton Health System - Community Commitment Grant

Emerald

$5,000 - $9,999

Dr. Dale Bauman & Paula Leonard
Joe Illick
Mark & Shirlee Owen
Sybil T. Patten

Gold

$2,500 - $4,999

Carl Adkins
Drs. Ernest & LaWanda Blakeney
Marletta Eddy
Dr. Dayne & Kathy Hassell
Louise Jackson
Bill & Carole Lacefield
Carol Reyenga
Dr. Bob & JoAnna Robinson
*First Presbyterian Church of Shreveport - D. Thomason Fund
*Magale Foundation 

Silver

$500 - $2,499

Anonymous
The Crow Foundation
Paul & Betty G. McDonald Foundation
Sons of Italy Heritage Club
Michael & Eileen Adkins
Baker & Tookie Barr
Dr. Jack & Anita Berg
Susan Berry
Will Blanchard
Joseph Bocchini, Jr.
Darren Boruff
Lori & Mark Bradley
Barbara Brasher
William & Nancy Broyles
Hubert & Donna Burns
Eugene Bryson, Jr.
Luretta Bybee & Greer Grimsley
Nell Cahn
Jack & Mikey Carlisle
Edward Crawford, III
Roger & Becky DeKay
Chauncey Dyer
Sanders Fowler, III
Charles Gerard
Josephine Glorioso
Paul & Catherine Guidry
Dr. Kathryn Hamilton
Mark & Peggy Heacock
Calvin Head & Dr. Megan Conway
Tim Jett
Marshall & Cindy Jones
Glen & Ellen Kinsey
Thomas & Margaret McElroy
Robert & Cheryl McGowen
Dr. Scott & Vicki Mighell
George & Carolyn Mills
Margaret Oden
David & Claudia Oliver
David & Janin Pou
Rev. Rothell Price
Janie Richardson
Kirby & Lois Rowe
Mandel Selber, Jr.
Tom & Melinda Simms, III
Craig & Judy Storer
Cheryl Thompson
Robert & Kim Thompson
Ed & Carol Ytsma
Henry Walker & Laurie Lyons
William Weaver
*Community Foundation of NWLA - Edward Jacobs "Jake" Smith Fund (2025)
*Community Foundation of NWLA - Katherine S. Tyrrell Endowment Fund
*The Lori & Mark Bradley Charitable Fund
*Vanguard Charitable - The David & Claudia Oliver Donor Advised Fund 

Bronze

$1 - $499

Zadeck Family Foundation
Clay Abington
Judy Austin
Hugh & Amy Bailey
Elaine Baki
Gregory Barro
Paige Bass
Elizabeth Beck
Earleen Bergeron
Steven Bienvenu
Phillip & Sarah Boswell
Gina Browning
Becky Broyles
Diane Bryan
Josette Cassiere
Allison Cate
Michael & Suzanne Cate
David & Donna Cavanaugh
Judd & Judy Chidlow
Jann Cox
Ginger Folmer
Charlotte Gaffney
Sandra Harrold
Ted & Susan Hardtner
Betty Henderson
Simone Hennessee
Kathleen Hinton
Lisa Hunter
Oliver & Ann Jenkins
Lisa Johnson
Linda Kinnebrew
Frances Knipp
Daisy Lopez
Bonnie Martin
Manaleta March
Nancy McCarter
Dr. William McColgan
Laura McLemore
Robert & Marcia Moffatt
Carole Mullen
Thomas H. Murphy
Berte Muslow
George & Claire Nelson
The Newton Family
Ron & Jackie Nierman
Fr. Thomas Nsubuga
Mike & Jennifer Owens
Charles Pinzon
Kathleen Plante
Rev. Carl Rhoads
Doris W. Schuldt
Elle Scott
Mary Anne Selber
Linda Serio
Cathey & Steve Sholar
Jeri Perez & Delaine St. John
Susan Stafford
David & Emily Stratton
Marty & Joan Stroud
Bob & Danielle Thames
Jasper Titone
Rene Todaro
John Todd
Marion Weiss
Dr. Stephen & Ellen White
Dr. Steven & Mary Ann Whited
Lidia Wilson
Cecilia Woodley
Ron & Billie Worthen
Lea Yancey
Lara Yerger
Mike & Susan Zavalydriga 

HONORARIA & MEMORIA

*Gifts received between July 1, 2025 & April 30, 2026

In Memory of Merritt Chastain
Shreveport-Bossier Opera Guild
Jack & Mikey Carlisle
Sybil T. Patten

In Memory of Jasmine Fleming Egan
Edward Crawford, III

In Memory of Geoffrey Jenkins
Shreveport-Bossier Opera Guild

In Memory of Judith C. McColgan
The Crow Foundation

In Memory of Mrs. Lottie McGuire
Mike & Judy McCarthy

In Memory of Dr. Jerry McLarty
Kathleen Hinton
Doris W. Schuldt
Jeri Perez & Delaine St. John
Cecilia Woodley

In Memory of Sybil T. Patten
Clay Abington
Gregory Barro
Lori & Mark Bradley
Hubert & Donna Burns
Gina Browning & Joe Illick
Allison Cate
Judd & Judy Chidlow
Charlotte Gaffney
Dr. Kathryn Hamilton
Betty Henderson
Glenn & Ellen Kinsey
Mike & Judy McCarthy
Cynthia Murray
Adam Pettitt
Kirby & Lois Rowe
Mary Anne Selber
Cathey & Steve Sholar

In Memory of Jan Querbes
Jack & Mikey Carlisle
George & Claire Nelson
Sybil T. Patten
Kirby & Lois Rowe

In Memory of Bill Reyenga
Shreveport-Bossier Opera Guild

In Memory of Mary Ann Valiulis
Shreveport-Bossier Opera Guild 
Jack & Mikey Carlisle

In Memory of Judith Werner
Shreveport-Bossier Opera Guild
Paige Bass
Jack & Mikey Carlisle
Betty Henderson
Ann Jenkins
Frances Knipp
Mary Anne Selber
David & Emily Stratton
Dr. Stephen White
Lea Yancey
Lara Yerger

In Memory of Frances K. Zadeck
Zadeck Family Foundation

In Honor of Steve & Janice Aiken
Stuart “Suspenders” Holt
John Todd

In Honor of Marcia Moffatt
Ron & Billie Worthen

In Honor of Cathey Sholar
Mike & Jennifer Owens
John Todd

In Honor of Caroline Smith
Thomas H. Murphy

In Honor of the Marriage of Stephen Roberts & Mitzie Kilpatrick - February 14, 2026
Simone Hennessee
Linda Kinnebrew

In Honor of The Sons of Italy Heritage Club
Elaine Baki & Lisa Johnson

IN MEMORIAM

DR. JERRY MCLARTY

1941-2026

Shreveport Opera is deeply saddened by the passing of Dr. Jerry McLarty, a long-time chorus member and staple of the Shreveport Opera community. We send our deepest condolences to his family and friends. 

Service Info:

Click HERE for Dr. McClarty's obituary.

SYBIL T. PATTEN

1937-2026

Shreveport Opera is deeply saddened by the passing of Sybil T. Patten, an esteemed executive board member and cornerstone of our organization.  We send our deepest condolences to her family and friends. 

Service Info:

Click HERE for Mrs. Patten's obituary.

BOARD OF DIRECTORS

2025-26 OFFICERS
Marcia Moffatt, President
Mark Owen, Executive Vice President
Carol Reyenga, Secretary
Tom Simms, III, Treasurer
Elizabeth Glassell, Guild President
Sandra Harrold, Past President

2025-26 MEMBERS
Lindsey Beckham-Melancon
Mikey Carlisle
Marletta Eddy
Elizabeth Glassell
Jodie Glorioso
Alfred Lacy
Mike McCarthy
Mark McCrocklin
Mark Owen
Very Rev. Msgr. Rothell Price
Toby Quarles
JoAnna Robinson
Robert Robinson, DrPH
Lois Rowe
Marshall Shaw
Gemma Valenzuela

IN MEMORIAM
Sybil T. Patten
Jan Querbes
Mary Ann Valiulis

SHREVEPORT OPERA STAFF

Alan E. Hicks

General & Artistic Director

René Todaro

Patron Services Manager

Zoie Swint

Marketing, Development, & Artistic Associate

Sumer Cooner

Grant Writer

SPECIAL THANKS

Azalea Cleaners
Basic Matrix
The Catholic Diocese
Centenary College
The City of Shreveport & SPAR
Fairfield Studios
First Presbyterian – Shreveport
The Hertz Corporation
IATSE - Local 298
Regions Tower & Douglas Parking
Kilpatrick’s Rose-Neath Funeral Homes
Dr. Scott Mighell
Ninna's Road to Rescue
Northwest Louisiana Food Bank
Red River Radio
Shreveport-Bossier Opera Guild
Stage Center
Lory Tubbs
YMCA of Northwest Louisiana

Cast and Creative Team Housing Provided by:
Dr. Jack & Anita Berg

*If you’re willing to host a cast member for 2-3 weeks prior to a production, please email us by pressing the button below. 

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