Applause Magazine, Jan.-Mar., 2016

APPLAUSEVOLUME XXVII | NUMBER 5 | JAN - MAR 2016

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THE NESTAlso Playing:

The Wizard of OzAll the Way

A Gentleman’s Guide to Love & Murder Dirty Dancing — The Classic Story On Stage

FADE

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4 denvercenter.org

IWhere The Wild Thoughts Are

It’s a little too late to say “Happy New Year,” so I’ll just welcome you to the second half of our 2015/16 theatre season. Although the ball has dropped and we’ve all moved on, every new calendar is like a blank slate. What did I learn from the last year? Can I dream a little bigger this year? These are all probably questions we should ask ourselves more than once a year. But who’s counting? Our city has been dreaming bigger lately. Recently, Mayor Hancock asked for a pie-in-the-sky vision of what the Denver Performing Arts Complex could be. (Reminder: the City of Denver manages the physical Complex and we, the Denver Center for the Performing Arts, present and produce the live theatre within it.) The mayor wanted to look past the current and short-term challenges the Complex faces and just dream. Not to dismiss today’s challenges but to reconsider the Complex’s place in our shared history — and in our shared future. So Denver’s Arts & Venues, in partnership with other city agencies and the community, launched a master planning process to generate a vision and plan for the 12-acre campus. Experts in the arts, urban planning and development have been working together ever since to imagine the “Next Stage” for the Complex. See the progress for yourself at artsandvenues.com/nextstage. Imagine a multi-level parking structure beneath the Complex and the current garage replaced with a completely new music hall. Imagine a School for the Arts on campus, where the next generation of artists and professionals can train and perform. Imagine a renewed galleria lined with stores and restaurants to make it feel as dynamic as any downtown street. Imagine a Bike House. To find out what that is, you’ll have to visit the link above. Along with the Mayor and the executive leadership team, I invite you to offer your ideas for the Complex. What’s important to you and your family in a cultural facility? What amenities and/or activities would you enjoy before and after a show? As the theatre organization with a lot riding on the success of the Complex, we have opinions. But you’re the reason we do what we do. So go wild and dream a little bigger about what’s all around you. We’re listening.

Let us know your thoughts at denvercenter.org/sightline.

SCOTT SHILLERPresident and CEO

SIGHTLINEB Y S C O T T S H I L L E R

LETTERS TO THE CEOIn Applause No. 3, DCPA President & CEO Scott Shiller asked where, in this era of dwindling legitimate news, do you seek out arts coverage? He also questioned which means more, the review of a professional critic or a friend? Excerpts from your responses follow. To read all of the comments, please visit denvercenter.org/news-center.

The first problem is figuring out what’s on. Thank you John [Moore, Senior Arts Jour-nalist for the DCPA’s online News Center], for your recent efforts!… News? Once I know what is playing (or coming), what I need to decide is if I want to see it or not. Tell me why I might like it, or not. What did you, the reviewer or journalist, like about it, or not? From your previous writing/publications, I will know to what extent I am in sync with your opinions on different aspects of a theatrical production. A detailed plot summary, no matter how well written, is worthless; I can Google that. — Don F.

I love that you are addressing this topic! I’m a local blogger and Facebooker (Go Go Family) who loves to help promote the theatre to families and adults in the Little-ton/Denver area. I tend to look to my fellow bloggers, colleagues, family and friends for their opinion on shows. I also trust the opin-ions of known theatre lovers...John Moore, Eden Lane, Heidi Bosk and Hope Grandon. — Christen R.

I read critic reviews to assist with my decisions regarding which events to attend. I have a handful of friends whose opinions I respect.…I’m glad to get occasional [Face-book] notices if/when I look at FB. — Cindy

I am a resident of Omaha, Nebraska.... I’m afraid that there is such an emphasis in the news, today, about horrible news items and dragging-on political campaigns, that there is little or no coverage given to the arts. All I can do or say is that I will continue to keep DCPA in my thoughts and hope for the best — and for a resurgence of a quest for music and acting. — Pat J.

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ESUPPORT USWITH A SLICEEven a pizza can help support your local theatre community. From now through July 31, 2016, a portion of your purchase at Grimaldi’s Coal Brick-Oven Pizzeria will be donated to the Denver Center for the Performing Arts (DCPA).

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6 denvercenter.org

BOARD OF TRUSTEESDaniel L. Ritchie,

ChairmanWilliam Dean Singleton,

Sec’y/TreasurerRobert Slosky,

First Vice Chair Margot Gilbert Frank,

Second Vice ChairDr. Patricia Baca Joy S. BurnsIsabelle ClarkNavin DimondL. Roger Hutson Mary Pat Link Robert C. NewmanHassan SalemRichard M. Sapkin Martin SempleTara Smith Jim SteinbergKen TuchmanTina WallsLester L. WardDr. Reginald L. WashingtonJudi WolfSylvia Young

HONORARY MEMBERSJeannie Fuller M. Ann PadillaCleo Parker Robinson

HELEN G. BONFILSFOUNDATION BOARD OF TRUSTEESLester L. Ward,

PresidentMartin Semple,

Vice President/ President-Elect

Judi Wolf, Sec’y/Treasurer

Daniel L. RitchieWilliam Dean SingletonRobert SloskyJim SteinbergDr. Reginald L. Washington

EXECUTIVE MANAGEMENT Scott Shiller,

President & CEOClay Courter,

Vice President, Facilities & Event Services

John Ekeberg, Executive Director, Broadway

Vicky Miles, Chief Financial Officer

Jennifer Nealson, Chief Marketing Officer

Kent Thompson, Producing Artistic Director, Theatre Company

Charles Varin, Managing Director, Theatre Company

David Zupancic, Director of Development

APPLAUSEM A G A Z I N E

VOLUME XXVI I | NUMBER 5 | JAN – MAR 2016

EDITOR: Suzanne YoeCREATIVE DIRECTOR: Rob Silk

ASSOCIATE EDITOR: John MooreSENIOR ART DIRECTOR: Adam Obendorf

ART DIRECTOR: Kyle Malone DESIGNERS: Kim Conner, Brenda Elliott

Applause is published seven times a year by Denver Center for the Performing Arts in conjunction with

The Publishing House, Westminster, CO. All rights reserved. Reproduction in whole or in part without written permission is

prohibited. Call 303.893.4000 regarding editorial content.

303.893.4000 | denvercenter.org Denver Center for the Performing Arts is a not-for-profit organization dedicated to creating unforgettable shared

experiences through Broadway musicals, world-class plays, educational programs and inspired events.

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Applause magazine is funded in part by

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THE WIZARD OF OZ • FEB 7 – 13 • BUELL THEATRE

ASL interpreted, Audio described & Open Captioned performance: Feb 13, 2pmTickets: 303.893.4100 • denvercenter.org • Groups: 303.446.4829

TThe Wizard of Oz is one of the most recognizable icons of North American culture. It has been interpreted, reinterpreted, parodied, plagiarized and performed across every medium. Its latest incarnation, Andrew Lloyd Webber’s creation, comes to the Denver Center for the Performing Arts in February, so we thought it appropriate to follow the long and winding road that takes us from L. Frank Baum’s canon to the present. We’re definitely not in Kansas anymore.

THE ROADTO OZ

1900L. Frank Baum

writes an original American fairytale

— The Wonderful Wizard of Oz.

1902The first musical adaptation premieres in Chicago and then moves to Broadway in 1903.

1908Dorothy

makes her first appearance on

the silver screen in The Fairylogue and Radio-Plays,

Baum’s first attempt to create

a cinematic version of his Oz books. He goes

bankrupt.

1910A silent film based partly on the 1902 stage musical and directed by Otis Turner is released.

1925Another silent

film makes its debut and

credits L. Frank Baum Jr. as the

screenwriter.1939The MGM classic starring Judy Garland is released.

1942The 1939 film is adapted into a stage musical.

1974The animated film Journey Back to Oz is released as the official sequel to the 1939 classic.

1975The Tony Award-winning

The Wiz puts Oz in the context of African-

American culture. It is remade as a movie in 1978 starring Michael

Jackson and Diana Ross. A new adaptation is

aired live on national TV in 2015.

1976Oz is an Australian reimagining of the classic film transferred to hard-rocking 1970s Australia.

1985Return to Oz is Disney’s unofficial sequel to the classic; it incorporates many characters from Baum’s sequels.

1986A full anime adaptation of Baum’s books called The Wonderful Wizard of Oz is created featuring 52 episodes.

1987The Wizard

of A.I.D.S. is an adaptation

used as an educational play

about AIDS.

1987-89The 1939 film is

adapted for stage again, this time

for the Royal Shakespeare

Company. It is truer to the screenplay

than the adaptation from the ’40s.

1995The Wizard of Oz in Concert: Dreams Come True is a star-studded benefit concert at New York’s Lincoln Center.

1995Gregory

Maguire’s novel Wicked

reimagines the story of the

Wicked Witch of the West. 2003

Maguire’s novel is adapted into a Tony Award-winning Broadway smash hit musical.

2005The Muppets’ Wizard of Oz premieres at

the Tribeca Film Festival.

2007The Sci Fi Channel

released a mini-series called

The Tin Man — a reimagined science

fiction version of Dorothy’s tale.

2010Scott Stanford’s novel Dorothy: The Darker Side of Oz is a modern retelling of Baum’s original story.

2011Oz — The

Wonderful Wizard is a full-length

ballet by the Staatsballett

Berlin.

2012Andrew Lloyd Webber’s new stage production takes the stage before going on tour.

2013The animated film Dorothy of Oz hits the big screen.

2013Oz: The Great and

Powerful, a film about the Wizard’s

arrival in Oz is released starring

James Franco.

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When playwright Robert Schenkkan accepted the Best Play award for All the Way at the 2014 Tonys®, he reminded the American Theatre Wing that it had taken its time coming across with a Tony for his work. It was 1994 when his six-hour The Kentucky Cycle won the 1992 Pulitzer Prize for Drama — a first time in Pulitzer history that a play not first presented in New York City was selected. Cycle, which takes aim at the unvarnished brutality in two centuries of American mythology, was nominated for Best Play when it hit Broadway. Didn’t win. Twenty years later, Schenkkan dipped into history again with All the Way, a semi-fictional construct of Lyndon Johnson’s chaotic first year in office following the Kennedy assassination. He’s facing the growing Vietnam War, maneuvering for passage of the civil rights bill, while working to win election to his first full term in office. Commissioned by, and first produced at the Oregon Shakespeare Festival (OSF), the play hit Broadway. That this political drama won the Tony for Best Play was surprising. That it recouped its initial investment, breaking records for selling more dollars-worth of tickets than any other straight play in Broadway history, is astonishing. Applause talked with Schenkkan during the HBO filming of his adaptation of All the Way coming in May.

Applause: American politics and history attract you. Why? Robert Schenkkan: I grew up in the South, where history and the past are very present, with politically active parents who were interested in the life of the mind and who read extensively. So I did as well. I’ve always found history provocative and deeply pleasurable. It continues to resonate, to affect us. It has been consciously politicized in this country so it’s about who gets to tell the story. Look at the Civil War. There are textbooks out there — textbooks — that mention slavery almost in passing, and many people resent the notion that the Civil War was about slavery.

Not from their family’s point of view. That simply isn’t true. When I wrote Kentucky Cycle, one of the things I touched on, in terms of western expansion, was that the past didn’t matter. You could leave it behind. Re-invent yourself. Part of the point of themes I was working on was how liberating and energizing that concept is — and how damaging.

Still true? Yes. But opportunities for that are less true. There’s less upward mobility. At the turn of the 20th century, wealth was amassed by a very small group. We are again seeing a consolidation of wealth and power in such a small number of people that the middle class stagnates. We need to turn our ship around. The optimistic view is we’re in that process. Hard to tell sometimes.

What made you pick LBJ and civil rights? I grew up in Austin — Johnson’s turf. My father knew Johnson in a limited but critical way. He was a pioneer in public television and radio, hired by the University of Texas to create and manage the first public TV and radio station in the Southwest. Job One was to go to then-Senator Johnson and get his donation, because said station would compete directly with Johnson’s media empire. Johnson went on to sign the bill that created the Corporation for Public Broadcasting. So he was on my radar.

How much time did you spend on actual events to get the story right, and how much setting them aside, to write a real play? I worked on All the Way, commissioned by Oregon — and the other LBJ play, The Great Society, commissioned by Seattle Rep — on and off for seven years. I would meet people who introduced me to other people.… There was so much material that it became about “What’s the story? What can I really use? How do I tell this…?”

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POLITICAL BRINKMANSHIPLYNDON BAINES JOHNSON MEETS ROBERT SCHENKKAN AND SPARKS FLYB Y S Y LV I E D R A K E

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What about actors who are not lookalikes playing familiar politicians? I’ve always resisted this notion of, oh, everybody has to look exactly like the character they’re playing. It’s a trap. It treats the experience like docudrama. It’s not; it’s a play — a carefully selected and translated theatrical vision of history that I’ve taken over. Not everything on stage happens exactly the way it happened in life.

But doesn’t that then demand an extra suspension of disbelief? Yes. I’ve been emphatic that actors not go to YouTube to try to capture that actual image. This was especially true for LBJ, because he was a terrible public speaker. Boring. But not in life. Everyone who knew him described him as incredibly charismatic and wildly entertaining. At a party he was funny and profane. The public speaking thing was due to his sense of inadequacy. He didn’t go to Harvard like Jack Kennedy so, when he became president, he developed a speaking style he thought was presidential. It drove his family crazy. I told the actors that’s not the LBJ we want. We gave them accents, dressed [them] in period clothes, as we remember them.

These were improvements to help the audience with regional differences. No one was going to imitate anyone. Political plays have other pitfalls. How did you avoid them? Politics is based in human struggle. I focus on [that] story. I’m interested — especially in All the Way — in what it takes to make progress, get something done, even something [that’s] arguably a good thing. It comes at a price. People who intend to do good must often question their means.

And motives? Johnson’s motives, particularly when it came to civil rights, were genuine. This was not necessarily the right liberal thing to do in 1964. It could have gone very badly. The means employed were not pleasant. As the play progresses, the focus increasingly becomes the election, and the audience [sees] Johnson using tactics he used to pass civil rights — for which we mostly cheer him — simply to get elected. He’s playing on the cutting edge of the moral quandary. I find that fascinating.

For the full interview, visit denvercenter.org/news-center.

Sylvie Drake was Director of Media Relations and Publications for the Denver Center for the Performing Arts, 1994 – 2014. She is a former theatre critic and columnist for the Los Angeles Times and a regular contributor to culturalweekly.com.

ALL THE WAYJAN 29 – FEB 28 • STAGE THEATRE ASL interpreted & Audio described performance: Feb 21, 1:30pmTickets: 303.893.4100 • denvercenter.org • Groups: 303.446.4820

When history looks back on male politicians, their fashion sense is usually overlooked. But for many women in politics, their clothes played a large role in earning respect and conveying their ideas. In Power Dressing: First Ladies, Women Politicians & Fashion, fashion writer Robb Young explores the choices behind the world’s female leaders:• Queen Hatshepsut, Egypt’s first female pharaoh in 1479 B.C., proved she was entitled

to rule as a pharaoh by dressing like one. She sat on her throne bare-chested and wore a man’s kilt, false metal beard and a headdress adorned with cobras.

• Queen Elizabeth’s opulent dresses and jewelry illustrated her kingdom’s wealth. The style made her look imposing and invincible to those who wished to oust her.

• Once American women were allowed to vote and serve in office, their outfits were considered distracting. When Rep. Katherine Langley (KY) wore a blue and red dress in 1920, a reporter commented, “She offends the squeamish by her unstinted display of gypsy colors on the floor.”

• Former Prime Minister of India Indira Gandhi used her sari to communicate nationalism and seriousness. Gandhi’s saris were made out of khadi, a fabric woven by Indians to oppose British rule and display their economic empowerment.

• British Prime Minister Margaret Thatcher would intimidate naysayers by slamming her Ferragamo handbag onto the table to show she meant business.

Explore the fashion sense of LBJ and his contemporaries in All the Way, playing The Stage Theatre January 29 – February 28.

COSTUME COLUMN

Lady Bird JohnsonPhoto composite for All The Way

Compiled By David Kay Mickelsen

“ There was so much material that it became about ‘What’s the story? What can I really use? How do I tell this…?’”

— ROBERT SCHENKKAN, PLAYWRIGHT

While her fashion did not scream “power house,” Lady Bird Johnson had a classic, chic fashion sense that often paired tailored styles with trendy accessories.

12 denvercenter.org

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What do a polar bear, a tax and student achievement have in common? The Scientific & Cultural Facilities District (SCFD), a voter-approved one penny on $10 sales tax. Each year nearly $52 million is collected in the seven-county metro area to ensure access to nearly 300 arts, science and cultural organizations. Often called the “Polar Bear Tax,” this national model for public arts funding not only supports standard programming, it also provides funds for educational opportunities. In fact, more than 4.25 million students are served each year by programs made possible by citizen support of the SCFD. Here at the DCPA, SCFD support helped us reach more than 83,000 students last year through classes, fieldtrips, residencies and audience opportunities. Examples include:• Student Matinees –

14,242 participants• Residencies –

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1. SATURDAY NIGHT ALIVE attracted a new participant — RK Foundation contributed $10,000 to the March 5 fundraiser, which benefits DCPA Education and our Student Matinee program.

2. DCPA THEATRE COMPANY welcomed Mayor Michael Hancock who helped Tiny Tim trim the tree at a press conference to kick off Visit Denver’s Mile High Holidays.

3 & 4. DCPA EDUCATION and The Denver Actors Fund were beneficiaries of our Holiday Cabaret, a one-night-only fundraiser featuring cast members from Disney’s The Lion King, A Christmas Carol, Murder for Two and The SantaLand Diaries. Local director Christy Montour-Larson (center) enjoyed the evening with A Christmas Carol cast members Courtney Capek and Jake Williamson.

5. DCPA BROADWAY asked Kevin Massey (A Gentleman’s Guide to Love & Murder) to sing the national anthem at the Broncos-Patriots game.

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IN THE SPOTLIGHT

Denver Center for the Performing Arts’

biggest stars step into the spotlight — actors, designers, students and you.

UPCOMING SHOWSMurder for Two Now – Feb 21

The Nest Now – Feb 21

Dirty Dancing — The Classic Story On Stage Jan 26 – 31

All the Way Jan 29 – Feb 28

FADE Feb 5 – Mar 13

The Wizard of Oz Feb 7 – 13

Cult Following: Secrets & Confessions Feb 12 & 13

A Gentleman’s Guide to Love & Murder Feb 16 – 28

Riverdance — The 20th Anniversary World Tour Mar 8 – 13

How I Got Over: Journeys in Verse Mar 18, 19, 25 & 26

Disney’s Newsies Mar 23 – Apr 9

Dixie’s Never Wear a Tube Top While Riding a Mechanical Bull... Mar 30 – Apr 24

Sweeney Todd Apr 8 – May 15

Cult Following: Decide Your Destiny Apr 29 & Jun 4

Cult Following: Karaoke Broadway Musical Apr 30 & Jun 3

The Realish Housewives of Cherry Creek: A Parody May 3 – 22

once May 24 – 29

NETworks presents Disney’s Beauty and the Beast Jun 7 – 12

The Sound of Music Jun 21 – 26

Beautiful — The Carole King Musical Jul 19 – 31

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TToday’s Quiz: What’s A Gentleman’s Guide to Love & Murder?

(a) A directive on how to avoid commitment(b) An unserious evening of silly theatre(c) A multiple 2014 Tony Award-winner, including

Best Musical(d) A veiled tribute to Gilbert and Sullivan(e) A lesson in “offing” inconvenient heirs(f) An inspired rip-off of Agatha Christie meets the Marx

Brothers, with a whiff of Noel Coward. Set to music.

Take your pick. You’ll be right every time. But talk to the creative team that put this show together, and you’ll find the outcome wasn’t always so inclusive. It took 10 years to get this farcical thriller in shape and the man who helped most joined the venture at halftime. “Robert Freedman, who wrote the book for Gentleman’s Guide, saw my production of The Women at The Old Globe in San Diego,” volunteered Darko Tresnjak, Artistic Director of Hartford Stage and the directorial mastermind who scored his own Tony® Award for coming up with some of Gentleman’s Guide’s choicest silliness. “Something about The Women convinced Robert I was the guy for the job. Then I met Steve Lutvak who wrote the music and was co-lyricist, and we hit it off. It was four years leading to the production we mounted in Hartford — and a fifth year to get the show to Broadway.” Of course, there was more. Freedman and Lutvak, newbies to Broadway, avoided watching Kind Hearts and Coronets, the 1949 hit movie in which Alec Guinness played all eight heirs to an English fortune, each of whom meets an untimely death at the hands of the ninth, just for being, you know…in the way.

The film was based on the same 1907 Roy Horniman novel, Israel Rank: The Autobiography of a Criminal, and while the premise held plenty of promise, Freedman and Lutvak lacked rights to the movie and mined the novel instead. Tresnjak, who’d seen the movie in high school, also declined to watch it again, relying instead on his own sly sense of humor and instinct for the right casting. “I champion great comic actors,” he said. “They’re under-estimated. Grad schools don’t teach the craft. I was lucky. I directed Paxton Whitehead. I directed Dana Ivy. It’s like a science experiment to watch Paxton get the laugh and next night figure out how to subdivide the laugh and get three laughs out of the audience without pushing… “The older I get, the more it seems like comedy is the perfect response to the absurdity of the world. I wish there were Joe Ortons for our time. Satire is the perfect tool to deal with stupid politics. “One of the really appealing things about Gentleman’s Guide is its structure, the fact that you have to have a spectacular actor in the revolving-door roles, playing all eight of the aristocratic d’Ysquiths. Every murder’s a gift, because you know that actor’s got to come back in another role. I thought it was really naughty because, like, wow. Monty d’Ysquith kills his whole family and the show ends in a three-way [love affair]. I was like, cool! Sign me on. It’s a hand-in-the-cookie-jar kind of show.” Tresnjak, who’s staged a good deal of opera, fell in love with Lutvak’s offbeat score. “It’s not ‘American Idol.’ It’s hard to sing,” he said. “The two women’s roles are precise. There’s no back phrasing. You need crystalline soprano voices. That was a big part of it for me. “The moment when I knew it was going to work was the ending. It hadn’t been written when I came on board and

A GENTLEMAN’S GUIDE TO… WHAT? LOGIC? NOT FOR DIRECTORDARKO TRESNJAK. JUST GIVEHIM THEATRICAL LOGIC.B Y S Y LV I E D R A K E

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there was a logistical problem. What happens when you kill the star? When the last victim bites the dust? Umm. You find…a ninth relative! Robert and Steven were, What…? “I don’t want to give it away, but there’s a janitor who works in the jail. They let me add that. At that point I knew the show was going to be playful. The best thing was we took huge liberties. Some ideas came from the book, but the more we made up our own, the better it got.

“The best moment came when we had to redo one of the murders. [We tried] a car going over the cliff, then a plunge off a Ferris wheel. Didn’t work. I was listening. It was like…the famous skating waltz. I said, ‘start skating…’ ” That time it worked. “Over lunch that day, Robert and Steven were passing napkins to each other, rewriting lyrics. Kept the tune, changed the words. Then they showed me: As I’m cutting, I am contemplating / And the truth is it’s a tad exhilarating, / With the rhythm of a violinist / I’ll be sawing where I think the ice is thinnest. “Now that is talent,” said Tresnjak, “and it’s buried. But it’s the most sophisticated lyric in the entire show. Steve and Robert write lyrics together. Not one fake rhyme. No cheating. They’re completely rigorous. “You have to believe in a musical,” he summarized, “because nothing takes as much [effort]. I didn’t work on the show all of the time. I directed 20 productions during those five years. But this was really fun.” John Rapson plays the eight victims to Kevin Massey’s Monty. Both men were in the Broadway company. “After directing 25 Shakespeare plays I also can say Shakespeare’s plays are not good. Great, but not good. Who cares? It’s theatrical logic. In Merchant of Venice months seem to be passing in Venice, but in Belmont, it’s the next day. So what? “It’s theatrical logic.” So, you’re about to discover, is Gentleman’s Guide.

For the full interview, visit denvercenter.org/news-center.

Sylvie Drake served as Director of Media Relations and Publications for the Denver Center for the Performing Arts, 1994 – 2014. She is a former theatre critic and columnist for the Los Angeles Times and a regular contributor to culturalweekly.com.

A GENTLEMAN’S GUIDE TO LOVE & MURDERFEB 16 – 28 • BUELL THEATREASL interpreted, Audio described & Open Captioned performance: Feb 28, 2pmTickets: 303.893.4100 denvercenter.org Groups: 303.446.4820

17

COMING UP FROM BROADWAY:DISNEY’S NEWSIESLong before it was fictionalized for stage and film, the newsboys’ strike of 1899 was a very real struggle for America’s young working class. Here’s the true story of what it was like to be a newsboy at the turn of the century: • Newsies were not employees of the

newspapers, but instead purchased the papers from the publishers and sold them independently, earning around 30 cents a day.

• The newsboys’ strike of 1899 was incited by news coverage of the Spanish-American War. As consumers relied on their papers to stay up to date, publishers increased the price of newspaper bundles by 10 cents. While most publishers lowered the prices after the war, The Evening World (owned by Joseph Pulitzer) and the New York Evening Journal (owned by William Ran-dolph Hearst) were notable exceptions.

• In July of 1899, thousands of newsies refused to distribute Pulitzer and Hearst’s papers. They blocked the Brooklyn Bridge with demonstrations and asked the public to boycott the publications.

• Competing newspapers used the strike as an opportunity to lambast the larger papers and covered the strikes by high-lighting the colorful characters like Kid Blink, Little Mickey and Crutch Morris.

• The strike ended with a compromise. The two publishers offered the boys 100% return rights on the papers they didn’t sell, but didn’t lower the prices of the bundles. While the Newsboy Union’s Strike Committee did not agree to the compromise, the newsboys themselves jumped on the opportunity and went back to work.

Get your paper and get your ticket to Disney’s Newsies, playing The Buell Theatre March 23 – April 9.

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Right: National Touring Company. Adrienne Eller as Phoebe D’Ysquith and Kevin Massey as Monty Navarro. Photo credit: Joan Marcus.

“ The moment when I knew it was going to work was the ending. It hadn’t been written when I came on board and there was a logistical problem. What happens when you kill the star? When the last victim bites the dust? Umm…” — DARKO TRESNJAK, DIRECTOR

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18 denvercenter.org

IIn August 1987, every teenage girl in America had a crush on the same actor — Patrick Swayze. His portrayal of Johnny Castle in the hit film Dirty Dancing catapulted him to superstardom. Johnny was from the wrong side of the tracks, but he had a heart of gold (and, let’s face it, he could move). Enter Frances “Baby” Houseman, on vacation with her overprotective parents and annoying older sister at Kellerman’s, a lavish vacation resort. “That was the summer of 1963. When everybody called me ‘Baby’ and it didn’t occur to me to mind. That was before President Kennedy got shot, before the Beatles came, when I couldn’t wait to join the Peace Corps and I thought I’d never find a guy as great as my dad. That was the summer we went to Kellerman’s,” says Baby at the opening of the movie-turned-stage musical. Introduce one idealistic, sheltered teenager to an older, experienced dance instructor and you’ve got the sizzle of fireworks that tests loyalty, questions worthiness and sparks passion in audiences across the nation. There’s just something about the story that doesn’t quite go away. In fact, ABC announced on December 8 that it will film a three-hour adaptation of the movie for network broadcast starring Abigail Breslin. Perhaps it’s the “diamond in the rough” story of Johnny or the “coming-of-age” plot of Baby. Or it may be that soundtrack. Winner

of a Golden Globe, Academy Award and Grammy, the soundtrack has sold more than 44 million copies and, in addition to number one hits from the 1960’s, includes such songs as “(I’ve Had) The Time of My Life,” “Hungry Eyes” and “She’s Like the Wind.” In fact the music served as the backbone of the original script development. Scriptwriter Eleanor Bergstein selected the songs she wanted to use and then wrote the story against them. She wanted the music to function as the soundtrack of the story and of the characters’ hearts. It may be nearly 30 years later, but we’re all sure to await that singular moment at the end of the musical when Baby flies atop Johnny’s arms, asserting her love, her loyalty and her independence. We’re all sure to have the time of our life.

DIRTY DANCING — THE CLASSIC STORY ON STAGEJAN 26 – 31 • BUELL THEATRE

ASL interpreted, Audio described & Open Captioned performance: Jan 30, 2pmTickets: 303.893.4100denvercenter.orgGroups: 303.446.4829

DIRTY DANCING THE TIME OF YOUR LIFE

On April 20, 1994, dancers Jean Butler and Michael Flatley performed with their troupe at the Eurovision Song Contest, introducing millions of viewers to their fresh take on traditional Irish dancing. Less than a year later, Riverdance was adapted into a full stage show. Now in its 20th year, Riverdance has…• Played 11,000 performances• Been seen live by more than 25 million people in over

467 venues worldwide, throughout 46 countries across 6 continents

• Travelled 700,000 miles

• Played to a global television audience of 3 billion people

• Sold more than 3 million copies of the Grammy Award-winning CD

• Sold 10 million Riverdance videos & DVDs

• Won a Grammy for Best Musical Show Album

See the energy, sensuality and spectacle of Riverdance — The 20th Anniversary World Tour returning to The Buell Theatre March 8 – 13.

COMING UP FROM BROADWAY: RIVERDANCE

Christopher Tierney (Johnny), Jenny Winton (Penny) and the company of the North American tour of Dirty Dancing – The Classic Story On Stage. Photo by Matthew Murphy.

A scene from Riverdance

© Riverdance. Photo by Jack-Hartin.

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20 denvercenter.org

Featuring an evening withKELLI O’HARA & BRIAN D’ARCY JAMES

Two of Broadway’s brightest stars, Kelli O’Hara and Brian d’Arcy James, will delight Saturday Night Alive guests in the intimate Stage Theatre with an evening of their favorite songs. Kelli is a five-time Tony Award nominee who won the 2015 Tony Award as Best Actress in a Leading Role for The King and I and Brian is a three-time Tony Award nominee and current star of Something Rotten on Broadway.

DENVERCENTER.ORG/SNA 303.446.4812

March 5, 2016 • Seawell Grand BallroomPatron tickets start at $1,000 • Tables of ten start at $6,000

Cocktails • Silent Auction • Dinner • Dancing

BENEFITTING ARTS EDUCATION AT THE DENVER CENTER FOR THE PERFORMING ARTS

Major Sponsors: Murray BMW of Denver, United Airlines, Colorado Oil & Gas Industry, The Westin Denver Downtown, Alpine Bank, Always Best Care Senior Services, Colorado State Bank and Trust,

Epicurean Group, Keith & Kathie Finger, Polsinelli, Triptyk Studios, Tuchman Family Foundation

Help us light tomorrow’s stars at

DRIVEN BY

THE

NE

STLOGO WITH SUBDIVISIONS

presents

BY Theresa RebeckWith

Kevin Berntson, Brian D. Coats, Brian Dykstra, Laura Latreille,Victoria Mack, David Mason, Carly Street, Andrea Syglowski

THE SPACE THEATRE | JANUARY 22 – FEBRUARY 21, 2016

SCENIC DESIGN BY Lisa Orzolek

COSTUME DESIGN BYAngela Balogh Calin

LIGHTING DESIGN BY Grant W. S. Yeager

SOUND DESIGN BY Craig Breitenbach

VOICE AND DIALECT COACHING BYKathryn G. Maes Ph.D

CASTING BY Elissa Myers Casting /

Paul Foquet, CSA

The Nest is a commission of the Denver Center for the Performing Arts Theatre Company and the Harold and Mimi Steinberg Commission in American Playwriting,

and was developed at the Colorado New Play Summit in February 2015.

The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

SHOW SPONSOR

John & Jeannie Fuller, Mike & Diana Kinsey, Jim & Lori Steinberg

PRODUCING PARTNERS

Scott Shiller, President & CEOKent Thompson, Producing Artistic Director

DIRECTED BY Adrienne Campbell-Holt

DIRECTOR OF PRODUCTIONJeff Gifford

STAGE MANAGER Lyle Raper

A DENVER CENTER WORLD PREMIERE

Special thanks to the Harold & Mimi Steinberg Charitable Trust for its continued support of new play development at the DCPA.

SEASON SPONSORS

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ST CAST(in order of appearance)

Ned ...........................................................................................................................................................KEVIN BERNTSON

Irene .................................................................................................................................................ANDREA SYGLOWSKI

Barry ............................................................................................................................................................BRIAN D. COATS

Patrick .......................................................................................................................................................BRIAN DYKSTRA

Margo ............................................................................................................................................................ CARLY STREET

Lila ............................................................................................................................................................LAURA LATREILLE

Nick ...................................................................................................................................................................DAVID MASON

Sam ...............................................................................................................................................................VICTORIA MACK

Stage Manager ................................................................................................................................................LYLE RAPER

Production Assistant ........................................................................................................................D. LYNN REILAND

Stage Management Apprentice. ........................................................................................................LEXI HOLTZER

There will be one 15-minute intermission.

The Actors and Stage Managers employed in this production are members of Actors’ Equity

Association, the Union of Professional Actors and Stage Managers in the United States.

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ACTING COMPANY

KEVIN BERNTSON (Ned). At the Theatre Company: 2015 Colorado New Play Summit. Other Theatres: world premiere of Reunion directed by Adrienne Campbell-Holt,

Sideways Stories (South Coast Rep); School for Wives and Boy (La Jolla Playhouse); PRAIRIE-OKE in Los Angeles. Partial TV credits include “Inside Amy Schumer,” “Modern Family,” “Kickin’ It,” “Private Practice,” “Reno 911.” Training: Tom Irwin (Steppenwolf West). MFA, UC San Diego. Kevin is an instructor and performer at the Groundlings Theater in LA, where he’s an alum of the Sunday Company.

BRIAN D. COATS (Barry). At the Theatre Company: 2015 Colorado New Play Summit. NY credits include On the Levee (Lincoln Center/LCT3); The Merry Wives of

Windsor, Two Gentlemen of Verona (Public/Shakespeare in the Park); Puddn’head Wilson (The Acting Company). Other Theatres: Seven Guitars (Two River Theater); Invisible Man (Huntington Theatre Company/Studio Theater, DC); Fences, A Raisin in the Sun (Geva Theatre Center). TV credits include: “Law & Order,” “Law & Order: SVU,” “JAG,” “Blue Bloods,” “The Sopranos,” “Boardwalk Empire” (recurring) and an upcoming Marvel series on Netflix. Awards/Training: Graduate of UNCSA. Helen Hayes Award for Invisible Man.

BRIAN DYKSTRA (Patrick). At the Theatre Company: Debut. Broadway: Lucky Guy. Regionally: Most recently played LBJ in All The Way at St. Louis Rep, Jerusalem

(Rooster Byron), Red (Mark Rothko), Copenhagen (Heisenberg), A View From The Bridge (Eddie Carbone), Seminar (Leonard), Poor Behavior (directorial debut, Theresa Rebeck), etc. As playwright: Clean Alternatives,

Hiding Behind Comets, A Play On Words, STRANGERHORSE, Spill The Wine, Forsaking All Others. Four solo shows including HO! (A Xmas Show For Adults). Film/TV: Poor Behavior (written and directed by Theresa Rebeck), Brian Dykstra: The Jesus Factor (DVD), HBO Def Poet. Freedomland, Knight And Day, “The Affair,” “Third Watch,” etc. Training: MFA, Rutgers. Core Artist, The Lark. Currently writing two plays and two musicals.

LAURA LATREILLE (Lila). At the Theatre Company: Debut. Other theatres: Off-Broadway and New York credits include Love Song (59E59), The Elephant Play (Playwrights’

Collective). Boston credits include world premieres of Mauritius and Ryan Landry’s “M” (Huntington Theatre); The Understudy, Dear Elizabeth, Time Stands Still (Lyric Stage Company); God Of Carnage, Four Places (Merrimack Repertory Theatre); The Apple Family Plays (Stoneham/Gloucester Stage Companies); The Trials of Gertrude Moody, Utility Monster (W.H.A.T.); The Glider, The Sussman Variations (Boston Playwrights Theatre). Special Awards/Training: MFA, Brandeis. Elliot Norton Outstanding Actress Award, Improper Bostonian Best Female Performance 2012.

VICTORIA MACK (Sam). At the Theatre Company: 2015 Colorado New Play Summit, The 39 Steps. Broadway: Venus In Fur. Off-Broadway: Hard Love, Natural

Affection (with John Pankow and Kathryn Erbe), Happy Birthday at TACT, The Silver Cord at Peccadillo Theatre Co, five shows at the Mint Theater, Flight (with Brian D’Arcy James). TV/Film: We’ve Forgotten More Than We Ever Knew (with Aaron Stanford), “Boardwalk Empire,” “Members Only” (pilot), “Doubt” (pilot), “Black Box,” “The Good Wife” (recurring), “Unforgettable,” “Law and Order,” The Letter (with James Franco and Winona Ryder), others. Extensive regional experience. Training: MFA,

NYU’s Tisch School of the Arts. Recently took her self-produced show, Love Stories, to Santiago, Chile. Proud member of TACT.

DAVID MASON (Nick). At the Theatre Company: Debut. Other regional credits include: Cape Playhouse, Geva Theatre Center, Syracuse Stage, TheatreSquared,

Portland Stage, New Century Theatre, The Public Theater, Shadowland Theatre, Foothills Theatre, Summer Theatre at Mt. Holyoke, Majestic Theater, Judson Theatre Co. NYC credits include: Ensemble Studio Theatre, Civilian Studios, Primary Stages, Present Company Theatorium, NativeAliens, Impact Theatre Festival, Red Fern Theatre, Circle East, Chip Deffaa Invitational. TV: “The Leftovers” (HBO), “House of Cards” (Netflix), “Law & Order: SVU,” “All My Children.”

CARLY STREET (Margo). At the Theatre Company: 2015 Colorado New Play Summit. Carly has appeared in over 60 film, television, and theatre productions across the U.S. and

Canada. Broadway: Brief Encounter, Clybourne Park, Old Times. Recently: Vanda in Venus In Fur (Canadian Premiere. Dora Award and Theatre Critics Award), Amy in Company (directed by Gary Griffin). Selected Theatres: Cincinnati Playhouse, Geva Theatre Center, The Canadian Stage Company, The Stratford Festival, Atlantic Theatre Festival, Mirvish Productions (world premiere of The Lord of the Rings, dir. Matthew Warchus). TV/Film: “The Good Wife,” “Warehouse 13,” “Backstage,” “Eternal Kiss,” and “Bitten” (recurring). Training: The National Theatre School of Canada.

ANDREA SYGLOWSKI (Irene). At the Theatre Company: Debut. Other Theatres: Of Good Stock (South Coast Reperatory); Venus in Fur (The Huntington); Loves

WHO’S WHO

THE

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STLabour’s Lost, Carve, Three Sisters (Chautauqua Theatre Company); A Flea in Her Ear (Williamstown Theatre Festival); Much Ado About Nothing, Midsummer Night’s Dream (Shakespeare at the Manor); Asking for Trouble (Ensemble Studio Theatre); The Walk Through (Slate Theatre). New Play Development: The Roundabout, The Lark, Page 73, Labyrinth, Ma-Yi, and more. TV: “The Good Wife,” “Elementary,” “How To Get Away With Murder.” Awards/Training: USC and Juilliard (Robin Williams Scholar), Winner of 2015 IRNE award, 2014 Elliot Norton Award (Best Actress for Venus in Fur).

PLAYWRIGHT

THERESA REBECK (Playwright). Theresa’s New York productions include: Poor Behavior, Dead Accounts, Seminar, The Understudy, Mauritius, The Scene, The Water’s Edge, Bad Dates, The Butterfly Collection, Spike Heels, Loose Knit, The Family of Mann, View of the Dome and Omnium Gatherum (co-written, Pulitzer finalist). Publications: Collected Plays Volumes I, II and III, Free Fire Zone (all with Smith & Kraus) and two novels, Three Girls and Their Brother and Twelve Rooms With a View (with Random House/Shaye Areheart Books). Film: Harriet the Spy, Gossip, and the independent features Sunday on the Rocks and Seducing Charlie Barker (adapted from her play The Scene). Awards include the Writer’s Guild of America Award for Episodic Drama and a Peabody Award for her work on “NYPD Blue,” the National Theatre Conference Award, the William Inge New Voices Playwriting Award, the PEN/Laura Pels Foundation Award, the Athena Film Festival Award, an Alex Award, a Lilly Award and in 2011 she was named one of the 150 Fearless Women in the World by Newsweek. She is the creator of the NBC drama, “Smash.” Her new novel I’m Glad About You (Putnam) comes out February 23.

DIRECTOR

ADRIENNE CAMPBELL-HOLT (Director). Founding Artistic Director of Colt Coeur, a Brooklyn-based theatre company. Upcoming world premieres: The Surgeon and her Daughters by Chris Nuñez (Cherry Lane, NYC), Cal in Camo (Rattlestick

Playwrights Theater/Colt Coeur) and Gold, Cash, Diamonds by Sarah Burgess (Pipeline Festival workshop, WP Theater). Recent: world premiere of How to Live on Earth by MJ Kaufman (Colt Coeur), Dental Society Midwinter Meeting by Laura Jacqmin (Williamstown Theater Festival), world premiere of Dry Land by Ruby Rae Spiegel (Colt Coeur), Red starring Tim Daly (Dorset Theater Festival), and world premiere of Greg Moss’ Reunion at South Coast Rep. #MakeItFair

ARTISTIC STAFF

CRAIG BREITENBACH (Sound Designer). At the Theatre Company: Tribes, The Unsinkable Molly Brown, Just Like Us, Sense & Sensibility The Musical, Irving Berlin’s White Christmas, Ring of Fire: The Music of Johnny Cash, A Christmas Carol, To Kill a Mockingbird, A Midsummer Night’s Dream, Mama Hated Diesels, Eventide, A Raisin in the Sun, Quilters, A Prayer for Owen Meany, Noises Off, Third, A Funny Thing…Forum, King Lear, Amadeus, Crowns, The Clean House, Measure for Measure, A Flea in Her Ear, Fire on the Mountain, The Misanthrope, The Three Sisters, Love’s Labor’s Lost, The Skin of Our Teeth, Betrayal, Spinning Into Butter, Dinner With Friends, Gross Indecency: The Three Trials of Oscar Wilde, The Laramie Project, The Little Foxes. Awards: 2008 Henry Award for Plainsong.

ANGELA BALOGH CALIN (Costume Designer). At the Theatre Company: Shadowlands, Great Wall Story, To Kill a Mockingbird, Absurd Person Singular, The Miracle Worker. Other Theatres: The Whale, Trip to Bountiful, Crimes Of The Heart (South Coast Repertory); Sense And Sensibility (Milwaukee Rep); Comedy Of Errors (Chautauqua Theatre Co.); Pericles, The Bungler, Cymbeline (A Noise Within Theatre); A Midsummer Night’s Dream (The Hollywood Bowl); The Winter’s Tale, Christmas On Mars (The Old Globe); The Importance Of Being Earnest (Georgia Shakespeare); The Constant Wife (Pasadena Playhouse). Special/Awards/Training: LADCC, Garland, Drama–Logue Awards for costume and/or set design, 16 feature films; resident artist–A Noise Within Theatre. MFA in set and costume design, Academy Of Arts, Bucharest Romania.

GRANT W. S. YEAGER (Lighting Designer). NY: How to Live on Earth (Colt Coeur); Now. Here. This. (Vineyard); Chimichangas and Zoloft (Atlantic); Long Story Short (Prospect); NY Musical Theatre Festival designer 2009-2012; Designer for The NY Pops Orchestra 2012-present; 50+ concerts at Carnegie Hall. Regional: SHIDA (ART); Joseph... (Dallas Theater Center); ...Judas Iscariot (University Theatre at Yale); Soul Doctor (Parker Playhouse); Backwards in High Heels (Cleveland Playhouse); Vices (Theatre Aspen). International work in Venezuela, South Korea, Mexico, and Bermuda. Founding member of Colt Coeur. Thanks Adrienne! www.grantyeagerdesign.com

KATHRYN G. MAES Ph.D (Voice and Dialect Coach). At the Theatre Company: Tribes, Benediction, Appoggiatura, Vanya and Sonia and Masha and Spike, Lord of the Flies, The Unsinkable Molly Brown, Animal Crackers, Shadowlands, Hamlet, black odyssey, A Christmas Carol, Jackie & Me, The Most Deserving, Just Like Us, Death of a Salesman, When We Are Married, Fences, The Three Musketeers, Heartbreak House, Great Wall Story. Other Theatres: Royal Shakespeare Company, Royal National Theatre (Arthur Miller’s American Clock). Special/Training: Voice and Dialect Coach for numerous professional theatre companies in the United States, Head of Voice at DCPA Theatre Company and the National Theatre Conservatory 1989 to 1992. Ph.D. in Theatre Arts, University of Pittsburgh; Advanced Diploma in Voice Studies, Central School of Speech and Drama, London, England.

ELISSA MYERS CASTING, Paul Fouquet, CSA (Casting). Three Emmy nominations and one win, and one Peabody Award for Outstanding Contribution to Television. Over fifteen films for PBS. Theatre includes seven Broadway shows, and twenty-six Off-Broadway shows. Current regional casting includes Denver Center, Geva Theatre, Cleveland Play House, Alabama Shakespeare Festival, Magic Theatre, Arena Stage, and Arizona Theatre Company. The office has so far received sixteen nominations and has won three Artios Awards for “Outstanding Achievement in Casting.”

THE

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STLISA ORZOLEK (Set Designer). At the Theatre Company: (200+ productions/23 seasons) Tribes, One Night in Miami…, Benediction, Vanya and Sonia and Masha and Spike, Shadowlands, Jackie & Me, Death of a Salesman, Great Wall Story, The Liar, Superior Donuts, Othello, Well, The Voysey Inheritance, The Trip to Bountiful, Gee’s Bend, Third, The Pillowman, Living Out, After Ashley, A Lovely Sunday for Creve Coeur, Boston Marriage, Visiting Mr. Green, Blue/Orange. Other Theatres: A Midsummer Night’s Dream, Macbeth, Complete Works of Shakespeare (Abridged), Richard II (Colorado Shakespeare Festival); Love...Perfect...Change, Five Course Love, Girls Only, The Taffetas, My Way (DCPA Cabaret); Twelfth Night, God’s Country (National Theatre Conservatory). Training: BFA in Scenic Design, Boston University.

STAGE MANAGEMENT

LYLE RAPER (Stage Manager). At the Theatre Company: 27 seasons as Production Stage Manager until 2010. Other Theatres: PCPA/Solvang Theatrefest, Oregon Shakespeare Festival, Milwaukee Rep, Berkeley Rep, Lizard Head Theatre, Shakespeare in Santa Fe, Lost Highway and The Explorer’s Club at the Lone Tree Arts Center. She currently serves on the advisory board of the Georgetown Festival of the Arts in Texas.

EXECUTIVE STAFF

KENT THOMPSON (Producing Artistic Director) is in his eleventh season as Producing Artistic Director of the Theatre Company. In Denver he directed productions of Hamlet, Just Like Us, Other Desert Cities, Irving Berlin’s White Christmas, The Taming of the Shrew, A Midsummer Night’s Dream, Plainsong, Eventide, Benediction, Amadeus, The Liar and Measure for Measure, among others.

Two of Kent’s major accomplishments since moving to Denver have been the establishment of the Colorado New Play Summit, a premier national festival for new American plays, and the Women’s Voices Fund, an endowment that supports the development of new plays by women.

Prior to moving to Denver he was Producing Artistic Director of

the Alabama Shakespeare Festival for 16 years. In 1991 Kent created the Southern Writers’ Project (SWP), designed to commission and develop new plays that presented 16 world premieres during his tenure.

He served for eight years on the Board of Directors for Theatre Communications Group (TCG) and as its president for three years. He has served on peer review panels for the NEA (also chair), TCG, The Pew Charitable Trusts, The Fulbright Scholars Program, The Wallace Funds, The Doris Duke Foundation and The Andrew W. Mellon Foundation, among others.

CHARLES VARIN (Managing Director) and his team are responsible for administrative, financial and business operations related to producing the Theatre Company’s season of productions and other artistic and educational initiatives. Prior to DCPA, Charles was General Manager for Geva Theatre Center in Rochester, NY and also has worked at Glimmerglass Opera, Asolo Repertory Theatre and Florida Studio Theatre.

BRUCE K. SEVY (Associate Artistic Director and Director of New Play Development) has directed such memorable Theatre Company productions as Animal Crackers, When We Are Married, Heartbreak House, Mariela in the Desert, The Voysey Inheritance, A Prayer for Owen Meany, Doubt, All My Sons, Master Class, Mrs. Warren’s Profession, A Christmas Carol, Cat On a Hot Tin Roof, The Little Foxes, Molly Sweeney, Amy’s View, Valley Song, Pierre, Dinner With Friends and The Cripple of Inishmaan.

As Director of New Play Development, he oversees both the artistic and practical components of the Theatre Company’s successful Colorado New Play Summit, including commissions from outstanding American playwrights.

He has directed for Arizona Theatre Company, Cleveland Play House, Lark Play Development Center, Kansas City Repertory Theatre, Virginia Stage Company, Alabama Shakespeare Festival, Northlight Theatre, San Jose Repertory Theatre, Eugene O’Neill Theater Center, Pioneer Theatre Company, A Contemporary Theatre, Seattle Repertory

Theatre, Empty Space and Intiman Theatre in Seattle, the Kimo Theatre in Albuquerque, and Utah Shakespearean Festival. His popular production of 2 Pianos, 4 Hands has been seen at more than 20 theatres nationally, including the Theatre Company’s successful 2003 production.

JEFF GIFFORD (Director of Production) is in his third season at the DCPA and oversees every thing you see on stage except the actors. Guiding world premieres to their first opening night is especially gratifying and Jeff has worked on more than 35 of them. Among his favorites are Dinner with Friends, The Violet Hour, The Beard of Avon, Mr. Marmalade, and the new musical FLY. Jeff holds an MFA from California Institute of the Arts.

MATTHEW LOPEZ (Denver Center Playwriting Fellow) is the author of The Legend of Georgia McBride, which premiered at the Denver Center before a successful Off-Broadway run at the MCC Theater, and The Whipping Man, seen at Curious Theatre Company. Since its debut at Luna Stage Company and its New York premiere at Manhattan Theatre Club, The Whipping Man has become one of the most widely produced new American plays of the last several years, with productions in over 50 US cities and abroad. His play Somewhere premiered at the Old Globe Theatre in San Diego and recently completed a successful run at Hartford Stage where his newest work, Reverberation, is set to premiere in the winter of 2015. Other plays include Zoey’s Perfect Wedding and The Sentinels, which premiered in London. Matthew currently holds new play commissions from Hartford Stage, Manhattan Theatre Company, Roundabout Theatre Company, and South Coast Rep. He was a staff writer on the HBO series “The Newsroom” and is currently adapting Javier Marias’ “Your Face Tomorrow” trilogy for Brad Pitt’s Plan B film company.

THE

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EXECUTIVE

Kent Thompson, Producing Artistic Director

Charles Varin, Managing Director

Bruce K. Sevy, Associate Artistic Director

Jeff Gifford, Director of Production

ADMINISTRATION

Charles Varin, Managing Director

Ryan Meisheid, Associate Managing Director

Allison Taylor, Company Manager

Kerri Mirtsching, Business Administrator

Alie Quistberg, Assistant Company Manager

ARTISTIC

New Play Development

Bruce K. Sevy, Director of New Play Development

Douglas Langworthy, Literary Manager/Dramaturg

Chad Henry, Literary Associate

Emily Tarquin, Artistic Associate/ New Play Coordinator

Grady Soapes, Artistic Coordinator

Eli Carpenter, Artistic Intern

Matthew Lopez, Denver Center Playwriting Fellow

Commissioned Playwrights

José Cruz González, Lauren Gunderson, Kimber Lee, Rogelio Martinez, Kemp Powers, Theresa Rebeck, Anne Garcia-Romero, Tanya Saracho, Robert Schenkkan, Eric Schmiedl, Mat Smart, Regina Taylor, Lauren Yee

Directors

Adrienne Campbell-Holt, David Catlin, Anthony Powell, Jerry Ruiz, Bruce K. Sevy, Kent Thompson, Stephen Weitz

Choreographers

Sylvia Hernandez-DiStasi, Christine Rowan

Assistant Directors

Geoffrey Kent, Christine Rowan

Dramaturgs

Doug Langworthy, Heidi Schmidt, Stephanie Yabarra

Music Directors

Gregg Coffin

Composers

Gary Grundei

Acting Company

Adeoye, Colin Alexander, Leslie Alexander, Terence Archie, Jordan Barbour, Stanley Ray Baron, Kevin Bertnson, J. Paul Boehmer, Benjamin Bonenfant, Jason Bowen, Steve Brady, Molly Brennan, Maren Bush, Courtney Capek, Todd Cerveris, Brian D. Coats, Tad Cooley, Stephanie Cozart, Laurence Curry, Paul DeBoy, Allen Dorsey, Kevin Douglas, Napoleon M. Douglas, Diana Dresser, Brian Dykstra, Adrian Egolf, Isabel Ellison, Mehry Eslaminia, Mariana Fernández, Micah Figueroa, Kate Finch, Michael Fitzpatrick, Ella Galaty, Sam Gregory, Edwin Harris, Mike Hartman, Ben W. Heil, Lauren Hirte, Carolyn Holding, Drew Horwitz, C. David Johnson, Donterrio Johnson, Stephen Paul Johnson, Maurice Jones, Geoffrey Kent, Charlie Korman, Emily Kron, Robert Andrew Koutras, Nick LaMedica, Daniel Langhoff, Laura Latreille, Avi Lavin, Tracey Conyer Lee, Kyra Lindsay, Cajardo Lindsey, Brody Lineaweaver, Rodney Lizcano, Lars Lundberg, Victoria Mack, Emma C. Martin, Eddie Martinez, David Mason, Kathleen McCall, M. Scott McLean, James Newcomb, Leslie O’Carroll, Andrew Pastides, Daniel Pearce, Philip Pleasants, Max Raabe, Augie Reichert, Helen Reichert, James Michael Reilly, Jeffrey Roark, Jessica Robblee, Josh Robinson, Christine Rowan, Erik Sandvold, Nate Patrick Siebert, Shannan Steele, Carly Street, Olivia Sullivent, Andrea Syglowski, Samuel Taylor, Charles E. Wallace, William Oliver Watkins, Lindsey Noel Whiting, Jake Williamson, Erin Willis, Matt Zambrano, Samuel Zeisel, Owen Zitek

Designers

Scenic Designers

David M. Barber, Timothy R. Mackabee, Robert Mark Morgan, Lisa Orzolek, Daniel Ostling, Vicki Smith

Costume Designers

Denitsa Bliznakova, Mara Blumenfeld, Angela Balogh Calin, Kevin Copenhaver, Meghan Anderson Doyle, David Kay Mickelsen

Lighting Designers

Mara Blumenfeld, Don Darnutzer, Richard Devin, Charles R. MacLeod, Shannon McKinney, Grant W. S. Yeager

Sound Designers

Craig Breitenbach, Curtis Craig, Ray Nardelli, Tyler Nelson

Projection Designer

Charlie I. Miller

Coaches

Jack Greenman (Voice/Dialect), Hands on Productions LLC (Deaf Accessibility), Geoffrey Kent (Fight), Kathryn G. Maes Ph.D. (Voice/Dialect)

Casting

Bruce K. Sevy, Emily Tarquin

New York Casting

Elyssa Myers Casting/Paul Fouquet, CSA

PRODUCTION

Jeff Gifford, Director of Production

Melissa Cashion, Associate Production Manager

Julie Brou, Production and Artistic Office Manager

Scenic Design

Lisa M. Orzolek, Director of Scenic Design

Scenic Design Assistants:

Matthew Plamp, Nicholas Renaud

Lighting Design

Charles R. MacLeod, Director of Lighting

Lighting Design Assistant: Lily Bradford

Production Electrician: Reid Tennis

Multimedia

Charlie I. Miller, Resident Multimedia Specialist

Multimedia Assistant: Topher Blair

LOGO WITH SUBDIVISIONS

STAFF

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Multimedia Operators: Andrew Nicholas Cseresnyes, Kyle Moore, Topher Tananghira

Sound Design

Craig Breitebach, Director of Sound

Sound Operators: Alex Billman, Frank Haas, Tyler Nelson, Jonathan Ruiz

Stage Management

Christopher C. Ewing, Production Stage Manager

Stage Managers: Jonathan D. Allsup, Matthew Campbell, Rachel Ducat, Aja M. Jackson, Randall Lum, Lyle Raper, Kurt Van Raden

Production Assistant: D. Lynn Reiland

Stage Management Apprentices: Corin Ferris, Lexi Holtzer, Kristen Littlepage

Child Wrangler: Lauren LaCasse

Scene Shop

Eric Rouse, Technical Director

Robert L. Orzolek, Associate Technical Director

Josh Prues, Assistant Technical Director

Lead Technicians: Albert “Stub” Allison, Louis Fernandez III

Scenic Technicians: William Currie, Justin Hicks, Ludwig Hnatkowycz, Brian “Marco” Markiewicz, Keli Sequoia, Mike Van Aartsen, Ross Wick, Topher Yanangihara

Prop Shop

Robin Lu Payne, Properties Director

Eileen Garcia, Assistant Properties Director

Props Artisans: Jamie Stewart Curl, Charles Dallas, Georgina Kayes, Tobias Harding, David Hoth, Roo Huigen, Katie Webster

Paint Shop

Jana L. Mitchell, Charge Scenic Artist

Lead Scenic Artist: Melanie Rentschler

Scenic Artists: Kristin Hamer, Brian Proud, Jeni Raddatz, Lindsay Senior

Paint Intern: Rachel Gibson

Costume Shop

Janet S. MacLeod, Costume Director/ Costume Design Associate

Costume Design Associate: Meghan Anderson Doyle

Drapers: Carolyn Plemitscher, Louise Powers, Jackie Scott

PLEASE BE ADVISED that once the show begins:

• LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

• PHOTOS, RECORDING & CELL PHONE USE are prohibited during the performance.

• CHILDREN 4+ are welcome in our theatres and must be ticketed.

• DRINKS are allowed in provided containers.

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you.

• BRAILLE PROGRAMS are available with 2 weeks’ notice to [email protected] or 303.893.4836.

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from Arts & Venues Denver; the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals.

The Theatre Company is a division of the Denver Center for the Performing Arts, a not-for-profit organization serving the public through the performing arts.

The Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The Theatre Company also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada.

The Theatre Company is constituent of Theatre Communications Group (TCG), the national organization for not-for-profit resident theatre companies.

The costumes, wigs, lighting, props,furniture, scenic construction, scenic painting, sound and special effects used in connection with this production were constructed and coordinated by the Theatre Company’s Production Staff.

The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.)

The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.

Member of the Colorado Theatre Guild

First Hand: Cathie Gagnon

Tailor: Sheila P. Morris

Stitchers: Belinda Haaland, Kelly Jones, Teresia Larsen, Jeanne Legrand, Ingrid Ludeke, Jenny Milne-Wright, Wanda Price, Beth Walker

Costume Crafts

Kevin Copenhaver, Costume Crafts Director

Costume Crafts Artisans: Shirleen DiFonzo

Wigs

Diana Ben-Kiki, Wig Master

House Crew

Doug Taylor*, Supervising Stagehand

Stagehands: Mariah Becerra*, Jim Berman*, Becky Currie, Jennifer Guethlein*, Frank Haas, Andrew Hamer, Stephen D. Mazzeno*, Dana Nelson, Miles Stasica*, Tyler Stauffer, Mike VanAartsen, Matt Wagner* (*IATSE Local 7 Stagehands)

Wardrobe

Brenda Lawson, Director

Wig Assistants: Maria Y. Davis, Taylor Malott

Dressers: Robin Appleton, Amber Donner, Kelly Jones, Amoreena Kissel, Anthony Mattivi, Tim Nelson, Lisa Parsons, Alan Richards

MARKETING

Brianna Firestone, Director of Marketing

Hope Grandon, PR & Events Manager

Emily Kent, Marketing Manager

POWER PASS VOUCHERS CAN BE USED FOR ANY DATE OF ANY THEATRE COMPANY SHOW.

AVAILABLE IN SETS FOR 4, 6, 8 OR 10 TICKETS4-payment installment pricing includes a single $10 fee. Some restrictions may apply.

DENVERCENTER.ORG/SUBSCRIBE303.893.4100 • GROUPS: 303.446.4829

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MIX AND MATCH FROM OUR UPCOMING SHOWSWITH A THEATRE COMPANY POWER PASS

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22 denvercenter.org

“ For us, it’s a passion to help the next generation be more successful than we are. It is a core aspect of Noble Energy’s mission to help build strong communities that prepare young people for the working world.” — CHIP RIMER, SENIOR VICE PRESIDENT,

NOBLE ENERGY U.S. ONSHORE

NOBLE ENERGY AND DCPA PARTNER TO CREATE AN INNOVATIVE STEAM INITIATIVE

NNoble Energy is partnering with the Denver Center for the Performing Arts (DCPA) to create an innovative initiative that will support STEAM (science, technology, engineering, arts and math) education in Denver Public Schools (DPS) and in schools across Colorado. Combining the DCPA’s Dramatic LearningTM program with an engaging STEAM curriculum will help bring concepts and skills to life for students. Noble believes that incorporating a comprehensive and innovative arts initiative in education provides the critical thinking, communications and creativity skills essential to student and professional success. Taking the traditional STEM program and adding the “A” for arts will help spark students’ imaginations and help students innovate through hands-on projects. The issue is a real one for Noble Energy. “For us, it’s a passion to help the next generation be more successful than we are,” said Noble Energy Senior Vice President Chip Rimer. “It is a core aspect of Noble Energy’s mission to help build strong communities that prepare young people for the working world.” Noble is working with DPS to identify areas with the greatest needs and how it can help strengthen science courses. The DCPA’s Dramatic LearningTM program will focus on STEM while also utilizing artistic teaching techniques to enable better understanding and learning in the classroom setting. “Education is the backbone to the success and growth of Colorado’s energy industry,” said Patsy Landaveri, Noble Energy’s Colorado community affairs manager. “Providing students with STEM knowledge through the DCPA’s Dramatic LearningTM program will expose students to important science and technology concepts, giving them the key skills they need to compete in Colorado’s future workforce.” Noble has been a long-standing supporter of both STEM curricula and DPS. Through a partnership with the Denver Broncos, Noble has donated thousands of dollars to the DPS Foundation and has helped recognize DPS students who excel in STEM courses. Noble also supports DPS’s 8th grade career fair and Noble employee volunteers are actively involved with the school district’s reading programs and other school projects.

A PROUD SPONSOR OF DCPA EDUCATION

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24 denvercenter.org

When Tanya Saracho was awarded her first commission to write a new play, she knew exactly why she was chosen for the job. “It was because I’m a Latina,” she says with unfiltered and unapologetic enthusiasm. When she got her start in television, writing for two episodes of Lifetime’s “Devious Maids” without any appreciable experience, she knew the score there, too. “Listen: I got into television because I was a diversity hire,” Saracho says almost giddily. And you know what? “I don’t care.” And you know why not? “Because by the second job, I wasn’t a diversity hire,” she said. “I earned it.” Saracho is part of a vastly underrepresented demographic in show business. She is a female writer who was born in Mexico. When you take a look around at the plays that are being presented on America’s stages, or if you examine the racial makeup of Hollywood’s TV writing rooms, you won’t find many Sarachos. She might just be a minority of one. “And that’s why I don’t care how I got in,” she said. “I just knew I needed an in — because we needed to be in the room.” And once she got in the room, she stayed in, parlaying her success into jobs writing for HBO’s “Looking,” “Girls” and, now, ABC’s “How to Get Away with Murder.” Saracho is a native of Los Mochis, Mexico, and a Boston University alum who describes herself as “an Americanized, acculturated Mexican citizen with a green card.” She was hired by “Looking” because she would be a Latina on an otherwise all-male writing staff. While there, she received news of her unexpected commission to write a new play for the DCPA. “This is the way the commissioning process works at the Denver Center,” Saracho said. “You get this amazing email that says, ‘Tell us what you are interested in writing because we want to support you with some money.’ Let me tell you, that is the best kind of email you will ever get.” Saracho was interested in writing about Mexican women in Hollywood, namely Lupe Vélez, the first crossover star of the 1920s. But Saracho eventually settled on another Mexican woman in Hollywood — herself. She started writing her own story, which evolved into FADE, currently premiering at The Ricketson Theatre. “My play is about a first-time TV writer named Lucia who works on an LA-based network show and she doesn’t know what she is doing,” Saracho said. “The only other Latino she ever runs into at the film studio is the janitor, who is a third-generation American Chicano. The play is really about the conversations they have after hours.” Sound familiar?

FADEPLAYWRIGHT TANYA SARACHO: A MINORITY OF ONEB Y J O H N M O O R E

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“Yes, I was inspired by the setting while I was literally writing this play at the studio,” she said. “I did develop a friendship with the custodian. I was even going to go on strike with him. So it was very much inspired by that relationship. But then you fill it in with fiction…because I didn’t want to get sued!” Theatre Company Producing Artistic Director Kent Thompson invited Saracho to workshop her first draft of FADE at last year’s Colorado New Play Summit. The only problem? She arrived in Denver with only 49 pages — and no title. No problem, Director of New Play Development Bruce K. Sevy told her. “He said he wasn’t worried because he knew we were going to have a play by the end — and we did, because that attitude was there and that trust was there,” Saracho said. Thompson calls Saracho “a funny, gifted, rising writer who is intensely aware of the layers and complexities in the Latino culture — and some of the fissures.” In FADE, Lucia discovers that her custodian pal not only has a windfall of good plot ideas, he has a more credible understanding of the fictional star character than she does. When Lucia begins incorporating his insights into her scripts, Lucia’s professional stardom rises, but the friendship is compromised. “This woman came to the studio to fight the system,” Saracho said, “but when she tastes some unexpected success, she realizes, ‘Hey, I am part of this now. I am part of the problem that I came here to solve.’ ” While gender disparity in the American theatre has become a major topic of national conversation in recent months, Saracho has found Denver to be a fertile, nurturing oasis from all of that. “The support of everyone here is really amazing because they are just trying to get your play born,” she said. “So it’s like everyone here is a midwife.” The DCPA has made a major and ongoing commitment to female playwrights and directors through its Women’s Voices Fund (see pg. 36), which now tops $1 million and growing. Saracho hasn’t found that same kind of commitment to women anywhere else. That’s why she and 13 theatre friends created “The Kilroys” — an annual survey of more than 300 new-play leaders that identifies what they believe to be the 50 most promising new plays by female or transgender playwrights. The list couldn’t make it any easier for artistic directors to find and slot new plays by women. “It was simple but monumental, and I think it’s made the right kinds of waves in the field,” Saracho said. “It’s affecting change that is tangible in many ways. It’s serving to hang a lantern in a new kind of way to this ages-old problem of inequality on the American stage.” As Saracho returns to Denver to celebrate the world premiere of FADE, this woman of many words struggles to find the right one to illustrate her fondness for the Denver Center. “I don’t know how to describe the essence of this place,” she said. “Nurturing is not the right word. I wish I had a better word than that, because nurturing is not enough.”

FADEFEB 5 – MAR 13 • RICKETSON THEATRE

ASL interpreted & Audio described performance: Mar 6, 1:30pmTickets: 303.893.4100 • denvercenter.org • Groups: 303.446.4829

25

COMING UP FROM THEATRE COMPANY:SWEENEY TODDDeVotchKa frontman Nick Urata promises Sweeney Todd (playing The Stage Theatre Apr 8 – May 15) will be “loud and proud” once he puts Stephen Sondheim’s masterpiece through the Grammy-nominated local band’s sousaphone. “And hopefully we will sneak some rock ’n’ roll elements in there, too,” Urata told Applause. This unprecedented program-ming departure for the Theatre Company calls for members of DeVotchka to play in the orchestra pit every night, with up to five additional musicians. DeVotchKa’s music comes with a meat-pie flavor all its own. The bass, tuba, trumpet, accordion, violin and percussion all mix together for a Latin and Slavic aural amalgam that is often described as “mariachi polka punk.” “Sweeney Todd is such a guilty pleasure,” Urata said. “I can’t think of a more perfect platform for us, being that we like coming from a dark and twisted place, and this is the ultimate dark and twisted musical opera.” Urata had only one demand. “We all want to have our throats slit, during the show,” he said.

Read the full interview with Nick Urata at denvercenter.org/news-center

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“ The support of everyone here is really amazing because they are just trying to get your play born. So it’s like everyone here is a midwife.” — TANYA SARACHO, PLAYWRIGHT

26 denvercenter.org

TThe Westin Denver Downtown is well known as an elite venue for social events, conferences, meetings and business travel plus weekend theatre, arts and sports staycations. Many seek out the Four-Diamond Westin Denver Downtown for a chance to sleep in the world-famous Westin Heavenly Bed. But even on a vacation close to home, Westin wants you to leave better off than when you arrived, which means taking care of you from beginning to end. From sleeping well in the Westin Heavenly Bed, to eating well with the new SuperfoodsRX in-room menu, to moving well with the Westin Run Concierge, as well as the renovated WestinWORKOUT Fitness Studio and the New Balance gear lending program, the Westin Denver Downtown keeps you active and healthy, even when you are on vacation. The hotel also is turning its best-kept secret into your best-kept secret: the fourth-floor pool deck with magnificent views of the 16th Street Mall, Sports Authority Field at Mile High, Larimer Square and the entire Front Range of the Rocky Mountains. One of the most spectacular event spaces in Denver, the pool deck hosts evening special events for up to 300 guests. Thirty years ago, the Westin Denver Downtown opened with a gala that raised funds and friends for the Denver Center for the Performing Arts (DCPA). After three decades, support of the arts and the DCPA remains a priority for the Westin and its guests and employees. The Westin hotel offers special room rates for performing arts organizations that appear on stage in the performing arts complex, including the DCPA, Colorado Ballet and Opera Colorado. The hotel also is a long-time supporter of Saturday Night Alive, the DCPA’s largest fundraiser that annually raises more than $900,000 to benefit youth education and outreach for more than 80,000 Colorado students. Thank you for supporting performing arts in Colorado. Together with the DCPA, we hope you will leave feeling better than when you arrived.

The Westin Denver Downtown 1672 Lawrence StreetDenver, CO 80202Reservations: 888-627-8435www.westindenverdowntown.com

A PROUD SPONSOR OF DENVER CENTER FOR THE PERFORMING ARTS

DENVER’S HEALTHY AND ACTIVE STAYCATION

28 denvercenter.org

CCelebrated playwright Theresa Rebeck has a soft spot for bar plays. Her newest world premiere, a commissioned work for the DCPA Theatre Company, is a bar play called The Nest. That’s the name of a neighborhood watering hole on its last legs. “But it’s got very beautiful bones inside it,” she says. The bar is from another time. Its neighborhood is changing and its regulars have dwindled to an anachronistic few. And now the owner has been approached by outside forces to sell. “It’s really about the architecture of our communities and how they are being razed in favor of a much more impersonal and corporate reality,” she said. That Rebeck has a soft spot for anything might come as a surprise to audiences who gasped through her last Denver Center world premiere back in 2008. Rebeck’s Our House was an angry, cutting satire about the corrosion of journalism and the simultaneous rise of reality TV. It skewered random targets such as media mergers, the gun culture and more…with a slowly expanding pool of blood covering the stage floor. The play was a piece of inspired fury. Rebeck proudly called Our House “intentionally messy” back in 2008. And eight years later, she summoned the very same expression to describe The Nest. “I feel like the mandate of any play that takes place in a bar is that it should ramble a bit,” she said with a laugh. “I think it needs to be a little humanly reckless.” Rebeck is known for writing uncommonly topical plays that turn a mirror on the contradictions and aggravations of everyday contemporary life. And like most regulars at any given favored watering hole, Rebeck is nothing if not

refreshingly outspoken. Let her loose in a fictional bar populated by small-town regulars, then add booze, and you open Rebeck’s pointed pen as wide as a whiskey spout for just about any topic she wants. When drinking at The Nest, no conversation is off limits. The same holds true when talking with Rebeck. Rebeck doesn’t want you to love her plays. She wants you to listen to what they have to say. Visitors to the DCPA’s annual Colorado New Play Summit got a sneak peek at The Nest last February. The Summit introduces four evolving scripts each year, and at least two are then selected for full production the next mainstage season. Last year, that was The Nest and Tanya Saracho’s FADE (see pg. 24). Rebeck looks at the DCPA Theatre Company’s comprehensive new play development program, headed by Producing Artistic Director Kent Thompson, Director of New Play Development Bruce K. Sevy and Dramaturg Douglas Langworthy, as a national model. Last year, development time at the Summit was expanded to two weeks. Rebeck found the extra time to be invaluable for The Nest, and not only because her play underwent two name changes. “Going into the Summit, I just had a feeling the play was too tidy and that what I needed was to explode it a little bit,” she said. “And yes, I exploded it.” Thompson also cofounded the DCPA’s Women’s Voices Fund, a $1 million endowment that specifically supports new plays by women and the hiring of female directors. The fund (see pg. 36) has allowed the Theatre Company to produce 26 plays by women, commission 16 female playwrights and hire 20 female directors since 2006.

THE NEST THERESA REBECK WIELDS A POINTED PENB Y J O H N M O O R E

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“Kent Thompson absolutely walks the walk,” Rebeck said. “Those three guys have a very delicate touch and an enormous respect for all of the artists they invite here. I love it here. I feel very safe.” The issue of gender disparity in the American theatre has grown like a national drumbeat in recent months. According to a recent sampling, just 22 percent of all plays produced on American stages between 2011 – 2014 were written by women, even though women generally average up to 61 percent of the theatregoing audience. But this is a conversation Rebeck has been leading her entire adult life. And frankly, she’s happy to pass the mic. “I am encouraged because I don’t have to be at the center of it anymore,” said Rebeck, who created The Lilly Awards with Marsha Norman and Julia Jordan in 2010 as a way to call attention to the work of women in the American theatre. “I strongly feel like going to the theatre should always be a lesson in empathy,” she said. “It is something that creates community that can potentially bring us all into the same understanding of our shared humanity. And I think that’s what The Nest is ultimately about. So I cannot wait until we are working in a post-gender universe.” That’s why she was happy to hear the following anecdote from last year’s Summit. At the end of a public reading of The Nest, a man turned to his companion and said, “I never would have guessed that was written by a woman.” Rebeck, after all, has been compared to blistering peers such as David Mamet and Neil LaBute. Rebeck, ironically, considers herself to be “absurdly and almost incoherently optimistic.” But she took the gender comparison to be compliment, she said, “because I think that has to be a person who thinks of women in a certain way, and now he has come to understand that what he thinks about women is not necessarily accurate. “So I think that’s really good.”

THE NESTJAN 22 – FEB 21 • SPACE THEATRE

ASL interpreted & Audio described performance: Jan 31, 1:30pmTickets: 303.893.4100 • denvercenter.org • Groups: 303.446.4829

29

Enjoy a creative learning experience: acting, improv, on-camera and more.

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FIND YOUR VOICE

“ I strongly feel like going to the theatre should always be a lesson in empathy. It is something that creates community that can potentially bring us all into the same understanding of our shared humanity.” — THERESA REBECK, PLAYWRIGHT

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DCPAScott Shiller .............................................................President/CEO Eve Gordon ..........................Executive Assistant to the CEO

BROADWAY & CABARETJohn Ekeberg ..........................Executive Director BroadwayAlicia Giersch ....................................................General ManagerAlyssa Chacon ............ Operations Business AdministratorAbel Becerra ................................. Technical Director, CabaretAnson Nicholson .............................Sound Engineer, Cabaret

DEVELOPMENTDavid Zupancic ................................Director of Development Shawn Bayer ...................................................Associate DirectorChelley Canales ..................................Development AssociateMegan Fevurly ....................................Development AssociateMelissa Olson .......................................Development Assistant Marc Ravenhill ................................................Associate Director Valerie Taron ...................................................Associate Director

EDUCATIONAllison Watrous .......................................Director of EducationJessica Austgen ...............................................Teaching Artist &

Shakespeare CoordinatorStuart Barr .................................Education Technical DirectorClaudia Carson ........................................Bobby G Coordinator Leslie Channell ............................................ Education RegistrarPatrick Elkins-Zeglarski ...............................................Education

Curriculum ManagerLinda Eller .............................................................................LibrarianTim McCracken.....................................................Head of ActingJannett Matusiak ...........................................Business ManagerMichelle Patrick ..................Corporate Training CoordinatorDavid Saphier .............School Coordinator/Teaching ArtistRachel Taylor ........ .At-Risk Coordinator & Teaching Artist Chloe McCleod, Justin Walvoord, Robyn Yamada ................................................... Teaching Artists

FACILITIES & EVENT SERVICESClay Courter ....Vice President, Facilities & Event ServicesJames Babcock ..................................................................Engineer Dwight Barela .....................................................................Engineer Quentin Crump ..............................................Security SpecialistClint Flinchpaugh ..............................................................EngineerCaitlin Glasgo ...............................................Events Coordinator Stori Heleen ................................Event Technology Specialist Michael Kimbrough ..........................................................Engineer Jaymes Kimbrough .................Event Technology Specialist Clint King ........................................................Security SupervisorTerry Koch ..................................................Director, EngineeringJohn Lower .............................................................Chief EngineerBrian McClain ............................................ Custodial SupervisorTara Miller, Danielle Porter, Brittany Schoede .............................................. Events ManagerBrook Nichols ...............................Director, Event Technology Alyssa Stock ...................................Assistant Project ManagerDawn Williams ....................................Director, Event Services Juan Loya, Carmen Molina, Blanca Primero, Judith Primero, Angeles Reyes Soto, Francisco Trujillo ...........................................................Custodians

MARKETING & SALESJennifer Nealson .................................Chief Marketing Officer Heidi Bosk ........................ Senior PR & Promotions ManagerNathan Brunetti ..................................................Digital ManagerKim Conner ........................................................Graphic DesignerFlora Jane DiRienzo ............................ Strategic PartnershipsBrenda Elliott .....................................Senior Graphic DesignerBrianna Firestone ...................................Director of MarketingSimone Gordon ..................................................Project ManagerHope Grandon .........................................PR & Events ManagerJeff Hovorka ............................ Director of Sales & MarketingJennifer Kemps .......................................Group Sales ManagerEmily Kent .....................................................Marketing ManagerDavid Lenk.............................................................Video ProducerEmily Lozow ..........................................Marketing Coordinator

Adam Lundeen..................................... Website AdministratorKyle Malone ...................................................................Art DirectorCarolyn Michaels ..........................................................CopywriterJohn Moore ...............................................Senior Arts JournalistAdam Obendorf ..........................................Senior Art DirectorBeth Osolin .....................Group Sales Business CoordinatorAllison Barber Pasternak .... Executive Assistant to the CMODonna Rossi ...........................Customer Experience DirectorJoseph Schurwonn......................................... Financial AnalystJill Schwager ..............Education Group Sales CoordinatorRob Silk ................................................................ Creative DirectorSuzanne Yoe ..........................Director of Marketing Services

& Cultural AffairsTHEATRE SERVICES Carol Krueger .................................Theatre Services ManagerAdam Alberti, Ethan Aumann, Nora Caley, Hadley Kamminga-Peck, LeiLani Lynch, Gregory Melton, Douglas Murphey, Joyce Murphey, Margaret Ohlander, Dylan Phibbs, Valerie Schaefer, Mica Ward ....................Theatre Company House ManagersTICKETING SERVICESJennifer Lopez ........................Director of Ticketing ServicesKirk Petersen ..........................................Assoc. Dir. of Ticketing

Services – Patron RelationsDavid Smith ............................................Assoc. Dir. of Ticketing

Services – Subscription ServicesJessica Bergin, Katie Clow-Pollard, Tristan Jungferman, Laura Kirby ......Box Office ManagersMicah White .............................................Subscription ManagerMalcolm Brown, William Dutton III, Kevin Dykstra, Elisabeth Link, Molly McDonough .....................Show LeadsKirsten Anderson, Ashley Brown, Scott Lix, Gregory Swan ............................................Subscription AgentsMaggie Blumer, Rena Bugg, D.J. Dennis, Nicole Giordano, Jennifer Gray, Edmund Gurule, Roger Haak, Rebecca Hibbert, Joel Innes, Alex Jannen, Noah Jungferman, Megan Kelly, Alia Kempton, Michael Lang, Daniel Lindsey, Brett Martinez, Shane Rodriguez, Juan Carlos Sánchez, Hayley Solano, Alec Sydlow, Ereece Thomas, J.P. Velez, Tomas Waples ....................................Ticket Agents

SHARED SERVICESVicky Miles ...............................................Chief Financial OfficerJennifer Jeffrey ..................................Senior Financial AnalystACCOUNTINGJennifer Siemers .......................................Director AccountingSara Brandenburg ........................................Senior AccountantMichaele Davidson ......................................Senior AccountantGeorgette Maddox ..........................................Payroll SpecialistKim Stewart .......................................................Staff AccountantHUMAN RESOURCESRegina Matthews ........................Director Human ResourcesBrian Carter ..................................Human Resources ManagerDonald Gabenski ............................................................ReceptionJamie Hawkins .....................................................HR Coordinator Monica Robles ...........................................Mailroom SupervisorINFORMATION TECHNOLOGYChris Calenzo ..................................................Help Desk AnalystJayson Cowley......................................Network AdministratorJim Hipp ................................................Associate Director of ITChristopher Hoge ......................VoIP/System AdministratorBobby Jiminez ........................ Senior Audienceview AnalystJohn H. Voorheis ...........................Manager of Infrastructure

THEATRE COMPANY Kent Thompson .......................... Producing Artistic Director ADMINISTRATIONCharles Varin ..................................................Managing DirectorRyan Meisheid ..........................Associate Managing DirectorAllison Taylor .................................................Company ManagerKerri Mirtsching ................................... Business Administrator Alie Quistberg ..........................Assistant Company Manager ARTISTICBruce K. Sevy ..............Director of New Play DevelopmentDouglas Langworthy ...........Literary Manager/DramaturgChad Henry ......................................................Literary Associate

Emily Tarquin ..................................................Artistic Associate/New Play Coordinator

Grady Soapes .............................................Artistic CoordinatorEli Carpenter ..............................................................Artistic InternPRODUCTIONJeff Gifford ..............................................Director of ProductionMelissa Cashion ...................Associate Production ManagerJulie Brou ..................Production & Artistic Office ManagerScenic DesignLisa M. Orzolek ...............................Director of Scenic DesignMatthew Plamp, Nicholas Renaud..............................Scenic Design AssistantsLighting DesignCharles R. MacLeod ..................................Director of LightingLily Bradford ....................................Lighting Design AssistantReid Tennis .............................................. Production ElectricianMultimediaCharlie I. Miller...................... Resident Multimedia SpecialistTopher Blair ...........................Multimedia Assistant/OperatorSound DesignCraig Breitenbach ..........................................Director of SoundTyler Nelson ......................................................... Sound DesignerAlex Billman, Frank Haas .............................Sound OperatorsStage ManagementChristopher C. Ewing ...............Production Stage ManagerMatthew Campbell, Rachel Ducat, Aja M. Jackson, Randall Lum, Lyle Raper, Kurt Van Raden .........................Stage ManagersD. Lynn Reiland ........................................Production AssistantCorin Ferris, Lexi Holtzer, Kristen Littlepage........... Stage Management ApprenticesScene ShopEric Rouse .........................................................Technical DirectorRobert L. Orzolek ....................Associate Technical DirectorJosh Prues ................................... Assistant Technical DirectorAlbert “Stub” Allison, Louis Fernandez III .........................................Lead TechniciansJustin Hicks, Brian “Marco” Markiewicz, Keli Sequoia, Mike Van Aartsen, Ross Wick ........................................................Scenic TechniciansProp ShopRobin Lu Payne ............................................Properties DirectorEileen S. Garcia ........................Assistant Properties DirectorJamie Stewart Curl, Charles Dallas, David Hoth, Georgina Kayes, Katie Webster .....................Props ArtisansPaint ShopJana L. Mitchell ..........................................Charge Scenic ArtistMelanie Rentschler .......................................Lead Scenic ArtistRachael Gibson ............................................................Paint InternCostume ShopJanet S. MacLeod .........................................Costume Director/

Costume Design AssociateMeghan Anderson Doyle .......Costume Design AssociateCarolyn Plemitscher, Louise Powers, Jackie Scott ...........................................................................DrapersCathie Gagnon ................................................................First HandSheila P. Morris...........................................................................TailorKelly Jones, Jenny Milne-Wright, Beth Walker ..... StitchersCostume CraftsKevin Copenhaver ...........................Costume Crafts DirectorWigsDiana Ben-Kiki ..............................................................Wig MasterHouse CrewDoug Taylor* .........................................Supervising StagehandMariah Becerra*, Jim Berman*, Jennifer Guethlein*, Stephen D. Mazzeno*, Miles Stasica*, Tyler Stauffer, Matt Wagner* (*IATSE Local 7 Stagehands) ............................... StagehandsWardrobeBrenda Lawson .......................................Director of WardrobeMaria Y. Davis, Taylor Malott ...........................Wig AssistantsRobin Appleton, Amber Donner, Kelly Jones, Anthony Mattivi, Tim Nelson, Lisa Parsons, Alan Richards ...................................................................... Dressers

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Experience a Divine Culture

www.ShenYun.com/DenverMarch 4–6 The Buell Theatre

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Perfect Holiday Gift

ALL-NEW 2016 SHOW | WITH LIVE ORCHESTRA

A GRAND PRODUCTION TAKES YOU ON AN UNFORGETTABLE ADVENTURE

IN ANCIENT TIMES, China was known as the Land of the Divine. Everyone, from the emperors to the common people, believed that their culture was a divine gift. They lived in harmony with the universe and saw a connection among all things. And authentic Chinese culture carried these principles for thousands of years—until it was lost.

We now invite you to visit this lost civilization. To make the journey possible, we had to push the boundaries of performing arts. We combine ancient dance with technological innovations, and historically authentic costumes with breathtaking animated backdrops. We let classical Chinese dance do the storytelling, and share with you the beautifully diverse worlds of ethnic and folk traditions. Filled with an enchanting orchestral sound, this is a stunning visual and emotional experience you won’t find anywhere else.

SOLD-OUT SHOWS 2013–2015! SECURE YOUR BEST SEATS TODAY!

“Most beautiful production I’ve ever seen in my life...”— Ray Williams, former Managing Director, Medfield Corporation

“I feel like I have been to heaven and back...”— Deirdre Denise McClain, dancer and dance teacher

“Absolutely the NO.1 SHOW in the world...”— Kenn Wells, former lead dancer of the English National Ballet

“There is nothing beyond this...”— Jim Crill, Producer

36 denvercenter.org

IIn 2005, the Denver Center for the Performing Arts (DCPA) launched a first-of-its kind initiative. The Women’s Voices Fund is an endowment designed to foster and further the work of women in theatre. At that time, roughly 82 percent of all plays produced in America were written by men. At that point in its 26-year history, only 17 of the DCPA Theatre Company’s 220 productions were by a woman, which was reflective of theatre nationwide. In fact, between 1918 and 2005, only 11 out of 75 plays to be recognized with the Pulitzer Prize for Drama were by women. So Producing Artistic Director Kent Thompson set out to change the course of theatre in Denver if not the US. “The United States has a rich history of brilliant women writers,” said Thompson, “but female playwrights have long been neglected on the American stage. Today much of the most exciting, innovative and imaginative writing for the theatre is being created by women.” Fast forward to 2015 and the endowment now exceeds $1 million, making it not only the first but the largest endowment fund dedicated to plays by women. “We believe this kind of investment over time will both create opportunities for some of America’s most exciting artists and lead to the creation of the theatrical classics of tomorrow,” Thompson continued. But raising money is just the beginning. The funds have been put to good and regular use. Since its inception, DCPA Theatre Company has been able to:

• Commission 15 female playwrights

• Produce 10 world premieres

• Hire 17 women to direct 24 plays and readings

“There is nothing like this anywhere in America,” said Theatre Company commissioned playwright Michele Lowe (Inana and Map of Heaven). “There is nothing like this anywhere in the world. The Women’s Voices Fund is a miracle, a living breathing American theatre miracle.” Director Wendy C. Goldberg (The Clean House, Living Out, The Sweetest Swing in Baseball, Third and Two Things You Don’t Talk About At Dinner) echoed this sentiment: “Creating funding for the development and production of new work is a constant struggle…this unique fund makes it possible to support the most gifted storytellers of our time.” Contributors to the endowment fund are invited to the annual Women with Hattitude luncheon (May 5), the Colorado New Play Summit and conversations with Kent Thompson as well as to meet playwrights, actors and directors. Gifts of any amount are welcome and may be made online at www.denvercenter.org/wvf or by calling 303.572.4593. Your support will give momentum to the new voices shaping American theatre today.

“ Today much of the most exciting, innovative and imaginative writing for the theatre is being created by women.” — KENT THOMPSON, DCPA THEATRE COMPANY PRODUCING ARTISTIC DIRECTOR

WOMEN’S VOICES FUND$1 MILLION IN 1 DECADE

WEAR A HAT THAT SPEAKS VOLUMES.Join our Women with Hattitude benefit for the Women’s Voices Fund at the Denver Center for the Performing Arts.

Enjoy a delicious lunch, a surprise musical performance and a colorful parade of the day’s best hats —

all to help women playwrights and directors be heard.

THU, MAY 5 • SEAWELL GRAND BALLROOM • 11:30AM DENVERCENTER.ORG/HATS • 303.572.4593

Adrienne Campbell-Holt, director of The Nest

Women’s Voices Fund contributors meet playwright Theresa Rebeck.

Photos by John Moore.

LIFETIME MEMBERSLifetime membership of $5,000

Geary & Andy AndersonThe Anschutz FoundationLee & Sheri ArcherRussell & Carol AthaPhilip & Ursula AwadMaureen BarkerFran BerlinDr. & Mrs. Barry BerlinMarty & Gail BerlinerBarbara BoyerBarbara BridgesDr. Dina Brudenell & Mr.

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S. GrantJames & Jan ChaseIsabelle ClarkRobert & Elaine CollinsSuzanne CollinsJill Irvine CrowKatie CymbalaLisa Daniel-JohnsonGully Stanford & Dorothy

DennyPam & David DukeJerry & Charleen DunnSharon DwinnellDianne EddollsAnita EdwardsNatley FarrisBobbie FarrisLois FeltHeather FitzgeraldJack Fitzgibbons & Adrienne

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Wooster-JacksonMichael A. KarmilLeo & Susan KielyJeremy Kinney & Holly Arnold

KinneyMike & Diana Kinsey Elizabeth KirkpatrickKarolynn LestrudDr. & Mrs. Stanley L. LoftnessDr. Kathryn G. Maes & Mr. Lee

MaesCharles & Judy McNeilMike MeisingerCarol MielkeVicky MilesShellie MunnBob & Judi NewmanPeggy & Dick NotebaertPaul & Nancy ObermanBob Grabowski & Ann PadillaDebra Perry & Jeff BaldwinPerry-Mansfield Performing

Arts School & Camp

Frank & Linda PlautJane PrancanJane QuinetteFran QuinlanElizabeth RaveWilliam & Mary Carol RiaskiTina RischWalter S. Rosenberry, III -

Charitable TrustMolly RossCarol Ann RothmanPeggy RottnerDutchess ScheitlerDonald R. SeawellDr. Barbara Shannon-Banister

& Mr. Guardie BanisterAlison ShetterRuth SilverBob & Carole SloskyJim & Lori SteinbergPeter & Janet SwinburnBea TaplinJames & Kate TaucherSandy TenenbaumKent Thompson & Kathleen

McCallJune TravisLeslie Tweed KingAndrea WarnerRandy WeeksCarol E. WolfMarvin and Judi Wolf Christine Yaros

ASSOCIATE MEMBERSAnnual membership of $300

Andrea Nicole AckermanJamie AngelichMartha BennettMurri BishopMaureen Regan Cannon

Joy DinsdaleJames and FloraJane

DiRienzoLouise DouglassBrianna FirestoneTrish GreenJulie GunliksonAnn Hinkins-SteinerDon Johnson & Arlene Mohler

JohnsonLaura NachburBonnie NeiheiselDr. Alexis ParkerMarc & Margot PintoToby PippinGlenda RainoldKerry ShillerMarlene SiegelDean & Adrienne SingletonCynthia TreadwellRachel WilliamsDeborah Woodward

CONTRIBUTIONS AT OTHER LEVELS

Alires AlmonJessica BalunSara BoydSue BrunerMegan CalvertDavid & Jody CharmatzKeri ChristiansenFreda ClaybornMarla CorwinAnn DeGroatAllison DoplerGreta DunnMs. Jacalyn Durkin-MillerViolet EdwardsDeborah FordBernice FosterLinda Gibson

Angela GourdenKathryn HaleSusan HelmerHon. Robert Fullerton &

Beverlee Henry FullertonGeorgia HigginsAngela HillMia HofmannAshley HofwoltJill JordanMargaret KellyJoby KorenLois MacPheeCarol & DirkMcDermottBeatrice MontoyaVeronica MontoyaKathy Nesbitt Jane NetzorgJackie NordstromEileen O’BrienVerna OrsattiMary Katherine PagelsDelores PardnerNicole ReinanWendy RitterVada RobinsonMarion SmithDebbie SmithAlyssa StockSusan VanNessNatisha WaltonStephanie WelshShirley WhitakerElizabeth WiersmaIrma WilbornSuzanne Yoe

Donations can be made all year long. Please contact Megan Fevurly at 303.572.4593 for more information.

2015/16 WOMEN’S VOICES FUND SUPPORTERS

WEAR A HAT THAT SPEAKS VOLUMES.Join our Women with Hattitude benefit for the Women’s Voices Fund at the Denver Center for the Performing Arts.

Enjoy a delicious lunch, a surprise musical performance and a colorful parade of the day’s best hats —

all to help women playwrights and directors be heard.

THU, MAY 5 • SEAWELL GRAND BALLROOM • 11:30AM DENVERCENTER.ORG/HATS • 303.572.4593

Sponsored by MARGOT & ALLAN FRANK

HILJA K. HERFURTH

38 denvercenter.org

For answers please visit denvercenter.org/news-center.

ACROSS2 FADE playwright writes for TV’s “How to Get Away

with _______”

6 LBJ’s wife (two words)

7 TV’s “_______ Maids” was another Tanya Saracho writing gig

10 Country where Tanya Saracho was born

11 The B in LBJ

13 Theresa Rebeck’s _______ Awards honor women in the American theatre

14 Theresa Rebeck play recently staged by Boulder Ensemble Theatre Company

16 He sang and co-wrote Dirty Dancing’s “She’s Like The Wind” with Stacy Widelitz

DOWN1 This new version of The Wizard of Oz features new

songs by Rice and _______

3 Patrick Swayze and Jennifer Grey also appeared in this film (two words)

4 He played LBJ on Broadway

5 Theresa Rebeck’s Our _______ was a 2008 DCPA Theatre Company world premiere

7 In Gentleman’s Guide, the jungle natives have but six words — all of them different words for _______

8 For the movie, the part of The Wizard was original-ly written for W.C. _______

9 Dirty Dancing’s resort dance instructor Johnny _______

12 For the movie, The Tin Man cried chocolate _______

13 “So I’ll tell you something. This could be _______”

15 This Tony Award winner originated the role of “The D’ysquith Family” on Broadway

A MEDLEY OF CROSSWORD TRIVIALITY Dirty Dancing, The Wizard of Oz, A Gentleman’s Guide to Love & Murder, All the Way, The Nest and FADE

As professionals who work in the realm of the imagination, we never plan the same event twice. Our team of on-site designers, event managers and technical specialists know how to take your vision of your big day and create something you’ve never imagined. Let us direct your award-winning event.

DENVERCENTER.ORG • 303.572.4466DIRECTORS ROOM • SEAWELL GRAND BALLROOM

YOU’VE WRITTEN YOUR LOVE STORY. LET US DIRECT IT.

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februaryInside The Score: Holst The Planets I N S I D E T H E S C O R E

FEB 5 T FRI 7:30Christopher Dragon, conductor

Side-By-Side with DYAO: 100 Year Celebration F A M I L Y

of the U.S. National ParksFEB 6 T SAT 2:30Christopher Dragon, conductorDenver Young Artists Orchestra

Sierra Boggess In Concert P O P S

FEB 13-14 T SAT 7:30 T SUN 1:00Andres Lopera, conductorSierra Boggess, vocalsColorado Children’s Chorale, Deborah DeSantis, artistic director

Mahler Symphony No. 2 “Resurrection” M A S T E R W O R K S

FEB 19-20 T FRI-SAT 7:30Andrew Litton, conductorColorado Symphony Chorus, Duain Wolfe, directorMAHLER Symphony No. 2, “Resurrection”

Igudesman and Joo: “BIG Nightmare Music” S P E C I A L

FEB 27 T SAT 7:30 Andrew Litton, conductorAleksey Igudesman, violinHyung-ki Joo, piano

march Shakespeare Festival: M A S T E R W O R K S

A Midsummer Night’s Dream MAR 4-5 T FRI-SAT 7:30 Hans Graf, conductorMaureen Thomas, actorColorado Children’s Chorale, Deborah DeSantis, artistic directorTCHAIKOVSKY The Tempest, Fantasy-OvertureMENDELSSOHN A Midsummer Night’s Dream

Inside the Score: Shakespeare Festival: I N S I D E T H E S C O R E

Colorado Symphony ChorusMAR 11 T FRI 7:30 Duain Wolfe, conductorColorado Symphony Chorus, Duain Wolfe, director

An Evening with Wonderbound S P E C I A L

MAR 12 T SAT 7:30Christopher Dragon, conductorWonderboundTCHAIKOVSKY excerpts from Sleeping BeautyTCHAIKOVSKY excerpts from Swan LakeTCHAIKOVSKY Serenade for Strings

Carnival of the Animals and The Story of Babar F A M I L Y

MAR 13 T SUN 1:00Andres Lopera, conductorSAINT-SAËNS Carnival of the AnimalsPOULENC The Story of Babar, the Little Elephant

Shakespeare Festival: Romeo and Juliet M A S T E R W O R K S

MAR 18-20 T FRI-SAT 7:30 T SUN 1:00 Christopher Dragon, conductorColorado Symphony Chorus, Duain Wolfe, directorVAUGHAN WILLIAMS Serenade to Music BERNSTEIN Symphonic Dances from West Side StoryTCHAIKOVSKY excerpts from Romeo and Juliet PROKOFIEV excerpts from Romeo and Juliet ROTA Love Theme from “Romeo and Juliet”

aprilBéla Fleck: Return of the Banjo M A S T E R W O R K S

APR 1-2 T FRI-SAT 7:30 Jose Luis Gomez, conductorBéla Fleck, banjoJOHN ADAMS The Chairman DancesVILLA-LOBOS Chôros No. 6BÉLA FLECK Concerto for Banjo and Orchestra No. 2

Inside The Score: I N S I D E T H E S C O R E

An Evening of Chamber MusicAPR 8 T FRI 7:30

A Symphonic Tribute to Mel Brooks P O P S

APR 9 T SAT 7:30Andres Lopera, conductorColorado Symphony Chorus, Mary Louise Burke, associate director

Jeffrey and Gabriel Kahane M A S T E R W O R K S

APR 15-17 T FRI-SAT 7:30 T SUN 1:00Jeffrey Kahane, conductor/pianoGabriel Kahane, vocals/guitarBERNSTEIN Fancy FreeGABRIEL KAHANE Crane PalimpsestGERSHWIN Concerto in F

Colorado Symphony Ball F U N D R A I S E R

APR 23 T SAT 6:00

ticketscoloradosymphony.org T 303.623.7876 box office mon-fri 10 am-6 pm :: sat 12 pm-6 pmstudent tickets: $10 at the door with valid student i.d. $12 in advance - call for details

Sierra Boggess

HalfNotes Please join us for family-friendly pre-concert activities in Gallery 2.

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Applause Magazine, Jan.-Mar., 2016

Documents

Transcript of Applause Magazine, Jan.-Mar., 2016