Applause Magazine, August 24-September 30, 2018

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SIGHTLINE

BY JANICE SINDEN

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Greetings and welcome to the 40th anniversary season of our very own DCPA Theatre Company! What a treat we have in store.

First up are three sequential openings — Vietgone, a pop culture-infused dramedy about two Vietnamese refugees; The Constant Wife, a cheeky satire that is as relevant today as it was in the 1920s, and Oklahoma!, the DCPA directorial debut of our new Artistic Director, Chris Coleman, who boldly sets this beloved classic in an all-African-American town in the early days of the Oklahoma Territory.

Just as our Theatre Company opens its season, DCPA Broadway welcomes the return of Beautiful — The Carole King Musical based on the inspiring true story of rock ’n’ roll’s very own “natural woman.”

At the same time, our Education and Theatre Company departments are busy building, rehearsing and preparing for our second Theatre for Young Audiences production. Straight from the pages of the beloved children’s book, Corduroy will entertain more than 19,000 PreK through 3rd grade students this fall (Oct 5 – Dec 9).

As you join us for these productions, you will see new names on some of our theatres. In June, the Denver Center for the Performing Arts launched its first ever Capital Campaign.

Called “A Grander Opening,” this campaign will renovate the Stage and Ricketson theatres, backstage and support areas, and Bonfils lobby. Thanks to 100% participation by our Board of Trustees, you will begin to see signage that recognizes these substantial gifts.

Marvin and Judi Wolf provided a lead gift to rename The Stage Theatre (The Marvin & Judi Wolf Theatre). Dean Singleton’s generous support will rename The Ricketson Theatre (The Singleton Theatre, see page 9). Robert and Judi Newman have made a significant gift to honor our late President, which will rename The Conservatory Theatre (The Randy Weeks Conservatory Theatre, see page 12). We are so grateful to these individuals for their commitment for providing world-class venues that match our world-class productions.

For more information on our 40th anniversary season, donation opportunities and the many programs we offer at the DCPA, please visit our newly revamped website at denvercenter.org, which is chock full of stories, photos, videos and much more.

We’ll see you at the theatre!

Janice Sinden, President & CEO Denver Center for the Performing Arts

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APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

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EDITOR: Suzanne Yoe CREATIVE DIRECTOR: Rob Silk ASSOCIATE EDITOR: John Moore SENIOR ART DIRECTOR: Adam Obendorf ART DIRECTOR: Kyle Malone SENIOR DESIGNERS: Casey Eickhoff, Brenda Elliott CONTRIBUTING WRITERS: Sylvie Drake, Hope Grandon, Brittany Gutierrez, Savannah Nichols Applause is published eight times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved.

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BOARD OF TRUSTEES Martin Semple, Chairman William Dean Singleton, Secretary/Treasurer Robert Slosky, Vice Chairman Dr. Patricia Baca Joy S. Burns Fred Churbuck Isabelle Clark Navin Dimond L. Roger Hutson Robert C. Newman Roberta Robinette Manny Rodriguez Alan Salazar Hassan Salem Richard M. Sapkin June Travis Ken Tuchman Tina Walls Dr. Reginald L. Washington Judi Wolf Sylvia Young

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The DCPA bridges a gap in school arts programs statewide through in-school workshops, on-site classes and live performances.

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TOGETHER WE CAN IMPACT THE LIVES OF THOUSANDS Photo by John Moore

Fuel a child’s creativity and enrich their lives with a gift to DCPA Education: • $25 sends a child to a matinee for their first play • $50 fills our theatre truck’s gas tank to bring Shakespeare to area high schools • $100 provides in-school playwriting workshops that give voice to high school students

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VIETGONE

An unlikely love story by a comicbook geek

BY JOHN MOORE

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Vietgone playwright Qui Nguyen has been called a weirdo, a nerd, a comic-book geek, a mamma’s boy and a vastly immature writer. And you should hear what he says about other people!

“As a kid, I just wanted to write superhero stories,” said Nguyen. “But I always assumed that as I grew up, my writing would, too.”

Instead, as Nguyen started an irreverent theatre company called Vampire Cowboys, and later landed a job as a screenwriter for Marvel Studios, it became pretty obvious that was just not going to happen. “I am never going to be that person,” he said with a laugh. “I am the artist that I am.”

And who is that artist?

“I am an introvert who likes to randomly throw kung-fu fights and ninjas and hip-hop into my plays — just because I think it’s fun,” he said.

Nguyen also is a Vietnamese-American who was born, in of all places, a military outpost in Fort Chafee, Arkansas.

Everything about his story — and his stories — challenge our present-day notion of the American identity. Even more so today than when Vietgone was premiered two years ago.

Nguyen’s parents met in 1975 at that Arkansas military base, which was being used as a temporary refugee processing center during the fall of Saigon. Their love story becomes the loose basis of Vietgone, now being staged by the DCPA Theatre Company.

“The catalyst for me wanting to be a writer in the first place was to tell my parents’ story,” Nguyen said. “I wanted people to know who they are and what they went through.”

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But he wanted to wait until that evasive serious writer emerged before he told it. This story deserved it. After all, his parents struggled mightily to come to America.

An uncle’s family was killed trying to leave Vietnam, leaving a baby stranded in the Philippines.

But Nguyen changed his mind. (He does that a lot. Blame the short attention span.) “I figured I could wait until my parents were dead and gone, or I could just write it now and celebrate them while they are alive,” he said. “So I said, ‘[bleep] it — I am going to do it now. I’ll just have to write the play the only way I know how to: In my style and in my voice.'”

Which means, yes, ninja fights, rap, non-sequential storytelling, a motorcycle, hyper-surrealism and many unconventional narrative forms before settling into a surprisingly substantive finale.

Despite his unconventional approach to the play, which the Los Angeles Times described as “a riotous theatrical cartoon,” and its inevitable political subtext, Nguyen says Vietgone is, at its heart, a completely new kind of American love story. “And we all love love stories, right?” he said.

“Mine is just told in a way that is probably different from anything else the Denver Center has ever done before.”

Writing that love story was not as easy as you might presume, given Nguyen’s proximity to its protagonists.

“People who come from tumultuous situations generally don’t want to talk about it,” said Nguyen, who employed a highly unorthodox journalistic construct to get his parents talking: He got them drunk and made fun of them.

APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

COSTUME For nearly 20COLUMN years, media mogul and former owner of The Denver Post, William Dean Singleton, has volunteered as a Trustee of the Denver Center for the Performing Arts. In that time, he has served as Vice Chairman and Secretary/Treasurer, a position he continues to hold today.

His long-standing commitment was just deepened with a generous gift to “A Grander Opening,” the DCPA’s Capital Campaign to renovate its Stage and Ricketson theatres.

When Singleton joined the Board in 2001, his affiliation continued a decades-long relationship between the region’s largest newspaper and largest non-profit theatre organization.

In 1895, Harry Tammen and Frederick Bonfils bought The Evening Post, one of a dozen tabloid-style newspapers in this rough and tumble town. Using sensational headlines and their own brand of yellow journalism, the duo rebranded the paper as The Denver Post, which, eventually, was owned by Bonfils’ daughter, Helen.

Upon her death, the paper was sold and proceeds financed the creation of the Denver Center for the Performing Arts.

In addition to owing its existence to past owners of The Post, the DCPA also has benefited from ongoing sponsorship support from the paper for nearly 30 years.

In recognition of his years of service and support of “A Grander Opening,” the DCPA will renovate The Ricketson Theatre beginning in March 2020.

Upon its reopening in the Fall of 2021, it will be renamed in his honor — The Singleton Theatre.

— QUI NGUYEN, playwright

“And oh boy, did that work!” he said with a belly laugh. “The one thing I know is that Asian parents really hate having dumb kids, so I just pretended to be real [bleeping] stupid just to watch my parents correct me. “I would say, ‘Vietnam? That was the war with China, right?’ And my dad would yell, ‘Oh, why are you so stupid?!?’ But once he got going, he couldn’t stop talking. And I must say — the alcohol helped.”

But two can play that game. Nguyen’s savvy mother turned the tables when she realized that talking to her son about her sex life completely grossed him out. “And she was so tickled by that,” he said, “that it strangely motivated her to then gross me out continuously.”

The things a writer will do to get the story.

But by writing his stories in the way that feels right to him, Nguyen has essentially created his own genre of American playwriting.

“I wish I could say that was a goal,” he said with a chuckle. “But the truth is, I just don’t know any other way to tell my stories. I have a little bit of artistic attention-deficit disorder, which means I get bored very quickly, and I will switch gears right when I am in the middle of something.”

Nguyen also is an uncommonly prolific writer. He wrote the core of Vietgone on one cross-country plane ride. He wrote his other big hit, She Kills Monsters (about a woman who gets sucked into a game of Dungeons and Dragons to learn more about her dead sister) — in a single day. Deadlines, apparently, are Nguyen’s best friend.

Vietgone was first introduced as a reading at the start of the most recent presidential campaign. It is a play Nguyen expected precisely no one would ever want to produce. Instead, it is becoming one of the most produced plays in America. And Nguyen admits the play unquestionably feels different since the election, and the subsequent refugee crisis that feels even more hostile to Nguyen’s family than the one in 1975.

“My play is about being displaced from home and family,” he said. “It’s about the struggle to start a new life in a new place. And when I wrote it, yes, we were absolutely living in a very different America. So while I may think of Vietgone as nothing more than a fun play about my parents, it’s obviously more than that now.

“I hope that Vietgone tells people that all of us are part of the American fabric. And that fabric isn’t one shade, one color or one story. What a lot of us are forgetting with all of this ‘MAGA’ [talk] is that we are a country that created itself. And everyone brings a little bit of their story into this giant quilt.

I think Vietgone should remind us all that America can be better than what it is right now.”

VIETGONE AUG 24 – SEP 30 • RICKETSON THEATRE ASL and Audio-described performance: Sep 16 at 1:30pm

Photo by Amanda Tipton photography

Illustration by Kyle Malone

A GIFT FROM DEAN SINGLETON

"I hope that Vietgone tells people that all of us are part of the American fabric. And that fabric isn’t one shade, one color or one story."

IN THE SPOTLIGHT

UPCOMING

SHOWS

Denver Center for the Performing Arts’ biggest stars step into the spotlight — actors, designers, students and you.

Vietgone Now – Sep 30 Beautiful — The Carole King Musical Sep 4 – 9 Oklahoma!

Sep 7 – Oct 14

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The Improvised Shakespeare Company Sep 13 – 30 The Constant Wife Sep 21 – Oct 21 Dear Evan Hansen Sep 25 – Oct 13 Corduroy Oct 5 – Dec 9 Love Never Dies Oct 23 – 28 Bite-Size: An Evening of Micro Theatre Oct 23 – Nov 18

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Breakin’ Convention Nov 3 – 4 Xanadu Nov 3, 2018 – Apr 28, 2019 Come From Away Nov 13 – 25

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1. DCPA thanks the 2017/18 Denver Center Alliance Board members for all of their time, hard work and efforts throughout the season! These volunteer fundraisers donate countless hours of time, effort and energy to ensure our success each year. Bravo!

2. Terri Fisher accepts the Denver Center Alliance’s 2018 Volunteer of the Year Award at its spring membership luncheon. 3. Outgoing Alliance President Pam Sletten (l), pictured with President Elect Jennifer Dechtman, worked tirelessly this year to coordinate over a dozen phenomenal events during the past season. 4. Bayswater President & CEO Steve Struna, his wife Susan and their family and their family (center) recently chaired the DCPA’s record-breaking Saturday Night Alive. Bayswater and 5. SRC Energy were sponsors of the event, which raised $1.15 million to support DCPA arts and education programs.

Photos by Megan Fevurly, Melissa Olson and Amanda Tipton photography

A Christmas Carol Nov 21 – Dec 24 The SantaLand Diaries Nov 23 – Dec 24 Irving Berlin’s White Christmas Dec 5 – 15 Cirque Eloize - Hotel Dec 19 – 23 A Bronx Tale Jan 8 – 20, 2019 Last Night and the Night Before Jan 18 – Feb 24, 2019 Rock of Ages Jan 25 – 27, 2019 Anna Karenina Jan 25 – Feb 24, 2019 Bat Out of Hell Feb 6 – 17, 2019 The Whistleblower Feb 8 – Mar 10, 2019 Powered by Off-Center Mar – Apr 2019 The Play That Goes Wrong Mar 5 – 17, 2019 Hello, Dolly!

Mar 27 – Apr 7, 2019 Cats Apr 24 – 28, 2019

FOR A COMPLETE LIST, VISIT DENVERCENTER.ORG 10

APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

Tickets for some shows are currently unavailable.

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A TENDER STORY OF TRUE FRIENDSHIP FOR THE YOUNGEST THEATRE LOVERS

Artwork based on the literary works Corduroy and A Pocket for Corduroy by Don Freeman. Licensed by CBS Studios Productions LLC TM & © 2018

A GIFT FROM ROBERT & JUDI NEWMAN

OCT 5 – DEC 9 BRING YOUR PreK – 3RD GRADERS TO SHOWS ALL WEEK LONG WEEKDAY MATINEES FOR $10 WEEKEND PERFORMANCES FOR $15

DENVERCENTER.ORG

SINGLE TICKETS: 303.893.4100 STUDENT GROUP TICKETS AND SCHOLARSHIPS AVAILABLE 303.446.4829 CORDUROY Based on the Corduroy and A Pocket for Corduroy books by Don Freeman Licensed by CBS Consumer Products Adapted for Stage by Barry Kornhauser Directed by Allison Watrous

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Scholarships provided by: Ralph L. and Florence R. Burgess Trust, Fine Arts Foundation, Peggy Finley, Margot and Allan Frank, Fuller Family Fund, The Blanche and Irving Laurie Foundation, Alan and Carol Meny, Walter S. Rosenberry, III - Charitable Trust, June Travis

Show Sponsor:

APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

COSTUME COLUMN In June, long-time Denver Center supporters Robert & Judi Newman announced a significant gift to the DCPA’s Capital Campaign, “A Grander Opening” As staunch supporters of arts education, the Newman’s donation will rename DCPA Education’s 185-seat theatre, The Randy Weeks Conservatory Theatre to honor the organization’s late President.

Each year, the DCPA engages nearly 106,000 students through its education and audience engagement programs including 19,000 PreK-3rd grade children who attended last year as part of the new Theatre for Young Audiences program. (See ad to the left for this fall’s production of Corduroy).

As President of the DCPA and Executive Director of Broadway, Randy (1955-2014) presented more than 400 Broadway and cabaret shows to nearly 12 million guests.

Plus he served on the Board of Denver School of the Arts and founded the Bobby G Awards to honor the best in Colorado high school musical theatre.

“Judi and I hope that our gift paired with Randy’s commitment to theatre and education, will make a lasting impact for generations to come,” said DCPA Trustee Robert Newman.

See for yourself when Corduroy plays the newly renamed Randy Weeks Conservatory Theatre October 5 through December 9.

For information about DCPA Education and The Denver Center’s “A Grander Opening,” please visit denvercenter.org.

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Carnegie Hall. Sarah Bockel (“Carole King”) • Photo by Matthew Murphy.

AS BEAUTIFUL AS SHE IS B Y S Y LV I E D R A K E

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APPLAUSE • AUG – OCT 2018 • DENVERCENTER.ORG

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Beautiful is subtitled The Carole King Musical and contains many unforgettable Carole King songs (“Will You still Love Me Tomorrow,” “Up on the Roof,” “A Natural Woman”). But this show is a jukebox musical that King had little to do with beyond agreeing – kicking and screaming – to let the producers base it on her life and songs. Crazy?

The other players in this jaunty evening of musical comedy – a breezy mix of nostalgia, great songs, spirited dance and romance from the 1960s and 70s – are Cynthia Weil (words) and Barry Mann (music), good friends of King and King’s then-husband and collaborator, the late Gerry Goffin.

The Manns’ own romance and marriage is prominently featured in it, often as comic relief.

So are some of their compositions (“On Broadway,” “You’ve Lost That Lovin’ Feelin’”), along with snippets by others and including that 1929 anthem, “Happy Days Are Here Again,” used

by Franklin Roosevelt as his 1932 presidential campaign song, but offered here with reinvented Weil-d new lyrics.

So, what gives…?

Enter sunny producer Paul Blake, strongly suspected to be the mastermind behind this Beautiful gambit.

“Yes…! No,” he said, quickly reversing himself. “The phone rang one day and it was the president of EMI music who said, ‘Paul, we own these songs and I think there’s a show in there.’ Why call me? ‘Well, you got the [Irving] Berlin sisters to give you the rights to ‘White Christmas.’ You’re the most persistent producer I know.”

It was a comment Blake had to live up to. But when he approached Carole King, she demurred.

A musical? About her? Too personal! Too private!

Too invasive! He pleaded, she hemmed; he begged, she hawed; persisting, he made a commitment: “You say no,” he told King. “I say yes. And if you don’t like it, I’ll kill it.”

It was reassurance enough to get King to relent, but when invited to a first reading, she walked out. What?!

When Blake caught up with her, she said she had to leave; the musical, which prominently features her break-up with Goffin, was too emotional for her to watch. But, she added, she could see “people loved it, it was very well written and performed” and, while she didn’t want to get any closer to the production, she would allow it to go on…

Time to exhale.

It took another couple of years to pull it together.

The book writer Blake wanted, Doug McGrath, also kept saying “no,” but Blake told him what he’d told King: “That’s the first no; we’ll eventually get to yes,” for which he smartly enlisted the help of McGrath’s wife. Bingo.

“Once we really got going,” said the persistorin-chief, “it worked!” By then, Weil and Mann were on board and the messy collaboration was underway. McGrath wrote the book, made decisions and song choices, with the others – except King – chiming in, disagreeing or not.

Interviewed at their Los Angeles home in June, Mann and Weil said the idea for this musical had started with Carole’s manager at the time.

ONE OF THE MOST REMARKABLE SHOWS IN MUSICAL THEATER HISTORY.

He pleaded, she hemmed; he begged, she hawed; persisting, he made a commitment: “You say no,” he told King, “I say yes. And if you don’t like it, I’ll kill it.” — PRODUCER PAUL BLAKE

“She thought it should be a story about all four of us,” offered Mann, “Cynthia, me, Carole and Gerry.”

“Because we were best friends and also fierce competitors, we were to have equal weight,” Weil clarified. “Then Paul came in and we interviewed writers with him. When we settled on Doug [McGrath], the first version was about the four of us. But after that first reading, which ended with us getting married and Carole going off to California, everybody felt cheated that they hadn’t heard a single song from Tapestry, which was Carole’s big album.”

We saw this was a problem,” Mann added. “Of the four of us, she was the famous one. It was her album. People wanted to hear that story.”

King, meanwhile, continued to insist the show should be about the four of them, but by then everybody knew better. “We kept telling Doug that Carole and Gerry were Lucy and Desi and we were Fred and Ethel,” Mann deadpanned, “and it kind of worked out that way.”

How difficult was this to sort out?

“You can imagine,” said Weil, “four people, all with different ideas of what the show should be…” Less difficult, Mann insisted, because McGrath is “a great guy and real talent who was very sensitive to us.”

Weil and Mann have seven songs in Beautiful to King’s 14, and while they would have loved to have more, “we had to go home with it. Carole is a terrific talent and she’s family,” said Mann. “If she was a lousy person, it might have been hard, but Carole is so wonderful, we took the realistic view.”

“Carole is not someone who seeks to be the center of attention,” Weil affirmed. “The show is what it was meant to be. That Carole walked out of that first reading saying ‘I don’t want to relive that,’ tells you everything.”

“The musical zips along,” Mann concurred, “and we did get to approve the actors who played us!”

Beautiful had a pre-Broadway try-out in 2013 at San Francisco’s Curran Theatre selling out its run. It opened on Broadway in January 2014.

Fearful of her emotions, King did not attend. When Beautiful was declared a hit, recouping its investment in a dizzying eight months, and when her friends told her how much they loved it, King again relented.

“She sat in the audience in full disguise,” said producer Blake, chuckling at the memory. “No one knew she was there! She couldn’t stop crying. ‘I wasn’t ready for Cynthia and Barry getting married,’ she told me.”

They got her out of her disguise, up on stage and eventually joining in song with the show’s star and King impersonator, Tony Award-winning Jessie Mueller. It was the joyous capper to an exhilarating evening.

Some king of wonderful.

Sylvie Drake was Director of Media Relations & 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 current contributor to culturalweekly.com.

Queens College. Sarah Bockel (“Carole King”) and Andrew Brewer (“Gerry Goffin”)

–Peter Marks,

SEP 25 – OCT 13, 2018 THE BUELL THEATRE

LEARN MORE AT DENVERCENTER.ORG/DEH

BEAUTIFUL — THE CAROLE KING MUSICAL SEP 4 – 9 • THE ELLIE

ASL interpreted, Audio-described and Open Captioned performance: Sep 8, 2pm

DENVER CENTER FOR THE PERFORMING ARTS 2018/19 SEASON SPONSORS

PRESENTING OUR BROADWAY

2018/ 19 SEASON DEAR EVAN HANSEN SEP 25 – OCT 13, 2018 BUELL THEATRE

XANADU NOV 3, 2018 - APR 28, 2019 GARNER GALLERIA THEATRE

COME FROM AWAY NOV 13 – 25, 2018 BUELL THEATRE

A BRONX TALE JAN 8 – 20, 2019 BUELL THEATRE

THE PLAY THAT GOES WRONG MAR 5 – 17, 2019 BUELL THEATRE

HELLO, DOLLY! MAR 27 – APR 7, 2019 BUELL THEATRE

ROALD DAHL’S CHARLIE AND THE CHOCOLATE FACTORY JUL 9 – 28, 2019 BUELL THEATRE

ANASTASIA AUG 7 - 18, 2019 BUELL THEATRE

2018/19 SUBSCRIBERS GET PRIORITY ACCESS TO THESE ADDITIONAL SHOWS

LOVE NEVER DIES OCT 23 – 28, 2018 BUELL THEATRE

IRVING BERLIN’S WHITE CHRISTMAS DEC 5 – 15, 2018 BUELL THEATRE

ROCK OF AGES JAN 25 – 27, 2019 BUELL THEATRE

CATS APR 24 – 28, 2019 BUELL THEATRE

WICKED MAY 8 – JUN 9, 2019 BUELL THEATRE

FIDDLER ON THE ROOF JUN 11 – 16, 2019 BUELL THEATRE

SUBSCRIBE TODAY FOR AS LOW AS 8 PAYMENTS OF $55.13 Due to the nature of live theatrical bookings, all productions, prices and dates are subject to change. 4- and 8-payment plans include a $10 per package payment plan fee.

DENVERCENTER.ORG

2018/19 SEASON SPONSORS

INNOVATION PIONEERING

INNOVATIVE LEGAL SERVICES IN STEP WITH YOUR NEEDS

We applaud the DCPA for 40 years of excellence in the performing arts Liz Sharrer, Chair, 303.295.8000, lsharrer@hollandhart.com 555 17th Street, Suite 3200, Denver, Colorado 80202 | www.hollandhart.com

Proud Supporter of the Arts

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2018 • 303.893.4100 • DENVERCENTER.ORG

When Canadian writing team David Hein and Irene Sankoff got the idea to write the musical Come From Away (Nov 13 – 25), they had no idea just how successful it would be. The married couple aspired only to write a musical good enough that high schoolers would perform it, but it succeeded beyond their expectations and became just the fifth ever Canadian musical to go to Broadway.

Come From Away is based on the true story of Operation Yellow Ribbon. When United States airspace was closed in response to the events of 9/11, the town of Gander in Newfoundland welcomed 38 flights rerouted to its airport. Accommodating nearly 7,000 people was difficult when it practically doubled the town’s population, but true to Canada’s kind reputation, townies opened their doors to those they fondly nicknamed “the plane people.”

School buses were used to transport the stranded passengers to various houses that would host them and to schools that were converted into temporary shelters. Restaurants and bakeries donated food, pharmacies donated prescriptions and an empty airline hanger was turned into an animal shelter for the pets that also were stranded.

Come From Away serves as a friendly reminder to audiences about the importance of cross cultural connections and helping others in times of need.

The cast of Come From Away. Photo by Matthew Murphy, 2016.

NO DREAM TOO DARING. NO WEDDING TOO WILD.

Photos by Studio JK Photography

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COMING SOON!

Jake Shimabukuro In Concert SEPT 7 FRI 7:30 HANSON String Theory, Live with your Colorado Symphony SEPT 8 SAT 7:30 Bernstein 100 with the Colorado Symphony Brass and An Evening with Leslie Odom, Jr. Percussion OCT 13 SAT 7:30 SEPT 9 SUN 6:00 Schubert Unfinished Symphony Opening Weekend: Rachmaninoff OCT 19-21 FRI-SAT 7:30 SUN 1:00 Symphony No. 2 Conducted by Brett Mitchell SEPT 14-16 FRI-SAT 7:30 SUN 1:00 Disney in Concert: Tim Burton’s The Nightmare Before Christmas Latin Beats: Sonidos de las Américas HalfNotes OCT 24-25 WED-THU 7:00 SEPT 20 THU 7:00 MPAA RATING: PG Presentation licensed by Disney Music Publishing and Buena Vista Concerts, a division of ABC Inc. © All rights reserved.

Ella Fitzgerald and Frank Sinatra: Masters of American Song SEPT 22 SAT 7:30 Time Warp - The Music of The Rocky Horror Show OCT 26-27 FRI-SAT 7:30 Gershwin Concerto in F Conducted by Brett Mitchell SEPT 28-30 FRI-SAT 7:30 SUN 1:00 Halloween Spooktacular!

HalfNotes A Light in the Void OCT 28 SUN 2:30 Presented by Macy’s, Inc. OCT 5 FRI 7:30 Rodgers and Hammerstein Celebration HalfNotes Please join us for family-friendly activities 1 hour before the concert.

OCT 6 SAT 7:30 ■

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ANNIVERSARY OF OKLAHOMA! TOLD

NEW LENS

BY JOHN MOORE

W

When Artistic Director Chris Coleman opens Oklahoma! for the DCPA Theatre Company, it is believed it will be just the second time a director has employed a primarily African-American cast in the 75-year history of the beloved American stage musical.

The first was Chris Coleman, for Portland Center Stage in 2011.

Coleman was initially seized by a little-known historical fact that never let him go: In 1906, the year before Oklahoma became a state and the same year the famous story is set, there were 50 all-black towns in the Oklahoma Territory and 137,000 African-Americans living there. Here appeared to be one speck of dust on the national map where blacks could be full participants in Manifest Destiny — that uniquely American belief that westward expansion was both justified and inevitable.

“There was actually a movement to make Oklahoma an all-black state, and there was great fear among white residents of that happening,” Coleman said. “I had never heard any of that in my history classes. And I got curious about what it would mean if African-American artists got the chance to tell this story.”

That story is the same hopelessly optimistic and yet psychologically dark yarn audiences have adored since Oklahoma! opened on Broadway back in World War II 1943: Ranch hands and rival suitors Curly and creepy Jed woo a farm girl named Laurey, with deadly consequences.

But in the end, the farmers and the ranchers band together to celebrate the new state of Oklahoma.

20

Only in Coleman’s production, there are no white people. Back in 2011, he had no idea the impact that would have on actors and audiences alike.

“I vividly remember during one rehearsal looking over at the actors playing Curly and Ado Annie,” Coleman said.

“They were sitting on the floor watching a scene and tears were just streaming down their faces — and it wasn’t a sad scene. So I asked them, ‘Why are you crying?’ And one of them said, ‘I just realized I have never sat through a play about black people that wasn’t about being oppressed by an outsider. This was about our community just living their lives, and falling in love, and trying to make something of their lives.’”

Audiences responded, Coleman said, according to their own experience. “Some people came in and they just saw Oklahoma! — and they thought it was awesome. Some people said, ‘After 10 minutes, it just seemed like that is the story,’ and they went with it.”

And some people said it was a revelatory staging.

Coleman said Ted Chapin, President of the Rodgers & Hammerstein music publishing company, told him it was the most thrilling production he’d ever seen of Oklahoma!, because he had seen it through totally new eyes.

But perhaps Coleman’s favorite comment was from a 15-year-old white kid seeing Oklahoma! for the first time.

At intermission, he said to Coleman, “You know what? I can’t imagine this story with white people.” That’s just the way the story made sense to him. “So I think it completely depends on who you are,” Coleman said.

APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

Illustration by Kyle Malone

THROUGH A

Seven years later, Coleman wasn’t interested in launching his tenure as the DCPA Theatre Company’s new Artistic Director with a traditional take on Oklahoma! After all, he said, “White folks have had a chance to perform Oklahoma! for 75 years.”

The main reason any theatre company revisits a classic, Coleman said, “is because there’s something in the bones of the piece that has resonated for humans over time. But we’re also always looking for the current resonance.

What does it tell us about who we are today?”

In 2018, Coleman is revisiting his casting concept in a much more racially charged America. And he looks forward to the conversations that spurs.

“What I love most about doing this show now is the idea of hearing a group of African-American performers sing the lyrics, ‘We know we belong to the land, and the land we belong to is grand,’ because that is in such sharp contrast to the dialogue we’re hearing in the country about race right now,” Coleman said.

He does offer one warning: If you are looking for the corn-fed 1955 film adaptation, skip this Oklahoma!

Try Iowa instead.

COSTUME COLUMN “In our Oklahoma!, we have chosen to use color sparingly,” said Costume Designer Jeff Cone. “The tendency is to want to do bold technicolor for a musical. The fact is that these folks lived pretty hard lives and function was more important than pretty. We’d like the show to look more like a slice of life. A sepia-toned photograph, if you will.”

Function also is an important factor when your hardworking cowboys need to dance their hearts out. Oklahoma! is the largest dance show that the Theatre Company has produced to date. Cone will work closely with choreographer Dominique Kelly (La La Land, Bring in ’da Noise, Bring in ’da Funk) to make sure all of the shoes worn by the dancers are ideal for movement and safety. The costume team also will do some creative cutting patterns on the women’s skirts so that the skirts swing outward, both creating a gorgeous visual effect that enhances the dance, but logistically also allows the ensemble to move freely.

“You’ll mostly see the modest, high necklines of this time period,” said Cone. “With the notable exception of our darling Ado Annie, who is fully aware of her feminine charms and sees no reason to hide them.” See Cone's costumes on stage through October 14.

“There was actually a movement to make Oklahoma an all-black state, and there was great fear among white residents of that happening.… And I got curious about what it would mean if African-American artists got the chance to tell this story.”

“When people go back and watch that... movie, they think it’s corny because it is,” Coleman said. “But Rodgers and Hammerstein’s stories are so complex. They’re about racism and social tensions. Now don’t get me wrong — there are enormous doses of sunlight available in Oklahoma! But if you honor the story, there is also danger and sexual creepiness and a very twisted sense of Western justice.”

There was a huge migration of African-Americans from the Deep South after Reconstruction, particularly to Oklahoma, because land opened up.

“And I’m really interested in seeing if we can’t pull off the humility and the texture and the dignity of the real people from that period,” Coleman said.

“These are people who’ve picked up their lives and families and come to an unknown place to build a life and a community.

“What’s exciting to me now is getting to watch African-Americans figure out ‘What is our community? What are the tensions? What are the hopes and dreams we are moving toward? How do we build something together?

How do we join the community of America at a certain moment in history?

I think all of that is really interesting.

“But even if you’re not interested in that — you still get Oklahoma!”

OKLAHOMA! SEP 7 – OCT 14 • STAGE THEATRE ASL and Audio-described performance: Sep 30, 1:30pm

Costume designs by Jeff Cone

— CHRIS COLEMAN, Director

IT’S NOT TOO LATE! CONSTANT

CHRISTMAS

SEP 21 – OCT 21, 2018

NOV 21 – DEC 24, 2018

KARENINA

THE WHISTLEBLOWER

JAN 25 – FEB 24, 2019

FEB 8 – MAR 10, 2019

SWEAT

VIETGONE

OKLAHOMA!

AUG 24 – SEP 30, 2018

SEP 7 – OCT 14, 2018

LAST NIGHT

AND THE

NIGHT BEFORE JAN 18 – FEB 24, 2019

A

ANNA

WIFE

CAROL

APR 26 – MAY 26, 2019

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APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

ADDITIONAL SUPPORT

(Photo) Jesmille Darbouze, Alex Finke and Stephanie Martignetti in The Unsinkable Molly Brown. Photo by Jennifer M. Koskinen • Illustrations by Kyle Malone

THE

The company of A Christmas Carol. Photo by Adams VisCom.

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VIETGONE BY

Qui Nguyen ORIGINAL MUSIC BY

Shane Rettig With Melody Butiu, Jordan De Leon, Brian Lee Huynh, Lisa Helmi Johanson, Glenn Morizio Stage Managers: Christopher C. Ewing, Rick Mireles

SCENIC DESIGN BY Jason Sherwood

COSTUME DESIGN BY Valérie Thérèse Bart

FIGHT DIRECTION BY Geoffrey Kent

RAP COACHING BY Bianca Mikhan

LIGHTING DESIGN BY Jeanette Oi-Suk Yew

VOICE AND DIALECT BY Kathryn G. Maes, PhD.

CASTING BY Harriet Bass, CSA

SOUND DESIGN BY Andre Pluess

DRAMATURGY BY Douglas Langworthy

PRODUCTION MANAGEMENT BY Matthew Campbell

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

Vietgone is presented by special arrangement with SAMUEL FRENCH, INC. Vietgone was originally commissioned and developed by South Coast Repertory as part of SCR CrossRoads, with funding from the Time Warner Foundation.

This play is a recipient of the Edgerton Foundation New American Play Award.

Vietgone received a world premiere co-production by South Coast Repertory (Marc Masterson, Artistic Director, Paula Tomei, Managing Director) and Manhattan Theatre Club (Lynne Meadow, Artistic Director, Barry Grove, Executive Producer) at South Coast Repertory on October 4, 2015 and at Manhattan Theatre Club’s Stage I Theatre on October 4, 2016.

THE RICKETSON THEATRE • AUGUST 24 – SEPTEMBER 30, 2018

SEASON SPONSORS

PRESENTED BY

The Joan and Phill Berger Charitable Fund

VIETGONE

Chris Coleman, Artistic Director Charles Varin, Managing Director

VIETGONE

CAST

In Order of Speaking Ensemble (Playwright, Giai, Bobby, Capt. Chambers, Redneck Biker, Hippy Dude)......JORDAN DE LEON Quang.............................................................................................................................................................................GLENN MORIZIO Tong................................................................................................................................................................ LISA HELMI JOHANSON Ensemble (Asian Girl, American Girl, Thu, Huong, Translator, Flower Girl)................................ MELODY BUTIU Ensemble (Nhan, Asian Guy, American Guy, Khue)........................................................................ BRIAN LEE HUYNH Fight Captain........................................................................................................................................................ BRIAN LEE HUYNH Assistant to the Director..................................................................................................... BETTINA MUELLER-TUESCHER Assistant Fight Director, Intimacy Consultant....................................................................................... SAMANTHA EGLE Stage Manager........................................................................................................................................CHRISTOPHER C. EWING Assistant Stage Manager.......................................................................................................................................... RICK MIRELES Stage Management Apprentice.................................................................................................................. DANIELLE KELLER 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.

There will be one 15-minute intermission.

WHO’S WHO ACTING COMPANY MELODY BUTIU (Ensemble). Broadway: Doctor Zhivago. OffBroadway: Here Lies Love (Public Theater, Seattle Rep). Other Theatres: Merrily We Roll Along (Wallis Annenberg), Sunday in the Park with George (Huntington Theatre), Monstress (A.C.T.), Helen (Getty), Stage Kiss (Geffen), Shipwrecked (Geffen, South Coast Rep, Actors Theatre Louisville), The Intelligent Design of Jenny Chow (SCR), A Perfect Wedding (Kirk Douglas), Long Story Short (San Diego Rep), Golden Child (East West Players), 36 Views (Portland Center Stage), Dogeaters (LaJolla Playhouse). TV/Film: “NCIS: LA,” “Kingdom,” “Rizzoli & Isles,” “Gotham,” “NCIS,” “Modern Family,” Arden Drive. Training: MFA, UCSD. Instagram: @mellowdeebee JORDAN DE LEON (Ensemble). Select Theatre Credits: Here Lies Love (Seattle Repertory Theatre), Waterfall (Pasadena Playhouse, The 5th Avenue Theatre), The King and I (Lyric Opera of Chicago), The 25th…Spelling Bee (Drury Lane

Oakbrook), Footloose (Kansas City Starlight Theatre), Beauty and the Beast (The MUNY), Madagascar (STAGES St. Louis). TV/Film: “Orange is the New Black.” Training: University of Cincinnati CCM. BRIAN LEE HUYNH (Ensemble). Broadway: War Horse. OffBroadway: A Clockwork Orange, The Light Years, The Threepenny Opera, Henry V, Lysistrata, Uncle Vanya. Other New York Credits: A Midsummer Night’s Dream, Measure for Measure, Titus Andronicus. Regional: The 39 Steps (Triad Stage); Fault (TheaterSquared); Auctioning the Ainsleys, A Single Shard (People’s Light & Theatre). TV/Film: The Witches of Oz, “Instinct,” “Gotham,” “Madam Secretary,” “Elementary.” Training: BFA, Ithaca College; MFA, Old Globe/USD. LISA HELMI JOHANSON (Tong).

NY Credits: Avenue Q, Three Sisters, Women Beware Women, Rescue Rue. Workshops: August Rush (dir. John Doyle), Beetlejuice (dir. Alex Timbers), Beau, Love the Struggle. Tours: Fiasco’s Into the

Woods, (Drama Desk & Critics Circle Awards), Avenue Q. Select Regional: 4,000 Miles (St. Louis Rep), Waterfall (Pasadena Playhouse & The 5th Avenue Theatre), Taming of the Shrew (VA Stage), Priscilla Queen of the Desert (Ogunquit & Gateway Playhouses), Rent (National Theater of Aruba). TV/Film: “Law & Order: SVU,” “Z-Rock,” (IFC), The Onion News Network. Training: BM Vocal Performance; BA Music Theater, Christopher Newport University. www.lisahelmijohanson.com, Instagram: @hurricanehelmi GLENN MORIZIO (Quang). Select Theatre credits include: Orphan of Zhao (MaYi), Romeo and Juliet (LA Theatre Ensemble), Macbeth (Dawn Saito), Skin of Our Teeth (Pope Stage). Training: BA, Fordham University Lincoln Center.

AUTHOR QUI NGUYEN is a playwright, TV/film, writer and co-founder of the OBIE Award-winning Vampire Cowboys of NYC. His work, known for its innovative use of pop-culture, stage violence, puppetry and multimedia, has been lauded as “culturally savvy comedy”

by The New York Times, “tour de force

DIRECTOR SEEMA SUEKO serves as Deputy Artistic Director of Arena Stage, Washington, DC. Prior, she was Associate Artistic Director at Pasadena Playhouse and Executive Artistic Director of Mo`olelo, San Diego. Credits include Arena Stage, Pasadena Playhouse, People’s Light, The Old Globe, Yale Rep, 5th Avenue Theatre, among others. R&D work includes Consensus Organizing for Theater, the Green Theater Choices Toolkit, and neuroscience of theater.

Next, she will direct The Heiress at Arena Stage.

ARTISTIC TEAM VALÉRIE THÉRÈSE BART (Costume Designer). Selected credits: The Great Leap (DCPA Theatre Company), Dolls House Part 2 (Actors Theatre Louisville), Listen, Wilhelmina! (costumes/ sets, Wolf Trap), Fidelio (Heartbeat Opera), Rigoletto (Minnesota Opera), The Invisible Hand (Cleveland Play House), Too Heavy For Your Pocket (Roundabout), Vanity Fair (Pearl Theatre), The Servant of Two Masters (TFANA, Seattle Rep, Guthrie, Shakespeare Theatre Company, Yale Rep), Twelfth Night or What You Will (Bedlam), Macbeth (Acting Company), Tina Packer’s Women of Will (costumes/ sets, national/international tour), She, After (costumes/sets, Urban Arias), POP! (sets, Yale Rep). Training: MFA Yale School of Drama. valeriebart.com HARRIET BASS (Casting). New York: Broadway’s Gem of the Ocean, OffBroadway’s Radio Golf, Jitney, Public Theatre’s New Work Now, Minetta Lane, Women’s Project, La Mama, Epic Theatre, Drama League, Jewish

Repertory Theatre, Women in Film and televison. Regional: Hartford Stage, Mark Taper Forum, Arena Stage, Trinity Rep, Syracuse Stage, Huntington Theatre, Portland Center Stage, Dallas Theatre Co., Berkeley Rep, Playmaker’s Rep, Alliance Theatre, Virginia Stage, GeVa, CenterStage, Longwharf Theatre, Arizona Theatre Co. TV/Film: “Pushing Hands,” “Graves End,” “First We Take Manhattan.” Audition Coach at many of the nations top universities and actor training programs.

MATTHEW CAMPBELL (Associate Production Manager) is in his tenth season at the DCPA, a member of the production management team since 2016 and a stage manager the seven previous seasons. Continuously grateful to support and work alongside our marvelous staff and guest artists creating unforgettable, amazing theatre.

Some Theatre Company favorites while on the stage management team: Frankenstein, The 12, Animal Crackers, Lord of the Flies, and Sweet & Lucky with Off- Center. Previously a stage manager at several local theatres and an Assistant Professor of Theater at Brooklyn College.

Training: MFA, University of Iowa.

GEOFFREY KENT (Fight Director).

18 seasons with the DCPA Theatre Company including 1001, King Lear, Lonesome West, Eventide, Richard III. Other Theatres: Colorado Shakespeare Festival (14 Seasons), Utah Shakespeare Festival, Orlando Shakespeare Theater, Curious Theatre Company, Arvada Center, Opera Colorado, Aspen/Sante Fe Ballet. Awards: Henry Award for Outstanding Fight Direction. Instructor, University of Denver DOUGLAS LANGWORTHY (Dramaturg).

Macbeth, The Book of Will, All The Way, As You Like It, Appoggiatura, Lord of the Flies, The Unsinkable Molly Brown, Shadowlands, Hamlet, Just Like Us, Sense & Sensibility The Musical, The Three Musketeers, When We Are Married (DCPA Theatre Company). Other Theatres: The Oregon Shakespeare Festival produced his adaptation (with Linda Alper and Penny Metropulos) of Dumas’ The Three Musketeers and his translation of Brecht’s The Good Person of Szechuan. Target Margin Theatre produced his translations/adaptations: Medea by Hans Henny Jahnn, Goethe’s Faust and the opera The Sandman with David Herskovits and Thomas Cabanis.

Awards/Training: Elliot Hayes Award for Dramaturgy, National Theatre Translation Fund Award, John Gassner Award in Critical Writing. Yale School of Drama.

KATHRYN G. MAES, PH.D. (Voice/ Dialect Coach) 50+ productions at the DCPA Theatre Company. Recently The Book of Will, The Christians, The Secret Garden and A Christmas Carol (since 1992). Other Theatres: Royal Shakespeare Company, Royal National Theatre (London), numerous professional companies in the US, served as Head of Voice at the National Theatre Conservatory from 1989 to 1992. Special Training: Ph.D., Theatre Arts, University of Pittsburgh; Advanced Diploma in Voice Studies, Central School of Speech and Drama, London, England.

BIANCA MIKAHN (Rap Consultant) is a powerhouse emcee, poet, composer, cultural activist and educator. She is Executive Director of Check Your Head and a Partner Artist with Youth On Record. Her stage presence and lyrical content have earned her multiple nominations for “Best Emcee” by Westword. She has shared stages at Regis University, Denver University, La Napoule’s reknowned Chateau in Nice France and Stockholm Sweden’s historical Fylkengin Theatre.

Bianca’s lyrical work has also been featured in social justice studies at Wyoming University.

ANDRE PLUESS (Sound Designer).

Broadway: 33 Variations, I Am My Own Wife, Metamorphoses. Regional credits include 10 seasons with the Oregon Shakespeare Festival along with multiple productions for the California Shakespeare Festival, Berkeley Repertory Theatre, The Goodman Theater, Steppenwolf Theater, The Guthrie, The Shakespeare Theater D.C., Arena Stage, Yale Repertory, The Court Theater, Chicago Shakespeare, The Huntington Theater, McCarter Theater, Williamston Theater Festival and Lookingglass Theatre Company where he is an artistic associate.

JASON SHERWOOD (Scenic Design).

The Who’s Tommy, Frankenstein, Macbeth (DCPA Theatre Company).

The Wild Party (Off-Center). Drama Desk, Lucille Lortel, and American Theatre Wing Henry Hewes Design Award nominee. Off-Broadway: New York Theatre Workshop, Atlantic Theatre Company, Playwrights Realm.

Regional: Old Globe, Signature Theatre, Shakespeare Theatre, Goodspeed Musicals, the Alliance, among others.

He has designed for special musical guests on “SNL,” “Ellen,” and “The Late, Late Show”, the Grammy’s, and for Sam Smith’s World Arena Tour. NYU grad.

Instagram: @JasonSherwoodDesign

VIETGONE

theater” by Time Out New York and “infectious fun” by Variety. Scripts include Vietgone (2016 Steinberg Award, 2016 LADCC Ted Schmidt New Play Award, 2016 Kennedy Prize Finalist); She Kills Monsters (2013 AATE Distinguished Play Award, 2012 GLAAD Media Award nomination); War is F**king Awesome (Frederick Loewe Award); Soul Samurai (2009 GLAAD Media Award nom); Begets: Fall of a High School Ronin; Krunk Fu Battle Battle; Bike Wreck; Aliens vs Cheerleaders; and the critically acclaimed Vampire Cowboys productions of The Inexplicable Redemption of Agent G, Six Rounds of Vengeance, Alice in Slasherland, Fight Girl Battle World, Men of Steel, and Living Dead in Denmark. For TV/ film, Qui’s written for AMC, Netflix, SYFY, PBS, and Marvel Studios, where he is an alumni of the Marvel Studios Writers Program.

VIETGONE

JEANETTE OI-SUK YEW (Lighting Designer). Recent theatre: KPOP (Lortel and Drama Desk nominations, LIT Design Award); Smart People (DCPA Theatre Company); Ludic Proxy (Bel Geddes Design Enhancement Award); Company XIV’s Rococo Rouge and Nutcracker Rogue (various Drama Desk nominations); So Go the Ghosts of Mexico Part One (Best Lighting Design nomination), Poison (US premiere), and The Ugly One. Recipient of NEA/TCG Career Development Program. Jeanette is a lighting designer for theatre, dance, opera, musicals, music performances and installations. The New York Times described them as “clever” and “inventive.”

STAGE MANAGEMENT CHRISTOPHER C. EWING (Stage Manager). 32 seasons with the DCPA Theatre Company. The Glass Menagerie, Animal Crackers, Death of a Salesman, Sense & Sensibility The Musical, When We Are Married, Fences, Ring of Fire: The Music of Johnny Cash, A Christmas Carol, To Kill a Mockingbird, Dracula, Mama Hated Diesels, Eventide, A Raisin in the Sun, Quilters, A Prayer for Owen Meany, Noises Off, Plainsong, Mrs. Warren’s Profession, A Funny Thing… Forum, The Clean House, Gem of the Ocean, A Flea in Her Ear, Crowns, Fire on the Mountain, John Brown’s Body, The Skin of Our Teeth, Almost Heaven and 2 Pianos, 4 Hands. At DCPA Cabaret: First Date.

Other Theatres: Colorado Ballet, DCPA Broadway, Bonfils Theatre. Training: BFA in Theatre Design/Technology from Loretto Heights College.

RICK MIRELES (Assistant Stage Manager). Off-Center: Remote Denver, This Is Modern Art, The Wild Party, Travelers of the Lost Dimension, The SantaLand Diaries. Other credits: Intern at the Eugene O’Neill Theatre Center, Creede Repertory Theatre, and Montana Shakespeare in the Parks and Schools.

Training: BA and MA, theatre, University of Texas Pan-American; MFA, stage management, University of Illinois Urbana Champaign. Rick hails from South Texas.

THEATRE COMPANY LEADERSHIP TEAM CHRIS COLEMAN (Artistic Director).

Before coming to Denver, Chris was the Artistic Director of Portland Center Stage at The Armory for 17 years. In Portland, his favorite directing credits included Astoria: Parts One and Two (which he also adapted), Fun Home, Ain’t Misbehavin’, Threesome (which he also directed Off-Broadway at 59E59 Theaters), Shakespeare’s Amazing Cymbeline (which he also adapted), Fiddler on the Roof, Clybourne Park, Crazy Enough, King Lear and The Devils. While in Portland,

he had the honor of serving as the board president for the Cultural Advocacy Coalition and the director of the Oregon Leadership Summit. Chris originally hails from Atlanta, where he was the Artistic Director for Actor’s Express, a company he co-founded in the basement of an old church in 1988. He returned to Atlanta in 2015 to direct the world premiere of Edward Foote at Alliance Theatre (Suzi Bass Award for Best Direction, Best Production and Best World Premiere).

Chris has directed at theaters across the country, including Actor’s Theater of Louisville, Oregon Shakespeare Festival, ACT Theatre (Seattle), The Alliance, Dallas Theatre Center, Pittsburgh Public Theatre, New York Theatre Workshop and Center Stage (Baltimore). He holds a B.F.A. from Baylor University and an M.F.A. from Carnegie Mellon. Chris and his husband, Rodney Hicks, who recently appeared on Broadway in the musical Come From Away, are the proud parents of an 18-lb Jack Russell/Lab mix and a 110-lb English Blockhead Yellow Lab. CHARLES VARIN (Managing Director) and his team are responsible for the administrative, financial and business operations for Theatre Company and Off-Center productions and other artistic initiatives. Since joining the Theatre Company in 2006, he has played a major role in executing the artistic vision of the organization and facilitating the production of shows such as Sweet & Lucky, The Unsinkable Molly Brown, Sense & Sensibility The Musical, The 12, Sweeney Todd with DeVotchKa and many more. Charles is passionate about artistic innovation and firmly believes in DCPA’s long-standing commitment to new plays and new voices.

In addition to DCPA staff, the following crew worked on this production: Julia Deutsch, Mallory Hart, Sherry Hern, Cindy Kauffman, Teresia Larsen, Jeanne Legrand, Julie Lemieux, Maya Linke, Sereena Ojakian, Louise Powers, Corinne Serfass, Dimitri Soto, Camille Stillman, Beth Walker

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.

PLEASE BE ADVISED that once the show begins:

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

• 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 ckrueger@dcpa.org or 303.893.4836.

TAKING PHOTOS AT THE THEATRE Audience members may take photos in the theatre before and after the performance and during intermission. If you post photos on social media, please tag the DCPA and our designers with the handles and hashtags below. @denvercenter #DCPAToday #DCPAVietgone Jason Sherwood, Scenic Design @jasonsherwooddesign Valérie Thérèse Bart, Costume Design @la_francovietnamericaine Jeanette Oi-Suk Yew, Lighting Design @jeanette_yew Andre Pluess, Sound Designer Please note: photos are strictly prohibited during the performance. Photos of the stage are not permitted if an actor is present.

Video recording is not permitted at any time in the theatre.

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from 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-forprofit 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.

“Mammas Don’t Let Your Babies Grow Up To Be Cowboys” by Patsy Bruce and Ed Bruce. Used

by Permission of Sony/ATV Tree Publishing. All rights reserved.

© 2006 RCSH All Rights Reserved

- RUTH

Where Montessori philosophy and the Reggio Emilia approach come together in a unique community-focused school for young children. Children’s Garden Montessori School serves children Toddler to Kindergarten.

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September 7, through October 7, 2018

303.794.2787 TownHallArtsCenter.org

THE “CONSTANT” QUEST FOR

EQUALITY

Illustration by Kyle Malone

B Y S Y LV I E D R A K E

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If anyone were to ask when feminism first began to assert itself, the answer is simple: in the Garden of Eden. And it’s been everywhere since, most visibly in dramatic literature, from Medea and Lysistrata, to the works of Shakespeare, Molière, George Bernard Shaw, and so many others.

In day-to-day life, however, feminism has been on rockier ground, less so in the past decade thanks to the number of strong women who finally have chosen to “out” prominent men for their bad behavior.

But in the early 1920s, when British playwright, novelist and screenwriter W. Somerset Maugham took on the subject of differing moral and behavioral standards for men and women in his play, The Constant Wife, feminism was not on everybody’s radar.

World War I was over. It was permissible to laugh again; emancipation was in the air and comedy in demand. Shaw was the proselytizer-in-chief for women. His feminist comedies were sharp, brittle and biting, with a caustic edge of ridicule reserved for the men. (Think Pygmalion, Major Barbara and Mrs. Warren’s Profession.) Others, however, still used flippancy to blunt the seriousness of the battle of the sexes. Noël Coward’s Private Lives, for one, favored frivolity to deliver what was deemed strictly momentary fun.

While riding the same giddy tidal wave of theatre-light that was prologue to the flapper era, Maugham was not sharp, giddy or light. He was subtle. His Constant Wife is an undercover comedy of manners, delivered with tact, precision, elegance — and a deadly sting.

When we shared an email conversation about her production of The Constant Wife that you’re about to see, director Shelley Butler declared Maugham “a master at keeping audiences on their toes.”

“I’m intrigued by his continued interest in exposing the double standards of his day,” she offered, “and his

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boldness in presenting the flaws and hypocrisies of upperclass society directly to that class of people, in the form of entertainment.”

Maugham’s Constance Middleton, the “wife” of the title, is an unconventional heroine — a rebel inside a classy woman who married well but had not banked on being humiliated by a husband with a roving eye. When that happened, she found a highly original way to deal with it. Without a shred of militancy, this model of upper crust gentility completely upended the custom of her day.

It is delicate, seductive playwriting, devilishly well done.

Yet while Constance is a disarming maverick, is she believable for her time?

“Her strength and resourcefulness make her compelling for any time,” insisted Butler. “Constance doesn’t feel like a tool, but like a character given agency; she assesses a volatile situation and takes her time before sorting how to respond; a savvy woman, written with keen wit, she was revelatory for her time and remains incredibly satisfying today.

“The playwright is asking questions about society as much as he’s making a point, which makes the play intriguing as opposed to didactic. I love that he centered the play on a powerful woman who doesn’t respond with melodrama or make any clichéd or expected choices.”

But not so fast. Yes, Constance Middleton’s uniqueness lies in her deliberate decisions, including the decision to earn her own money. But in the 1920s, wouldn’t her moves be seen as a quest for revenge rather than equality?

“Her decisions underscore the intertwining of sexual independence with economic freedom,” said Butler, who suggested the audience should ponder the connection between the two “and how they apply differently to men and women, even today.”

Still, many of the characters within Constance’s orbit — her old boyfriend, her girlfriend, her mother, her sister Martha, and even her husband and his paramour — are pleasant yet far less delineated individuals, seemingly created chiefly to service the plot.

APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

“Constance doesn’t feel like a tool, but like a character given agency… a savvy woman, written with keen wit, she was revelatory for her time and remains incredibly satisfying today.”

— SHELLEY BUTLER, Director

COMING UP FROM THEATRE COMPANY:

A CHRISTMAS COSTUME COLUMN CAROL Nothing gets you in the holiday spirit quite like seeing the classic play, A Christmas Carol. Experience the story of Ebenezer Scrooge as he returns (Nov 21 – Dec 24) to The Stage Theatre. Here are five fast facts about the history of A Christmas Carol before you go.

1. A year after Charles Dickens published the novel in 1843, the first stage adaptations of A Christmas Carol were staged in London.

2. In the Theatre Company’s 40year history, A Christmas Carol has been presented 26 times.

Sylvie Drake is a former theatre critic and columnist for the Los Angeles Times, a translator, a contributor to culturalweekly.com and American Theatre magazine, and a former Director of Media Relations and Publications for The Denver Center for the Performing Arts.

THE CONSTANT WIFE SEP 21 – OCT 21 • SPACE THEATRE ASL interpreted, Audio-described performance: Oct 14, 1:30pm

3. Only two adaptations have been presented at the Theatre Company–Laird Williamson and Dennis Powers (1990-2004), Richard Hellesen and David de Berry (2005-present).

4. Out of 26 presentations at the Theatre Company, only three directors have directed the production–Laird Williamson (1990-2004), Bruce Sevy (20052015) and Melissa Rain Anderson (2016-present).

5. Since 1990, A Christmas Carol has been a longstanding seasonal tradition for many families and has brought in nearly 850,000 audience members.

The 2016 company of A Christmas Carol. Photo by AdamsVisCom.

Again, Butler countered. “While these characters aren’t central, there’s meat on their bones. Martha, for example, is feisty and well spoken and has a clear objective. I think there’s a great deal an actor can interpret as to why Martha feels the way she does about betrayal and marriage. And the dynamics of her difficult relationship with her mother are endlessly interesting. While the arc of these characters is not the central arc, they are truthfully drawn and a compelling cast will imbue them with enough humor and depth that they’ll all earn their place in the play.”

Which explains why The Constant Wife has enjoyed many revivals, one in 1951 with Katharine Cornell, a London revival in 1973 with Ingrid Bergman of all people (it had its problems), and a particularly vibrant one in 2006 at the San Diego Old Globe. They tell us why this play continues to resonate.

Its acclaimed opening was in New York in 1926, with Ethel Barrymore in the lead. But at the London opening the following year, a box office muddle sent VIPs to the stalls and lesser mortals to the best seats, creating total havoc. It took another ten years for it to find favor with London’s critics, the Times declaring that Maugham had a story to tell “both entertaining and, so far as it goes, true.”

That “so far as it goes” makes an interesting point. Constance closes a door behind her, much as Nora does in Ibsen’s A Doll’s House, leaving us to wonder what her future holds.

“The play remains incredibly fresh,” a confident Butler added, “and its humor, wit and playfulness retain the ability to capture a modern audience. I am always delighted by a play [that can] surprise and keep an audience guessing.”

PROUD CORPORATE MEMBER OF THE DENVER CENTER FOR THE PERFORMING ARTS

DU and DCPA bring the people of Denver together to inspire and enlighten, to challenge the expected and to advance excellence in this community.

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Ideas and innovation come together at the University of Denver to transform the world. Research and teaching drive the knowledge creation that leads to discovery. Experts from different fields forge collaborations to solve the most pressing challenges of the day: sustainability, homelessness, mental health, veterans’ services and more. Each day, the University of Denver commits anew to its century-and-a-half tradition of education and innovation.

Like the Denver Center for the Performing Arts, DU provides our community with a hub of creative excellence, a place where innovators and trailblazers contribute their best ideas for the good of society. DU and DCPA bring the people of Denver together to inspire and enlighten, to challenge the expected and to advance excellence in this community.

Visit du.edu to learn more about the ways that innovation fuels excellence at the University of Denver.

APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

Join us before the show!

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CELEBRATING THEATRE COMPANY'S

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ANNIVERSARY Forty years ago on New Year’s Eve, the Denver Center for the Performing Arts’ Theatre Company opened. The star-studded, three-day extravaganza featured the back-to-back openings of The Caucasian Chalk Circle, Moby Dick Rehearsed and The Learned Ladies.

One Tony Award, four Artistic Directors, 135 world premieres, more than 450 productions and 5.6 million patrons later, we are delighted to welcome you to the 40th anniversary season of our very own DCPA Theatre Company. A tremendous and heartfelt “thank you” to the hundreds of actors, artisans, administrators and crew who have given us four decades of incredible memories. And to our amazing audiences who laugh, cry, cheer and support us. Bravo!

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The Caucasian Chalk Circle (1979/80) James Lawless and Tyne Daly.

2. Henry IV Part I (1980/81)

Tandy Cronyn and Tom Spackman.

3. Quilters (1982/83) The cast of Quilters 4. The Importance of Being Earnest (1983/84)

Zoaunne LeRoy and Jamie Horton.

5. Pygmalion (1985/86)

Byron Jennings and Annette Bening.

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6. Lost Highway: The Music and Legend of Hank Williams

(1986/87) Mark Harelik and Ron Taylor.

7. Veterans’ Day (1987/88)

James Lawless and James Kiberd.

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8. Cat on a Hot Tin Roof (1988/89)

Leslie Hendrix and Kay Doubleday.

9. Fences (1989/90)

Edythe Davis, John Hancock and Omar Carter.

10. Miss Julie (1990/91)

Harvey Blanks and Jaqueline Antaramian.

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11. A Christmas Carol (1992/93) Richard Risso.

12. Black Elk Speaks (1993/94) Ned Romero and Ensemble.

13. It Ain’t Nothin’ But the Blues (1994/95) Ron Taylor.

14. The Dresser (1995/96) Tony Church.

15. Three Tall Women (1996/97)

Jennifer Schelter, Annette Helde and Jane Welch.

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16. Life is a Dream (1997/98)

Robert Westenberg and Gloria Biegler.

17. Master Class (1998/99) Gordana Rashovich.

18. The Laramie Project (1999/2000) Andy Paris.

19. Tantalus (2000/01) Robert Petkoff.

20. The Lonesome West (2002/03)

Bill Christ and Mark Rubald.

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21. A Streetcar Named Desire (2003/04)

Laurence Curry and Kim Staunton.

22. The Misanthrope (2004/05)

Ruth Eglsaer and Jamie Horton.

23. Crowns (2005/06) C.E. Smith & Barbara D. Mills.

24. A Funny Thing Happened on the Way to the Forum

(2006/07) David Ivers and Kathy Brady.

25. Lydia (2007/08)

Onahoua Rodriguez and Christian Barillas.

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26. The Miracle Worker (2008/09)

Kate Hurster and Daria LeGrand.

27. Eventide (2009/10)

Mike Hartman, Tonantzín Carmelo and Philip Pleasants.

28. The 39 Steps (2010/11)

Victoria Mack, Sam Gregory, Rob Nagle and Larry Paulsen.

29. To Kill a Mockingbird (2011/12)

John Hutton and Caroline Rosenblum.

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30. Sense & Sensibility The Musical (2012/13)

Mary Michael Patterson and Stephanie Rothenberg.

31. The Legend of Georgia McBride (2013/14)

Ben Huber and Jamie Ann Romero.

32. The Unsinkable Molly Brown (2014/15)

Michael Halling, Beth Malone and Gregg Goodbrod.

33. Sweeney Todd (2015/16)

Linda Mugleston and Robert Petkoff.

34. The Book of Will (2016/17)

The company of The Book of Will.

35. American Mariachi (2017/18)

Amanda Robles, Jennifer Paredes, Natalie Camunas,

Crissy Guerrero and Heather Velazquez.

Photos by Adams VisCom, T. Charles Erickson, Jennifer M Koskinen, Larry Laszlo, Dan McNeil, Pierce, Nicholas de Sciose, Terry Shapiro, p. Switzer, Ted Trainor

PROUD SPONSOR OF DCPA BROADWAY

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— DANIEL MCGAUGHEY, GENERAL MANAGER OF CENTERPLATE AT THE ARTS COMPLEX

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Centerplate is pleased to serve as the preferred hospitality and catering partner at the Denver Performing Arts Complex, including providing DCPA Broadway guests exceptional service in The Buell Theatre.

Centerplate’s highly trained and award-winning culinary team is committed to making the live theatre experience as memorable as possible, a passion that comes across in the form of superior cuisine that is artfully blended with innovative presentation and style. Centerplate also custom crafts themed Cocktails and Small Plate offerings made especially for each performance.

“From a lavish reception for 10,000 guests to an all-day executive workshop, our team custom tailors a menu and program that perfectly fits the unique needs of that specific event,” said Daniel McGaughey, General Manager of Centerplate at the Arts Complex. “We think tirelessly about how to enhance the experience, so our guests have positive lasting memories from their time with us.”

Centerplate makes a conscious effort to practice sustainability in all of its processes, adhering to recycling and compost programs that save hundreds of thousands of pounds of waste on an annual basis. They source products from various local Colorado vendors and farms, while also maintaining a proprietary onsite farm – The Blue Bear Farm – that harvests the fresh produce and herbs that get used on a daily basis at the Limelight Supper Club and the Colorado Convention Center. In addition, Centerplate partners with “We Don’t Waste,” which allows the company to minimize the waste of nutritious and wholesome foods by donating leftover items to local nonprofit organizations.

Contact the team at Centerplate today to book your next catered event: Daniel.McGaughey@centerplate.com or 303.520.0660.

APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

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THE WIZARD OF OZ Ellie Caulkins Opera House with live music featuring the Colorado Ballet Orchestra

February 1 - 10, 2019

2018/2019 S E A S O N SLEEPING BEAUTY THE NUTCRACKER THE WIZARD OF OZ TOUR DE FORCE

FEATURING WONDERBOUND & CLEO PARKER ROBINSON DANCE WITH COLORADO BALLET

BALLET MASTERWORKS FEATURING CARMINA BURANA

Morgan Buchanan by Allen Birnbach

Story lines and visual elements from the classic motion picture provided by Warner Bros. Theatre Ventures.

PROUD SPONSOR OF THE DENVER CENTER FOR THE PERFORMING ARTS

A community is only as strong as its ability to nourish the mind and spirit through excellent, diverse and accessible programming…

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M

Many know Microsoft as the brand behind their favorite software, services and devices. But you might not know that the company has a heart as big as its brand, committed to giving back in every region it serves. In fact, an official corporate giving program has been in place since the company went public in 1986.

Microsoft believes that a community is only as strong as its ability to nourish the mind and spirit through excellent, diverse and accessible programming in the visual and performing arts. It is in this vision that the company works with the Denver Center for the Performing Arts (DCPA). Since 1996, Microsoft has given the DCPA more than $3 million in software to present exceptional theatre, embrace classics, create new work, and be a center for learning and civic engagement.

APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

Microsoft technology enables more than 300 DCPA employees to innovate and stay competitive in the industry, as they produce 16 plays, present 26 musicals and educate 106,000 students. Through its software donation, the DCPA now has the latest desktop and server operating systems to provide operational improvement and the flexibility to meet patron and user needs.

A significant portion of the Microsoft funding is directed through ArtsFund, a federated giving program for local corporations, foundations and individuals. In addition to the arts, Microsoft is committed to serving Denver and other local communities in four key areas: empowering youth, empowering nonprofits, empowering employees, and humanitarian and disaster response.

With these pillars in mind, Microsoft donated more than $15.5 million to Colorado charities in recent years. More than 400 state employees also have utilized 3,875 volunteer hours to increase their community impact in a way above and beyond dollars and cents.

Learn more about Microsoft corporate giving at www.microsoft. com/about/corporatecitizenship.

Microsoft stores host regular events ranging from free educational workshops to community events with local nonprofit partners. To find your local store visit: content. microsoftstore.com.

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APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

American Mariachi

Photo of Amanda Robles by Adams VisCom.

Together 4 Colorado, we cover the arts.

"Sam Gregory as Scrooge" from A Christmas Carol.

CBS4 is a long-time proud partner of the Denver Center for the Performing Arts. We know Colorado is a special place and all of us who live here take an active interest in enjoying and protecting our home state. Together 4 Colorado, we make a difference.

DCPA TEAM

DCPA

Will Stowe........... Event Technology Specialist Dawn Williams................................Director, Event Janice Sinden..............................President & CEO Sales & Marketing Maggie Lamb........................Executive Assistant Juan Loya, Carmen Molina, Blanca to the CEO Primero, Judith Primero, Angeles Reyes Soto.................................................Custodians BROADWAY & CABARET MARKETING, SALES & PATRON John Ekeberg......................... Executive Director SERVICES Alicia Bruce................................. General Manager Ashley Brown...........................Business Manager Lisa Mallory........................................Vice President Abel Becerra.........Technical Director, Cabaret Heidi Bosk....................Associate Director, PR & Integrated Marketing Nathan Brunetti.....Email Marketing Manager DEVELOPMENT Casey Eickhoff, Shelley Thompson.........................Vice President Brenda Elliott...........Senior Graphic Designers Shawn Bayer..........................Director, Corporate Brianna Firestone.................Director, Customer Experience & Loyalty Partnerships Rebecca Clark.......................................Coordinator Hope Grandon................PR & Events Manager Megan Fevurly.......................Associate Director, Brittany Gutierrez.................... Communications Coordinator Individual Philanthropy Alicia Higginbotham...............Manager Special Donna Hendricks................Executive Assistant Events Jeff Hovorka......... Director, Sales & Marketing Breianna Miller..............Coordinator, Corporate Emily Kent................................Director, Marketing Partnerships David Lenk.......................................Video Producer Melissa Olson..............................................Associate Emily Lozow......Marketing & Digital Manager Marc Ravenhill....................Director, Individual & Adam Lundeen...........Marketing Technologist Institutional Philanthropy Kyle Malone.............................................Art Director Carolyn Michaels....................................Copywriter EDUCATION Cheyenne Michaels....Marketing Coordinator John Moore....................... Senior Arts Journalist Allison Watrous..................... Executive Director Adam Obendorf..................Senior Art Director Patrick Elkins-Zeglarski.....Associate Director, Joseph Schurwonn.................Financial Analyst Education and Curriculum Management Andrew Sanders........................Project Manager Stuart Barr..................................Technical Director Rob Silk......................Director, Creative Services Claudia Carson.....Teaching Artist & Program Austin Walker....................... Marketing Assistant Manager – Playwriting & Bobby G Suzanne Yoe...........Director, Communications & Cultural Affairs Leslie Channell..............................Senior Business Operations Manager Melissa Sumner............................................Registrar TICKETING & AUDIENCE SERVICES Linda Eller........................................................Librarian Jennifer Lopez...............................................Director Tim McCracken..............................Head of Acting Ticketing Services Andre Rodriguez.Teaching Artist & Program Kirk Petersen...........................Associate Director, Patron Relations Manager – Shakespeare David Saphier.......Teaching Artist & Program Micah White.............................Associate Director, Subscription Services Manager – In School Programming Elizabeth Schmit..........................Office Manager Billy Dutton.....Associate Director, Operations Rachel Taylor...............................Teaching Artist & Katie Clow.........................Subscription Manager Program Manager – Literacy Engagement Jessica Bergin, and Resiliency Programming Tristan Jungferman.......Box Office Managers Meagan Traver..........................Evening Registrar Amanda Gomez...........VIP Ticketing Manager Justin Walvoord........................Teaching Artist & Román Anaya, D.J. Dennis, Edmund Gurule, Program Manager – Teacher Hayley Solano.......................................Show Leads Professional Development Kirsten Anderson, Roger Haak, Rebecca Hibbert, Scott Lix, Chloe McLeod, Joelle Montoya, Maggy Stacy, Robyn Yamada.............Teaching Artists Gregory Swan.....................Subscription Agents Ally Beacom, Maliya Blanchard, Malcolm Brown, Rena Bugg, Adam Busch, Keenan FACILITIES & EVENT SERVICES Coke, Kelcee Covert, Jennifer Gray, Shari Clay Courter.......................................Vice President Hansen, Noah Jungferman, Alia Kempton, Dwight Barela, Zachary Brent, Daniel Lindsey, Gustavo Márquez, Frank John Buxton, Clint Flinchpaugh, Millington III, Clayton Nickell, Gunnar Reinig, Michael Kimbrough................................ Engineers Liz Sieroslawski, Brad Steinmeyer, Andrew Timothy Courson.....................Director, Facilities Sullivan, Tomas Waples, Emmalaine Wright, Management Cindy Yeast.........................................Ticket Agents Quentin Crump.......................Security Specialist Theatre Services Jane Deegan................................ Office Manager Carol Krueger............................................... Manager Tom Duffin...........Manager, Event Technology Ethan Aumann, Nora Caley, Samantha Egle, Jahnice Jones, Colin Dieck, Stori Heleen, Jaymes Kimbrough..............Event Technology LeiLani Lynch, Aaron McMullen, Specialist Margaret Ohlander, Dylan Phibbs, Dan Havens................................Security Manager Valerie Schaefer, Lauren Veselak, Clint King.................................Security Supervisor Mica Ward..................................Theatre Company House Managers Danielle Bell, Savanna Campbell, Matt Leaver.................................Events Managers Volunteer Ushers................................................305+ Brian McClain.....................Custodial Supervisor Group Sales Tara Miller...................................................Sr Manager Jonalyn Bradshaw.............................Coordinator, Education Sales Brook Nichols......Director, Event Technology Jeffrey Pluth............................... General Manager Julie Rada..............................Associate, Audience Venue Operations Development Maggi Quinn..............Director, Capital Projects

SHARED SERVICES Vicky Miles........................Chief Financial Officer Jennifer Jeffrey........................Director, Financial Planning & Analysis Julie Schumaker..................Executive Assistant to the CFO & Board Liaison ACCOUNTING Jennifer Siemers...........................................Director Michaele Davidson, Linda Erickson..................... Senior Accountants Kim Stewart................................Staff Accountant HUMAN RESOURCES Shaunda VanWert..........................Vice President Brian Carter.............................................Director, HR Jamie Hawkins..............................HR Coordinator Karen Jewell............................................Director, HR Paul Johnson...............................Payroll Specialist Monica Robles...................Mailroom Supervisor INFORMATION TECHNOLOGY Yovani Pina.........................................Vice President Rick Bennett, David Tschan.................Directors Eric Boone.............................Software Developer Vincent Bridgers.....Ticketing System Analyst Simone Gordon......................Program Manager Christopher Hoge...............................................VoIP/ System Administrator Paul Howell..................................................Help Desk Jacob Parker........................Software Developer John H. Voorheis..........Manager, Infrastructure THEATRE COMPANY ADMINISTRATION Charles Varin...........................Managing Director Ryan Meisheid.....Associate Managing Director Allison Taylor Brinkhoff.....Company Manager Katie Grayson....Assistant Company Manager ARTISTIC Chris Coleman.............................. Artistic Director Charlie Miller.........Associate Artistic Director/ Off-Center Curator Douglas Langworthy............Literary Director/ Director of New Play Development Melissa Cashion.........................Artistic Producer Grady Soapes.....................Associate Producer/ Director of Casting Lynde Rosario.............................Literary Manager PRODUCTION Jeff Gifford......................Director of Production Kate Coltun..........................Production Manager Matthew Campbell....... Associate Production Manager Julie Brou..............................Production & Artistic Office Manager Scenic Design Lisa M. Orzolek....... Director of Scenic Design Kevin Nelson, Nicholas Renaud.....Scenic Design Assistants Lighting Design Charles R. MacLeod..........Director of Lighting Lily Bradford............Lighting Design Assistant Reid Tennis+.....................Production Electrician Multimedia Gregory W. Towle..........Projection Supervisor Sound Design Craig Breitenbach..................Director of Sound Alex Billman+, Frank Haas+, Tyler Nelson+...........................Sound Technicians Stage Management Kurt Van Raden....Production Stage Manager Christoper C. Ewing....Senior Stage Manager

Rachel Ducat, Heidi Echtenkamp, Corin Ferris, Rick Mireles, Michael Morales, Kristen O’Connor, D. Lynn Reiland...........................Stage Managers Scene Shop Eric J. Moore..............................Technical Director Josh Prues, Robert L. Orzolek..........Associate Technical Directors Albert “Stub” Allison.........Assistant Technical Director Louis Fernandez III.................Master Carpenter Brian “Marco” Markiewicz.....Lead Technician Tyler Clark, Amy “Wynn” Pastor, Kyle Scoggins, Kyle Simpson, Mara Zimmerman................Scenic Technicians Prop Shop Robin Lu Payne....................Properties Director Eileen S. Garcia...................Assistant Properties Director Jamie Stewart Curl, Tobias Harding, Georgina Kayes, Tony Nguyen, Katie Webster..................................Props Artisans Paint Shop Jana L. Mitchell...................Charge Scenic Artist Melanie Rentschler...............Lead Scenic Artist Kristin Hamer MacFarlane............Scenic Artist Costume Shop Janet S. MacLeod.................Costume Director/ Costume Design Associate Meghan Anderson Doyle......................Costume Design Associate Carolyn Plemitscher, Jackie Scott..... Drapers Cathie Gagnon..........................................First Hand Sheila P. Morris..................................................... Tailor Costume Crafts Kevin Copenhaver.....Costume Crafts Director Chris Campbell.......Costume Crafts Assistant Wigs Diana Ben-Kiki........................................Wig Master House Crew Doug Taylor+.................Supervising Stagehand Jim Berman+, Jennifer Guethlein+, Stephen D. Mazzeno+, Miles Stasica+, Tyler Stauffer+, Matt Wagner+.....Stagehands Kyle Moore+.........................Assistant Stagehand Wardrobe Brenda Lawson............... Director of Wardrobe Taylor Malott^, Jessica A. Rayburn^....................Wig Assistants Robin Appleton^, Amber Donner^, Anthony Mattivi^, Tim Nelson^, Lisa Parsons Wagner^, Alan Richards^..............................................Dressers + Member, I.A.T.S.E. Local 7 ^Member, I.A.T.S.E. Local 719

As of 8/3/18

THANK YOU

The Denver Center for the Performing Arts gratefully acknowledges the generous support of the following donors of $250 or more for activities July 1, 2017 - June 30, 2018.

EXTRAORDINARY GIVING Citizens of the Scientific & Cultural Facilities District

CHAIRMAN’S CIRCLE PLATINUM ($100,000+) Bonneville Denver+ CBS4+ Epicurean Group+ Fidelity Investments Helen G. Bonfils Foundation+ Microsoft+ Robert & Judi Newman Family Foundation* The Shubert Foundation U.S. Bank+ UCHealth United Airlines+ The Wallace Foundation Marvin & Judi Wolf*

CHAIRMAN’S CIRCLE GOLD ($50,000 – $99,999) Ameristar Casino Resort Spa+ The Joan & Phil Berger Charitable Fund The Temple Hoyne Buell Foundation Colorado State Bank & Trust Colorado Public Radio+ Comcast+ Entercom Broadcasting+

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Genesee Mountain Foundation L. Roger & Meredith Hutson/HRM Resources, LLC+ Keith & Kathie Finger Margot & Allan Frank+* Noble Energy Daniel L. Ritchie SRC Energy The Salah Foundation Martin & Jo Ann Semple* Ken & Debra Tuchman/ Tuchman Family Foundation Westin Denver Downtown+

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38

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SCENE MAKER ($1,200 – $2,499) Mr. Richard Akeroyd Anheuser-Busch, Inc+ Anonymous (1) Dr. Patricia Baca/The Colorado Trust Directed Contributions Program Mr. Don Bain+ Barry J. Goldstein Philanthropic Fund of the Jewish Community Foundation Mr. & Mrs. Mike Bearup Ms. Katie Behnke Tom & Doris Blyth Bolder Laser & Imaging+ Mrs. Kelly Bolen Bonacquisti Wine Company+ Ms. Sandra Booth Linda & Aaron Bradford Ms. Karen Brown Mr. Justin Burns Mrs. Paula Cardona+ Mr. Mark Carleton Mr. Yousef Chihab Mr. & Mrs. Mark Cohen Colorado Ballet+ Community First Foundation Ms. Ellen Connor Cook Street Consulting The Sam & Beth Coyle Family Fund Ms. Colleen Curran The Honorable & Mrs. Wiley Daniel Mr. & Mrs. Jay Davidson Paul & J’ne Day-Lucore Evan & Jennifer Dechtman Denver Athletic Club+ Denver Film Society+ Mrs. Miriam B. deOlloquiTurner* Mr. Kevin Durban Mr. Stephen Edmonds & Mr. Daniel Kopnisky John Ekeberg & Jen Schwem Mr. & Mrs. Christopher Elliott

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Mrs. Lynnette Morrison Mr. Kal Murib Mr. James Neely Janet Nessinger Mr. & Mrs. Gordon W. Netzorg+ Newman Center for the Performing Arts+ Ms. Stacy Ohlsson Mr. & Mrs. Gordon Parker Ms. Dena Pastorini Mr. Daniel & Mrs. Emi Peterson Mrs. Kathleen Potter Ms. Jane Prancan* RedShift Framing+ Mrs. Ginley Regencia John & Nancy Riede Salati Restaurant Group+ Ms. Stephanie Schultz Mr. & Mrs. Stan Sena Ms. Lana Cordier Shelton Mr. Andrew Sirotnak & Mr. Jamie White Edward Skiba Ms. Pamela Sletten Southern Wine & Spirits of Colorado+ Ms. Merriam Spurgeon+ Mr. & Mrs. Daryl Stewart Mr. Al Stutson Mrs. Jennifer Taylor Ms. Kirstin Teall The Little Nell+ Thiry-O’Leary Foundation Ross & Sue Thompson Mrs. Mary Tindle Uncorked Kitchen+ V.I.P. Tours of New York+ Ms. Patricia Villegas Mr. & Mrs. Lester Ward* Welborn Sullivan Meck & Tooley, P.C+ Mrs. Teri Whelan Mr. & Mrs. Donald Williams Dr. & Mrs. Ronald Yaros*

BACKSTAGE ENTHUSIAST ($500 – $1,199) Ms. Jeannette Albertson Aubrey Ardema & Lucky Vidmar Mr. & Mrs. Timothy Arnold Ascent Private Capital Management Mr. Hartman Axley Mr. Paul Aylmer Mr. Tom Balachowski Don Barbula Ms. Abbey Barker Ms. Sybil Barnes Barolo Grill+ Mr. & Mrs. Thomas J. Barrett, Jr. Mrs. Dianne Bartlett in memory of Randy Wren Karen Beauvais Donald & Martha Bender Senator Michael Bennet & Mrs. Susan Dagget Mr. Joshua Benninghof Mr. Weston Beranek Bessemer Trust Dr. Mary Bessesen Dr. Angela Betker & Dr. Anthony Simon Ms. Nara Bhusiri Mrs. Kim Bimestefer Ms. Beverly Black+ Mr. Robert Blauvelt & Mr. Michael Corrigan BLDG Management/BMC Investments Libby Bortz Betsy Brachfeld Mr. & Mrs. Cole Brannick Mr. & Mrs. Don Brown Mr. Willard Brown Mr. & Mrs. Dennis Brown The Brown Palace Hotel+ The Bungalow Craft+ Mr. Rudolph Butler Mrs. Carmela Capraro Dan & Robin Catlin Ms. Shelly Catterson Ms. Peaches Cederholm Ms. Keri Christiansen

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THANK YOU TO OUR DONORS Mrs. Julie Mostek Mr. John Muhr Nicole & Scott Mulvany Ms. Mieko Bailey Mr. Ben Nesbitt Ms. Janiece Nolte Ms. Brea Olson & Mr. Gavin Gilchrist Jean & Ed Onderko Opera Colorado+ Gregory & Caitlin Osborn Dan & Jeanne O’Shaughnessy Mr. & Mrs. Gregory Palmquist J & L Parsons Ms. Lois Paul Ms. Jane Pechette Emily & Joe Perrotto Debra J. Perry* Kathleen Perry/Artworks, etc., LLC Mr. Yovani Pina Mr. & Mrs. Edward Pinfield Mrs. Toby Pippin Mr. & Mrs. Jim Potter Gwen Powers Koger & Marcie Propst Ms. Lauren Putrino Don & Grace Quade Ms. Katherine Rainbolt Ms. Patricia Rawlings Mr. Jeffrey Rawlins Alexander & Cynthia Read Mr. & Mrs. Scott Reichenberg Ms. Ricki Rest Robert & Myra Rich Maureen Rimar Steven & Joan Ringel Fred & Ayliffe Ris Mr. & Mrs. Chris Romer Donald & Janenne Rosen Molly Ross* Ms. Deborah Sandquist Ms. Lisa Schmidt Ruth E. Schoening Ms. BJ Scott Ms. Julie Scott Mr. and Mrs. Jim Shpall Lisbeth & Earl Sethre

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Shell Oil Matching Gifts Program Mr. Roger Sherman Cheryl L. Solich & John W. Kure Ms. Matina Soutsos* Dr. & Mrs. Harlan Spritzer Ms. Suzanne Swanson Mr. Stephen Swinney Mrs. Sonnie Talley Lynda Taniguchi Philip & Page Tatar Kate Testerman The Brass Bed+ Mrs. Janie Trevor Mr. & Mrs. John Tumler Mr. Jeff Turnbow University of Denver School of Hotel Restaurant & Tourism Management+ Mr. Charles Varin Ms. Renée Verspoor Ms. Herminia Vigil Shannon Wagner Ms. Allison Watrous Lee & Jilda Weinstein Mr. & Mrs. Michael West Mr. Greg Westwood Dr. Jeff Wheeler Mr. & Mrs. Michael Williams Worldwide Beverage+ Suzanne M. Yoe* David Yurman+

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APPLAUSE • AUG – OCT 2018 • 303.893.4100 • DENVERCENTER.ORG

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Thank you.

ll people A are equal Moments are shared Differences are valued Discussion is encouraged We respect that everyone experiences our stories differently.

Enjoy five original short plays from Colorado-based artists, along with breaks to grab tapas and drinks in between. There’s no better way to see a variety of local playwrights and performers in one offbeat night out.

AN EVENING OF MICRO THEATRE

NOV

OCT

23– 18

TICKETS $20 DENVERCENTER.ORG

AT BOOKBAR

HOW WELL DO YOU KNOW Oklahoma!, Beautiful, The JulyWife 2018 Applause puzzle Constant and Vietgone?

How well do you know Oklahoma, Beautiful, The Constant Wife and Vietgone?

ACROSS

3

Singer who encouraged Carole King to sing her own songs

4

Everyone’s favorite Oklahoma Aunt_________

7

The author of The Constant Wife is W. __________Maugham

12 Carole King’s memoir: “A __________Woman” 14 The Farmer and the _________ 19 She’s just a girl who can’t say no 20 TV’s American _________ 21 Preferred mode of transportation in Vietgone 22 Oklahoma source book: Green Grow the ________

1

2

DOWN 1 The original star of The Constant Wife in

1926 was this Barrymore

3

4

5

6

7 10

F E

8

9

11

AN EVENING OF MICRO THEATRE

12

13

14

15

16

17

18

19

AT BOOKBAR 20

21

2

Vietgone playwright Qui Nguyen started his own theatre company called the Vampire _________

5

A ________ is a light, four-wheeled carriage with two seats facing forward and looks best with a fringe on top

6

The Narrator of Vietgone is called, quite self-referentially, The __________

8

Vietgone playwright Qui Nguyen also wrote the popular Dungeons and Dragons- inspired play She Kills ________, which was presented at the Aurora Fox

9

Planet that stirs Carole King

10 In The Constant Wife, Constance demonstrates a

total lack of sentiment on the subject of _________ 11

W. Somerset Maugham was perhaps best known for writing “Of Human _________”

13 Beautiful song lyric: “It Might as Well Rain Until _______” 15 Creepy farmhand _________lives in the

smokehouse on Laurey’s property 16 The Drifters sang Carole King’s “Some Kind of ________” 17 Carole King’s breakout album sold 25 million copies 18 Quote from The Constant Wife: “There is only

one freedom that is really important, and that

is _________ freedom”

22

19 State where the refugee lovers of Vietgone meet

at a relocation camp in 1975

ACROSS

6 The Narrator of Vietgone is called, quite self-referentially, The ___________

42 APPLAUSE AUGKing – OCT • DENVERCENTER.ORG 8 Vietgone playwright Qui Nguyen also wrote 3 Singer who encouraged •Carole to 2018 • 303.893.4100 sing her own songs 4 Everyone’s favorite Oklahoma Aunt ___ 7 The author of The Constant Wife is W.

the popular Dungeons and Dragonsinspired play She Kills ______, which was presented at the Aurora Fox

For answers please visit denvercenter.org/news-center

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Help Free Lions, Tigers, Bears, Wolves and countless other animals that are suffering in terrible places right now.

Set them Free by giving a donation toward The Wild Animal Sanctuary's new 9,004 Acre Wildlife Refuge!

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Nine Thousand Acres!

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