Applause Magazine, Sept. 11-Oct. 11, 2015

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APPLAUSE

SIGHTLINE

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BY SCOTT SHILLER

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VO L U M E X X V I I | N U M B E R 2 | S E P – N OV 2 0 1 5

EDITOR: Suzanne Yoe CREATIVE DIRECTOR: Rob Silk ASSOCIATE EDITOR: John Moore ART DIRECTOR: Kyle Malone DESIGNERS: Kim Conner, Brenda Elliott Applause is published seven times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved.

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Screen Test

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On my first official day of work for the Denver Center for the Performing Arts, I tweeted a selfie with our staff at the end of our company meeting (see for yourself @scottshiller on Twitter). For me, it felt natural to record such a big life event and share that moment with others in my extended network. Isn’t that why social media and mobile devices go hand-in-hand? Instant celebration.

Recently, however, mobile devices and theatre seem to be at odds. A couple of remarkable incidents in New York City — actress Patti LuPone taking a phone out of an audience member’s hands during a performance and, separately, an audience member trying to use a false outlet on set to recharge a phone — have drawn widespread criticism. I’ve seen laments for etiquette, personal stories of bad behavior, name-calling and hand wringing. Following her incident, Patti LuPone herself published “5 Rules for Theater Etiquette” in the Wall Street Journal.

I believe this is a test. How will we, as theatre professionals and audiences, find common ground for mobile devices in theatres?

I understand the impulse to record big life events (and smaller ones) in a social way. I also understand why it’s disruptive when the lights are down and the cast and crew are performing their magic.

Naturally, our impulse as theatre professionals is to stop it. We’ve worked long and hard hours to bring you into our temporary world; the real one on your screen can wait.

Or can it? If we believe we’re creating something utterly unique and unforgettable on our stage, is it fair to call it off limits? Isn’t it a natural occasion to capture, record or post about because it is so unique and unforgettable? To be clear: I’m not advocating rude or disruptive behavior. I just wonder if zero tolerance is the only long-term solution to mobile devices. It’s the easiest, certainly.

But is it the end of the discussion?

If we want to welcome all people to the theatre, we have to accept that some might not be familiar with its traditional etiquette. We have to understand that we’re wrestling with technology and behavior that theatre has never seen in its two thousand year history. We have to honor the joy of instant celebration as well as the art of live performance. So if you see someone crossing the line, please be kind. Remember a time you were unsure of what to wear or how to act. Most important, remember your first show — and how you wanted to share it with everyone you knew.

SCOTT SHILLER President and CEO Share your thoughts at denvercenter.com/sightline

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IF/THEN: CHOOSING

BETWEEN TWO ROADS DIVERGED

Idina Menzel and Anthony Rapp in If/Then | Photo by Joan Marcus

BY JOHN MOORE

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Broadway superstar Idina Menzel chose to star in the national tour of If/Then in Denver and perform in the first six cities that follow. Castmates LaChanze, Anthony Rapp and James Snyder then signed on as well.

If/Then is a contemporary new musical that explores how vastly changed one woman’s life might have turned out if fate and her own choices had been different. We all make decisions every day that have the potential to impact not only the course of our lives, but of those closest to us.

Case in point was Menzel’s consequential decision: “If Idina didn’t choose to launch the tour, then it wouldn’t be touring,” producer David Stone said flatly. “It’s as simple as that.” But because she did, If/Then is now believed to be the first musical of the modern Broadway era to be launching a national tour with all of its major principal cast reassembled.

And Menzel wouldn’t want it any other way.

“What’s so exciting about this for me is that it is completely brand-new material,” Menzel said. “But the best

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thing about If/Then are the people who are involved with this project.

I’m smart enough to know to work with smart people.”

Some of those smart people include Director Michael Greif, who discovered Menzel when he cast her as wildchild Maureen in the landmark 1996 production of Rent; Tom Kitt (music) and Brian Yorkey (book and lyrics), whose Next to Normal in 2010 became the first musical to win the Pulitzer Prize for Drama since…well, Rent; and her Wicked producer, David Stone, who also produced Next to Normal.

“To me, it’s absolutely essential that we have Idina and LaChanze and Anthony and James heading out for the first leg of the tour,” Yorkey said.

“Because they are paving the way for the people who will follow. And they are showing the world once again that they believe in this kind of quirky, notentirely-traditional new show of ours.

To me, that means everything.”

Next to Normal was significantly boosted when Broadway star Alice Ripley chose to go out on the road with the show, Stone said. But it’s

incredibly rare. And even less likely with Menzel, given the rocket ship her career has been on since she sang the ubiquitous anthem “Let it Go” for the hugely popular animated film, Frozen.

“The fact that Idina is now doing this tour and bringing this story to Denver and beyond when she has a million things pulling her in all different directions…” Kitt said. “It just means a great deal.”

She’s doing it because there is no understating how important If/Then has become to Menzel, who has remained fiercely committed to the show from the very beginning.

“If/Then is especially meaningful for me because I had the opportunity to develop it for several years with the creative team, whom I have come to consider family,” Menzel said.

If/Then follows two distinct storylines in the life of Elizabeth, a city planner who moves back to New York to restart her life in a city of infinite possibilities. But when her carefully designed plans collide with the whims of fate, her life splits into two parallel paths. If/Then follows both stories

simultaneously as they intersect at the meeting of choice and chance.

Many women can relate, Menzel said.

Starting with Menzel, who started over herself last year as a single mother in her 40s. “Shows come into your life when you need to learn something about your life that they have to teach you,” she said. “If/Then put its arms around me and taught me about choices. It has taught me that you have the opportunity and the power to wake up and start your life over every single day.”

But If/Then wasn’t always Menzel’s story. In the writers’ inaugural treatment, Kitt and Yorkey imagined their protagonist to be a 25-year-old woman from Denver who moves to the Big City.

The story would explore all the different paths her life might take.

It was Stone who suggested, “Well, wouldn’t it be more interesting if she were older and coming back to New York with some baggage?” he said.

The writers loved the idea — and so did Menzel. Suddenly Kitt and Yorkey found themselves writing If/Then for a singular performer “who ultimately will be recognized as one of the legendary instruments of the American musical theatre,” Yorkey said. “So you better make it worth her while if you are writing songs for her.”

No pressure.

“To be able to write for someone like Idina is a privilege and a thrill and also a challenge,” Yorkey said. “As a songwriter, it’s like being a race-car driver and getting to take the most

brilliant Porsche out on the track: You better well know how to drive it.”

Kitt says that Porsche of a voice has a range so huge, “She can really go anywhere. She sings as high as the highest people can go. And then she has a wonderful richness to her low notes as well. There is just nothing that she can’t do.”

Including, apparently, taking her Porsche out for a few months on the open road.

“I’m so thrilled to launch the show’s national tour and to send it off across the country and around the world,” Menzel said. “I am very much looking forward to sharing this original musical with Broadway fans who weren’t able to travel to New York and see it there.”

Look for additional coverage of If/Then, including our expanded interviews with Idina Menzel and other members of the cast and crew, at denvercenter.org/news-center Idina Menzel’s quotes were compiled from various sources & publications for this story.

IF/THEN OCT 13 – 25 BUELL THEATRE ASL interpreted, Audio described & Open captioned performance: Oct 25, 2pm Tickets: 303.893.4100 | denvercenter.org Groups: 303.446.4829

FIND YOUR VOICE

“If/Then put its arms around me and taught me about choices. It has taught me that you have the opportunity and the power to wake up and start your life over every single day.”

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

Idina Menzel has been known for playing iconic, larger than life characters: Maureen: The omnivorous, omnisexual performance artist from Rent Elphaba: The original Wicked witch Elsa: The animated Frozen princess If/Then has allowed her to play real flesh and blood: Elizabeth: A very human woman seeking a fresh start in If/Then

Idina Menzel in If/Then. Photo by Joan Marcus

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

As You Like It Sep 25 – Nov 1 Tribes Oct 9 – Nov 15 If/Then Oct 13 – 25 Cult Following Oct 21 & 23 and Feb 12 & 13, 2016

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Disney’s The Lion King Nov 4 – 29 A Christmas Carol Nov 27 – Dec 27 The SantaLand Diaries Nov 27 – Dec 27 Mannheim Steamroller Christmas by Chip Davis Dec 12 – 13 A Christmas Story, The Musical Dec 16 – 27 Shaping Sound Jan 19, 2016 The Nest Jan 22 – Feb 21, 2016

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Dirty Dancing — The Classic Story On Stage Jan 26 – 31, 2016 All the Way Jan 29 – Feb 28, 2016 FADE Feb 5 – Mar 13, 2016 The Wizard of Oz Feb 7 – 13, 2016

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1. The Container Store at Park Meadows graciously hosted CLOSETS & COCKTAILS at which more than 350 guests committed to organizing their clutter by investing in new closets, and by extension, the DCPA. 2. DCPA movers and shakers gathered poolside for “Through the Looking Glass”, a fantastical fundraiser at the Four Seasons. Complete with mermaids, music and a drag queen of hearts, the event benefited our Education programs. 3. DCPA President & CEO Scott Shiller represented our Theatre Company, which was recognized with 11 Henry Awards from the Colorado Theatre Guild. All of the DCPA’s awards were for new works: The 12, Benediction and The Unsinkable Molly Brown. 4. DCPA EDUCATION came alive this summer with hundreds of children in dozens of acting camps. The two-week Musical Madness class is always a crowd pleaser, culminating in a final performance in the 750-seat Stage Theatre. 5. PHAMALY THEATRE COMPANY once again commandeered The Space Theatre for its summer production of Cabaret.

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A Gentleman’s Guide to Love & Murder Feb 16 – 28, 2016 Riverdance — The 20th Anniversary World Tour Mar 8 – 13, 2016 Disney’s Newsies Mar 23 – Apr 9, 2016 Sweeney Todd Apr 8 – May 15, 2016 once May 24 – 29, 2016 Disney’s Beauty and the Beast Jun 7 – 12, 2016 The Sound of Music Jun 21 – 26, 2016 Beautiful — The Carole King Musical Jul 19 – 31, 2016

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LOOKINGGLASS ALICE: A TUMBLE THROUGH TIME

Molly Brennan in Lookingglass Alice. Photo by Liz Lauren, courtesy of Lookingglass Theatre Company.

BY CHRISTINE DOLEN

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The story of a little girl who tumbled down a rabbit hole into a strange land has captivated the world since 1862, when the Victorian academic who would become Lewis Carroll dreamed it up.

Oxford mathematician Charles Dodgson invented the tale of Alice in Wonderland to entertain Alice Liddell and her sisters as they traveled along the River Thames.

The result of a child’s familiar plea — “Tell us a story!”

— would later transform the slender, stammering Dodgson into Carroll, the successful author of Alice’s Adventures in Wonderland (1865) and Through the Looking-Glass (1871). Ever since, the wildly fanciful tale of that tumble into a chess-themed land of nonsense, illogic and lessons learned has inspired generations, including Lookingglass Alice director-playwright David Catlin.

One of the eight founders of Chicago’s Tony-winning Lookingglass Theatre Company, Catlin has worked on three stage interpretations of the story, the first when he, future “Friends” star David Schwimmer and others were students at Northwestern University in 1986.

Backed by $500 in Schwimmer’s saved bar mitzvah money, the students opened their production at a small Northwestern venue on lucky Friday the 13th in February 1987. After taking it to the Edinburgh Festival Fringe, they decided to start a company built around literary adaptations and ensemble-based physical theater. They launched in 1988 with member David Kersnar’s adaptation of Through the Looking Glass, the new company’s name a nod to its inaugural production.

Lookingglass persevered, building its reputation on Chicago’s hot theater scene with such productions as Schwimmer’s adaptation of Upton Sinclair’s The Jungle and Mary Zimmerman’s celebrated Metamorphoses.

Nomadic for its first 15 years, the company moved into its current home at the historic Water Tower Water Works. To celebrate that milestone, Catlin was commissioned in 2003 to create the play that became Lookingglass Alice.

Inspiration came in the form of a question, the first complete sentence uttered by his 18-month-old daughter, Saylor: “When can I get my ears pierced?”

“I thought that maybe this could be my gift to her, telling her not to be in such a hurry to grow up,” Catlin recalls.

Influenced by the thrilling, edge-of-your seat work of Cirque du Soleil, Catlin and his collaborators decided to let circus arts help tell the story.

“Circus touches that irrational part of ourselves, and it’s filled with whimsy and nonsense. It feels appropriate to the story, a little bit giddy,” he says.

To that end, award-winning choreographer Sylvia Hernandez-Distasi, co-artistic director of The Actors Gymnasium in nearby Evanston, infused the show with tumbling, aerial work, stilt-walking, balancing feats and, in the case of Humpty Dumpty, a spectacular fall.

Premiering in 2005, Lookingglass Alice became an ongoing success for the company, returning for four runs and traveling to other cities.

Denver Center President and CEO Scott Shiller chose Lookingglass Alice as the 2015 summer show at Miami’s Adrienne Arsht Center for the Performing Arts when he was its executive vice president.

Returning to see the show in Miami, Shiller observed, “One of the great things about Lookingglass Alice is that it pushes the boundaries of theatrical storytelling and theatrical magic. It asks the audience to go on a

“Carroll’s story had so much in there for whatever age you are. It doesn’t talk down to kids. It speaks to them, giving them complicated things to think about… It has layers and layers. Sometimes it’s light, sometimes it’s deeper, and at times it’s scary.”

— DAVID CATLIN, DIRECTOR / PLAYWRIGHT

journey with the characters and use their imagination to become part of the storytelling…. The Cirque du Soleil model uses the circus arts to overwhelm your senses. Lookingglass Alice allows you to imagine a world, while being thoroughly deliberate with their choices and at the top of their craft. It’s both transparent and theatrical.”

Catlin thinks the components of Lookingglass Alice make it appeal to different ages on multiple levels.

“It has elements of circus, delicious wordplay and fantastical characters,” he says. “Carroll’s story had so much in there for whatever age you are. It doesn’t talk down to kids. It speaks to them, giving them complicated things to think about… It has layers and layers. Sometimes it’s light, sometimes it’s deeper, and at times it’s scary.”

Samuel Taylor gets to demonstrate his range as both actor and acrobat in Lookingglass Alice. He plays the White Knight, who ages backward, as well as the buttoned-up Dodgson.

The White Knight rides a 6-foottall unicycle while carrying a picnic basket, and he recites Jabberwocky while running through the audience, eventually leaping into the arms of Alice.

“The White Knight is who Lewis Carroll wanted to be…a version of the author who is capable of all the nonsense and wonder that Dodgson was incapable of living in his real life,” Taylor says. “He represents the joy of the child brain carried forward into adulthood.”

Taylor jokes that he and his cast mates — Lindsey Noel Whiting, Lauren Hirte, Adeoye, Molly Brennan and Kevin Douglas — call themselves “the Aliceholes.” But he’s serious when he says that, despite the extensive physical training and emphasis on safety, “Alice is the gold standard of hard. The circus is hard, the running and screaming is hard, and you almost never stop moving backstage.”

Brennan plays the comically imperious Red Queen among other roles. Though she grows smaller by stages, initially Brennan is literally a towering presence: “It’s like being on a parade float. I stand on a 12-foothigh rolling apparatus that looks like [the bottom of] a dress. I put a bodice on, then add a 3-foot-tall wig.”

Whiting, who will alternate performances as Alice with Hirte in Denver, pronounces Lookingglass Alice “fun, but it feels really poignant.” Alice’s eagerness to transform from pawn to queen, from child to adult, drives her through the fanciful, adventure-filled chess game that is Wonderland.

“Really, the heart of it is her holding onto childhood vs. growing up,” Whiting says.

Adds Douglas: “It resonates because it’s about growing up so quickly. Then life passes you by, and you wish you’d taken your time.”

Saylor Catlin turned 13 in midAugust (and now wants to get her nose pierced). Though her father’s gift didn’t slow her down, it has become a gift shared by thousands.

Lookingglass Alice has been entertaining audiences for more than a decade, embodying and advancing the mission of a company with roots in Carroll’s wondrous world: “…our goal is to fire the imagination with love, to celebrate the human capacity to taste and smell, weep and laugh, create and destroy, and wake up where we first fell — changed, charged and empowered.”

Christine Dolen is The Miami Herald’s theater critic.

LOOKINGGLASS ALICE SEP 11 – OCT 11 STAGE THEATRE ASL interpreted & Audio described performance: Oct 3, 1:30pm Tickets: 303.893.4100 | denvercenter.org Groups: 303.446.4829

The cast of A Christms Carol. Photo by Jennifer M. Koskinen.

COMING UP FROM THEATRE COMPANY:

A CHRISTMAS CAROL

After Charles Dickens wrote his holiday classic in a frenzied six weeks in 1843, he became one of the first famous writers to give public readings of his work. Ten years after A Christmas Carol (playing The Stage Nov 27 - Dec 27) was published, Dickens began to tour England and America performing his piece. Here’s a little about his acting antics: • When he toured New York around Christmas of 1867, people camping for their tickets created a line that was a mile long. The tour earned him around $20,000 (nearly $1.5 million today) and exceeded the royalties he earned from the books.

• On performance days, Dickens would drink two tablespoons of rum mixed with cream for breakfast, a pint of champagne for lunch and a sherry with a raw egg beaten into it right before he went on stage.

• Due to his health, he had to stop performing in 1870. His last words to the audience were, “...from these garish lights I vanish now for evermore, with one heartfelt, grateful, respectful, and affectionate farewell.”

To read more about Dickens’ peculiar performances, visit mentalfloss.com or amazon.com.

Happy reading, everyone.

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W I N N E R — 2 0 1 4 T O N Y AWA R D F O R B E S T P L AY

ALL THE WAY

By Robert Schenkkan

JAN 29 – FEB 28 •

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“ Atlantic Trust is proud to make a positive difference through ongoing community outreach across Colorado.”

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What’s your vision for family wealth?

That’s the first important question we ask of any client or prospective client.

Your answer will be as varied as your family. Your answer also will help us begin to unfold your family’s financial picture and bring to life what you want— now and for the generations to come.

At Atlantic Trust, we’ve been engaged in only one business since 1923*— private wealth management for affluent individuals and families. We also partner with private foundations and endowments for investment management. Additionally, Atlantic Trust professionals have served as trustees or investment committee members for numerous eleemosynary organizations in the arts, education, environment and health care, to name a few. We believe this involvement deepens our understanding of our clients’ needs and further develops a best-practices approach. The Denver Center for the Performing Arts (DCPA) is one of the organizations we are pleased to support.

Atlantic Trust’s sponsorship dollars directly support the DCPA’s Arts in Education programs in the schools and at the Center. More than 1.7 million metro-area children have experienced theatre through the DCPA’s Education program, which has helped 68,000 students per year develop into more creative thinkers, more imaginative learners and ultimately a more literate generation of young people.

“We’re extremely proud of our 12-year sponsorship of the DCPA’s Best of Broadway Society,” says Wanda Colburn, managing director for Atlantic Trust. “Atlantic Trust is proud to make a positive difference through ongoing community outreach across Colorado.”

Atlantic Trust is pleased to have sponsored The Best of Broadway Society for more than a decade, and we look forward to seeing what our partnership can help accomplish. *Through predecessor firms.

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Inside the Writer’s Studio with Heidi Julavits and Ben Marcus

Saturday, October 3 Denver Art Museum • 6:30 PM Don’t miss the popular and unpredictable on-stage reading and conversation between highly accomplished authors and literary tastemakers Heidi Julavits and Ben Marcus. Come hear the husband-and-wife duo dish on balancing work and family, gender issues, and the challenges of living with a writer.

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A PROUD SPONSOR OF LOOKINGGLASS ALICE AND SWEENEY TODD

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But at Cadillac, our sculptors, designers and craftsmen are true artists with a passion for the automotive form. People who aren’t afraid to Dare Greatly.

We believe this passion and creative perspective begins early and must be nurtured within our schools, throughout the community and the world.

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TRIBES — LEARNING TO LISTEN

BY JOHN MOORE

“Tribes is about how we communicate, and how we don’t communicate.

And one of the great ironies of this play is that it’s the non-deaf characters who are actually really bad at communication.”

— STEPHEN WEITZ, DIRECTOR

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F

Family stories are the backbone of the American theatre. And Death of a Salesman, A Long Day’s Journey Into Night and August: Osage County are central vertebra on the spine of the canon. They all center on families who talk well enough…they just can’t seem to actually communicate with one another.

Nina Raine’s Tribes takes that irony one step further. Her acclaimed play is about a family that really can’t communicate. And the fact that youngest son Billy was born deaf is just part of the problem.

“This is a family that is fraught with love and miscommunication and hierarchies,” said Stephen Weitz, who is directing Tribes for the Theatre Company. “I mean, Death of a Salesman is the same family, in some ways, and August: Osage County. But by adding this extra element of deafness as an obstacle to communication, I think Nina Raine has taken the traditional family drama and spun it on its ear a little bit.”

The never-named British family in Tribes has been described as an intensely intellectual bunch of dueling narcissists who use words as their weapons of choice. The parents are writers with three adrift children, all in their 20s and all living at home. Daniel is writing a thesis about how “language doesn’t determine meaning.” Ruth is a halfhearted opera wannabe. And while Billy may be deaf, his parents didn’t raise him to be handicapped — and they tell him that.

“They essentially pretend he’s not deaf,” Weitz said. “Certainly there is no malice behind that. I think in their minds, they are doing good by him by raising him to be, quote, ‘normal.’ And in the end, that turns out maybe to have been not the best choice.”

Now Billy has met a girl named Sylvia who grew up with deaf parents and is now losing her own hearing. She knows American Sign Language. He does not. Signals are seriously being crossed all over this play.

“Tribes is about how we communicate, and how we don’t communicate,” Weitz said. “And one of the great ironies of this play is that it’s the non-deaf characters who are actually really bad at communication.”

The live theatre was born for the public exchange of ideas, however heightened or artificial. But deafness, of course, makes communication and human connection significantly more difficult, whether on stage or in life. Yet the Tribes playwright, Weitz believes, has taken this obstacle and turned it into a tremendous advantage.

“This is going to be a visceral experience for people unlike what they normally have at the theatre because they are going to have to be part of the communication exchange,” Weitz said. “This isn’t one of those plays where people can sit back and be passive, because it will fly by.”

That’s where Charlie Miller, the DCPA’s resident multimedia specialist, comes in. Throughout her play, Raine’s script calls for supertitles — projected translations audiences most commonly see as they translate foreign words at the opera. Here, supertitles are used to help the audience understand what the deaf characters are saying. But it’s a tricky and intentionally unreliable device, Miller says.

“Not everything that is signed is translated for the audiences and sometimes the translations take on a life of their own,” Miller said.

“So I think it becomes more complex than that in a really good way.”

It’s only fair, after all, that if “hearing” people can use language to obscure and confuse meaning rather than to elucidate — why shouldn’t that tool be available to all of the Tribes characters?

In this family, barriers to communication, real or imagined, might even be seen as a relief or a protection when that family is not asking the tough questions.

LOGO WITH SUBDIVISIONS

A

LOOKINGGLASS ALICE

Scott Shiller, President & CEO Kent Thompson, Producing Artistic Director

LOOKING presents Lookingglass Theatre Company’s production of

David Catlin FROM THE WORKS OF Lewis Carroll

ADAPTED AND DIRECTED BY

Produced in association with The Actors Gymnasium With Adeoye*, Molly Brennan*, Kevin Douglas*, Micah Figueroa, Lauren Hirte*, Donterrio Johnson, Samuel Taylor*, Lindsey Noel Whiting*, Samuel Zeisel

SCENIC DESIGN BY Daniel Ostling

COSTUME DESIGN BY Mara Blumenfeld

DIRECTOR OF PRODUCTION Jeff Gifford

LIGHTING DESIGN BY Christine A. Binder

STAGE MANAGER Tess Golden

SOUND DESIGN BY Ray Nardelli

CHOREOGRAPHY BY Sylvia Hernandez-DiStasi

Lookingglass Alice premiered at Lookingglass Theatre in Chicago on February 13, 2005 and was developed in affilation with The Actors Gymnasium.

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

THE STAGE THEATRE | SEPTEMBER 11–OCTOBER 11, 2015

PRESENTING SPONSOR

SEASON SPONSORS

SUPPORTING SPONSOR

PRODUCING PARTNERS

Isabelle Clark L. Roger & Meredith Hutson Martin & Jo Ann Semple

LOOKINGGLASS ALICE

CAST

(in order of appearance)

Cheshire Cat and Others................................................................................................................................................... ADEOYE* Red Queen and Others.................................................................................................................................. MOLLY BRENNAN* Mad Hatter and Others....................................................................................................................................KEVIN DOUGLAS* Alice...................................................................................................................LAUREN HIRTE*, LINDSEY NOEL WHITING* White Knight and Others................................................................................................................................SAMUEL TAYLOR*

Understudies: MICAH FIGUEROA, DONTERRIO JOHNSON, SAMUEL ZEISEL

Stage Manager................................................................................................................................................................. Tess Golden* Assistant Stage Manager ...................................................................................................................................Kurt Van Raden* Production Apprentice................................................................................................................................................... Corin Ferris

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Technical Director........................................................................................................................................................... Ben Dawson Properties Designer.................................................................................................................................................Sarah Burnham Rigger.................................................................................................................................................................................... Lee Brasuell Administrative and Production Assistant..............................................................................................................Kelly Crook Properties Designer.................................................................................................................................................Sarah Burnham Assistant Scenic Designer....................................................................................................................................... Sarah Watkins Associate Costume Designer...................................................................................................................................... Alison Siple Assistant Lighting Designer.................................................................................................................................. Jared Gooding Associate Sound Designer........................................................................................................................................Chris Laporte Assistant Properties Designer.................................................................................................................... Amanda Herrmann Assistant Rigger/Master Carpenter...................................................................................................................Isaac Schoepp Original Composition.................................................................................... Andre Pluess, USA and Ben Sussman, USA Carpenter...................................................................................................................................................................Dustin Pettegrew Scenic Charge..................................................................................................................................................................... Zoe Shiffrin Costume Manager............................................................................................ Leah Munsey Konops and Carissa Sexton Casting.................................................................................................................................... Philip R. Smith with Raymond Fox

ACTING COMPANY

ADEOYE (Cheshire Cat and others). At the Theatre Company: Debut.

Looking­glass credits: Lookingglass Alice, The Little Prince, Peter Pan, Icarus and Black Diamond. Chicago credits: The Unmentionables (Step­penwolf Theatre), The Lost Boys of Sudan (Victory Gardens Theater). Regional credits: A Raisin in the Sun (Guthrie Theatre/Penumbra Theatre), Intimate Apparel (Clarence Brown Theatre).

Television credits: “DETROIT 1-8-7,” “LEVERAGE,” “Prison Break.” Film credits: #Vengeance is Mine, Chicago Over­coat. He earned his MFA at The Academy for Classical Acting at The Shakespeare Theatre and The George Washington University, Wash­ington, DC. Love and gratitude to his family.

MOLLY BRENNAN (Red Queen and others). At the Theatre Company: Debut. Molly is an AEA actor, singer and clown. Credits include: Second City’s American Mixtape, Madam Barker in Red Tape’s The Life and Death of Madam Barker, Second City’s Guide to the Opera at Lyric, Peter Pan: A Play at Looking­ glass, Animal Crackers at The Goodman, Theatrical Essays at Steppenwolf, and 500 Clown Macbeth and 500 Clown Frankenstein in multiple venues in Chicago and the United States. Molly served as Artistic Director of Barrel of Monkeys for three years. In 2016 she looks forward to presenting a new Clown Rock Musical collaboration co-written by Malic White and produced by the NeoFuturists. Molly was named Chicago’s “Queen of Mischief and Make Believe” by American Theatre maga­zine, February 2015. She’s also received a couple of Jeff Awards.

KEVIN DOUGLAS (Mad Hatter and others). At the Theatre Company: Debut. He was last seen at Lookingglass in Mr. Rickey Calls a Meeting.

Lookingglass credits: Black Diamond: The Years the Locusts Have Eaten, Lookingglass Alice, Around the World in 80 Days (Jeff nomination Best Supporting Actor), Our Town co-directed by Anna D. Shapiro and Jessica Thebus, and The Great Fire.

He has performed at Actors Theatre of Louisville, Baltimore Center Stage, Kansas City Rep, and Alliance Theatre. Kevin is a writer and lover of comedy. A graduate of DePaul University the Theatre School, he would like to thank God for this opportunity.

MICAH FIGUEROA (Understudy White Knight, Mad Hatter and others). At the Theatre Company: Debut. Micah is a proud member of the teaching artist staff at Lookingglass and Raven Theatre where he gets to create new and original works with children across Chicago. He was last seen this summer as Cabaco in Lookingglass’s Moby Dick and (once!) as White Rabbit/Mad Hatter/ Humpty Dumpty in an all understudy performance of Alice. Micah would like to thank his family, both biological and acquired, for their love and support.

LAUREN HIRTE (Alice). At the Theatre Company: Debut. Lauren is thrilled to be making her Denver Center debut with this run of Lookingglass Alice! She originated the role of Alice, and besides several runs at Lookingglass Theatre in Chicago, has also toured with the show to The McCarter, The Arden, and OffBroadway at the New Victory

Theatre. Other regional credits include A Christmas Carol, Actors Theatre of Louisville; and the title role in Milwaukee Rep’s Diary of Anne Frank. Chicago Credits: Hard Times, Hephaestus, Fedra, Icarus, and The Little Prince, Lookingglass Theatre; Jewish Stories, Piven Theatre; The Tempest, Dream, Flying Griffin Circus, at Actors Gymnasium.

Film: Trust, dir. David Schwimmer.

Lauren is currently living in Los Angeles and when not performing, can be found teaching aerials at TSNY LA on the Santa Monica Pier.

DONTERRIO JOHNSON (Understudy Cheshire Cat and others). At the Theatre Company: Debut. Donterrio is an alumni of the American Musical and Dramatic Academy of Los Angeles and an Artistic Ensemble Member of Pride Films and Plays. He is a Chicago native. Credits include: Lookingglass Alice (Lookingglass Theatre Company); Jesus Christ Superstar -Jeff nominated (Theo Ubique); Ain’t Misbehavin’-Jeff nominated, Golden Boy (Porchlight Music Theatre); The Color Purple, Avenue Q (Mercury Theatre); Rent (Brightside Theatre); Under A Rainbow Flag (Pride Films and Plays); Hairspray The Musical-ITL Award Winner (SRO Productions), Urinetown, Aladdin The Musical, Into The Woods and Kennedy The Musical (Broadway Workshop).

SAMUEL TAYLOR (White Knight and others). At the Theatre Company: Debut. Lookingglass credits: Lookingglass Alice (Chicago, Louisville, Atlanta, Syracuse), Peter Pan (A Play). Chicago credits include: The Feast (An Intimate Tempest) and Hunchback at Redmoon, Hot L Baltimore at Steppenwolf, and several produc­ tions at Chicago Shakespeare Theatre. Regional credits include:

LOOKINGGLASS ALICE

WHO’S WHO

LOOKINGGLASS ALICE

Doctor’s Dilemma at American Players Theatre, Christmas Carol at Actors Theatre of Louisville, The Boys Next Door at Syracuse Stage, and The Spy on tour with the Acting Company. TV Credits include “Board­ walk Empire,” “Mob Doctor,” and “Crisis.” Samuel is a Stakeholding Partner in the Back Room Shakespeare Project.

LINDSEY NOEL WHITING (Alice). At the Theatre Company: Debut.

Lindsey is excited to be back with the cast and crew of Lookingglass Alice.

Lookingglass credits: Cascabel, The Great Fire, and Icarus. Regionally, Lindsey has performed at Actors Theatre of Louisville, The Alliance Theatre, and Syracuse Stage. Chicago credits include: The Snow Queen (Victory Gardens); Once Upon A Time (or The Secret Language of Birds), The Golden Truffle, The Cabinet, and Sink, Sank, Sunk (Redmoon), as well as several circuses at The Actors Gymnasium. Lindsey also performs with Mucca Pazza, a circus punk marching band. As always, thanks to Mom for her continued support.

SAMUEL ZEISEL (Understudy Red Queen and Others).

At the Theatre Company: Debut.

Samuel is a Chicago-based actor/director/ educator. Since graduating from Northwestern University last year, Samuel has acted with Redmoon Theatre, Fearless Theatre, The Chicago Musical Theatre Festival, and Lookingglass. He also assistant directed Lookingglass’ recent production of Title and Deed and directed a world premiere, Splendour Without Diminshment, which just opened in the Chicago Fringe Festival. With his free time, he produces a monthly variety hour called Potluck with his best friends.

Samuel still cannot believe that he has been accepted into the Alice family. He could not be more grateful!

PLAYWRIGHT/ DIRECTOR

DAVID CATLIN. At the Theatre Company: Debut. Recent Lookingglass directing credits include: Moby Dick, Lookingglass Alice and The Little Prince.

Other regional directing credits include: McCarter (Princeton, NJ), Arden (Philadelphia), The New Victory (NYC), Syracuse Stage, Actors Theater of Louisville, the Alliance (Atlanta) and the Getty Villa (Los Angeles). Other recent directing credits include: The Phantom Tollbooth (DePaul) and Moby Dick (North­western). David teaches acting with North­western University’s theater department.

David lives in Chicago with his wife Kerry and their two daughters Emerson and Saylor.

ARTISTIC STAFF

CHRISTINE A. BINDER (Lighting Design). At the Theatre Company: Debut. Theater designs include work with Writer’s Theatre, Chicago Shakespeare, The Court Theatre, Northlight, Steppenwolf, Indiana Repertory Theatre, Actor’s Theatre of Louis­ville, and Oregon Shakespeare Festival. Her opera designs include work at the Lyric Opera of Chicago, Chicago Opera Theatre, San Diego Opera, New York City Opera, Pittsburgh Opera, and Houston Grand Opera. Recent designs include An Issue of Blood for Victory Gardens Theatre, A Kid Like Jake for About Face Theatre, and Onegin for Geneva Opera in Switzerland. Upcoming designs include Heir Apparent for Chicago Shakespeare, Onegin for the Houston Grand Opera, and Thaddeus and Slocum for Lookingglass Theatre. Ms. Binder is Jeff nominated for her work with The Court, Lookingglass, and Northlight and has received two Jeff citations for her work with Redmoon Theatre.

Christine is married to Claude Binder. The Binders have one son, Cody, and reside in Oak Park, Illinois.

MARA BLUMENFELD (Costume Design). At the Theatre Company: Debut. Mara has designed costumes for over 30 Lookingglass productions, including Lookingglass Alice, In the Garden, Bengal Tiger at the Baghdad Zoo, Metamorphoses, and Eastland. Else­where in Chicago,

she has designed numerous productions for The Goodman Theatre, Step­penwolf Theatre Company, Chicago Shake­speare Theater and Court Theatre. A frequent collaborator with Mary Zimmerman, their credits include the Broadway and off-Broadway productions of Metamorphoses, The Notebooks of Leonardo da Vinci at Second Stage and Lucia di Lammermoor and La Sonnambula for the Metropolitan Opera. She is the recipient of four Joseph Jefferson Awards and was the 2012 recipient of the Michael Merritt Award for Excellence in Design and Collaboration.

SYLVIA HERNANDEZ-DISTASI (Choreographer). At the Theatre Company: Debut. Florida native Sylvia is co-Artistic Director of The Actors Gymna­sium in Evanston, Illinois, where she’s been teaching the art of circus since 1995. Sylvia has been an Artistic Associate of Lookingglass Theatre Company since 1999. She has won three of her four Jeff Awards for choreography for the company’s productions of The Baron in the Trees, Hard Times, and Lookingglass Alice.

Other theater credits include Lyric Opera, Chicago Children’s Theater, Marriott Lincoln­shire (where she won her fourth Jeff Award), and Steppenwolf Theatre, among others.

Her most recent choreography was seen in Circu­scope at The Actors Gymnasium. Sylvia is a recent recipient of The 3Arts Award for Design.

RAY NARDELLI (Sound Designer).

At the Theatre Company: Debut.

Off Broadway: Lookingglass Alice (New Victory Theater). Regional: Goodman Theatre, Steppenwolf Theatre Company, Indiana Repertory Theatre, Dallas Theater Center, McCarter Theatre, Long Wharf Theatre, Milwaukee Repertory Theater, Walnut Street Theatre, Guthrie Theater, Court Theatre, Hartford Stage, Alliance Theatre, Syracuse Stage, Actors Theatre of Louis­ville, Congo Square Theater Company, Alley Theatre, Chicago Shakespeare Theater, North­ light Theatre, Drury Lane Theatre, Looking­glass Theatre Company, Victory Gardens Theater, Meadow Brook Theatre, The Gift Theatre, American Girl Theater (New York,

DANIEL OSTLING (Scenic Design).

At the Theatre Company: Debut.

Daniel is a San Francisco-based Lookingglass Ensemble Member.

Recent designs include a new ballet Carmen (K-Ballet, Tokyo), Guys & Dolls (Oregon Shakespeare Festival, Ashland), Title and Deed (Sets & Lights, Lookingglass Theatre Company), Baskerville (McCarter/Arena Stage), Orphan of Zhao (A.C.T., SF/LaJolla Playhouse). On Broadway he has designed Clybourne Park (Walter Kerr; 2012 Tony nomination) and Metamorphoses (Circle in the Square; 2003 Tony nomina­ tion). Regional credits include the Brooklyn Academy of Music, New York Shakespeare Festival, Lincoln Center, The Public Theater, Playwrights Horizons, Long Wharf Theatre, Steppenwolf Theatre Company, La Jolla Play­house, Seattle Repertory Theatre, Arena Stage, and Portland Center Stage, among others. Opera designs include Lucia di Lammer­moor (La Scala, Milan/Metropolitan Opera, NYC/Tokyo), and La Sonnambula (Metro­politan Opera), Merry Widow (Lyric Opera of Chicago), and Philip Glass’s Galileo Galilei (NYC/London/ Chicago). He will be directing/ designing Lorca’s Blood Wedding at Looking­glass next season. He teaches at Northwestern University in Evanston. danielostling.com LOOKINGGLASS THEATRE COMPANY is the recipient of the 2011 Tony Award for Outstanding Regional Theatre. Founded in 1988, the company is home to a multidisci­plined collective of artists

who create original, story-centered theater through a physical and improvisational rehearsal process centered on ensemble. Lookingglass has staged more than 60 world premieres and garnered numerous awards in its mission to change, charge and empower audiences and artists alike. Work premiered at Lookingglass has been produced across the United States including New York City, Los Angeles, Seattle, Berkeley, Philadelphia, Princ­eton, Hartford, Kansas City, Atlanta, Baltimore, Washington D.C. and St. Louis. Lookingglass’ Education and Community programs encourage creativity, teamwork and confidence in thou­sands of students and community members each year.

Lookingglass is located in Chicago’s historic landmark Water Tower Water Works on the Magnificent Mile. For more information, visit lookingglasstheatre.org.

THE ACTORS GYMNASIUM has collabo­rated on 10 productions with Lookingglass Theatre. Past co-productions include The Baron in the Trees (Jeff Award), Hard Times (Jeff Award), La Luna Muda, Icarus, The Little Prince and the eternally popular Lookingglass Alice (Jeff Award). Providing the space and the people to help Lookingglass’ daring actors Learn to Fly is an integral part of AG’s mission. The Actors Gymnasium was established to bring a new physicality to the American theater — encouraging ground-breaking theatrical explo­ ration and producing original, daring works of circus-theater. The Actors Gymnasium also helps people Learn to Fly — physically, emotion­ ally, and creatively — teaching circus arts, physical theater, and multi-disciplinary perfor­mance to children and adults; and serving as a talent resource, providing performance oppor­tunities for students and innovative profes­ sional event entertainment for a wider audience. Learn more about The Actors Gymnasium at www. actorsgymnasium.org STAGE MANAGEMENT

TESS GOLDEN (Stage Manager).

At the Theatre Company: Debut.

Tess is so happy to have gotten a chance to take Lookingglass Alice on this road trip. Previous credits

include: Wonderland: Alice’s Rock and Roll Adventure (Chicago Children’s Theatre), In the Garden: A Darwinian Love Story, The Little Prince, Mr. Rickey Calls a Meeting (Lookingglass Theatre Company), Northanger Abbey (Remy Bumppo Theatre Company), How Long Will I Cry?, Oblivion, Where We’re Born (Steppenwolf Theatre Company).

She also has worked on projects with Chicago Shakespeare Theatre, The Raven Theatre, The Goodman Theatre, and the side project.

KURT VAN RADEN (Assistant Stage Manager). At the Theatre Company: 35+ productions including Benediction, The Unsinkable Molly Brown, Animal Crackers, Hamlet, Just Like Us, Romeo & Juliet, Irving Berlin’s White Christmas, The Three Musketeers, Ring of Fire: The Music of Johnny Cash, The Taming of the Shrew, A Christmas Carol, The Liar, Superior Donuts, The House of the Spirits, Othello, Eventide, A Raisin in the Sun, A Prayer for Owen Meany, Richard III, Noises Off, The Merry Wives of Windsor, Our House, Pride and Prejudice, Third, Mrs. Warren’s Profession, 1001, Season’s Greetings, Living Out, After Ashley. Other Theatres: Over 48 new plays at The O’Neill Theatre Center (National Playwrights Conference, Cabaret and Performance Conference, Artistic Associate and Production Stage Manager), The Great River Shakespeare Festival.

EXECUTIVE STAFF

KENT THOMPSON (Producing Artistic Director) is in his 11th season leading the Theatre Company. At DCPA, he has directed productions of Amadeus, Just Like Us, A Midsummer Night’s Dream, Other Desert Cities, Irving Berlin’s White Christmas, Plainsong, Eventide, & Benediction, and A Flea in Her Ear, among others.

Three of Kent’s major accomplishments since moving to Denver have been the establishment of the Colorado New Play Summit (a premier national festival for new American plays, producing 24 world premieres in its first ten years), the Women’s Voices Fund (an endowment that supports the development of new plays by women), and Off-Center (programming designed to attract

LOOKINGGLASS ALICE

Chicago). David Bowie Is (US Associate). He has recorded, mixed and produced CDs for many new musicals. More than 400 film, TV, and computer game credits worldwide. Awards: The Column Award nomination (Cabaret in Dallas); Elliot Norton nomination (Jungle Book, Boston); Suzi Bass Award (Looking­glass Alice, Atlanta); four Jeff Awards and eight nominations. Production work on pre-Broadway The Last Ship, Bring It On, Ann, The Addams Family, All Shook Up, Death Of A Salesman, Moonlight and Magnolias; assis­ tant designer, Light in the Piazza.

Professional affiliations: USA #829, ASCAP and IATSE #2.

IT PAYS TO BE 30 AND UNDER If you’re 18 – 30, become a Radvantage member to get insider prices on tickets to nearly every show this season, including most of our big Broadway tours, like the national tour launch of If/Then starring Idina Menzel, and DeVotchKa’s adaptation of Sweeney Todd. Buy one or two tickets for participating shows with prices starting at just $20 per ticket — up to 70% off the regular price.

Membership for the season is a cool $20 and it’s all savings from there.

OTHER OPTIONS FOR YOUNG THEATREGOERS THEATRE THURSDAYS • pre-show happy hours and live music for a special price MARQUEE CLUB • professional networking plus post-show parties with the cast STUDENT DISCOUNTS • including $10 student rush tickets

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

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

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

He has directed for Arizona Theatre Company, Cleveland Play House, Lark Play Development Center, Kansas City Repertory Theatre, Virginia Stage Company, Alabama Shakespeare Festival, Northlight Theatre, San Jose

Repertory Theatre, Eugene O’Neill Theater Center, Pioneer Theatre Company, A Contemporary Theatre, Seattle Repertory Theatre, Empty Space and Intiman Theatre in Seattle, the Kimo Theatre in Albuquerque, and Utah Shakespearean Festival.

His popular production of 2 Pianos, 4 Hands has been seen at more than 20 theatres nationally, including the Theatre Company’s successful 2003 production.

JEFF GIFFORD (Director of Production) is in his third season at the DCPA and oversees everything you see on stage except the actors.

Guiding world premieres to their first opening night is especially gratifying and Jeff has worked on more than 35 of them. Among his favorites are Dinner with Friends, The Violet Hour, The Beard of Avon, Mr. Marmalade, and the new musical FLY. Jeff holds an MFA from California Institute of the Arts.

Lookingglass Theatre Company Staff List:

Artistic Director ............................................Andy White Executive Director ..................................Rachel E. Kraft Producing Artistic Director ...................Philip R. Smith Artistic Director of New Work ............... Heidi Stillman General Manager .......................... Michele V. Anderson Director of Development ................ Jennifer McCarthy Bienemann Director of Marketing .............................Erik Schroeder Production Manager ................................... Joel Hobson Director of Education and Community Programs ....................Lizzie Perkins

The Directors and Choreographers are members of the Stage Directors and Choreographers Society, an independent national labor union.

The actors and stage managers employed in these productions 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.) Scenic, Costume and Lighting designers are represented by United Scenic Artists Local USA-829, IATSE Member of the Colorado Theatre Guild

PLEASE BE ADVISED that once the show begins:

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

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

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

• DRINKS are allowed in provided containers.

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

• BRAILLE PROGRAMS are available with 2 weeks’ notice to ckrueger@dcpa.org or 303.893.4836.

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

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

The Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society.

The Theatre Company also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada.

The Theatre Company is a constituent of Theatre Communications Group (TCG), the national organization for the American theatre.

LOOKINGGLASS ALICE

the next generation of audiences and artists).

Prior to moving to Denver he was Producing Artistic Director of the Alabama Shakespeare Festival (ASF) for 16 years. In 1991 Kent created the Southern Writers’ Project, designed to commission and premiere new plays, producing 16 world premieres during his tenure. Kent served for eight years on the Board of Directors for Theatre Communications Group (the national organization for not-for-profit resident theatre companies) and as its president for three years. In addition, he has served on peer review panels for the NEA (also chair), TCG, The Pew Charitable Trusts, The Fulbright Scholars Program, The Wallace Funds, The Doris Duke Foundation and The Andrew W. Mellon Foundation, among others.

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Illustrations by Kyle Malone

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“You see that both in the characters who can hear, and in those who can’t,” Weitz said. “These parents have their own marital issues going on. Their other son, Daniel, has mental-illness issues that are not being addressed. The daughter has some self-esteem issues that are not being dealt with. For this family that is so invested in communication and debate, they are not ultimately talking about the central issues of their lives. So in many ways, they are the ones who are cut off from communication, while their deaf son is the one who is learning to communicate fully. That’s the central irony of the play.”

Tribes is one of the first plays in DCPA history that will feature actors with disabilities playing characters with those same disabilities. That’s good for the creative team, the deaf community and DCPA audiences, Weitz said.

“I am a big fan of any theatre that makes the audience have to work harder because I feel that theatre is at its most powerful when we are an active participant, and I think this play does that remarkably well,” he said.

But in the end, he believes, Tribes is not that much of a departure.

“I think people are going to find that underneath that veneer of deafness, the themes and the issues of this play are akin to a lot of plays people have been coming here to see over the years.”

TRIBES OCT 9 – NOV 15 | RICKETSON THEATRE ASL interpreted & Audio described performance: Nov 7, 1:30pm Tickets: 303.893.4100 | denvercenter.org | Groups: 303.446.4829

AT THE DCPA, POWERFUL THEATRE IS ACCESSIBLE TO ALL Audio Enhancements Assistive listening devices, open captioning at select performances, American Sign Language interpretation Visual Enhancements Large print & Braille programs, audio-description services Wheelchair Access Wheelchair and companion seats; ramps, elevators and courtesy wheelchairs Discounts Discounts are available for select ASL, audio-described and open captioned performances Email Newsletter Sign up at ckrueger@dcpa.org to receive a monthly email of upcoming accessible performances Guide to our Theatres Explore our theatres and accessible programs with our new video at denvercenter.org/accessibility

Illustration by Kyle Malone

For a full list of services and accessible performance dates, please visit denvercenter.org/accessibility

Assistive listening devices sponsored by

denvercenter.org

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The Company ofJoan Matilda The Musical National Tour. Photo by Joan Marcus.

The National Touring Company of Wicked | Photo by Marcus 2015

A PROBLEM LIKE MATILDA

BY MICHAEL SCHULMAN/ T H E N E W YO R K E R ; © CO N D É N A S T

Overlooked by witless adults, Matilda uses brainpower — which builds into telekinesis — to triumph over stupidity. “She wins by being clever,” Minchin says.

TIM MINCHIN

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T

Three years before Roald Dahl died, he was stumped by a five-year-old.

Like many of his protagonists, Matilda Wormwood was a precocious youngster surrounded by monstrous adults and grotesque peers. Although Dahl was known for archness, even cruelty — remember Violet Beauregarde, in Willy Wonka’s factory, blowing up into a huge blueberry — the new book seemed unusually savage. According to Dahl’s biographer, Donald Sturrock, his editor was so dismayed by the manuscript that the author, for the first time in his career, had to beg him for a response.

So Dahl scrapped the manuscript and started over. By the time the book was published, in 1988, Matilda had been refashioned into an underdog. Born to a car salesman and a television-obsessed peroxide blonde, she spends her days at the library, teaching herself to read Nicholas Nickleby. “Her mind was so nimble and she was so quick to learn that her ability should have been obvious even to the most half-witted of parents,” Dahl wrote.

Two decades later, the Royal Shakespeare Company asked the director Matthew Warchus to stage a musical version of Matilda. The first step was to find a songwriter. “We kept saying, ‘It’s

about a genius, and there’s got to be some genius in the songs,’ ” Warchus said. One night, he went to London’s Bloomsbury Theatre to see a one-man show by Tim Minchin, a wild-haired Australian comic known for ribald songs, such as “Inflatable You,” an ode to a blow-up doll. Misbehavior served light: the perfect match for Dahl.

“He’s got his own secular kind of fervor,” Warchus said. “You tend to think of satire as a substitute for emotion, and he manages to entwine them. And that’s why you can enjoy the cleverness and intricacy of his writing and have tears running down your cheeks at the same time, or be laughing helplessly at some goofy, childish reference to boobs or something. It’s high and low at the same time.”

Adaptations of Dahl tend to be overly perverse (Tim Burton’s movie of Charlie and the Chocolate Factory) or not perverse enough (the 1996 film of Matilda).

But the version created by Warchus and Minchin, with a book by Dennis Kelly, was impeccably stylized. Matilda premiered in Stratford-Upon-Avon in late 2010 and transferred to the West End the following fall. (It opened on Broadway, at the Shubert, in April 2013 and embarked on a national tour of the US in May 2015.)

The Telegraph called it “the best new British musical since Billy Elliot” and praised Minchin’s “smashing score that combines take-home melodies with delicious lyrical wit.” Matilda was nominated for ten Olivier Awards and won seven, more than any other show in history, earning it a place in the 2013 edition of Guinness World Records.

When conducting this interview, Minchin had just arrived at J.F.K. from London. He had a lot on his schedule: in addition to Matilda rehearsals, there were meetings for potential projects, including two stage musicals and an animated film for DreamWorks. “Six years ago, I couldn’t…get a gig,” he said. “Now people are asking me to write everything, because they think there’s some magic formula. Writing musicals is a huge challenge,” he went on. “They teeter on a knifepoint of mawkish sentimental rot.”

When it came to turning Matilda into a musical, Minchin created a pintsize freethinker in his own image. Overlooked by witless adults, Matilda uses brainpower — which builds into telekinesis — to triumph over stupidity.

“She wins by being clever,” Minchin says.

One morning, Minchin walked into a sunlit rehearsal studio on 42nd Street, where a dozen children, who play Matilda’s schoolmates, were seated in front of music stands.

“Hello, maggots,” Minchin said.

“Hi, Tim!” they answered in unison.

Deborah Abramson, the children’s music director, stood at a piano. “Stick out your tongues and write ‘Tim Minchin’ in cursive,” she instructed. The kids obeyed.

At Abramson’s command, the kids adopted faultless English accents and sang a song from Act II, “When I Grow Up”.

“That was great,” Minchin said. “Good timing. Good diction.”

“You sound like English children,” Minchin said afterward. “I won’t have to fire any of you.”

He took an elevator down to another rehearsal room. As in the London production, four actresses play the title role in rotation.

The girls gathered around the piano to sing “Naughty,” Matilda’s solo, with Minchin playing jazzy accompaniment. Afterward, an associate director quizzed them: “What do you know about this song?”

“She’s gaining confidence,” Oona Laurence (age 10) said.

“She’s thinking of doing something bad,” Sophia Gennusa (age 9) added.

Minchin told them that his daughter, who is six, initially had trouble understanding the song. “She would ask, ‘Why is she being naughty?’ She couldn’t get her head around the fact that Matilda was condoning the thing I tell her not to be. I explained that sometimes, if a big person is really mean, the only thing a little person can do is break the rules.” The girls nodded: a lesson in moral relativism.

Milly Shapiro (age 10) asked, “What was the hardest song to write?”

“Miss Honey’s song,” Minchin said, referring to “My House,” sung by the beleaguered teacher who becomes Matilda’s confidante. “Because Miss Honey isn’t demonstrative — do you know what that means?” The Matildas looked perplexed.

“It’s someone who demonstrates things. Like, if you were going to write a song for me, it would be easy: ‘Hi, I’m Tim!’ I’m extroverted. But Miss Honey doesn’t say what’s on her mind, and neither does Matilda. She keeps to herself.”

The girls nodded: a lesson in dramaturgy.

Matilda, Minchin says, is “an avatar for all our ambitions when we’re little and powerless. She’s perfect in the face of the horrible people around her.”

Jelani Remy as “Simba” and the ensemble in “He Lives in You” from The Lion King National Tour. ©Disney. Photo: Joan Marcus.

COMING UP FROM BROADWAY:

DISNEY’S

THE LION KING

roars back into Denver Nov 4 – 29.

Is your memory as wobbly as a warthog’s or as mighty as a meerkat’s?

Test your knowledge before you go.

1. How many times is “Hakuna Matata” heard in each performance?

A) 100 B) 25 C) 150 D) 1,000 2. Who is Mufasa’s informant and friend, a bird?

A) Michael B) Scar C) Zazu D) Sarabi 3. Who is Simba’s sinister uncle who conspires to become the king?

A) Scar B) Mufasa C) Ed D) Lester 4. Who is Simba’s childhood friend, a young female cub?

A) Sarabi B) Shenzi C) Nala D) Phyllis 5. Who are the two friends who share their simple philosophy of “Hakuna Matata” with Simba?

A) Shenzi and Banzai B) Mufasa and Zazu C) Fred and Ginger D) Timon and Pumbaa 6. What kind of animal is Timon?

A) Cat B) Elephant C) Meerkat D) Camel 7. What kind of animal is Pumbaa?

ASL interpreted, Audio described & Open captioned Performance: Sep 20, 2pm Tickets: 303.893.4100 denvercenter.org Groups: 303.446.4829 Cassie Silva and Quinn Mattfeld in Matilda The Musical National Tour.

Photo by Joan Marcus.

8. What song does Rafiki sing at the beginning of The Lion King to invite the animals of the savannah to celebrate the birth of Simba?

A) Hakuna Matata B) Circle of Life C) Can You Feel The Love Tonight D) Happy Birthday

Answers: 1-B, 2-C, 3-A, 4-C, 5-D, 6-C, 7-A, 8-B

MATILDA THE MUSICAL SEP 9 – 20 | BUELL THEATRE

A) Warthog B) Rhinoceros C) Hippopotamus D) Caterpillar

COMPLETE EVENING SUBSCRIPTIONS

Photos by Adams Design + Photo

Upgrade your experience with incredible seats, cocktails and dinner, behind-the-scenes meet and greets, and professional networking.

WE SAVED THE BEST SEATS IN THE HOUSE JUST FOR YOU. When you want the greatest Broadway experience in Denver, our Best of Broadway Society treats you to first-class service before, during and after the show. While enjoying all eight of our big Broadway productions, you’ll receive front-and-center orchestra seats, pre-theatre cocktails, dinner at Kevin Taylor’s and a private intermission in the Wolf Room.

We also provide personalized ticketing and exchange services to all shows, including our non-Broadway offerings.

BEST OF BROADWAY 2015/16 SEASON Matilda The Musical | Sep 9 or 11 If/Then | Oct 13 or 23 A Christmas Story, The Musical | Dec 16 or 18 Dirty Dancing – The Classic Story on Stage | Jan 26 or 29 A Gentleman’s Guide to Love & Murder | Feb 16 or 19 Disney’s Newsies | Mar 23 or 25 The Sound of Music | Jun 21 or 24 Beautiful – The Carole King Musical | Jul 19 or 22 Due to the nature of theatrical bookings, all shows, artists and dates are subject to change.

SPONSORED BY

BE IN GOOD COMPANY — OUR OWN. For theatre fans who want to get to know our players personally, the Directors Society allows you to meet and greet our incredible cast at our select Wednesday evening showings. Enjoy an intimate experience over dinner and drinks and see what happens after the curtains close.

DIRECTORS SOCIETY 2015/16 SEASON Lookingglass Alice | Oct 7 As You Like It | Oct 21 Tribes | Nov 11 The Nest | Feb 3 All the Way | Feb 17 FADE | Mar 2 Sweeney Todd | Apr 15

WHEN THE SHOW IS OVER, THE PARTY HAS JUST BEGUN.

Photo by Studio JK

These lively and entertaining experiences for professionals and actors alike let you loosen your tie, have fun and make new connections. At select Thursday showings, mingle over drinks and appetizers before the show and party with the cast afterward at Larimer Square’s hotspots.

MARQUEE CLUB 2015/16 SEASON Lookingglass Alice | Sep 24 All the Way | Feb 11

William

FADE | Mar 10 LaBahn

Sweeney Todd | Apr 28 SPONSORED BY

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FIND THE SUBSCRIPTION THAT SUITS YOU AND JOIN TODAY! David Zupancic: 303.446.4811 | davidz@dcpa.org | denvercenter.org/members

AS YOU LIKE IT: Illustration by Kyle Malone

A WOMAN’S WOMAN IN A MAN’S WORLD

BY JOHN MOORE

T

The upcoming Theatre Company season could be described as the Year of the Woman. A lineup filled with strong, independent female characters kicks off with the most fully realized woman in the Shakespeare canon — and you might be surprised to learn who she is.

Sorry, Juliet, Cleopatra and Lady M. The largest female role in all of Shakespeare is Rosalind of As You Like It. The late Anne Barton, one of the 20th century’s foremost Shakespeare scholars, went so far as to say the gender-bending heroine (and hero!) “is as central and dominating a figure in her fashion as Hamlet is in his own, very different play.”

Rosalind is, simply put, the rare woman Shakespeare treated like a man. Think about it: Rosalind starts this pastoral comedy in a rather grim place. Her father has been banished and she escapes her murderous uncle by bravely exiling herself to the forest. And yet she manages as well as any man here — by dressing like a man.

“I find it particularly interesting to look at this play right now because here is such a strong and complex central female character who is also beautiful and charming and smart,” said Theatre Company Producing Artistic Director Kent Thompson, director of the Company’s first-ever staging of As You Like It in its 37-year history. “I like her wit, her pluck and her sense of heart.”

Rosalind is especially self-aware when it comes to matters of the heart. Thompson calls her “the greatest wedding planner in Shakespeare.” That’s because the play ends with

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four weddings and no funerals — essentially all at her direction. One of those four weddings, of course, is her own.

And to Orlando, a really good guy and a true gentleman.

But the Arden Forest is not the same enchanted timberland as in A Midsummer Night’s Dream. This is a forest where all the romantic players pine for partners who pine not back. Think of As You Like It as a hormonal The Tempest without the magic.

And yet…four weddings. Thompson calls Rosalind “the great psychologist of all the people around her.” But at her core, she’s just a girly-girl in love. And it’s fun for us to watch her grow more jealous…of herself.

Her eventual partnership with Orlando is so well-matched and true that 400 years later, it feels to a modern audience as a downright contemporary coupling. “I think Orlando teaches Rosalind heart and passion,” Thompson said. “And she teaches him intellect, wit and being able to see the world not through those rose-colored glasses.”

Rosalind is perfect for these gender-fluid times. She is a woman pretending to be a man pretending to be a woman — both a man’s man and a woman’s woman.

“I think all of that together creates both great sexual and comic tension,” Thompson said. “That is delicious for the audience because of course we know what’s going on. So it’s great fun to watch.”

All the more remarkable given that Shakespeare created Rosalind in the Elizabethan era. “It’s still very much a patriarchal world,” Thompson said. “But Shakespeare is kind

“I find it particularly interesting to look at this play right now because here is such a strong and complex central female character who is also beautiful and charming and smart.”

— KENT THOMPSON

AS YOU LIKE IT SEP 25 – NOV 1 | SPACE THEATRE ASL interpreted & Audio described performance: Oct 17, 1:30pm Tickets: 303.893.4100 | denvercenter.org | Groups: 303.446.4829

COSTUME COLUMN To invoke a stark contrast between Duke Frederick’s stuffy palace and the pastoral Forest of Arden, Theatre Company costume designer Denitsa Bliznakova relied on the transformative power of her pieces to reveal the deeper emotions of the characters in Shakespeare’s As You Like It. “The characters will be learning a lot about themselves and others throughout the play,” said Bliznakova, “and a visual transformation is necessary to tell the story.”

Inspired by the Impressionist movement of the late 1800s, the set and costume design teams created a vivid, vibrant world where the courtly characters could break away from the confines of their strict society and freely express themselves. As the play progresses from the cold, man-made world of the palace to the magical forest, the characters literally strip off their inhibitions and don more colorful, comfortable clothing.

“The people from the palace, in a way, will be shedding away the layers of their past as they are shedding away pieces of their clothing,” she continued. “The ladies will replace their constricting corsets that emphasize the suffocating feeling of this world they live in for light, fresh blouses and full skirts.”

Even disguised as a man, the lady Rosalind will take control of her life through the freedom and anonymity of her clothing. Masculine details like oversized buckles and leather boots add to the believability of her guise without removing her femininity.

So loosen your laces and throw out those smelling salts. Let this lover’s tale of mistaken identities envelop you.

© Jennifer M Koskinen | Merritt Design Photo

of the Elizabethan feminist.” For evidence, look no further than the fact that Rosalind gets the final word in As You Like It — making her the only female character in the entire Shakespeare canon who gets to deliver the epilogue.

The only other Bard female who drives the action forward as efficiently as Rosalind Thompson suggests, might be Juliet. “She actually is the strongest person in Romeo and Juliet,” he said. “She’s the one who is proactive and goes to the Friar. He’s the one who falls down crying. She figures out a way to do it, and she’s willing to go there, even though she may die. But Rosalind is really the only female Shakespeare character who manages to direct everything down to that last scene.”

And Rosalind is just the first of many strong female protagonists on the Theatre Company’s 2015/16 season. Lookingglass Alice will present a much more active Alice than Wonderland readers are used to. The role is so physically demanding, in fact, that two actors will alternate performances. Tribes features a hard-of-hearing young woman named Sylvia who opens up a whole new world to a young deaf man named Billy. The protagonist in FADE is a novice named Lucia who gets a job writing on a major TV drama. The Nest is a biting ensemble comedy that includes three significant and distinct New York women. And let’s not forget Mrs. Lovett, who stirs up the pot in Sweeney Todd — with human flesh.

When asked if he will be celebrating this yearlong trend of strong, proactive female protagonists, Thompson joked, “I will be celebrating it now that I am conscious of it.

“But I think it makes sense, because we are committed to women playwrights, we are committed to new writing and we are committed to women actors. But if you look at it, yes, it is very true that there will be vigorous female protagonists throughout the season. I think that’s really emblematic of a lot of interesting work that is going on right now, with stronger female characters being portrayed.”

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THINKING CRITICALLY AND CREATIVELY

“O “Not only do arts provide those critical experiences that can open minds and hearts to an entirely different way of thinking, but they are part of our economy and a key component of why Colorado continues to be a great place to live and do business.”

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“Our economy thrives on the generation of ideas, not just the manufacturing of goods and products,” says Vectra Bank Colorado President and CEO Bruce Alexander. “Learning to think both critically and creatively about solutions enables us to successfully navigate an increasingly complex world.”

Established in 1988, Vectra has maintained its commitment to efforts and organizations that advance communities through revitalization, economic development, affordable housing — and the arts — around the state. Vectra employees volunteer for and support numerous arts institutions throughout Colorado as part of Vectra’s mission to support community, innovation and discussion.

“One of Vectra’s goals is to be an active listener and observer of business and economic trends and to share that information with our clients, so they can anticipate and plan for the future,” says Alexander. “Not only do arts provide those critical experiences that can open minds and hearts to an entirely different way of thinking, but they are part of our economy and a key component of why Colorado continues to be a great place to live and do business.

“We are honored to partner with organizations that give so generously to enable communities to flourish,” he adds. “We are privileged to be part of DCPA whose caliber is undeniable, from the performances it showcases to the experiences it delivers, to its educational outreach.”

As part of Zions Bancorporation, Vectra, with 39 locations throughout the state, has the reach and resources of a larger institution, yet has the personal feel of a community bank. Its bankers focus on all stages of life and cycles of a business with a proactive approach to help advance clients’ financial goals.

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2015–2016 Season cupresents.org 303-492-8008

ts on Ticke now! le sa

Sept. 27 Twyla Tharp Dance 50th Anniversary Tour

Oct. 9 SFJAZZ Collective Tribute to Michael Jackson

Nov. 6 Irish Chamber Orchestra Gábor Takács-Nagy, conductor

Dec. 11 Soweto Gospel Choir Jan. 21 Diavolo

Feb. 14 BODYTRAFFIC

March 1 Rising Stars of the Metropolitan Opera

March 31 Indigo Girls with the CU Symphony Orchestra

April 15 Pablo Ziegler and Lara St. John Piazzolla Central Park Concert Redux

Plus Eklund Opera, Takács Quartet, Holiday Festival and Spring Swing All performances are on the CU-Boulder Campus

LEAVE THEM SOMETHING

to remember you by.

EVERY LIFE IS UNIQUE and deserves to be remembered in a

special way. Olinger Mount Lindo Cemetery offers a resting place unlike any other. As members of the Dignity Memorial® network, we are dedicated to helping you and your loved ones create a meaningful memorial that truly celebrates the life it represents.

Call today to create a lasting tribute for generations to come.

OLINGER FUNERAL HOMES AND CEMETERIES OLINGER MOUNT LINDO Cemetery 303-771-3960

OlingerMountLindoCemetery.com

OLINGER CHAPEL HILL Mortuary & Cemetery 303-771-3960

OlingerChapelHillCemetery.com

A PROUD SPONSOR OF IF/THEN AND A CHRISTMAS STORY, THE MUSICAL

REIMAGINING THE FUTURE

C

Comcast NBCUniversal shapes the future at the intersection of media and technology. We create world-class experiences that people love and trust and drive innovation that builds value. We also are committed to building partnerships that move our communities forward. We proudly support the Denver Center for the Performing Arts because investing in vibrant arts organizations helps make our city an exciting place to live, work and play.

MEDIA + TECHNOLOGY

Comcast Cares Day brings together our employees, their families, friends and local partner agencies to make change happen in our local communities.

TV Comcast technology is reinventing the way we enjoy TV. We provide more people than ever with the latest and best in video experiences.

INTERNET Comcast is creating the future of Internet experiences. We bring the fastest and most technologically advanced service to more people on multiple devices.

COMCAST BUSINESS Comcast’s advanced fiber network powers small and mid-sized companies with the solutions they need to make their businesses more productive.

ENTERTAINMENT With rich content, we provide high-quality entertainment in every genre and across every platform, from broadcast and cable to online and mobile.

HOME MANAGEMENT The future of home management technology is being created now. Xfinity Home’s broadband and cloud-based platform provides next-generation home security, control and energy management features.

PROGRAMS + PARTNERSHIPS MOVE OUR COMMUNITIES FORWARD COMMUNITY INVESTMENT In 2014, Comcast donated more than $17.4 million in financial and in-kind resources to more than 200 community organizations across Colorado.

COMCAST CARES DAY More than 6,300 volunteers completed 34 service projects with community agencies across Colorado on April 26, 2014, for Comcast Cares Day, Comcast NBCUniversal’s signature celebration of service and the nation’s largest single-day corporate volunteer effort.

UNITED WAY Comcast NBCUniversal is among the nation’s top United Way donors. In 2014, Colorado employees pledged more than $566,000 to benefit local United Way organizations, and the Comcast Foundation provided additional grants totaling $122,000 for United Way agencies across the state.

INTERNET ESSENTIALS More than 22,000 Colorado families have connected to home Internet service — many for the very first time — through Internet Essentials, Comcast’s acclaimed national broadband adoption program for low-income families.

Learn more: http://corporate.comcast.com

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DCPA TEAM DCPA Scott Shiller..............................................................President/CEO

BOX OFFICE Jennifer Lopez.........................Director of Ticketing Services Kirk Petersen...........................................Assoc. Dir. of Ticketing Services – Patron Relations David Smith.............................................Assoc. Dir. of Ticketing Services – Subscription Services Jessica Bergin, Katie Clow-Pollard, Tristan Jungferman, Laura Kirby, Alec Sydlow................................................Box Office Managers Micah White..............................................Subscription Manager Malcolm Brown, William Dutton III, Kevin Dykstra, Elisabeth Link, Molly McDonough......................................................Show Leads Kirsten Anderson, Ashley Brown, Scott Lix, Gregory Swan........................Subscription Agents Maggie Blumer, Rena Bugg, Shandi Chavez, DJ Dennis, Marianne Geyer, Patye Gibbons, Nicole Giordano, Jennifer Gray, Edmund Gurule, Rebecca Hibbert, Joel Innes, Noah Jungferman, Megan Kelly, Michael Lang, Brett Martinez, Zach Page, Shane Rodriguez, Juan Carlos Sánchez, Ereece Thomas, Tomas Waples....................... Ticket Agents

BROADWAY & CABARET John Ekeberg........................... Executive Director Broadway Alicia Giersch..................................................... General Manager Abel Becerra.................................. Technical Director, Cabaret Kevin Replinger........... Operations Business Administrator Anson Nicholson..............................Sound Engineer, Cabaret

DEVELOPMENT David Zupancic.................................Director of Development Shawn Bayer.................................................... Associate Director Chelley Canales...................................Development Associate Megan Fevurly.....................................Development Associate Melissa Olson........................................Development Assistant Marc Ravenhill................................................. Associate Director Valerie Taron.................................................... Associate Director

EDUCATION Allison Watrous........................................Director of Education Jessica Austgen................................................ Teaching Artist & Shakespeare Coordinator Stuart Barr.................................. Education Technical Director Claudia Carson.........................................Bobby G Coordinator Leslie Channell............................................. Education Registrar Patrick Elkins-Zeglarski................................................Education Curriculum Manager Linda Eller..............................................................................Librarian Tim McCracken..................................................... Head of Acting Jannett Matusiak............................................ Business Manager Michelle Patrick...................Corporate Training Coordinator David Saphier..............School Coordinator/Teaching Artist Mackenzie Sherburne, Justin Walvoord, Robyn Yamada.................................................... Teaching Artists

FACILITIES & EVENT SERVICES Clay Courter.....Vice President, Facilities & Event Services James Babcock...................................................................Engineer Dwight Barela......................................................................Engineer Leah Brinks.............................................................. Event Manager Devon Chandler...... Assistant Director, Event Technology Clint Flinchpaugh...............................................................Engineer Stori Heleen.................................Event Technology Specialist Heather Kaufman.....................................Facility Operations & Business Manager Michael Kimbrough...........................................................Engineer Jaymes Kimbrough..................Event Technology Specialist Clint King............................................................Security Specialist Terry Koch...................................................Director, Engineering John Lower.............................................................. Chief Engineer Brian McClain............................................. Custodial Supervisor Tara Miller................................................................. Event Manager Brook Nichols................................Director, Event Technology

Danielle Porter....................................................... Event Manager Kassie Sanders...........................Event Technology Specialist Alyssa Stock....................................Assistant Project Manager Dawn Williams.....................................Director, Event Services Juan Loya, Carmen Molina, Blanca Primero, Judith Primero, Angeles Reyes Soto, Francisco Trujillo............................................................Custodians

MARKETING & SALES Jennifer Nealson..................................Chief Marketing Officer Heidi Bosk......................... Senior PR & Promotions Manager Nathan Brunetti............................ Digital Marketing Manager Kim Conner.........................................................Graphic Designer Flora DiRienzo........................................ Strategic Partnerships Anita Edwards.......................................Web Services Manager Brenda Elliott......................................Senior Graphic Designer Brianna Firestone....................................Director of Marketing Simone Gordon...................................................Project Manager Hope Grandon..........................................PR & Events Manager Jeff Hovorka............................. Director of Sales & Marketing Jennifer Kemps........................................Group Sales Manager Emily Kent...................................................... Marketing Manager David Lenk............................................................. Video Producer Emily Lozow........................................... Marketing Coordinator Kyle Malone.................................................................... Art Director Carolyn Michaels...........................................................Copywriter John Moore................................................Senior Arts Journalist Donna Rossi............................Customer Experience Director Joseph Schurwonn......................................... Financial Analyst Jill Schwager...............Education Group Sales Coordinator Rob Silk................................................................. Creative Director Suzanne Yoe...........................Director of Marketing Services & Cultural Affairs THEATRE SERVICES Carol Krueger.................................. Theatre Services Manager Ethan Aumann, Nora Caley, Gregory Melton, Douglas Murphey, Joyce Murphey, Margaret Ohlander, Valerie Schaefer, Mica Ward..................... Theatre Company House Managers

SHARED SERVICES Vicky Miles................................................ Chief Financial Officer Jennifer Jeffrey...................................Senior Financial Analyst ACCOUNTING Jennifer Siemers........................................ Director Accounting Jessica Beers...................................................... Staff Accountant Sara Brandenburg.........................................Senior Accountant Michaele Davidson.......................................Senior Accountant Georgette Maddox...........................................Payroll Specialist HUMAN RESOURCES Regina Matthews......................... Director Human Resources Brian Carter...................................Human Resources Manager Donald Gabenski.............................................................Reception Jamie Hawkins...................................................... HR Coordinator Monica Robles............................................Mailroom Supervisor INFORMATION TECHNOLOGY Bruce Montgomery........Director Information Technology Rick Bennett.................................................... Network Architect Jayson Cowley......................................Network Administrator Jim Hipp................................................. Associate Director of IT Christopher Hoge.......................VoIP/System Administrator Bobby Jiminez......................... Senior Audienceview Analyst John H. Voorheis............................ Manager of Infrastructure

THEATRE COMPANY ARTISTIC Kent Thompson.............................................. Theatre Company Producing Artistic Director Bruce K. Sevy............... Director of New Play Development Douglas Langworthy ........... Literary Manager/Dramaturg Chad Henry....................................................... Literary Associate Emily Tarquin...................................................Artistic Associate/ New Play Coordinator Grady Soapes.............................................. Artistic Coordinator PRODUCTION Jeff Gifford...............................................Director of Production Melissa Cashion....................Associate Production Manager Julie Brou...................Production & Artistic Office Manager

Scenic Design Lisa M. Orzolek................................ Director of Scenic Design Matthew Plamp, Nicholas Renaud..............................Scenic Design Assistants Lighting Design Charles R. MacLeod...................................Director of Lighting Lily Bradford.....................................Lighting Design Assistant Reid Tennis............................................... Production Electrician Multimedia Charlie I. Miller...................... Resident Multimedia Specialist Topher Blair............................Multimedia Assistant/Operator Sound Design Craig Breitenbach...........................................Director of Sound Tyler Nelson.......................................................... Sound Designer Alex Billman, Frank Haas..............................Sound Operators Stage Management Christopher C. Ewing................ Production Stage Manager Matthew Campbell, Rachel Ducat, Aja M. Jackson, Kurt Van Raden.................Stage Managers D. Lynn Reiland......................................... Production Assistant Corin Ferris, Lexi Holtzer, Kristen Littlepage.......................Stage Management Interns Scene Shop Eric Rouse.......................................................... Technical Director Robert L. Orzolek..................... Associate Technical Director Josh Prues.................................... Assistant Technical Director Albert “Stub” Allison, Louis Fernandez III.......................................... Lead Technicians Justin Hicks, Brian “Marco” Markiewicz, Keli Sequoia, Mike Van Aartsen, Ross Wick..................Scenic Technicians Prop Shop Robin Lu Payne.............................................Properties Director Eileen S. Garcia......................... Assistant Properties Director Jamie Stewart Curl, Charles Dallas, David Hoth, Georgina Kayes, Katie Webster......................Props Artisans Paint Shop Jana L. Mitchell...........................................Charge Scenic Artist Melanie Rentschler........................................Lead Scenic Artist Brian Proud...................................................................Scenic Artist Rachael Gibson.............................................................Paint Intern Costume Shop Janet S. MacLeod..........................................Costume Director/ Costume Design Associate Meghan Anderson Doyle........ Costume Design Associate Carolyn Plemitscher, Louise Powers, Jackie Scott............................................................................Drapers Cathie Gagnon, Belinda Haaland............................First Hand Sheila P. Morris........................................................................... Tailor Kelly Jones, Jenny Milne, Beth Walker....................Stitchers Costume Crafts Kevin Copenhaver............................Costume Crafts Director Shirleen DiFonzo.................................Costume Crafts Artisan Wigs Diana Ben-Kiki............................................................... Wig Master House Crew Doug Taylor*..........................................Supervising Stagehand Mariah Becerra*, Jim Berman*, Jennifer Guethlein*, Stephen D. Mazzeno*, Miles Stasica*, Tyler Stauffer, Matt Wagner* (*IATSE Local 7 Stagehands)................................ Stagehands Wardrobe Brenda Lawson........................................Director of Wardrobe Maria Y. Davis, Taylor Malott............................Wig Assistants Robin Appleton, Amber Donner, Anthony Mattivi, Tim Nelson, Lisa Parson, Alan Richards.................. Dressers ADMINISTRATION Charles Varin...................................................Managing Director Ryan Meisheid...........................Associate Managing Director Allison Taylor..................................................Company Manager Kerri Mirtsching.................................... Business Administrator

PRIMARY LOGO + VARIATIONS

Primary Logo

The Denver Center for the Performing Arts gratefully acknowledges the generous support of the following donors of $100 or more for activities July 1, 2014 – June 30, 2015.

One Color Reversed Logo

e Color Logo

FLORENCE K. RUSTON AWARD FOR PHILANTHROPHY IN THE ARTS

Gradient Reversed Logo - Web Use Only

go w/ Division

imum Size Requirements

Minumum Width 2”

2013/14 Hilja K. Herfurth 2012/13 Joy S. Burns 2011/12 Diana & Mike Kinsey 2010/11 Jim Steinberg 2009/10 Alison & Jim Shetter 2008/09 Leo & Susan Kiely 2007/08 Margot & Allan Frank 2006/07 Robert & Judi Newman Minumum Width 2”

EXTRAORDINARY GIVING Robert & Judi Newman/ Newman Family Foundation*^ Daniel L. Ritchie* Citizens of the Scientific & Cultural Facilities District Womens Voices Fund

CHAIRMAN’S CIRCLE PLATINUM $100,000+ Helen G. Bonfils Foundation Joy S. Burns* CBS4 The Denver Post Community Foundation Doris Duke Charitable Foundation Entercom Broadcasting Epicurean Culinary Group OpenBox The Salah Foundation The Shubert Foundation U.S. Bank United Airlines Wilks Broadcasting

CHAIRMAN’S CIRCLE GOLD $50,000-$99,999 Colorado Public Radio Comcast Fidelity Investments Margot & AllanFrank*^ HealthONE The Joan & Phill Berger Charitable Fund Leo & Susan Kiely*^

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Molson Coors Temple Hoyne Buell Foundation June Travis*^ The Westin Denver Downtown

CHAIRMAN’S CIRCLE SILVER $25,000-$49,999 Always Best Care Senior Services Anadarko Petroleum Corporation Anonymous Anthem Blue Cross & Blue Shield Atlantic Trust Private Wealth Management James Barlett^ Dr. & Mrs. Barry Berlin*^ Isabelle Clark*^ CoBiz Financial Colorado State Bank & Trust Mr. & Mrs. Tom Corley/ The Corley Legacy Foundation DaVita, Inc. Edgerton Foundation Faegre Baker Daniels Keith & Kathie Finger Sam & Nancy Gary Ms. Hilja Herfurth L. Roger & Meredith Hutson//HRM Resources, LLC The Lewis E. Myers Jr. Scholarship Fund Mary Pat Link & John Strohm PwC Mark Sexton Bob & Carole Slosky*^ Steinberg Charitable Trust* in honor of Dorothy Denny Stonebridge Companies Ken & Debra Tuchman Welborn Sullivan Meck & Tooley, P.C. Wells Fargo Bank Marvin & Judi Wolf* Minumum Width .75” Maximum Width 2”

CHAIRMAN’S CIRCLE BRONZE $15,000-$24,999 Abend Gallery Doug & Catherine Benson BKD CPAs & Advisors Doug Morton & Marilyn Brown Centerplate Chotin Foundation Robert & Kathleen Clark Constellation Wines Alex & Cathy Cranberg/ Aspect Energy, LLC Mr. Stanley Di Cicco Rick & Shelly Sapkin/ Edgemark LLC Mr. Jack Fitzgibbons & Mrs. Adrienne Ruston Fitzgibbons* Norm & Lisa Franke Terry & Noel Hefty* Mike & Diana Kinsey*^ Larimer Square Karolynn Lestrud* Macy’s Marie Maltz Millstone Evans Group of Raymond James Mr. & Mrs. Ralph Nagel Pioneer Natural Resources USA, Inc Craig & Maria Ponzio Martin & Jo Ann Semple^ Jim & Alison Shetter*^ Singleton Family Foundation* Paul & Wendy Spencer Sprint Press Denver Jim Steinberg* TeleTech Mr. & Mrs. Jerry Tepper Xcel Energy/Xcel Energy Foundation Whole Foods Market

CHAIRMAN’S CIRCLE $10,000-$14,999 Anschutz Foundation Sheri & Lee Archer/ New Wave Enviro Products, Inc.* Bank of the West Wealth Management

Doug & Abby Brown Bill & Betty Buchanan Ms. Kay Burke Larry & Margaret Byrne Centerre Construction Citi Private Bank/ Citibank, N.A. Kevin & Dawn Collins Mr. & Mrs. John Dunn Mr. & Mrs. Ed Dwight El Pomar Foundation Faction Media Scott & Amy Fisher Forte Information Resources LLC John & Jeannie Fuller*^ Ms. Amy Gaines & Mr. Ron Litvak John Carlen & Jean Gleason Kevin D. Heupel & Alexandre Garrett IMA Financial Group Impact Creativity/National Corporate Theatre Fund Jeanne Land Foundation John Madden Company, Ltd Diane Kremer Jason & Alison Lewis MDC Holdings, Inc./ Richmond American Homes Mabel Y. Hughes Charitable Trust Steve & Gayle Mooney Morgan Stanley Private Wealth Management Jeff & Shellie Munn* John & Sherri Nitta Pavestone The Publishing House^ Mr. & Mrs. Neil Ray Mr. & Mrs. Roger Stansbury Henry H. & Lorie Gordon Topher & Emelie Straus Mr. Steve Talley Teocali Energy LLC Jack & Penny TerHar Thomas D. Lookabaugh Foundation University of Denver Walter S. Rosenberry, III Charitable Trust

5280 Magazine Anonymous Katy Atkinson Bank of Oklahoma Barbizon Light of the Rockies Mr. & Mrs. Jim Bender Boeing Global Corporate Citizenship The Broadway League Brownstein Hyatt Farber Schreck Mr. Randy Carter Comcast Spotlight Crestone Partners, LLC Gully Stanford & Dorothy Denny* Denver Center Alliance The Denver Foundation Denver Theatre District EKS&H Fairfield & Woods, P.C. FirstBank Holding Company of Colorado Alan & Katie Fox* Hard Rock Cafe Hein & Associates, LLP Ms. Kathy Huwaldt iHeart Media (KBCO, KHOW) The Integer Group JHL Constructors Inc. Glenn Jones and Dianne Eddolls* Marcel Kahhak/Kahhak Fine Arts & School Ms. Barbara Kelley KYGO William La Bahn Lufthansa German Airlines Mariel MarkWest Energy Partners Mr. Pat Spieles & Ms. Carol McMurry Ms. Carol Mielke* Mr. & Mrs. Mike & Julie Mills MKK Consulting Engineers Neiman Marcus Nordstrom at Cherry Creek Osage Initiatives Mr. Bob Grabowski & Ms. Ann Padilla* PCL Construction Services Inc. Tim Penrod in honor of Child & Family Support Services, Inc. Ms. Ronna N. Phelps Miriam C. Robins Mr. Spencer Ross Ms. Ellen Scott Semple Brown Design, P.C. Luxury Outerwear Dodie Simmons Mrs. Katharine Stapleton

Lori Steinberg* Thomas & Beatrice Taplin Fund* Target Group Thiry-O’Leary Foundation Turner Morris, Inc. Venture Technologies Tina Walls Williams* Williams Jewelers WPX Energy*

PLAYWRIGHT’S CIRCLE $2,500-$4,999 Anonymous (3) Willis Ashby & Karen Burch Mr. & Mrs. Russell Atha* AudienceView Ticketing (USA) Corporation^ Judith Babcock Ms. Sheryl Babiarz Mr. Mark Bedinger Ray & Denise Bellucci LaFawn Biddle Ralph & Florence Burgess Charitable Trust Dr. Jennifer Caskey Chateau du Pin CIGNA Dr. Tom Reiley & Mrs. Linda Cobb-Reiley Jerry Conover & Jacquelyn Wonder Cook Street Consulting Mr. Leslie Crispelle & Mr. Glenn Tiedt Denver Life Magazine John & Sandra Downing John Ekeberg & Jennifer Schwem^ Mr. Ken Elliott Win & Melissa Farnsworth Larry & Joanne Fisher in appreciation of Mary Mosher FOOD & WINE Four Seasons Hotel Sally & Alan Gass*^ Mr. & Mrs. Guy Geoly Chuck & Pat Griffith* Laurel Haberstroh Mr. & Mrs. Duke Hartman Hays Companies of Denver Ms. Juliette Hemingway Hon. Robert Fullerton & Ms. Beverlee Henry Fullerton* Mr. Jon Seay & Ms. Robin Heppler Tom & Dianne Honig Barbara Huff & Jack Hanley Mr. & Mrs. C. Howard Johnson Frank & Marti Judson Patricia Kacerguis Ms. Elizabeth Kirkpatrick* Rick & Molly Klau Mr. John Kulich

Peter Mannetti & Ruth Krebs Mid-Range Performance Group Mr. & Mrs. James Miller Mr. Don Johnson & Ms. Arlene Mohler-Johnson* Mr. Michael Munn Mr. & Mrs. Ed Osborne Mrs. Toby Pippin* Don & Grace Quade Reign Magazine Rocky Mountain PBS Rollie R. Kelley Family Foundation Fund Mark & Maxine Rossman Ms. Stephanie Schultz Zunesis Jeremy & Susan Shamos Shaver-Ramsey Fine Rugs Marlis & Shirley Smith SSB Consulting Group LLC Ms. Susan Stiff The Style Studio by Keri Blair Sunshine Silver Mines Mr. Scott Vasina Mrs. Gene Koelbel Ms. Rachel Williams & Mr. Mike Weissmann* Dr. & Mrs. David Wong Dr. Eve Wood & Mr. Thomas Wieber Mr. & Mrs. Steven Woodward*

ACTOR’S CIRCLE $1,000-$2,499 9News AG Edwards & Sons, Inc. Ms. Valerie Alford Anonymous (5) Mr. & Mrs. Gary Antonoff Lucky Vidmar & Aubrey Ardema Ms. Liz Armstrong Mr. Hartman Axley Dr. Patricia Baca Mr. Don Bain Baker Hostetler Jim Balmer Barefoot Wine & Bubbly Mrs. Karen Barker Ms. Sybil Barnes Peter Baumgartner Mr. Sherwin Beck Donald & Martha Bender Kelly Berger with Brushstrokes Studio Mr. Paul Biederman Ms. Monica Bingham Mrs. Murri Bishop* Mrs. Randi Bloomenthal Tom & Doris Blyth Mr. Rick Boatman Jeffrey & Susan Bogue Bill Bottoms The Brown Palace Hotel Brad & Tangy Buchanan Mr. Steven Bunten

Mr. & Mrs. Keith Burge Christopher & Stephanie Campbell Center for the Arts Crested Butte Merle Chambers & Hugh Grant* Cherry Creek Country Club Mr. & Mrs. Ken Chez Mr. Montgomery C. Cleworth James & Irene Collins Community First Foundation Ms. Ellen Connor Rita Cook The Sam & Beth Coyle Family Charitable Fund Mr. & Mrs. Kyle Craig Ms. Jeanie Curley Ms. Katie Cymbala* Mr. & Mrs. Jay Davidson Michael Day & Pamela Tarquin Mrs. Annette Deines Delta Dental of Colorado Denver Athletic Club Denver Film Society Denver Theatrical Wardrobe Union Local 719^ Mr. John DiCarlo Mr. Brett Dolan Down South, LLC^ Mr. & Mrs. David Duke Mr. & Mrs. Steve Dumonceau Sharon Dunlap Mr. David Easter Anita Edwards* Elway’s Steakhouse Ms. Linda Embree EnCana Oil & Gas Lois Felt* Fineline Graphics First National Wealth Management Al & Terri Fisher Mr. David Flake Mrs. Alice Foster Mr. Freeman “Bud” Fowler Mr. Lawrence French & Mr. Gregory Sargowicki Ms. Ellen Fromm Mr. Daniel Riehl & Ms. Barbee Futrell-Riehl The Gant H. Robert & Lois Gill The Gilman Family Foundation Giving Generations Foundation Ms. Maureen Graff Mr. Tennyson Grebenar Mr. Gerald Padmore & Ms. Myrtle Rose Greene Derek Handley & Rebecca Kincheloe Handley Ms. Marilyn Harris Rhondda Evans Hartman & The Jackson H. Fenner Foundation

Henry E. Wurst Family Foundation Mr. & Mrs. Russell O. Stewart, Sr./The Henry Laird Smith Foundation Ms. Cathey Herren Mrs. Julie Hill Mr. Dave Steiner & Ms. Ann Hinkins-Steiner* Guy Holman Mrs. Trisha Hood Carol & Jerry Huller Mr. Joseph Hyland Independent Presenters Network Inc.^ J ALBRECHT DESIGNS Ms. JJ Jaggers Ms. Mollie Jankovsky Jay Feder Jewelers Paul R. Jeselnick & Andy W. Strickland Jay Johnson The Kappler Marrack Foundation Leslie Kaye Heather Kekstadt & Dave Nesslage Ivan Kelly Ms. Deborah Kelly Joe Kelso Cindy Kent & Tudor Coleman Mrs. Kelly Kiefer Kinder Morgan Foundation Mr. & Mrs. Michael King Mrs. Cynthia Klaiber Bettyjean Kriss Joseph Kurgan Lakewood Country Club Leede Operating Company Mr. David Lettin Ms. Stephanie Levert The Little Nell Ms. Michelle Lucero Nora Macintyre Carolyn MacRossie Diane MacRossie Kit Hevron Mahoney with Brushstrokes Studio Gerald R. & Carole J. Makela Mr. Kyle Malone Paul Manoogian Drs. David & Heidi Markenson Mr. & Mrs. Tom Marsh Mar-Tek Industries Ms. Amy McClenathan Mr. Aaron McDowell Mr. Graham Phipps & Ms. Carol McEnroe* Mr. & Mrs. Bryce McTavish Thelma Meister MGM Grand Hotel & Casino - Las Vegas Victoria Miles*^ Ms. Barbara Miller Ms. M. Miller Mr. David Miller & Ms. Lisa Farber Miller in honor of Dan Ritchie

THANK YOU

PRESIDENT’S CIRCLE $5,000-$9,999

THANK YOU 38

Kansas Millers Gregory Milzcik Miro Jewelers Mr. & Mrs. Kenny Moore Mrs. Lynnette Morrison Ms. Anita Mosher with Brushstrokes Studio Mr. & Mrs. Wayne Murdy Ms. Jocelyn Murphy William & Megan Mutch James Neely Mr. & Mrs. Gordon W. Netzorg* Mr. Bruce E. Newhall Newman Center for the Performing Arts Denny & Judy O’Brien Ms. Stacy Ohlsson Vance Opperman in memory of Nancy Opperman Mrs. Corie Opperman in memory of Nancy Opperman Ms. Elizabeth A. Orr Ms. Lois Paul Mr. & Mrs. Dan Paulien Ms. Debra Perry & Mr. Jeffrey Baldwin* Chris Perschbacher & Travis Fasching Mr. Kirk Petersen Linda & Richard Pierce PostModern Company Mr. Bill Richins Mr. & Mrs. Monroe M. Rifkin Fred & Ayliffe Ris Ms. Tina Risch* Rockford Gray LLC Molly Ross* Dr. & Mrs. Jason Roth Ms. Peggy Rottner* Sage Hospitality Resources L.L.C. Sanctuary Mr. & Mrs. Kirk Scheitler John Schneider & David Auten Mr. Mats Schold Ms. Betsy Schutte Seasons 52 Donald R. Seawell* Brian Sells Mr. & Mrs. Stan Sena Earl & Lisbeth Sethre Shell Oil Company Foundation Joseph A. Shively Mr. Danny Showers Ms. Marlene Siegel* Mr. Randy Fitch & Mr. Terry Siek Ms. Ruth Silver*^ Miss Pamela Sletten Ms. Janis Starkey Mr. Wesley L. Strode Stephen & Susan Struna Caroline & Al Stutson Sunset Luxury Limousines Ms. Suzanne Swanson Peter & Janet Swinburn* Paul & Brooke Talbot

denvercenter.org

Mr. & Mrs. Douglas Tashiro Tim Thein & Michael Siebecker Kent Thompson & Kathleen McCall*^ Ross & Sue Thompson Mr. & Mrs. Al Troppmann Mr. John Trueblood Dee Turner University of Denver Division of Athletics & Recreation University of Denver School of Hotel Restaurant & Tourism Management Mr. Carl Unrein USAA Colorado Springs Campus V.I.P. Tours of New York Paco Varela & Tim Wilson Ms. Patricia Villegas Wagner Equipment Co. Philip & Linda Waldbaum Mrs. Sandra Walling Lester & Rosalind Ward* Dr. & Mrs. Reginald Washington Mr. David Wedmore The Wickaninnish Inn Winter Park Resort Ms. Carol E. Wolf* Mr. & Mrs. Thomas Wood Pesha & Rob Wright* Dr. & Mrs. Ronald Yaros Curtis Zeigler Robert Zupkus

DESIGNER’S CIRCLE $500-$999 Mr. Richard Adams Dr. Dina Brudenell & Mr. Edward Altman* Altum Investments Tammy &erson Mr. Jeremy Anderson Anonymous (5) Ms. Elizabeth Armstrong Mr. Andrew Armstrong & Ms. Christine Elliott-Armstrong Ascent Private Capital Management Mr. & Mrs. Charles Atkins Frank & Jeanette Azar Ms. Karen Baczkowski Ms. Amy Baranoucky Lovedy Barbatelli Barolo Grill Ron & Martha Berge Mrs. Fran Berry Mr. & Mrs. Dave Betker Mr. James Bien & Mrs. Judith Ann Newman Mrs. Shirley Birdsong Mr. Michael Blackman Mr. John Blair Mr. Robert Blauvelt & Mr. Michael Corrigan Mr. & Mrs. Paul Bortz Libby Bortz Mrs. Katherine Brachle

Ms. Karen Brown Patrick Brown Judi & Dan Burk Mrs. Terri Carlin Mr. Kevin Chiappone Bijal Choksi Bob & Liana Clark Ms. Ellen Coleman^ Colorado Ballet Rick Colts Mr. & Mrs. Mark Colville Mr. Michael Conner Chad Corder Patrick Cott Mr. & Mrs. Thomas Cox Mr. Craig Crescas Tony Cretella Paul & J’ne Day-Lucore The Deane Family Fund Mr. & Mrs. Jordan Dechtman Greg Deickman Mr. & Mrs. Bruce & Carleen Dierking Ms. Joy Dinsdale* Ms. Barbara Dorsey Brian Edick Mr. Stephen Edmonds Mr. David Engbrecht Brianne Engel in honor of Jessica Austgen Enstrom’s Candies Aaron Espinoza Mr. & Mrs. James W. Espy Mr. & Mrs. William Evans Mr. & Mrs. Howard L. Farkas Ms. Amy Feaster Mr. & Mrs. Paul Ferguson Mr. & Mrs. Richard Fieman Mira Fine Ms. Trese Foley Lea Ann Fowler Mr. Gregory Foy Ms. Deborah Friedman Cissy Fry Wilson Christine Frye Mr. Gary Funk LuAnn Gafvert Karen Garcia Mr. & Mrs. David Garson GE Foundation Kristi Geonetta Glenn & Kim Goodwin Richard & Juli Gordon Ronald & Vivian Gordon Grand Lodge on Peak 7, Michael Millisor Lisza Gulyas Julie Gunlikson* Jayne Hackworth Ms. Julia Haddad Ms. Margaret Hainey The Hamlin Family Fund Mr. & Mrs. Bryan Hassler Daniel Hassler Mr. James Hayes Rod & S&y Henderson Brian Hendricks Ms. Maureen Hendricks Ms. Deborah Hinrichs

Mr. & Mrs. George M. Hopfenbeck, Jr. Kelley Howes Kim Huskins IBM Mr. & Mrs. John Immele Bud & Kaye Isaacs Ms. Eleanor Isbill The Jigsaw Fund Mr. & Mrs. George Johnson* Stock Jonekos Dr. & Mrs. Brian Joondeph Mrs. Angela Kadey Katie Mullen’s Dr. Jan Kennaugh & Mr. Chip Horne Matthew Korkow Mrs. Donna Kornfeld Mr. & Mrs. Paul Korus Gary Kubinak Mrs. Margaret KurtzMiosek Joan Kurz Rory Lamberton Mr. & Mrs. Gene Langfeldt Dr. & Mrs. Dennis Lanier Mr. & Mrs. Gary LaPlante Mr. Chris LaRoche & Ms. Sallie Vanasdale Mrs. Teri LaTulippe Mr. Michael Laureano Mr. Robert Libuse Corren Lind Dr. Gretchen Lobitz Mrs. Lisa Lund Brown Pika Lynch Ms. Ginnie Maes Jerry Maglio Ryan Maier* Ms. Marcia Malone Ms. Susan Martella Mary & Robert Mathews Mr. William Mathews & Ms. Joy Godesiabois Jan McClaren Mr. Brian McCleary Lisa McConnell Dr. Kelli McKee & Prof.

DC Reed McNeil Designer Portraits Jonathan Meador Michael A.Meisinger Natalie Mesko Mrs. Carol Milanesi Ms. Carol Miller Mr. William E. Miller Gene & Dee Milstein Ms. Rayanne Mori Julie & John Mork Ann Mosso Mr. Chris Murphy National Cinemeida Mr. Ben Nesbitt Janet Nessinger Ms. Nancy Nielsen Scott Noyes Ms. Stephanie Odak Osage Initiative J & L Parsons Ms. Leah Peer Michawl Perrego

Mr. and Mrs. Marc Pinto* Ms. Taryn Poteet Mrs. Kathleen Potter Mr. Steven Powell Mr. Bob Prettyman Koger & Marcie Propst Edward Pulido Pura Vida Fitness & Spa Mr. & Mrs. Gary Ray RedShift Framing Robert & Myra Rich Blair & Kristen Richardson Steven & Joan Ringel Ms. Susan Rodger Victor Tusselavage Ann-Marie Russell Mr. & Mrs. William Russell Odette Sahakian Mrs. Lorraine Salazar Dr. & Mrs. Paul M. Scheele Carmel Scopelliti Ms. BJ Scott in honor of Scott Family Children and Grandchildren Doug & Mary Scrivner Dr. Jay Seller & Mr. Paul Ferraresi Theresa & Marston Shelton Samuel Shkolnik Ms. Sally Shuler David Simmons Mr. Thomas Smith Cheryl L Solich & John W Kure Ms. Mary Spillane Dr. & Mrs. Harlan Spritzer Kathryn & Hanspeter Spuhler^ Mr. Brion Stapp Adam Stark Mr. Michael Steward Mrs. Lila Stewart Mr. & Mrs. Daryl Stewart Shelley Stone Dr. John Swenson Mrs. Melanie Tafaro Mr. & Mrs. Jon R. Tandler Philip & Page Tatar Deborah Tesoriero Mr. Steven Thompson Ms. Amanda Tipton Mr. & Mrs. Warren Toltz Alison Tomlinson Trenka Real Estate John & Pamela Tumler Florencia Ilate usable Venice Ristorante & Wine Bar Ms. Renee Verspoor Ms. Judith Vetter Ms. Herminia Vigil Mr. & Mrs. Paul Vorndran Ed & Patty Wahtera Colin A. Walker Connie Walker-Hout Lawrence Wall Ms. Terry Wallace Ms. Kareen Wardell Waste Management Inc. Mr. & Mrs. Steven Weil

PROPMASTER’S CIRCLE $250-$499 Mr. Peter Abuisi Ms. Andrea Nicole Ackerman* Karla & John Adam Ms. Lynna D. Adell Mr. & Mrs. Frank Adler Mr. Stewart &erson Bryce & Patricia &erson Mrs. Sherri Anderson Anonymous Artworks, etc., LLC/ Kathleen Perry Lenny Bates Natrisha & Shawn Bayer Geralyn & Doug Beahm Karen Beauvais Mr. Rick Bender Drs. Angela Betker & Anthony Simon Ms. Marcia Bishop Ms. Laura Bittner Mrs. Annette Bowin Mr. & Mrs. Cole Brannick Ms. Nancy Brock Ms. Debra Brooks Luby Mr. Herbert Buchwald Mrs. Hayan Buergisser Mr. & Mrs. Donald Burkhardt Mr. Natalie Burr Mr. Rudolph Butler Mr. & Mrs. Ron Butz Ms. Heather Callahan Mr. Dennis Callan Ms. Claudia Carbone Carpet Contractors Mrs. Colleen Carrico Ms. Deborah Carter Ms. Shelly Catterson in memory of Kent Haruf Mr. & Mrs. Harold Celva Central City Opera Prof. Gerald W. Chapman Ms. Keri Christiansen* Ms. Kathleen Clark Ms. Kathy Clifton Mr. & Mrs. Michael Collins Mr. Francis Conanan in honor of Lilia Antenor Cruz Mrs. Patricia Cooper Mr. Joe Craven Curious Theatre Company William & Karen Curtis Curtis Hotel Custom Creations Photography Ms. Cynthia Daniels Vicki & David Dansky Ms. Laura Dean Desmond Brown Group, Your Castle Real Estate

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HOW WELL DO YOU KNOW THE SHOWS? Try our puzzle and find out.

ACROSS

2 Lookingglass Alice is adapted from the works of _______ Carroll 6 Shakespeare’s As You Like It takes place in the _______ Forest 8 Miss Trunchbull locks her students in a cupboard called The _______ 10 Matilda’s ill-timed birth interrupted Mrs. Wormwood’s _______ contest 11 A film studio owned by Disney … and the name of a Shakespearean fool 13 How many impossible things Alice believes in before breakfast 16 Through the Lookingglass, and what Alice found_______ 17 If/Then writers also penned Broadway’s Next to _______ 18 Many of us have been “_______ as the days go by” 19 Iconic city where If/Then is set

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1 The Americans with _______ Act just turned 25 in July 3 Two hard-of-hearing actors just shared this leading role in Phamaly Theatre Company’s Cabaret 4 She starred in Broadway’s Tribes … and St. Elmo’s Fire (last name) 5 Idina Menzel sang “Let it Go” in what ubiquitous movie?

7 Tribes Director Stephen Weitz also runs the local _______ Ensemble Theatre Company 9 Children’s novelist of Matilda fame (two words) 12 All the _______ is a stage 13 A film with theme similar to that of If/Then: _______ Doors 14 Common Shakespearean animal part that symbolizes a cuckolded husband 15 Matilda’s child-hating principal was once an Olympic _______-throwing champion

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