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September – november 2013
Death of a salesman Illustration by Kyle Malone
sister act • Just like us • the most deserving
a r t s
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Redefining State-of-the-Art At Colorado State Universityâ€™s Center for the Arts students create, perform, and learn in the stateâ€™s premier arts education facility. Modern performance venues and plentiful studios define the spaces of the remodeled building in the heart of Fort Collins. Best of all, while the performances soar, the cost does not, putting a first-class arts education within reach of all Coloradoans.
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Producing artistic director’s LETTER
work. Karen Zacarías’ stage adaptation of Helen Thorpe’s book, Just Like Us, puts a human face on the immigration debate, as four young Latina women from Denver grapple with the disparity in their legal status. All are real people still living in our state, all are high academic achievers, hard workers and committed to making Kent Thompson a life in the U.S. But two are documented and two are not. We hope this Welcome. We’re thrilled to have you production gives everyone—on either join us to kickoff our 35th Season of side of the debate—a new perspective the Denver Center Theatre Company on the complexities of immigration (DCTC). and the lives of the children caught in This Fall’s lineup features three of the middle. our most important artistic priorities: The Most Deserving is a satirical new American plays, plays of special comedy that could take place in any interest to Denver and Colorado, and small American town as a local arts great American classics. committee tries to figure out how to I was surprised when I re-read give the largest grant in its history Death of Salesman. I had always to “the most deserving” artist. You guessed it—this challenge brings thought it a great play, but its relout the best and worst in everyone evance is startling. It is a haunting involved as they struggle with local story that remains true today, as a man of a certain age is cast aside by politics, churches, indiscretions, the business he has worked in all his agendas, bad behavior, and the truly life. Salesman also is a heartbreaking difficult question: “What is good art, drama of the tension between a father what is not, and who decides?” and his grown sons. You will laugh, Thank you for joining us for the cry, shudder and shake your head— performances and the conversations and, to my astonishment, it’s the first they generate. Tell me what you think—at firstname.lastname@example.org. time that the play is being staged at See you at the theatre! n the DCTC. Our other fall offerings are world premieres—two out of four we’re staging this season. Workshopped at our New Play Summit last February, Kent Thompson Just Like Us and The Most Deserving Producing Artistic Director underscore our commitment to new Denver Center Theatre Company
JUST LIKE US SISTER ACT
The dilemma posed by not being a documented immigrant in this country is at the heart of journalist Helen Thorpe’s best-selling book— and Karen Zacarías’ stage adaptation of that book. by Sylvie Drake
THE MOST DESERVING DEATH OF A SALESMAN Catherine Trieschmann talks about
There is peril in solemnizing a play. Too much reverence can stifle a true classic, which is a living, breathing membrane that still speaks to us. by Dan Sullivan
That sizzling movie turned into this sizzling musical thanks to many award-winning talents— and no one tells that story better than one of its key players. by Douglas Carter Beane
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writing this play, in which a smalltown arts council must award a grant to a local artist. Need we add that politics, chaos and comedy erupt? by Douglas Langworthy
VO L U ME XX V
N U MB E R 2
Se p t ember – N ovember 2013
Editor: Sylvie Drake Associate Editor: Suzanne Yoe Designers: Kim Conner, Brenda Elliott, Kyle Malone Applause is published eight times a year by The Denver Center for the Performing Arts in conjunction with The Publishing House. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content. Applause magazine is funded in part by
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The Denver Center for the Performing Arts 1101 13th St., Denver, CO 80204
The Denver Center for the Performing Arts is a not-for-profit organization serving the public through the performing arts. Board of TRUSTEES Daniel L. Ritchie, Chairman and CEO Donald R. Seawell, Chairman Emeritus Randy Weeks, President and Executive Director, Denver Center Attractions William Dean Singleton, Secretary/Treasurer W. Leo Kiely III, First Vice Chair Robert Slosky, Second Vice Chair Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond Margot Gilbert Frank Thomas W. Honig Mary Pat Link Robert C. Newman Richard M. Sapkin Martin Semple Jim Steinberg Peter Swinburn Ken Tuchman Lester L. Ward Dr. Reginald L. Washington Judi Wolf Sylvia Young _______________________ Carolyn Foster, Executive Assistant to Daniel L. Ritchie Kim Schouten, Executive Assistant to Daniel L. Ritchie EX-OFFICIO MEMBERS Dorothy V. Denny Mayor Michael Hancock Governor John Hickenlooper Kent Thompson
HonoRary Members Jeannie Fuller Glenn R. Jones M. Ann Padilla Cleo Parker Robinson Management Committee Randy Weeks, President and Executive Director, Denver Center Attractions Dorothy V. Denny, Executive Vice President Vicky Miles, CFO Kent Thompson, Producing Artistic Director, Denver Center Theatre Company Jennifer Nealson, CMO Clay Courter, Director, Facilities Management Emily Davidson, Director, Human Resources Sylvie Drake, Director, Publications John Ekeberg, Director, Programming and Operations, Denver Center Attractions Tam Dalrymple Frye, Director, Education Brianna Firestone, Director of Marketing, Denver Center Theatre Company Janet Flesch, Director of Marketing Jeff Gifford, Director of Production, Denver Center Theatre Company Jeff Hovorka, Director, Media and Marketing, Denver Center Attractions Bruce Montgomery, Director, Information Systems Jennifer Siemers, Director, Accounting
Charles Varin, Managing Director, Denver Center Theatre Company Dawn Williams, Director, Venue Sales and Operations Suzanne Yoe, Director, Marketing Services AMERICAN NATIONAL THEATRE & ACADEMY BOARD Kent Thompson, Chairman and CEO Judi Wolf, President and COO Donald R. Seawell, Chairman Emeritus HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES Lester L. Ward, President Martin Semple, Vice President Judi Wolf, Sec’y/Treasurer Donald R. Seawell, President Emeritus W. Leo Kiely III Daniel L. Ritchie William Dean Singleton Robert Slosky Jim Steinberg Dr. Reginald L. Washington
Mannheim Steamroller Christmas Nov 30 & Dec 1 Buell Theatre
Defending the Caveman Now – Oct 27 Garner Galleria Theatre Death of a Salesman Now – Oct 20 Space Theatre Sister Act Sep 24 – Oct 6 Buell Theatre
Three Acts, Two Dancers, One Radio Host: Ira Glass Dec 7 Buell Theatre Cirque Dreams Holidaze Dec 10 – 22 Buell Theatre
World Premiere Just Like Us Oct 4 – Nov 3 Stage Theatre
Mamma Mia! Jan 28 – Feb 2 Buell Theatre Alton Brown Live! Feb 3 Ellie Caulkins Opera House Million Dollar Quartet Feb 25 – March 9 Buell Theatre Chicago March 18 – 23 Buell Theatre
World Premiere The Most Deserving Oct 11 – Nov 17 Ricketson Theatre
World Premiere The Legend of Georgia McBride Jan 10 – Feb 23 Ricketson Theatre
The Book of Mormon Oct 22 – Nov 24 Buell Theatre
Evita Jan 15 – 26 Buell Theatre
Animal Crackers April 4 – May 11 Stage Theatre
Jackie & Me Nov 15 – Dec 22 Space Theatre
Girls Only Jan 16 – March 9 Garner Galleria Theatre
Rock of Ages April 25 – 27 Buell Theatre
A Christmas Carol Nov 29 – Dec 29 Stage Theatre
World Premiere black odyssey Jan 17 – Feb 16 Space Theatre
once May 6 – 18 Buell Theatre
The SantaLand Diaries Nov 29 – Dec 24 Garner Galleria Theatre
Hamlet Jan 24 – Feb 23 Stage Theatre
Shadowlands March 28 – April 27 Space Theatre
American Idiot May 23 – 25 Buell Theatre All shows On Sale Now!
Spark a dialogue today by participating in our free CONNECT program. Designed to enhance your theatre experience, the CONNECT program offers a variety of opportunities, including moderated discussions with the cast and creative staff, educational resources, tours and other special events. For more information visit www.denvercenter.org/CONNECT.
Costume Collection Judi Wolf’s
Death of a Salesman
esigner David Kay Mickelsen brings Arthur Miller’s iconic Pulitzer- and Tony-award winning classic, Death of a Salesman, to life through a collection of costumes reminiscent of the 1940s. In this production of the play, staged for the first time at The Denver Center, some of the bold looks of the 40s fashion styles will be replaced with clothing that is period appropriate but more specific. Color, always an important element, will not only be a key indicator of personality; it also will represent present day versus past scenes of the play. The dull brown clothing of a salesman, the cool grays worn by the corporate world, the hopeful blue suit of the young man trying to make good, the textiles, all will take a more modern approach and stay true to the period: classic woolens for the men’s suits, cottons for the house dresses, and taffetas for the girls in the restaurant. Living in a day that is repeating fashion elements from nearly every decade of the 20th century, the costumes of Death of a Salesman will feel more modern than you think. “Our hope is that we recognize these characters as people that are as vital today as they have been in our past,” says Mickelsen. Experience this relevant and apparently timeless classic. n
TTY: 303.893.9582 • denvercenter.org Audio-description, ASL interpretation and Open Captioning available at select performances; check dates/times when ordering.
Performances at The Denver Center are made possible in part through the generous support of:
Denver Center Theatre Company 2013/14 Season Sponsors
Denver Center Attractions 2013/14 Season Sponsors
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Death of a Salesman costume designs by David Kay Mickelsen
A movie-themed celebration benefiting Jewish Family Service of Colorado Monday, deceMber 2, 2013, 5:30 p.M. The ellie caulkins opera house cockTails and hors d’oeuvres norMan brownsTein
Starring our Honorees
rabbi sTeven and The honorable sTaTe senaTor Joyce FosTer
303.597.5000 • www.jewishfamilyservice.org/reelhope
Tamara Kaida: Desert Paint, 1987
In the law, as in the arts, creativity matters. Snell & Wilmer is a proud supporter of the Denver arts community. w w w.s w l aw.c o m Denver | laS vegaS | loS angeleS | loS caboS | orange counTy | phoenIx | reno | SalT laKe cITy | TucSon Snell & WIlmer l.l.p. | Tabor cenTer | 1200 SevenTeenTh STreeT | SuITe 1900 | Denver, coloraDo 80202
MMIGRATiON IRAMiFICATION To be or not to be… documented? That is the question at the heart of Just Like Us, the book by Helen Thorpe and the play by Karen Zacarías based on that book
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It wasn’t meant to be a book. For Helen Thorpe, a professional journalist, it was stories in The Denver Post and Rocky Mountain News about immigration in Colorado that first snagged her attention. As a reporter who had started out writing for The New Yorker, the weekly New York Observer and later Texas Monthly, among other publications, Thorpe was struck by what illegal status in the United States could mean to young people—what it would feel like “to be in high school and not be able to get a driver’s license, be really cool. It’s not just a logistical thing about getting around town. It’s a social moment. It can be traumatic to realize your peers will have rights and opportunities that you won’t have.” This awareness eventually became Just Like Us, a real-life, 390-page account of how four young Latina women—two documented and two not—graduate from high school in Denver and confront all sorts of personal and political challenges as they navigate four years of college and beyond. “I did a story for Westword about a young man coming of age who did not have legal status,” Thorpe explained when we talked in July. “Then I found the women. The young man had been helpful, but the women could put more words to what [their situation] felt like. They were friends, only two of them undocumented, so a little less alone with it, which made it easier for them to talk about
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it. During their senior year of high school, we did a radio documentary,” part of which aired on This American Life, “and I thought I was doing just that: a radio documentary. It was great, because the medium allowed them to speak in their own voice.” Thorpe kept interviewing the girls through the following summer when all the talk was about whether they would be financially able to get into college. Miraculously, with the help of a few private donors, they all did. But at the end of their freshman year, the mother of one of the undocumented girls was arrested. “That’s when I started thinking of this as a book,” Thorpe said. “The story just seemed…bigger. I wanted to see what was going to happen to them.” Her investigation morphed into an engrossing, meticulously detailed six-year writing project. hen the Denver Center Theatre Company’s Producing Artistic Director Kent Thompson approached Thorpe with the idea of adapting Just Like Us for the stage, she was flattered, but surprised. They agreed it was a daunting task that would require not only a real playwright, but also one with an affinity for the subject matter. Thompson suggested Karen Zacarías, author of the bracing Mariela in the Desert seen at The Denver Center in 2010, a Mexican by birth—and an immigrant.
Zacarías was stunned. “Getting that book was relevant in many different ways,” she said. “I read it and cried and sat in a dark room for a really long time. [Immigration] is this complicated alphabet soup that isn’t really dramatic on stage, but really affects the lives of a lot of different people. I also thought it was unadaptable.” But she recognized its importance and said yes. Thorpe and Zacarías were introduced over lunch in Thompson’s office. “Karen is such a warm person, so intelligent and wise, I liked her instantly,” Thorpe said. “She probably understands this subject even better than I do. Differently, anyway. “She posed a question at that lunch that I think she really wanted the answer to, which was how did I feel about becoming one of the characters on stage. She was adamant that, as in the book, she wanted the story of the four young women and the political backstory. She asked if I was comfortable with that. I told her, ‘No, I’m not, but I think you’re right, and I probably won’t be comfortable with it when I see it, but that’s okay because it’s also probably the right decision.’ ” How did it feel to turn over the book to somebody else to adapt? “I think of theatre with great reverence and see many productions at The Denver Center,” Thorpe replied. “I remember Kent Haruf’s Plainsong. I had loved the book
Photo by Kyle Malone
“I wondered if the four young women would remain in the legal status they had when I started and if they would make it through college with all of the difficulties they faced. I found their level of maturity, what they were exposed to, what was expected of them, how much they were shouldering, to be pretty daunting.” — Helen Thorpe, author Just Like Us
“It was also clear to me that I didn’t understand everything about immigration, because there are many different ways to come to this country and many different circumstances. I had a lot to learn. “Other bumps…” She paused. “I had never done a project of this scope before. When I sat down to write the book, I had years’ worth of notebooks. Just organizing all that material was pretty monumental— structuring the book, ordering the story. I went through several drafts before I got it right.” What became clear was that it was the friendship among the women and the split in their legal status that was at the heart of the story. “Watching that play out brings the experience to life. And I didn’t know how the story would end. I wondered if the four
young women would remain in the legal status they had when I started and if they would make it through college with all of the difficulties they faced. Their level of maturity, what they were exposed to, what was expected of them, how much they were shouldering, I found that to be pretty daunting.” Thorpe is currently separated from her husband, John Hickenlooper, the Governor of Colorado, so the next question was significant: Did she have concerns about invasion of her privacy? “The part I worry about, when I worry,” she replied, “is whether something is fair to John. I have a loyalty to him that’s enduring, so I feel protective of him. I tried always to strike the right balance in the book. It is a hard one to strike. “The way I ended up handling that is that John came to the public reading, his chief of staff came and other people from the governor’s office. They had an opportunity to get comfortable with the project; if they had any concerns they could have voiced them. But they didn’t. n fact, his chief of staff said she went out for a meal after the reading with several generations of her family and they ended up having this indepth, animated discussion of the immigration issue that they’d never had before. “I think everyone could see the value of the play raising the issue in a way that helps people discuss it in a less black and white context.” n
Just Like US
and it felt perfectly adapted to the stage yet close to the book. But it never occurred to me that somebody would want to adapt a nonfiction book. I think one of the reasons they thought it might work is that my book has enough dialogue that you could think of it as dramatic.” Thorpe attended a rehearsal before the public reading last February, as well as the reading, and declared herself happy with both. “I really feel it was my book, but it’s Karen’s play. I’m not trying to look over her shoulder. remember a moment in rehearsal in which the character that is me said something that was not exactly how or what I would have said, and I had a chance to tell Karen. It was a small tweak, but it meant a lot to me. She was very receptive. She ended up not taking my exact language but making a fix that felt comfortable to me.” How accessible were the girls to the idea of a book about them? “Over six years, as you can imagine, they had different responses. At first, when we were not yet talking about a book and they were still in the thick of this drama over who was going to get to go to college and who was not, they were motivated to tell their story. So when I’d turn up they were eager to talk.” The questions came later. Some, six years later. “Okay, so I had agreed to change their names,” said Thorpe. “They chose the names that they ultimately would be identified by—but who else’s names was I going to change? Could I change the name of their school? Could they read the manuscript? How personal was the story going to be? “I did show them the manuscript before publication. I also agreed to change the names of family members and anyone who was a student at that moment in time, so that if I went into a classroom and someone was speaking, they wouldn’t be surprised later to find themselves in the book. I wanted to protect the students. I felt they were vulnerable being young.” Any bumps in the road? rust. There were so many reasons why that would be complicated. You had young people in a delicate situation, different ethnicity, different socio-economic status than I have. I tried to reassure them that I was open-minded on the subject of immigration by talking about my parents, my own background,” referring to her own emigration from Ireland as a child.
Oct 4 – Nov 3 • Stage Theatre Producing Partners: Ralph & Trish Nagel Sponsored by The Steinberg Charitable Trust and The Women’s Voices Fund ASL interpreted & Audio Described • Nov 3, 1:30pm
Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • denvercenter.org
A P P L A US E
Sparking a conversation with...
RALPH & TRISH NAGEL:
Anything But Ordinary
“Theatre takes you to a different place from where you are sitting—literally and in life—and provides you with new thoughts, impressions and energy.”
PHoto by vicki kerr
An award-winning artist, Ralph Nagel has a one-man show of his work at the Littleton Museum, September 20 through October 31, 2013.
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alph and Trish Nagel’s story just keeps unfolding. It starts with an architect and an attorney who met at the University of Pennsylvania. Married at Le Corbusier’s Notre Dame du Haut chapel in Ronchamp, France, this couple is anything but ordinary. There seem to be no “roads not taken,” just more byways to discover. They started the Meridian Retirement Communities, offering seniors the choice of a “social” model for aging (rather than the prevalent “medical” one). To the Nagels, they were not in the retirement community business; they were in the business of relationships with residents and their families, based on respect and trust. When the climate for doing business in a personal way changed, they sold the Communities and moved on to new chapters in their story, including participating in the development of middle class birthing centers in China operated in co-operation with John Hopkins Medical Center. Ralph also became more involved in education and served as Chairman of the Colorado Commission of Higher Education, as well as a trustee on the board of the University of Denver and at Washington University in St. Louis (one of his alma maters). Trish, too, shifted her energy from being a long-time partner at the Moye White law firm to the development of products and services that “defy gravity” when conventional thought and action fail. Current projects include The Gifted Child™ (products and services that introduce infants and toddlers to character strengths, social competencies and ethical values that “fill a child’s tool box, not toy box”); Touched by Reading® (focusing on infants and toddlers learning to love to read, rather than being taught how to): and Laughing Matters™ (the importance of giving a child a sustainable gift of laughter).
Another chapter unfolded as Ralph turned to painting, “to use the other side of his brain,” while maintaining his role in business and other community endeavors. Ralph adds something that runs through the Nagels’ many life chapters: the importance of not needing to know the answer before you undertake risk. “When I paint, if I knew what the painting would look like, the opportunity of the painting to become itself would be lost.” So, too, in life. So why does this busy globe-trotting Renaissance couple make time for theatre in Denver? Ralph and Trish light up. “It creates such energy… you don’t have to be able to act or sing or dance on the stage to feel ‘creative.’ Theatre takes you to a different place from where you are sitting—literally and in life—and provides you with new thoughts, impressions and energy.” Trish speaks about the importance for young children to experience theatre, reminiscing about her mother’s love of dance, music and theatre shared with her as a child—something they enjoy together to this day. hy support Just Like Us? Ralph has had a longstanding interest in helping low income students go to college. As Chairman of the Commission on Higher Education, he witnessed the evolution of author Helen Thorpe’s thinking on immigration. Brought to his attention by high school guidance counselors, he saw candidates well qualified for college, some of them class valedictorians, suddenly confronted with the politicization of their dream of going to college. He saw Thorpe’s book as strong material for theatre. When asked by The Denver Center to help underwrite a commission for playwright Karen Zacarías to adapt the book for the stage, he responded generously—and did so again when the time came to move forward with a full production. The opportunity to tell the story of these four young Latinas, two documented and two not, is a project made possible by the Nagels. For Ralph and Trish, this production is not about making a political statement, but a human one—not to compel a conclusion, but to help reach an informed one. For them, it’s about telling what the late Paul Harvey called the “Rest of the Story.” “Don’t ever look back,” says Ralph, “Write the next chapter.” n
PHOTOGRAPHY BY SETH HUGHES
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CHERRY CREEK NORTH 2955 East 1st Ave I Denver, CO 80206 I 303.321.7872 I puravidaclub.com
WELBORN SULLIVAN MECK & TOOLEY, P.C. Committed To The Community Like these DCTC productions, Welborn Sullivan (WSMT) is a home to diversity, with a wide-ranging practice showcasing some of the best legal talent in the Rocky Mountain region that specializes in natural resources.
A proud sponsor of Directors Society 2013/14 Season
he Denver-based law firm of Welborn Sullivan Meck & Tooley, P.C. is delighted to be a partner of The Denver Center for the Performing Arts (DCPA). Like this season’s exceptional productions of Death of a Salesman, Just Like Us and The Most Deserving, Welborn Sullivan (WSMT) is a home to diversity, with a wide-ranging practice showcasing some of the best legal talent in the Rocky Mountain region that specializes in natural resources. The Firm celebrated its 20th Anniversary in May 2013, having grown to 36 attorneys with regional offices in Casper, Wyoming, and Salt Lake City, Utah. WSMT continues to be committed to the community. The Firm has supported a variety of community health and service efforts, including the Children’s Law Center Annual Dinner, Children’s Gala, an event of Children’s Hospital Colorado Foundation, The 2013 Colorado Symphony Ball, Center of the American West Annual Fandango, Annual Men For The Cure Dinner in support of breast cancer research and outreach, the Denim & Diamond Charity Ball and Silent Auction benefiting the Denver Museum of Nature & Science, Freedom Service Dogs and the Heart and Hand Center for Youth and their families.
Being a partner of the DCPA is a perfect fit for Welborn Sullivan. Members of the Firm are not only long-time subscribers to DCPA productions, but the Firm has a great appreciation for The Center’s Arts in Education Programs, which provide Colorado students with a rich exposure to the arts in a way that inspires their future interests and endeavors. Welborn Sullivan attorneys have been similarly inspired by experience and education, that is reflected in their leadership. They are a team of full-service attorneys who specialize in matters related to energy, natural resources and land-based development. They consider themselves leaders and creative problem-solvers with keen insight into the complexities of both law and land. The firm attorneys apply their knowledge of the law along with their extensive experience as geologists, engineers, landmen, general counsel for multinational corporations, Peace Corps workers advising emerging nations on environmental policies, military officers, district attorneys, federal prosecutors, state and federal trial lawyers, mayors, city council members, as well as in executive and legal service in the US Departments of Interior and Energy. The Firm is very proud to continue its partnership with the DCPA. n
Back Row: Jim Noble, Joe Pierzchala, Jeff Flege, Brian Tooley, Tom McKee, Ken Barbe, Keith Tooley, Kathryn Haight, Steve Bain and Scott Turner Middle Row: Ed Blieszner, Rebecca Watson, Carolyn Burr, Amy Seneshen, Jenn Cadena, Chelsey Russell and Sam Bacon Front Row: Steve Sullivan, Sheryl Howe, John Meck, Lisa Perry, Danielle Wiletsky and Jed Franklin Not Pictured: Julie Clark, Norm Early, Dick Harring, Ken Jones, Jennifer McDowell, Hampton O’Neill, Jeff Peterson, Bill Rapson, Patrick Tolley, Jeff Welborn, Kelly Williams, Nora Pincus and Josh Cannon
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Rodgers & Hammerstein’s
OKLAHOMA! OKLAHOMA! Music by RICHARD RODGERS Book and Lyrics by OSCAR HAMMERSTEIN II Based on the play “Green Grow the Lilacs” by Lynn Riggs Original Dances by Agnes de Mille
October 31–November 3
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by Dan Sullivan
Illustration by Kyle Malone
death of a Salesman
Death of a Salesman, a classic not. This play is very much alive and it speaks to us today, loud and surprisingly clear.
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he should never have any interest in how people talk.” The arguments proved that Miller’s script was a live wire, not a sacred text, and that’s how Powell wants it seen at close range in The Space, the DCPA’s in-the-round theatre—as a family story that’s almost too close for comfort. t won’t be the play Powell thought he remembered. The Lomans aren’t a generalized American Family, but a specific Brooklyn family, faintly Jewish (like Miller’s family), whose problems no longer seem to hark back to The Great Depression. Does paying off the mortgage ring a bell? Two grown sons back under the family roof. That also feels like today. Happy’s got a job but when will he stop running around? And Biff—a born leader back in high school, but how long ago was that? Will he find out who he is? The central problem here is Dad. Suddenly Willy Loman can’t keep his eyes on the road. For a traveling salesman, that’s death. (It’s not revealed what he sells, but Miller once spelled it out: “Himself.”) How would we diagnose Willy’s condition today? Burnout? Incipient dementia?
a magnificent display of self-deception, but each side of the case deserves credence. The original Willy, Lee J. Cobb, made you think of a giant in chains. Dustin Hoffman (still available on disk) made him a little guy who wasn’t going to take it lying down. In his comments on the play, Miller defended Willy as a genuine hero, a man who measured his fate and stood up to it—a brother, in an odd way, to John Proctor at the end of The Crucible. Powell sees Willy as “a fighter, a twofisted bantam who wants to see his kids do better. There are still a lot of Willy Lomans out there.” But as Powell went into rehearsal, nothing was written in stone. The play would unreel quickly, unencumbered by a heavy realistic set—maybe just chairs and a table. The story would be the thing, not what it all meant. Let the audience decide. Powell promises not to miss the talkbacks. hey are apt to be emotional. Hoffman’s scrappy Willy Loman didn’t translate well to TV, but I remember seeing it on Broadway with my cousin in the 80s, both of us probably thinking about our fathers.
death of a Salesman
There are two ways to disrespect a play that’s made its mark. One way is to take potshots at it. The other way is to put it on a pedestal. Just last summer, for example, Entertainment Weekly canonized Death of a Salesman as the greatest play of the past 100 years. Oh, no, I thought. Now they’ll make them read it in high school. Bad idea. No spirited kid wants to wade through an alleged masterpiece because there’ll be a question about it on the final. That way lies Cliff Notes and perhaps a lifelong aversion to the author. Better, in 2013, to let the curious, young and old, pick up a paperback of Arthur Miller’s 1949 drama on their own hook— or, better still, see it on stage at The Denver Center for the Performing Arts (DCPA), as directed by Anthony Powell. thought I knew the play,” Powell says. Not that he had directed it before. But he’d read it, seen it, fallen under its influence. American theatre folk know Salesman the way the Brits know Hamlet. “What happened in Boston, Willy?” The death of the American dream. Lee J. Cobb. “Attention must be paid.”
The Lomans aren’t a generalized American Family, but a specific Brooklyn family, faintly Jewish (like Miller’s family), whose problems no longer seem to hark back to The Great Depression. Does paying off the mortgage ring a bell? All “baggage,” says Powell today. “I didn’t know the play at all. I keep finding surprises.” Salesman’s production history also offers surprises. One is its spotty record with the critics. Not the overnight reviewers, but the heavyweight literary critics—the New York Review of Books crowd. While giving Miller credit for at least trying to write serious plays, this faction tended to gang up on Salesman for being pretentious, muddled, faux-poetic, selfimportant, over-earnest and generally halfbaked. And not a real tragedy either, if that was what you were thinking. (This became a real argument when Salesman was new, with Aristotle’s Poetics pressed into service on both sides.) Eric Bentley had his doubts. “Is [Willy Loman’s] littleness the product of the capitalistic system? Or is it Human Nature? What attitude are we to have to it? Pity? Anger? Or just a lovely mishmash?” nd Mary McCarthy scolded Miller for his obvious “impatience with the particular and his feeling that his play ought to say ‘more’ than it appears to be saying… It is natural therefore that
Ageism? I once asked Miller in an interview why his plays—not just The Crucible, his study of the Salem witch trials—could so easily apply to our times. Because, he said, our basic problems don’t really change down the years. And smart audiences— common-sense people with challenges of their own—understood it. All that changes is the packaging. lash to Willy and Linda’s midnight kitchen conference at the start of the play. “How can they whip cheese?,” he grumbles. Never mind the label; what’s really in the jar? Rather than deciphering Willy, our job is to witness his journey. Each step is painfully clear, but the back-and-forth is filtered through Willy’s head, mixing what’s really happening with his private experience of it. (In His Head was Miller’s original title.) But here’s another one of those surprises Powell keeps finding. Yes, Willy ends up a victim of the system, a guy who followed the wrong dream. But that’s not how he reads the situation. Powell: “He’s just pulled off the biggest deal of his life and his son is going to worship him for it.” This can either be seen as pathetic or as
At one point late in the show, trying to make notes for a review, I was annoyed to find that my pen had jammed up on my pad, which seemed to be damp. What was that all about? I must be crying. n Dan Sullivan was the theatre critic for the Los Angeles Times for 20 years. He directs the O’Neill Theater Center’s National Critics Institute and teaches at the University of Minnesota Journalism School.
Sept 20 – Oct 20 • Space Theatre Producing Partners: Mike & Diana Kinsey ASL interpreted & Audio Described • Oct 20, 1:30pm
Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • denvercenter.org 303.893.4100
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Tickets: 303.893.4100 Toll-free: 800.641.1222 TTY: 303.893.9582 Groups: 303.446.4829
Jackie & Me Nov 15 – Dec 22, Space Theatre Illustration by Kyle malone
In this engaging play by Steven Dietz, based on the novel by Dan Gutman, a rare baseball card is young Joey Stoshack’s ticket back in time, where he meets Jackie Robinson on the day he is signed by the Brooklyn Dodgers. Thrust into a racial pressure-cooker, Joey learns about courage and grace from one of America’s legends, warming hearts of all ages. ASL interpreted and Audio Described performance Dec 8 @ 1:30pm.
What makes Scrooge’s story so ripe for dramatic transformation? Indelible characters, an emotion-packed story with a killer ending, special effects, music and, of course, the festive Christmas setting. This poignant, joyous and redemptive story delivers on all scores. It’s a touching human drama, a bold morality tale and a scary ghost story with humor, spectacle, song, dance and a cast of thousands (well, a very large cast). Join us for this inspiring Christmas ritual, whether for the first time or the tenth. ASL interpreted and Audio-Described performance Dec 15 @ 1:30pm.
And more holiday shows to satisfy every palate! From David Sedaris’ true adventures working as an “elf” at Macy’s SantaLand Diaries (see local favorite Matt Zambrano don the candy-cane tights again in this cherished Boulder Theatre Ensemble comedy, Nov 29 – Dec 24, Garner Galleria Theatre) to the distinctive holiday music of Mannheim Steamroller Christmas (Nov 30 – Dec 1, Buell Theatre), to Three Acts, Two Dancers, One Radio Host: Ira Glass (host of “This American Life,” Dec 7, Buell Theatre), to the circus extravaganzas of Cirque Dreams Holidaze (Dec 10 – 22, Buell Theatre), we hope to ensure that all your holiday wishes will come true. Boulder Ensemble Theatre Company’s
The SantaLand Diaries By David Sedaris
Adapted by Joe Mantello
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Illustration by Kyle malone
A Christmas Carol Nov 29 – Dec 29, Stage Theatre
Colorado’s Family Law Team
The Harris Law Firm Plays a Different Tune by Controlling Costs and Limiting Litigation 1125 17th Street, Suite 1820 • Denver, CO 80202
SISTER ACT: BLESS THY (PHILLY) SOUL by Douglas Carter Beane
In 2011, Douglas Carter Beane was called in to help reframe the book of the musical Sister Act, based on the hit Whoopi Goldberg film. In addition to working with Bill and Cheri Steinkellner to ramp up the show (for which he received a Tony® nomination), Beane drafted the article below to tell us all about it, exhibiting a burnished love of his home state of Pennsylvania, as well as an affection for a musical loaded with fun and possessing a big, loudly beating heart.
TARA CAMPBELL IN SISTER ACT • PHOTO BY JOAN MARCUS
o I am at a very la‐di‐dah cocktail party and the topic of conversation finds itself landing on Machiavelli commissioning both Leonardo Di Vinci and Michelangelo to do paintings on a wall. The “oohing” and “aahing” soon gives way to the “Can you imagine being on earth in that golden era?” Well, I try not to be too smug about it, but I tell them “Yes I can, because I was lucky enough to be in Philadelphia in the 1970s.” That was the harmonic convergent time when the funky bass, the overproduced strings of that glockenspiel all blended together to create the sound that is now lovingly referred to as “Philly Soul.” It was a shiny snappy “Diamond in the Back” disco ball of a time when the world was shaking its collective bootie to the music that was coming out of our little Lebanon Bologna and scrapple town. We really didn’t know how magical it was at the time; frankly we were too busy dancing. But it somehow seemed just commonplace to go out and see Phyllis Hyman, Patti LaBelle, Teddy Pendergrass, the Ojays, out dancing to their own music in clubs. A girl would come into some disco at midnight, sing a new song, the next thing you knew it was a song called “Hot Shot” and climbing the dance charts. And wow, I held her Mylar fan when she introduced it at the club Equus. But let’s start at the beginning of the musical Sister Act and how it came to inhabit this luscious world. First there was a movie. Man was it great.
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Whoever came up with the idea of setting it in Philadelphia in the 70s and take advantage of the Philly soul sound deserves a complimentary cheesesteak. With onions. The music is up there with the most joyful and optimistic tunes ever created. graduation or you’re stuck with nothing to do on a rainy afternoon. But it somehow just seemed to want to continue to happen. A group of visionaries decided to dream big and turn this iconic piece into a living breathing theatre piece. To do so, it certainly could not be a re‐creation of what was on the film. Creativity wouldn’t let that happen. It had to be something that was worthy of a live theatre event. Our group? Multi‐Emmy winning TV writers Bill and Cheri Steinkellner, multi-Oscar winning composer Alan Menken and Broadway rising star Glen Slater. Pretty classy outfit.
The germ of the idea was the creation of great American humorist Paul Rudnick and super genius producer Scott Rudin. According to Paul’s hilarious essay on the topic for The New Yorker, just about everyone in the Los Angeles phone book did a draft of the screenplay. Casting excelled with Maggie Smith, Kathy Najimy and Mary Wickes—and Whoopi Goldberg simply cemented her reputation as one of the screen’s great comedic actresses. Catch it again and watch how that smile just melts your heart. sequel was made, the DVDs of both found themselves on the floor of the nation’s minivan. It was just a part of American culture now. A friend to turn to when things are not going well or you want to celebrate someone’s
at the time was called The first choice made by Second Story and was our group was the story of actually a converted Deloris’ life. Whoopi was so church, complete with convincing and heartbreaklight and sound systems ing as a singer whose life and popcorn in the has chosen not to shower baptismal font. her with love. It happens to There was also a performers. You just sensed remarkable success to be that her world of Reno and had, which would enerher Motown medleys in the gize and frustrate Deloris lounge were about as good even more. Evelyn Chamas she was ever going to get. pagne King was cleaning But for the musical, what if out the ladies room at Deloris could sing—I mean Philadelphia International really let go—and, as we records, when she was used to say back in the 70s, Douglas overheard singing. They just pee. And what if she Carter Beane put her on the album was on the brink of a career, Shame and it was number not looking back on one that nine on the US charts. Karen Young (she didn’t happen? The second choice was the music. The of the “Hot Shot” and the Mylar fan) was film used Deloris’ versions of old Motown working at a McDonald’s. It was a remarkand Brill building tunes. For this idea able time. there was one immediate conflict for I hope you enjoy the show and its story composer Alan Menken—he had already of people who have no business liking done the 60s music to a fare‐thee‐well one another just giving way and doing so. with his tremendous Little Shop of HorA little comedy about the inevitability of rors. Whoever came up with the idea of acceptance. setting it in Philadelphia in the 70s and s I sat there on opening night, I take advantage of the Philly soul sound looked across the aisle and there deserves a complimentary cheesesteak. was Patti LaBelle. The first time With onions. The music is up there with I had seen her in person was dancing at the most joyful and optimistic tunes ever the Second Story—the disco made from created. (I know I can’t go to a birthday a church. The minute Deloris gave way party for one of the kids in my daughter’s with “Raise your voice,” Miss Patti shook kindergarten class without hearing “Ain’t it like she shook it in the 70s. I felt like I No Stopping Us Now.”) was home. n Lyricist Glen Slater knew this world inside and out. The gangster boyfriend is Douglas Carter Beane is a New Yorkdoing songs that a witty Lou Rawls would based playwright and screenwriter who have done in the wink of an eye. And was born in Wilkes-Barre, PA, and grew when the bad guys sing about breaking up in Wyomissing, PA. His most recent into the convent, it’s pure Stylistics. work includes the new adaptation of the The third choice was the addition of book for the Tony®-nominated Rodgers the love story. What if Eddie the cop and and Hammerstein’s Cinderella, his play Deloris had the hint of a little romance The Nance, and the 2007 Tony-nominatgoing? ed The Little Dog Laughed. hen I was called on board by director Jerry Zaks I re‐watched the movie and then was sent the recording of the score. It hit me hard. Here was a show with a big Philly soul. That great sound of funky bases, symphonic strings and lyrics so optimistic they make you smile. How well I Sept 24 – Oct 6 • Buell Theatre remembered those those happy times with Sponsored by Comcast the city of Philly coming into a new life. ASL interpreted, Audio Described & Open Captioned Discos and eateries and cabarets suddenly Oct 6, 2pm appeared, made from old buildings finding new life. Tickets: 303.893.4100 In the show you’ll see the fretting of Mother Superior that her church is Toll-free: 800.641.1222 • TTY: 303.893.9582 becoming a disco. This was more than Groups (10+): 303.446.4829 • denvercenter.org imaginary. The number one club in Philly
A P P L A US E
We power dreams in the communities we serve
Comcast is proud to support The Denver Center for the Performing Arts (DCPA) because investing in vibrant arts organizations not only enriches lives, but also helps build and sustain a thriving business community.
A proud sponsor of Sister Act
omcast isn’t just in the business of communications and entertainment. We’re also in the business of building communities. Comcast is proud to support The Denver Center for the Performing Arts (DCPA) because investing in vibrant arts organizations not only enriches lives, but also helps build and sustain a thriving business community. Comcast and NBC Universal are proud to make communities stronger by empowering changemakers through technology, innovations, community service and workforce volunteerism. Since 2001, Comcast has provided billions in cash and in-kind support to national and local not-for-profit organizations. Here in Colorado, Comcast donated nearly $6 million in cash and in-kind contributions to more than 200 community organizations in 2012. Nationally, Comcast contributed a total of $34.5 million in cash and $275 million of in-kind support last year. One of Comcast’s key community investment efforts is closing the broadband opportunity gap and bringing the power of the Internet to more Colorado families. That’s why Comcast launched “Internet Essentials,” the nation’s largest and most comprehensive broadband adoption program. Families with children who receive free or reduced school lunch can enjoy fast home Internet service at an affordable price, purchase a low-cost computer, and receive free Internet training to help them advance their skills in utilizing technology.
Learn more at www.InternetEssentials.com to help families across Colorado benefit from this program. Investing in the success of Colorado families also means engaging in community service, and Comcast employees proudly roll up their sleeves to give back to Colorado’s communities. Most recently, Comcast Cares Day brought together more than 9,400 Comcast employees, family members and friends to volunteer at more than 40 different project sites across the Mile High region. Volunteers helped with construction projects, painting, landscaping, park clean-ups and other needed services. It’s this same base of dedicated employees that is committed to providing the fastest, most sophisticated and feature-rich suite of communications services that directly impact the success of local business customers. Comcast Business has quickly become the go-to company for Business Internet, Voice and Video services. From our quick-start website offerings to our unlimited local and long distance calling plans, to the television services that keep employees entertained and informed, Colorado businesses rely on advanced technology to get a market advantage, save money and build their bottom lines. The Comcast commitment transcends communications. Through technology, innovation and philanthropy, Comcast is proud to power dreams in the communities we serve. n
On Comcast Cares Day, more than 9,400 volunteers completed more than 40 different projects with community partners across our Mile High Region. 20
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Denver Center Theatre Company Resident Professional Theatre • Kent Thompson, Producing Artistic Director
With Anthony Bianco, Adrian Egolf, Kate Gleason*, Mike Hartman*, John Patrick Hayden*, John Hutton*, Lauren Klein*, Kyra Lindsay, M. Scott McLean*, James O’Hagan-Murphy, Michael Santo*, Brian Shea*
SET DESIGN BY Lisa M. Orzolek
COSTUME DESIGN BY David Kay Mickelsen
ORIGINAL MUSIC AND ARRANGEMENTS BY Gary Grundei
LIGHTING DESIGN BY Charles R. MacLeod
DRAMATURGY BY Allison Horsley
DIRECTOR OF PRODUCTION Jeff Gifford
SOUND DESIGN BY Jason Ducat
VOICE AND DIALECT COACHING BY Kathryn G. Maes, Ph.D
STAGE MANAGER Christopher C. Ewing*
Anthony Powell PRODUCING PARTNERS Mike & Diana Kinsey
On Death of a Salesman the Denver Center Theatre Company’s Production Staff is responsible for costumes, wigs, lighting, props, furniture, scenic construction, scenic painting, sound and special effects. Death of a Salesman is presented by special arrangement with Dramatists Play Service, Inc., New York. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.
THE SPACE THEATRE • SEPTEMBER 20 – OCTOBER 20, 2013 2013/14 Season Partners
CAST (in order of appearance) Willy Loman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIKE HARTMAN* Linda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LAUREN KLEIN* Biff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN PATRICK HAYDEN* Happy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . M. SCOTT MCLEAN* Bernard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANTHONY BIANCO The Woman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATE GLEASON* Charley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MICHAEL SANTO* Ben . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN HUTTON* Howard Wagner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BRIAN SHEA* Jenny . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KYRA LINDSAY Stanley . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES O’HAGAN-MURPHY Miss Forsythe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ADRIAN EGOLF Letta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KYRA LINDSAY
UNDERSTUDIES Understudies never substitute for the listed players unless a specific announcement for the appearance is made at the time of the performance. JAMES O’HAGAN-MURPHY (Howard, Biff, Happy), JEREMY PALMER (Bernard), MACKENZIE PAULSEN (Jenny, Letta, Miss Forsythe),
ERIK SANDVOLD* (Willy Loman, Charley, Ben), BRIAN SHEA* (Stanley), GABRA ZACKMAN* (Linda, The Woman)
Time & Place:
The late 1940’s. Willy Loman’s house and yard, and various places in New York City and Boston There will be one 15-minute intermission. Production Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTOHPER C. EWING* Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A. PHOEBE SACKS* Production Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KRISTEN LITTLEPAGE Fight Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN PATRICK HAYDEN* Special thanks to Charlie Korman and Madelyne Rachel Ewing. *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Mariela in the Desert, The Voysey Inheritance, A Prayer for Owen Meany, Doubt, All My Sons, Master KENT THOMPSON (Producing Class, Mrs. Warren’s Profession, Artistic Director) is in his ninth A Christmas Carol, Cat On a Hot season as Producing Artistic Tin Roof, The Little Foxes, Molly Director of the Denver Center Sweeney, Amy’s View, Valley Song, Theatre Company. In Denver he Pierre, Dinner With Friends, and directed productions of Other The Cripple of Inishmaan. Desert Cities, Irving Berlin’s As Director of New Play White Christmas, The Taming of Development, he oversees both the the Shrew, A Midsummer Night’s artistic and practical components Dream, Plainsong, Eventide, Amadeus, The Liar and Measure for of DCTC’s successful Colorado New Play Summit, including Measure, among others. commissions from outstanding Two of Kent’s major American playwrights. accomplishments since moving to He has directed for Arizona Denver have been the Colorado Theatre Company, Cleveland Play New Play Summit, a premier House, Lark Play Development national festival for new American Center, Kansas City Repertory plays, and the establishment of Theatre, Virginia Stage Company, the Women’s Voices Fund, an Alabama Shakespeare Festival, endowment that supports the Northlight Theatre, San Jose development of new plays by Repertory Theatre, Eugene O’Neill women. Prior to moving to Denver he was Theater Center, Pioneer Theatre Company, A Contemporary Producing Artistic Director of the Theatre, Seattle Repertory Alabama Shakespeare Festival Theatre, Empty Space and for 16 years. His production of Intiman Theatre in Seattle, the Macbeth was selected by the Kimo Theatre in Albuquerque, National Endowment for the Arts and Utah Shakespearean Festival. (NEA) to tour 13 US military His popular production of 2 bases in the fall of 2004. In 1991 Kent created the Southern Writers’ Pianos, 4 Hands has been seen at more than 20 theatres nationally, Project (SWP), designed to commission and develop new plays including DCTC’s successful 2003 production. that presented 16 world premieres during his tenure. CHARLES VARIN (Managing He served for eight years on the Director) and his team are Board of Directors for Theatre Communications Group (TCG) and responsible for administrative, financial and business operations as its president for three years. He related to producing DCTC’s season has served on peer review panels of productions and other artistic for the NEA (also chair), TCG, and educational initiatives. Prior The Pew Charitable Trusts, The to DCTC Charles was General Fulbright Scholars Program, The Manager for Geva Theatre Center in Wallace Funds, The Doris Duke Rochester, NY and also has worked Foundation and The Andrew W. at Glimmerglass Opera, Asolo Mellon Foundation, among others. Repertory Theatre and Florida Studio Theatre. Charles serves on BRUCE K. SEVY (Associate the board of the Mile High Freedom Artistic Director and Director Band and plays tuba with the of New Play Development) has organization. directed such memorable Denver Center productions as When We Are Married, Heartbreak House,
JEFF GIFFORD (Director of Production) oversees everything you see on stage except the actors and is thrilled to be joining the Denver Center Theatre Company, leading such a fine group of artisans. Prior to DCTC, Jeff was the Production Manager at the Dallas Theater Center and South Coast Repertory in Costa Mesa, CA. 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.
Artistic staff GARY GRUNDEI (Musical Composer). At the Denver Center: Great Wall Story, The Adventures of Tom Sawyer, To Kill a Mockingbird, Dracula, Eventide, Plainsong, Oedipus Rex, The Merchant of Venice, Love’s Labor’s Lost, Pierre, Hamlet, Cloud 9 (NTC), The Tempest, Macbeth, Sylvia, Taking Leave, Servant of Two Masters. Other Theatres: The Magic Theatre, Kennedy Center, New York Stage and Film, Baltimore Theatre Project, Contemporary American Theatre Company (CATCO), Boulder’s Chautauqua Community House, Naropa University, Occidental College, The Ohio State University, The Dairy Center, Lander University. ALLISON HORSLEY (Dramaturg). At the Denver Center: The Giver, Eventide, Plainsong, 1001, New Play Summit. Other Theatres: Broadway/West End: Jersey Boys, Dracula the Musical, Chaplin (development), Oregon Shakespeare Festival, O’Neill Music Theater Conference, Kitchen Dog Theater, La Jolla Playhouse, Dallas Theater Center, Centerstage,
DAVID KAY MICKELSEN (Costume Designer). At the Denver Center: (56 productions/19 consecutive seasons/13 premieres) Irving Berlin’s White Christmas, When We Are Married, Fences, DESIGNERS The Liar, Ruined, The 39 Steps. Other Theatres: Guthrie JASON DUCAT (Sound Theater, Cincinnati, Geffen, Designer). At the Denver Center: Laguna, Cleveland, Pasadena, (20 productions/5 seasons) Other Westport (playhouses); Seattle, Desert Cities, World Premiere Contemporary, Irish, Berkeley, Grace, or The Art of Climbing, Tennessee, Missouri, San Diego, When We Are Married, Fences, KATHRYN G. MAES Ph.D Heartbreak House, World Premiere New Mexico, St. Louis (repertory theaters); Williamstown, Sundance (Voice and Dialect Coach). At Two Things You Don’t Talk About (theatre festivals); Geva, Fords the Denver Center: When We At Dinner, The Adventures of (theatres); Portland, Pennsylvania Are Married, Fences, The Three Tom Sawyer, Superior Donuts, (center stages); Oregon, Utah, Musketeers, Heartbreak House, The House of the Spirits. Other Colorado, Illinois (Shakespeare World Premiere Great Wall Theatres: The Brothers Size, 9 festivals); Old Globe, Arizona, Story. Other Theatres: Royal Circles, Astronomical Sunset Northlight, Pioneer, Children’s Shakespeare Company, Royal (Curious Theatre); Macbeth, (theatre companies). Special/ National Theatre (Arthur Miller’s Richard II (Colorado Shakespeare American Clock). TV/Film: “Law Festival); Marat/Sade, The Winter’s Awards: Seven AriZoni, Denver & Order,” Cinderella. Special/ Tale (Purdue); Lab Coats on Clouds Post Ovation, Acclaim, Goldy Training: Voice and Dialect Coach (Prague Quadrennial); The Princess Fishy, Jackie (Awards). From Canby, Oregon, now lives in Long for numerous professional theatre and the Pea, The Little Mermaid Beach, California. companies in the United States, (Chicago Shakespeare Theater); Head of Voice at the Denver Center Sideways Stories from Wayside LISA M. ORZOLEK (Set Theatre Company and the National School (Hope Summer Repertory Designer). At the Denver Center: Theatre Conservatory 1989 to 1992. Theatre). Training: MFA in Sound (200+ productions/21 seasons) Ph.D. in Theatre Arts, University Design from Purdue University. World Premiere Great Wall Story, of Pittsburgh; Advanced Diploma The Liar, Superior Donuts, Othello, in Voice Studies, Central School CHARLES R. MACLEOD of Speech and Drama, London, (Lighting Designer). At the Denver Well, The Voysey Inheritance, The Trip to Bountiful, Gee’s Bend, England. Center: (300+ productions/30 Third, The Pillowman, Living seasons). World Premieres: Grace, Out, After Ashley, A Lovely ANTHONY POWELL (Director). or the Art of Climbing, Lydia, Sunday for Creve Coeur, Boston At the Denver Center: Wit, The Love Janis, When Tang Met Laika, Marriage, Visiting Mr. Green, Dresser, Racing Demon, Someone 1001. Selected lighting designs at Blue/Orange. Other Theatres: Who’ll Watch Over Me, The Beauty the DCPA include: The 39 Steps, A Midsummer Night’s Dream, Queen of Leenane, A Skull in Gross Indecencies: The Three Macbeth, Complete Works of Connemara, The Lonesome West, Trials of Oscar Wilde, Always… Shakespeare (Abridged), Richard The Pillowman, Dirty Story, Love’s Patsy Cline, The Taffetas, All My II (Colorado Shakespeare Festival); Labour’s Lost, The Tempest, The Sons, The Miracle Worker, The Love...Perfect...Change, Five Merchant of Venice, Macbeth, Three Musketeers, Ring of Fire: Course Love, Girls Only, The Three Tall Women, The Last Night The Music of Johnny Cash, Noises Taffetas, My Way (Denver Center of Ballyhoo, Betrayal, After Ashley, Off, Lost Highway: The Legend of Attractions), Twelfth Night, The Last Yankee, Misalliance, Hank Williams, The Merry Wives God’s Country (National Theatre Copenhagen, etc. Other Theatres: of Windsor, Betrayal, Season’s Conservatory). Training: BFA Frozen (Curious Theatre Company), Greetings, A Christmas Carol, in Scenic Design from Boston A Man For All Seasons (Arvada Master Class, Desire Under the Center), Snake in the Grass (Creede Elms (Denver and Japan tour), Girls University. Repertory Theatre), God’s Man Only: The Secret Comedy of Women in Texas (PlayMakers Repertory (Denver, Des Moines, Winnipeg and Company), Ain’t Nothin’ But the Charlotte). Yale Repertory Theatre. Special/ Training: Commissioned literal translator of Chekhov’s Ivanov, Seagull, Uncle Vanya, Three Sisters, and The Cherry Orchard, all adapted by Libby Appel (Oregon Shakespeare Festival), translator of Leonid N. Andreev’s The Black Masks, Associate Professor, University of Denver. BA, Russian and Theatre, University of Denver. MFA, Yale School of Drama.
Blues, Smoky Joe’s Café (Theatre Aspen). Artistic Director of Denver’s Stories on Stage since 2010.
PLAYWRIGHT ARTHUR MILLER (Playwright) was born in New York City and studied at the University of Michigan. His plays include The Man Who Had All The Luck, All My Sons, Death Of A Salesman, The Crucible, A View From The Bridge, A Memory Of Two Mondays, After The Fall, Incident At Vichy, The Price, The Creation Of The World And Other Business, The Archbishop’s Ceiling, The American Clock and Playing For Time. Later plays include The Ride Down Mt. Morgan, The Last Yankee, Broken Glass, Mr. Peters’ Connections, Resurrection Blues, and Finishing The Picture. Other works include Focus, a novel; The Misfits, a screenplay; the texts for In Russia, In the Country, and Chinese Encounters, three books in collaboration with his wife, photographer Inge Morath. Memoirs include “Salesman in Beijing” and “Timebends,” an autobiography. Short fiction includes the collection “I Don’t Need You Anymore,” the novella “Homely Girl, a Life” and “Presence: Stories.” He was awarded the Avery Hopwood Award for Playwriting at University of Michigan in 1936. He twice won the New York Drama Critics Circle Award, received two Emmy Awards and three Tony Awards for his plays, as well as a Tony Award for Lifetime Achievement. He also won an Obie Award, a BBC Best Play Award, the George Foster Peabody Award, a Gold Medal for Drama from the National Institute of Arts and Letters, the Literary Lion Award from the New York Public Library, the John F. Kennedy Lifetime Achievement Award, and the Algur Meadows Award. He was named Jefferson Lecturer for the National Endowment for the Humanities in 2001. He was awarded the 2002 Prince of Asturias Award for Letters and
the 2003 Jerusalem Prize. He received honorary degrees from Oxford University and Harvard University and was awarded the Prix Molière of the French theatre, the Dorothy and Lillian Gish Lifetime Achievement Award, and the Pulitzer Prize.
ANTHONY BIANCO (Bernard). At the Denver Center: Romeo & Juliet, When We Are Married, The Three Musketeers, World Stage management Premiere Two Things You Don’t Talk About At Dinner, The Taming of The CHRISTOPHER C. EWING* Shrew. Other Theatres: Twelfth Night (Production Stage Manager). At the (Arvada Center, Colorado Shakespeare); Denver Center (29 seasons) World Richard III, Treasure Island (CSF); Premiere Sense & Sensibility The Bach at Leipzig (Boulder Ensemble Musical, When We Are Married, Theatre Company); Much Ado About Fences, Ring of Fire: The Music of Nothing (Oak Park Festival Theatre); Johnny Cash, A Christmas Carol, Hamlet, Tuesdays with Morrie, Three To Kill a Mockingbird, Dracula, Sisters, Metamorphoses (Krannert Mama Hated Diesels, Eventide, Center); The House of Yes (Equinox A Raisin in the Sun, Quilters, A Theatre); The Chosen (Theatre Or); Prayer for Owen Meany, Noises The Zoo Story (PTP). Training: MFA Off, Plainsong, Mrs. Warren’s (University of Illinois at Urbana/ Profession, A Funny Thing…Forum, Champaign), BFA (Southern Oregon The Clean House, Gem of the University). Ocean, A Flea in Her Ear, Crowns, Fire on the Mountain, John Brown’s ADRIAN EGOLF Body, 2 Pianos, 4 Hands, The Skin (Miss Forsythe). At of Our Teeth, Almost Heaven, The the Denver Center: Immigrant, Tantalus, The Laramie Romeo & Juliet. Project. Other Theatres: Colorado Other Theatres: Steel Ballet, Denver Center Attractions, Magnolias (Barth Bonfils Theatre. Training: BFA in Hotel); Unnecessary Theatre Design/Technology from Farce, How To Succeed, Quilters, Is Loretto Heights College. He Dead?, Fools, Leading Ladies (Creede Repertory Theater); God A. PHOEBE SACKS* (Assistant of Carnage (Off Square); Of Mice Stage Manager). At the Denver and Men (Colorado Springs Fine Center: (11 seasons) World Arts Center); Boeing Boeing Premieres: Sense & Sensibility (Theatreworks); Present Laughter The Musical, Ed, Downloaded, (Miner’s Alley); Tales of the City, Great Wall Story, The Whale, Map Diaries of Adam and Eve (Eugene of Heaven, Eventide, Sunsets and O’Neill Theater Center). Training: Margaritas, Inana, Almost Heaven, National Theater Institute, American The Immigrant, Pierre, 1933. Other Academy for Dramatic Arts, St. productions include: Fences, Petersburg Arts Academy. American Night: The Ballad of Juan José, Ruined, The 39 Steps, Mariela KATE in the Desert, Well, Glengarry Glen GLEASON* (The Ross, Gee’s Bend, Lobby Hero, Woman). At the Visiting Mr. Green, Copenhagen, Denver Center: King Hedley II, The Lonesome West, Heartbreak House, Dinner With Friends. Training: Don Quixote, The BA in Technical Theatre from the Last Night of University of Northern Colorado. Ballyhoo, Love’s Labor’s Lost.
Other Theatres: The Pillowman, Noises Off (Broadway); A Flea in Her Ear (Roundabout); Things You Shouldn’t Say Past Midnight (Promenade); Clowns Plus Wrestlers (The Kitchen); Henry IV, Part I (BAM); Dividing The Estate (Arvada Center); Henry IV, Part I (Hebbel Theatre, Berlin); Cat on a Hot Tin Roof, Crimes of the Heart (Vienna’s English Theatre); These Shining Lives (Baltimore Center Stage); Cyrano De Bergerac (Playmakers Rep); Much Ado About Nothing, A Streetcar Named Desire (Northern Stage); The Chicago Conspiracy Trial (Remains Theatre, Chicago); Dreading Thekla, Dead End (Williamstown). TV/Film: “Late Night with Conan O’Brien,” “Guiding Light.”
Company, Lincoln Center, Mint Theater, Hartford Stage Company, Pittsburgh Public Theater, Shakespeare Theater of New Jersey, Alabama Shakespeare Festival, Virginia Shakespeare Festival, Gateway Playhouse, Northern Stage, Coastal Arts Center. TV/Film: “Blue Bloods,” “Mercy.” Mr. Hayden’s production company Breadth Films releasing Shadowboxing. Awards/Training: Moss Hart Award for Hamlet. BFA from F.S.U., Master Classes with David Mamet and Jose Quintero. johnpatrickhayden.com
Rappaport. TV/Film: “Law & Order,” “Tales From The Darkside,” My One And Only, Then She Found Me, A Price Above Rubies. Awards/ Training: Connecticut Critics’ Circle-Big Love, NYIIFVF-Snooze, Carbonelle-Denial. MFA-American Conservatory Theatre, San Francisco. BFA-College of Santa Fe. KYRA LINDSAY (Jenny, Letta). At the Denver Center: Debut. Other Theatres: Harry the Great, The Drowsy Chaperone (Creede Repertory Theatre); White Christmas (Starkey Theatrix); Annie Warbucks (Candlelight Dinner Playhouse); Taming of the Shrew, Love, Sex, and the I.R.S., Little Shop of Horrors (Shuler Theatre); Tomato Plant Girl (Denver Children’s Theatre); The Unsinkable Molly Brown (Town Hall Arts Center); Nunsense, Baby (Southern Colorado Repertory Theatre).
JOHN HUTTON* (Ben). At the Denver Center: Grace, or MIKE The Art of Climbing, HARTMAN* When We Are (Willy Loman). At Married, To Kill a the Denver Center: Mockingbird, (15 seasons) Other Superior Donuts, A Midsummer Desert Cities, Irving Night’s Dream, House Of The Berlin’s White Spirits, Othello, Miracle Worker, Christmas, Great Wall Story, To Kill Trip To Bountiful, Plainsong, Diary a Mockingbird, Superior Donuts, Of Anne Frank, Measure for The Catch, Eventide, A Raisin in the Measure, Dirty Story, The Merchant M. SCOTT Sun, A Prayer for Owen Meany, Of Venice, Copenhagen, Betrayal, MCLEAN* Richard III, Glengarry Glen Ross, Uncle Vanya, Side Man. Other (Happy). At the Plainsong, You Can’t Take it With Theatres: A.C.T., The Goodman, Denver Center: You, A Christmas Carol, Funny The Old Globe, Center Stage, Grace, or The Art of Thing...Forum, King Lear, Season’s Curious Theatre, The Colorado Climbing, A Greeting, All My Sons, Dirty Story, Shakespeare Festival. TV/Film: Christmas Carol, Grapes of Wrath. Broadway: Juncture, Lincoln. Dracula, When Tang Met Laika, A Grapes of Wrath, The Kentucky Prayer for Owen Meany. Other Cycle, Sherlock Holmes. Other LAUREN KLEIN* Theatres: Sense and Sensibility Theatres: cowboyily (Creede Rep), (Linda). At the (TheaterWorks); The Unexpected The Peoples Temple (Guthrie), Denver Center: Guest (Arts Center of Coastal Cleveland Playhouse (8 seasons), Other Desert Cities, Carolina); The Rover (New York Cincinnati Playhouse, Actors Plainsong, Eventide. Classical Theatre). Training: Theatre of Louisville, Center Stage, Broadway: Other Graduate of the American Academy Kennedy Center, Geva Playhouse, Desert Cities, Lost In of Dramatic Arts and the National Virginia Stage. Training: BA Yonkers, Broken Glass. OffTheatre Conservatory. Otterbein University. Broadway: Mr. Goldwyn, Death Defying Acts, After The Fall, What’s JAMES JOHN PATRICK Wrong with this Picture? Regional: O’HAGANHAYDEN* (Biff). Big Love (ATL, Berkeley Rep, Long MURPHY (Stanley/ At the Denver Understudy). At the Center: Other Desert Wharf, BAM), People’s Temple (Berkeley Rep), Saturday, Sunday, Denver Center: Cities. Other Monday (Long Wharf). Tours: Dirty Debut. Other Theatres: Theatres: RFK: A Roundabout Theater Dancing, Broadway Bound, I’m Not
Portrait of Robert Kennedy, Angels in America (Vintage); The 39 Steps (Town Hall); Crime and Punishment (Boulder Ensemble); A Lie of the Mind (Paragon); Some Girl(s) (Edge); A Doll’s House (Byers-Evans House). Awards: 2011 Denver Post Ovation nomination Best Year for an Actor, 2012 Marlowe Best Actor (A Doll’s House), 2013 Henry nomination (RFK), 2013 Westword Best Actor in a Drama (RFK). JEREMY PALMER (Understudy). At the Denver Center: Has worked at the Denver Center with either the DCTC or Phamaly Theater Company for the past 18 years. DCTC: DATE*, A Christmas Carol, Treasure Island (Jim Hawkins) and Tom Sawyer (US Tom & Huck). Other Theatres: Phamaly: Joseph & the Amazing Technicolor Dreamcoat (Joseph), Man of La Mancha (Sancho), How to Succeed… (Finch), Little Shop of Horrors (Dentist), and Fiddler on the Roof (Perchik) as well as many other productions in and around Denver. MACKENZIE PAULSEN (Understudy). At the Denver Center: Romeo & Juliet, The Three Musketeers, A Christmas Carol, DATE*. Other Theatres: NYC: The Wild Party (The Culture Project). Denver: The 39 Steps, Avenue Q, Damn Yankees, Guys and Dolls, Annie, A Christmas Carol. Tour: Missoula Children’s Theatre. NYU: Sister Mary Ignatius Explains It All For You, Evita, Such Foolish Affected Ladies, The Crucible, Starmites. Training: BFA in Theatre from New York University (Playwrights Horizons and CAP21).
ERIK SANDVOLD* (Understudy). At the Denver Center: When We Are Married, Plainsong, Diary of Anne Frank, Well, Flea in Her Ear, Pillowman, Skin of Our Teeth, A Christmas Carol. Other Theatres: Bubs (Fringe NYC); God of Carnage, Clybourne Park, 9 Circles, Homebody/Kabul, Opus, Rabbit Hole, Fuddy Meers, I Am My Own Wife, Take Me Out (Curious); Romeo and Juliet, The Rivals (Colorado Shakespeare Festival); Moonlight and Magnolias, Arsenic and Old Lace (Arvada Center) Film: Juncture, Killing Kevin. Awards: Alexander Scourby Narrator of the Year Award 2001, 2003 (NYC); Rocky Mountain News Top Actor 2005; Denver Post Ovation Awards 2005, 2006, 2008.
The Winter’s Tale, Gross Indecency: The Three Trials of Oscar Wilde, A Christmas Carol, Kingdom. Other Theatres: On An Average Day (Curious Theatre Company); Bus Stop, The Importance of Being Earnest, The Merchant of Venice, Marvin’s Room (National Theatre Conservatory); As You Like It (Modern Muse); Savage in Limbo (Sis Tryst Production). TV/Film: “In Plain Sight,” Shiny Things. Training: BFA - New York University, MFA - National Theatre Conservatory.
GABRA ZACKMAN* (Understudy). At the Denver Center: Reckless. Other Theatres: Dividing the Estate (Arvada Center); Love Song (Cincinnati Playhouse); My Name Is Asher Lev (Arden), Mary Zimmerman’s MICHAEL SANTO* (Charley). production of Metamorphoses (Hartford Stage, KC Rep); A At the Denver Christmas Story (Pioneer); BoeingCenter: Glengarry Boeing (ACCC); Measure for Glen Ross, Merry Pleasure (FST); Midsummer Wives of Windsor, Love’s Labor’s Lost, Night’s Dream (Stratford, CT); Taming of the Shrew (Georgia, Lips Together Teeth Apart, Taking Leave, Love, Janis, The Living. Other Nebraska Shakes). Hudson Valley Shakespeare: 7 seasons. NY: On Theatres: Marin Shakespeare, American Conservatory Theatre, San The Verge (John Houseman; Edinburgh Fringe); Train Story Jose Repertory Theatre, Seattle Repertory Theatre, Intiman Theatre, (Adam Rapp); new plays at Juilliard, Soho Rep, EST, Mark Taper Forum, Oregon Lincoln Center Studio. TV: “Law Shakespeare Festival, Cincinnati and Order,” “SVU,” “AMC”. Playhouse in the Park, Alaska Audiobooks: Over 200 recorded. Repertory Theatre, Cleveland Play Training: Northwestern House, Shakespeare Theatre, University; MFA: The Shakespeare Hartford Stage Company, Portland Theatre, DC. Stage Company, Milwaukee Repertory Theatre. BRIAN SHEA* (Howard Wagner/ Understudy). At the Denver Center: Other Desert Cities, Grace, or The Art of Climbing, The Taming of the Shrew, The Tempest,
Denver Center theatre company Staff
PLEASE BE ADVISED Scene Shop THOMPSON Josh Prues,KENTAssistant PRODUCING Technical Director ARTISTIC DIRECTOR Lead Technicians: Albert “Stub” Allison, Louis Fernandez III Scenic Technicians: Mike Hamer, Justin Hicks, Brian “Marco” Markiewicz, EXECUTIVE Kent Thompson, Producing Artistic Director Keli Sequoia, Ross Wick Prop Shop Bruce K. Sevy, Associate Artistic Director Robin Lu Payne, Properties Director Charles Varin, Managing Director Eileen Garcia, Assistant Properties Director Jeff Gifford, Director of Production Roo Huigen, Lead Props Artisan Props Artisans: Jamie Stewart Curl, Charles ARTISTIC Dallas, David Hoth, Katie Webster New Play Development: Paint Shop Bruce K. Sevy, Jana L. Mitchell, Charge Scenic Artist Director of New Play Development Melanie Rentschler, Lead Scenic Artist Douglas Langworthy, Brian Proud, Scenic Artist Literary Manager/Dramaturg Paint Intern: Darcey James Chad Henry, Literary Associate Costume Shop Emily Tarquin, Artistic Associate/ Janet S. MacLeod, Costume Director New Play Coordinator Costume Design Associate: Meghan Sylvie Drake, Advisor Anderson Doyle Kevin Fulton, Intern Drapers: Stephanie Cooper, Carolyn Plemitscher, Louise Powers, PRODUCTION Jackie Scott Jeff Gifford, Director of Production First Hand: Cathie Gagnon Rick Noble, Assistant Production Manager Tailor: Sheila P. Morris Robert L. Orzolek, Interim Technical Director Stitchers: Kelly Jones, Teresia Larsen Christopher C. Ewing, Production Costume Crafts Stage Manager Kevin Copenhaver, Costume Crafts Director Julie Brou, Production and Artistic Judy Craigo, Costume Crafts Artisan Office Manager Wigs Scenic Design Lisa M. Orzolek, Director of Scenic Design Diana Ben-Kiki, Wig Master House Crew Scenic Design Assistants: Reuben Lucas, Doug Taylor*, Supervising Stagehand Lindsey Mayer, Nicholas Renaud Stagehands: Mariah Becerra*, Andrew Lighting Design Hamer, Stephen D. Mazzeno*, Miles Charles R. MacLeod, Director of Lighting Stasica*, Doug Taylor*, Matt Wagner*, Lighting Design Assistant: Lily Bradford Jim Berman* (*IATSE Local 7 Stagehands) Multimedia: Colin Riebel, Production Electrician Charlie I. Miller, Resident Multimedia Wardrobe Specialist Brenda Lawson, Director Topher Blair, Multimedia Assistant/Operator Wig Assistants: Jocelen Barnett, Maria Y. Sound Design Davis John E. Pryor, Director of Sound Dressers: Robin Appleton, Amber Donner, Sound Designers: Craig Breitenbach, Amoreena Kissel, Tim Nelson, Alan Richards, Jason Ducat, Tyler Nelson Brooke Vlasich Stage Management Christopher C. Ewing, Production ADMINISTRATION Stage Manager Charles Varin, Managing Director Stage Managers: Rachel Ducat, Ryan Meisheid, Associate Managing Director Kurt Van Raden Alyssa Stock, Company Manager Assistant Stage Managers: Matthew Allison Taylor, Assistant Company Manager Campbell, A. Phoebe Sacks Cassie Brown, Business Administrator Production Assistant: D. Lynn Reiland Diana Biurski, TCG Management Fellow Stage Management Interns: Becky Fryberger, Pearl Kerber, Kristen Littlepage
LATECOMERS are seated at designated breaks. PHOTOS & VIDEO RECORDING are prohibited. TURN OFF cell phones and alarm watches. CHILDREN UNDER 4 are not admitted. COUGH DROPS are available at Patrons Services.
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, Lighting and Sound designers in LORT theatres are represented by United Scenic Artists Local USA-829, IATSE Member of the Colorado Theatre Guild
The Denver Center 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 Denver Center 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 DCTC 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 Society for Stage Directors and Choreographers. The DCTC 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 Denver Center Theatre Company is a constituent of Theatre Communications Group (TCG), the national organization for the American theatre.
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The 2013/14 Events Death of a Salesman on October 2 Just Like Us on October 23 The Most Deserving on November 13 The Legend of Georgia McBride on January 29 black odyssey on February 12 Hamlet on February 19 Shadowlands on April 9 Animal Crackers on April 23
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by Douglas Langworthy
Playwright Catherine Trieschmann answers a few questions about her play, The Most Deserving, and tries addressing some of the comedic— and chaotic—issues it raises
Catherine Trieschmann doesn’t write well in urban spaces—she finds them too distracting. So when her husband got a job as philosophy professor at Fort Hays State University, the move from metropolitan Washington, DC to Hays, Kansas (pop. 20,000) wasn’t as difficult for her as one might suspect. Not only did the move bring employee health benefits and a low cost of living, but the slower pace of life provided fertile ground for her playwriting. She says that her years living on the Plains have been the best of her life. But since nearly all of her plays get produced in cities across the country, she still samples city life on a regular basis. In fact, the Denver world premiere of The Most Deserving, her comedy about a small-town arts council struggling to award a grant, makes this the closest job she’s had to home—a mere 400 miles away.
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The genesis of my plays usually involves both a desire to try something new formally and an instinctive pull towards a certain emotional terrain. In this case, I wanted to write a proper comedy—something I had never done before—as well as explore the psychology of patronage: why certain artists are funded and others are not and how those decisions affect individual artists as well as arts communities.
It’s an incredibly unscientific process, and of course, two plays may be of equal merit (whatever that means) but written in completely different styles. How do you choose between them? — Catherine Trieschmann
What interested you most about the inner workings of a small town arts council? Small towns have the reputation of fixating on relatively inconsequential things, often losing sight of the bigger picture, which is great terrain for comedy. People do this in large cities as well, of course— lack of perspective being common the world over—but small towns provide a ripe metaphor for the universal tendency. For example, I remember one particularly heated debate on our City Council about whether or not a businessman ought to be allowed to renovate a building he had bought. The roof had literally caved in, and the City Council was debating whether or not he could remove it. While I found this incident particularly amusing (especially as it played out in the editorial section of the local newspaper), I didn’t want to write a full-length play about building ordinances. The setting of an arts council allowed me to tackle ideas I really care about—aesthetics, patronage, taste—while still mining the humor of life in a small town. Everett, the artist in the play who makes religious art out of trash, is quite unconventional. He is characterized by members of the arts council as an “outsider artist.” How would you describe outsider art? I think Everett would probably be an outsider anywhere, and I confess the seeds for that character were probably laid during my childhood in the South, a landscape littered with eccentric characters. Eccentricity is harder to find in Kansas, where people are generally more reserved (although if you visit “Garden of the Gods” in Lucas, KS, you’ll find eccentricity a-plenty). “Outsider art” is a somewhat contested label, although I do use it in the play. Also called “folk art” or “visionary art,” it refers to untrained artists or artists creating [art] outside of the traditional conduits, like art schools, museums and galleries. Often these artists struggle with mental
illness, face difficult economic straits, and/or live on the margins of society. Their work usually features religious or fantastical imagery and might be made with anything from paint and brush to a box of toothpicks. Some famous examples include Henry Darger and Howard Finster, who lived and worked near my hometown of Athens, Georgia. Here’s an interesting fact: Howard Finster designed the album covers for Reckoning by REM and Little Creatures by Talking Heads. You mentioned this is your first comedy. What is the source of this play’s humor? In The Most Deserving, much of the comedy is derived from the gap between how characters perceive themselves and how others perceive them. It’s a classical comedic trope—from Molière’s The Imaginary Invalid to the mechanicals in A Midsummer’s Night Dream, characters have always amused us with their lack of self-awareness. There is also an overriding concern with status and power, even though no one in the play has much of either in the larger picture, which contributes to their tunnel vision and the overall humor of the play.
I have served on selection committees for various organizations and prizes, and what’s most interesting is how one strong personality can determine how the final decisions are made. At the end of the day, you have to make an argument for one candidate over another, so usually the candidate with the most impassioned and articulate advocate wins. It’s an incredibly unscientific process, and of course, two plays may be of equal merit (whatever that means) but written in completely different styles. How do you choose between them? Usually the most impassioned advocate gets his or her way, and hopefully that person is pure of heart and not motivated by other agendas!
the most deserving
How did you come to write The Most Deserving?
The arts council in your play has been charged with awarding an artist who exhibits not only artistic excellence and financial need, but also represents “an underrepresented American voice.” What happens when social issues get mixed up with aesthetic issues? The core difficulty in awarding prizes in the arts is that there are no agreed upon objective criteria in determining what is good—or even what is better than something else. When social issues are thrown into the mix, suddenly, there’s the perception of objective criteria, but of course, identity is not always a stable signifier either. Should a transgendered individual be considered for a prize for Women? What percentage Native American must one be to qualify for a prize for Native Americans (or to play “Tonto” for that matter). What constitutes an “underrepresented American voice” to begin with? Who decides? Hopefully, the play has a bit of fun tossing these questions around; I don’t think I’m spoiling anything by revealing that it certainly doesn’t answer them! n
You’ve said that the character of Dwayne is one of your favorites. In what ways does he charm you? Most of writing well consists of exhaustive revising, but every now and then the writing gods will gift you with a character or scene fully formed. Dwayne came to me in one great burst; I immediately knew who he was and what he wanted. If I were to psychoanalyze the author, I might say he’s the child inside her dying for acclaim and fearful of her own mediocrity. She may disagree, but what does she know of her own subconscious? Have you ever been on a funding or awards panel for the theatre? If so, how difficult was it to come to agreement around aesthetic issues?
Oct 11 – Nov 17 • Ricketson Theatre Producing Partners: Terry & Noel Hefty and Karolynn Lestrud Sponsored by The Steinberg Charitable Trust and The Women’s Voices Fund ASL interpreted & Audio Described • Nov 10, 1:30pm
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(l-r) Eric Koeplin, Bill Sullivan, Rob Adams, Aaron Azari
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t Colorado State Bank and Trust (CSBT) we trace our roots back to 1908. We imagine that those first customers seeking banking services were relieved to find a safe, secure place to put their money. Today, more than 100 years later, CSBT is a division of BOK Financial Corporation, one of the topperforming regional banks in the country. Safety, strength and stability continue to be a priority, while expanded products, services and resources mean a growing selection of financial opportunities for customers. In 1971, CSBT established a Trust department and for more than 40 years, the Bank has successfully administered and managed individual and family assets, helping to protect and preserve wealth for future generations. Last year The Milestone Group, one of Denver’s elite investment management and financial advisory firms, became partners with the CSBT team. Founded in 1996 by Eric Koeplin and Robert Adams, The Milestone Group specializes in providing customized investment management and financial advice to high net worth individuals and families. Together, CSBT and The Milestone Group provide customers with unique access to a variety of sophisticated financial and wealth management resources delivered in a disciplined and thoughtful manner. Providing a high level of customer service is a shared priority. In addition, the partnership represents a significant source of support for local civic, cultural and community activities. Both organizations place a premium on acting in the best interest of their clients and the communities where they do business. “We share a belief in the value of being involved with our customers and our communities,” said Bill Sullivan, President and CEO, Colorado State Bank and Trust. “That’s why we make it a point to volunteer, serve on local boards, and support important cultural resources such as The Denver Center for the Performing Arts. By cultivating an environment where business and community work hand-in-hand, we hope to help make Denver and the Rocky Mountain Region a better place for all of us to live, work and prosper.” n
2013 Denver Center Attractions
Dec 10 – 22, 2013
feb 25 – mar 9, 2014
may 6 – 18, 2014
Cody Slaughter as Elvis Presley in The National Tour of Million Dollar Quartet, Photo by Paul Natkin; Cristin Milioti and Steve Kazee from the ONCE Original Broadway Company. © 2012, Joan Marcus.
ORIGINAL BROADWAY COMPANY, PHOTO BY FRANK OCKENFELS
North American Tour Cast. Photo by Paul Natkin.
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jan 15 – 26, 2014 Buell Theatre
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The Denver Center for the Performing Arts gratefully acknowledges the generous support of the following donors for activites July 1, 2012–June 30, 2013.
The Denver Center for the Performing Arts
FLORENCE K. RUSTON AWARD FOR PHILANTHROPHY IN THE ARTS
Joy S. Burns, 2012/13 Diana & Mike Kinsey, 2011/12 Jim Steinberg, 2010/11 Alison & Jim Shetter, 2009/10 Leo & Susan Kiely, 2008/09 Margot & Allan Frank, 2007/08 Robert & Judi Newman, 2006/07
EXTRAORDINARY GIVING The Lewis E. Myers Jr. Scholarship Fund Robert & Judi Newman Fund for Arts in Education Citizens of the Scientific & Cultural Facilities District Robert & Carole Slosky Fund for Arts in Education Women’s Voices Fund
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Dr. Mary Laird Warner Stewart & Mr. Russell O. Stewart Caroline and Al Stutson Catherine Sweeney Kent Thompson & Kathleen McCall Joanne Thompson Mark Thompson Mr. & Mrs. Warren Toltz John Trueblood University of Colorado Health University of Denver School of Hotel Restaurant & Tourism Managment V.I.P. Tours of New York, Inc. John Van Epps Paco Varela & Timothy Wilson Venice Ristorante & Wine Bar Patricia Villegas Randy & Patricia Wambsganss Sarah Werner, DDS Steven Wernli Western Mechanical Solutions Rachel Williams & Mike Weissmann Winter Park Resort Carol E. Wolf Mr. & Mrs. Thomas Wood Mr. & Mrs. Steven Woodward Mrs. Robin Yaeger Dr. & Mrs. Ronald Yaros Dr. Karen M. Zarlengo
DESIGNER’S CIRCLE $500-$999
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Mr. & Mrs. Martin M. Berliner Helen Bernstein Tommy Berry Reid Bicknell Robert Bidwell Mr. & Mrs. Richard Billings Mr. John Bissell Bev Black Mrs. Joan Markle Blackwell Blu Boutique Deborah Blue Richard Blumberg Lynda Borel Mrs. Kris Bornhoft Gail Bosk Mr. & Mrs. Fred Boutin Sue Bovey & Carol Bell Mr. & Mrs. Daryl Bowin Richard Bowman Marge Bozarth Mr. & Mrs. Paul Bradley Dr. H L Brammell Dr. Greta Brandstetter & Mr. Martin McCabe Andre Branum Rick Schwartz & Lynda Brecke Dr. & Mrs. Bruce Brookens Julie Brou K. Brown Mary Lou Brown Sandra Brown Mr. & Mrs. Thomas Brown Mr. & Mrs. Wesley A. Brown Rogene & Sandy Buchholz Janet Buckner Mr. & Mrs. Craig Bueltel Kacey Burke Traci Burnley Susan C. Burrows Tammy Bush Mr. & Mrs. Douglas M. Cain Heather Callahan Victoria Campbell Mr. Alex B. Campbell Stephen Canges Kendall & Steve Carbone Mr. & Mrs. Brian Carlson Mr. & Mrs. John Carlson Deborah Carpenter Debra Carpenter Mr. & Mrs. Thomas J. Carson George Casey Mr. & Mrs. Joseph Casey Caudill & Company Inc.
A P P L A US E
Cynthia Chapman Marta Chenchar Douglas & Melanie Christensen Denese Clark Mrs. Sheila M. Cleworth Weldon W. Clopton, II Mr. & Mrs. John Coffin Dr. & Mrs. Harvey Cohen Mr. & Mrs. Richard Cole Robert and Elaine Collins Theresa Collins John & Joann Congdon Ann Connelly Stephen Connolly & Dawn Riston Ellen Connor Mr. & Mrs. Jon Connor Bob and Georgi Contiguglia Bob Cook & Marilyn Day Kathaleen Cook Mrs. Ann Cooper Connie Cooper Richard Cohn & Susan Cooper Mr. & Mrs. Richard Cooper-Ribner Mr. Mike Coren Marla Corwin Philip Cox & Polly Williams Cox Kathi Cramer Rene Crane Mr. & Mrs. Thomas E. Creighton Mr. John A. Cross Jr. Mr. & Mrs. William Crossen Kevin & Dorinda Cudney Mr. Dennis Cyr Jay Dahl Vicki & David Dansky Ms. Sally A. David Patty Lou Daugherty Hon. Janice Davidson Jennifer Dechtman Mr. & Mrs. Sanford Dee Barbara DeJong Lucretia Delao Susi Devrient Mr. & Mrs. Marshall Diggs William Dilatush Peter Dimond Daniel P. Archer & Julie A. Dionigi Anonymous Dr. Sandra M. Doe Howard & ArVie Doerr Perri Dombroski Dr. P. Lynn Donaldson Thomas Dority & Susan Gapter-Dority 32
Double Eagle Petroleum Co. John Dougherty Mr. & Mrs. Max Douglas Peter & Marian Downs Mr. & Mrs. Larry Dreller Mr. & Mrs. Richard Dubreuil Donna DuHadway Ms. H.B. Duke Merle J. Dulien Peter Dunbar Patricia Dunbar Andrea L. Dunn Stephen & Gail Duree Douglas & Martha Dyckes Angie Eastwood Kitty Edwards Mr. & Mrs. Arthur Eggers Mr. & Mrs. Carl Eklund Mr. & Mrs. Joseph Elinoff Jamine Elliott Mr. & Mrs. Christopher Elliott Mr. & Mrs. Harry Ells Mrs. Michelle Elser Mary Emlen David Engel Lisa & Phil Ensign Vivian Sheldon Epstein Christopher Erskine Connie Esch Frances Evans Martha Evans Cyndy Everett Dr. & Mrs. Robert P. Faraci J. Michael & Nancy Farley Adrienne Fasse Gail Fawcett Mr. & Mrs. David Fee Robert Fenton Ned Fenwick Mrs. Bridget Ferguson Interiors Two by Barbara Fey Maryjean Fickes Jeanine Figur Mira J. Fine Dennis Fischer Dr. & Mrs. David P. Fisher Elwood & Jean Fitz Denis Foley William Fornia Judy Fossum-Mathern Drs. Robert Breeze & Carol Foster-Breeze Mr. & Mrs. Scott Foust Mr. Kenneth Fox Bruce Fox Drs. Michael & Molly Frank Deirdre & Mike Franklin Mary Frazer
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Marie & Buck Frederickson Patricia Frederico Fresh Fish Company Mr. & Mrs. James Freudenberg Dr. Gary A. Friedland Mr. & Mrs. Gordon Friednash Gayle Gahagan The Honorable & Mrs. Herb Galchinsky Galvin Family Foundation Nicholas Games Elaine Gampel Joyce Gano Dr. & Mrs. Richard Garbe Mr. & Mrs. Edward Garner Lissy Garrison Richard W. Gast Mr. & Mrs. Caleb Gates, Jr. Mr. & Mrs. Bob Gebhardt Mrs. Laurie Genell Mr. & Mrs. Guy Geoly Mr. & Mrs. Gregory George Mr. Timothy Gilbert Audrey Gilden H. Robert & Lois Gill John & Ellen Gille Mr. & Mrs. Robert Gilmore Savita Ginde Leslie Gipson Mrs. Cheryl F. Givens Miss Hallie Gleave Rose Mary Glista Evelyn Golosow Tom Gonzales Mark Fischer & Lari Goode Mr. & Mrs. Mike Goodwin Mr. James Goss & Ms. Carrie Powers Mrs. Dena Gould Tiffany & Matt Grady John Graff Elizabeth Graham Mr. & Mrs. Mark Graham Dr. & Mrs. Jim Grant Mr. & Mrs. Peter Grant Anne Grau Mr. & Mrs. H.S. Graves Jean Greenberg Ann M. & Peter B. Gregory Mary Grieser Earl & Eileen Griffith Mr. & Mrs. Michael Groshek Madie Gustafson Eric Gutman
Julia Haddad Mr. & Mrs. Charles Hadley Grover Hall Wayne Hall Marcia Hallenbeck Zoe Hamilton Mr. & Mrs. Charles Hanavan Treva R. Hancock Jim & Margaret Hankins Mr. & Mrs. George Hansen Shari Harley Ms. Linda L. Harmon Colonel A. Lee Harrell & Ms. Madeline Homler Alfred & Dori Harrell Martin J. Harrington Sherod A. Harris Ben Harrison Dr. & Mrs. Stuart Haskins Tonya Hatcher Thomas P. Hayes Dr. Taru Hays Norma B. Hazen Mr. & Mrs. James Hecht Mr. & Mrs. Phil Heinschel Mr. & Mrs. Bill Heissenbuttel Mr. & Mrs. John Helfrich Joann Helm Sherrill Hendricks Mr. & Mrs. Mike Hendrickson Rebecca Herman Dr. & Mrs. Gilbert Hermann Jacinto & Pamela Hernandez Melvin Hess Ms. Patricia Hill Susan A. Hill Mr. & Mrs. Richard Hilt Pamela Hirschman Mr. & Mrs. John Hodges Laura Hoffman Mrs. Lorraine Hoover Bill & Jane Houston Lisa Hudson Ken Hufford Janet Hughes William Meine & Melinda Humphrey M. Randy Hurd Vincent L. Huser Rita Hyland Richard Iannacito Mr. & Mrs. Michael Imhoff Mr. & Mrs. Charles Jackson Ms. Frances Jarrett
Mr. & Mrs. Richard Jaworowski Mr. & Mrs. Paul Jeffery Jennifer Jenkins Mark Jenkins Joe & Pat Jensen Alice Johnson Craig Johnson & Lisa Daniel-Johnson Paul Johnson Mr. Scott Johnson Mr. Bruce Johnston Christine Johnston Mr. & Mrs. Bob Jones Cheryl Jones Michael Jones Pam Josephs Rebecca Juarez Arthur & Kathy Judd Helen July Mr. & Mrs. Matt Kaiser Rebecca and George Kalinowsky Donald J & Susan C Kany Mr. & Mrs. Dale Kapp Philip H. Karsh Howard Kashman Elizabeth Keay Gina Keenan-Heepke Martha Keister Mr. & Mrs. Frank Kellen Ms. Deborah Kelly Mr. & Mrs. John Kenna Mr. & Mrs. Steve Kiel Mr. & Mrs. James Kimsey Dr. & Mrs. Thomas King Virginia Jones & Lauren Kingsbery Sharon Kirts Rick Kirwin Mr. & Mrs. Eric Kizer Beth Klein Rob & Kathy Klugman Peter & Roberta Knott Kathryn Koch Colleen Kopfman David & Jennifer Korman Mr. & Mrs. Paul Korus Mr. & Mrs. Michael Kramer Mr. & Mrs. William Kreidler Jessica Kropuenske Ron Kucic & Linda During Joseph Kurgan Mrs. Margaret KurtzMiosek Mr. and Mrs. Charles Langhoff Peter & Suzanne Lansing Mr. & Mrs. Tyler Lantzy Randy Lazzell Professor Richard S. Leaman
John Lee Rich Lee William Lee Dr. & Mrs. Earl Lehrer Dolle Lehrkamp Frank & Ginny Leitz Dr. & Mrs. Michael & Michela Lepore Wendy Leung Frieda and Joel S. Levine Mr. & Mrs. Mark Levinson Mr. & Mrs. Martin Lewis Mr. William Lewis Mr. & Mrs. Richard Liesemer Mr. John Liggett Susan Liming Charles Lindsey Diana G. Lirtzman Mrs. Susan Littman Carol Lloyd Dr. Charles Lobitz & Dr. Gretchen Lobitz Mr. & Mrs. Harold Logan Lynn Logman Mr. & Mrs. George Lohr Mr. & Mrs. Joseph Lombardi Robert E. Loup Mr. & Mrs. John J. Lowrey Mr. & Mrs. Gary Lozow Miquela Luna Vera Luster Thomas Mabry Jedeane MacDonald Cone Mr. & Mrs. David MacKenzie Susan Magruder Charles E. Mallon Marcia Malone Dr. & Mrs. William Maniatis Mr. & Mrs. Brian Manton Mr. & Mrs. Gilbert Marchand Philip & Kathy Marie Mr. & Mrs. William Marine Dr. Howard Markman Mrs. Suzanne Marquez David Harwood & llen Marshall Joanna Martinez James & Barbara Masciarelli Mrs. Mary Masunaga Mrs. Carla Matheson William Mathews & Joy Godesiabois Mrs. Bonnie May John McCarvel Mrs. Paula McCarvel
Steven & Cassandra McCasland Myron McClellan Dr. Jerrald McCollum Lisa McConnell Mr. & Mrs. James McCotter Dr. & Mrs. James McElhinney Deb and Glenn McGlathery Dr. Nancy McMahon Jane McNellis Mrs. Mary McNicholas Suzanne McNitt Jaye McPherson Mr. & Mrs. Douglas McRae Karyn McWhirter Eric Mead & Joyce Larson John & Jan Meck Media Salad, Inc. Gary Meeks Scott Meiklejohn Christopher Merrell Greg & Debbie Merrill Mrs. Meghan Merson Mr. & Mrs. Philip F. Miele Mary Ellen Miller Ruth Miller Steven & Karen Miller Linda Minghella Richard Miyamoto Mr. & Mrs. Michael Modiz William Mohrman Robert Monks Nancy Montagnoli Annette Montoya Bobbie Moore Mr. & Mrs. Mike Moore Rebecca Moraja Terry Moreland Joseph Moreng Mrs. Linda Morris Judith Morton Mrs. Susan Mostow Norman R. Mueller Ms. Katherine Mulkey Mr. & Mrs. Joe Munoz Kim Munson Tom Murnan Pam Naiman Jennifer Nealson Nanette Neelan Eugene & Shirley Neidiger Drs. Harold & Sarah Nelson Suzanne Nelson Newnan Family Kristeen Nickless Maralee Nobis-Jacobsen Gayle M. Nosal
James G. & Helen Nussbaum Rhonda Olguin Marilyn Oliver Helen Olson-Hull Allison Olsson Leslie Omer James O’Neal Dr. David Opperman Mr. & Mrs. Bradley Orr Dan O’Shaughnessy Dr. Mark Palmer Chuck & Helina Palmer Delores Pardner Mr. & Mrs. John Parks Dr. & Mrs. Frank Parrish Mrs. Loren Parsons Dr. & Mrs. David S. Pearlman Ms. Susan Pensiero Ms. Alice Perlmutter Kristen Perry Mr. & Mrs. Richard Peters Joseph Pinkerton Paula L. Pinkley Mrs. Nina Pinto Mrs. Toby Pippin Mrs. Pam Pittock Mr. & Mrs. Tony Pizzichini Frank & Linda Plaut Peter Plaut Victor Pollak Ann Pontius Marie F. Porter William Porter Glen Pray Mr & Mrs. Dennis Preston Libby Printz Koger & Marcie Propst Michele Quinn Robert Ratzi Ms. Patricia Rawlings Cyndy and Don Redifer Marianne & Tony Reed Shelwyn Reed Adina & Eli Reshotko Dr. & Mrs. Ronald Resnick Kathleen Reynolds Cherie Rheault-Peperzak Andrea Rhodes & Fred Gluck Mr. and Mrs. Mike Rice Maxine & Ed Richard Mr. & Mrs. Gene Richards James Richardson Ann Richardson Louise Richardson Alfred Richter Linda Rieger
Bob & Dianne Rizzuto Ed Robb Mrs. Nancy Roberts Mr. & Mrs. William Roberts Jada Roberts Heather Robertson Rock Bottom Brewery Marcia L. Rodgers Nancy Roeder Linda Rosales Terry Roybal Merle and Bob Rubin Sharon Ryan-Benson Adrienne Sage-El Andrea Sahlen Patricia Salazar J. Lee Sammons Stan & Sue Sanders Mr. & Mrs. J. Patrick Sanders Julie Sandusky Matthew Savoie Stuart Schare Mr. & Mrs. Donald Scheie Sandra Scherer Susan Schermerhorn Mr. & Mrs. Donald Schiff Alfred & Karen Schmidt Pauline Schmidt Jane Schmitz Ruth Schoening Beth Schorr-Ratzlaff Dr. Joel Schwartz Marcia Scofield Darryl Searuggs James Seaver Mr. & Mrs. David A. Seeland Billy Seiber Frank Seidel Professor Jean Selders William Self Mr. & Mrs. Karl Seller Dr. & Mrs. Michael Sennett George & Debbie Seward Kathleen Sgamma Shanahan’s Steakhouse Marilyn Shaw Katy Shaw Mr. Aaron Sheppard Mr. & Mrs. Martin Shore Sally Shuler Elizabeth Shwayder Mr. & Mrs. Arnold Siegel Randy Fitch & Terry Siek Connie Silva Artis Silverman Mrs. Bonnie Silverman Michael & Michelle Simms in memory of Mildred Bizal Cheryl Simon Mequet
Debbie Sinclair Doug Sipes & Lyn Price Mr. & Mrs. John Slaughter Miss Pamela Sletten Kathleen & John Sloan Martha Sloven Mr. & Mrs. Gil Smink Charlesetta Smith Susan Smith Wilbur Smith Frank Smucker Natalie Sneed Dr. & Mrs. C. John Snyder Diane Somers Mr. & Mrs. Tim Sorrells Judith Spiegel Kris Spring Ms. Nancy Stalf Emily Stanford in honor of Dorothy Denny Mr. & Mrs. Paul Stanko Charles & Teri Steckley Mr. & Mrs. Edward Stenby Mr. & Mrs. Stewart Mary Stewart Carolan Stiles Barry Stollerman & Carol Krauth Jenene & James Stookesberry Michael Stowell Mr. & Mrs. Albert Strauch Deb Sturm Eddie & Carol Sturman in honor of Donald R. Seawell Mrs. Katie Stutz Mr. & Mrs. David Suek Mr. & Mrs. Steve & Susan Suggs Echo Sullivan Dr. Sandra Surbrugg Jeanne Surbrugg Judy Sussman Mr. & Mrs. Ludvik Svoboda James & Donna Swenson Mr. & Mrs. Gary Taddeo Mrs. Melanie Tafaro Drs. Daniel & Sheila Teitelbaum Liz Telea & Ruth Telea Tom Teske David & Patti Theil Linda Thompson Barbara Thorngren Beverly R. Thygesen Austin Tilghman Mr. & Mrs. Donald Tolin Blair Tomb Mark Tomko
Iris H. Topkis Mr. & Mrs. Trafton Tredick, Jr. Anne Turner Joseph & Lana Turner Mr. & Mrs. Robert Uhler MKlasina VanderWerf Miss Catalin Varela Alys Veal Mr. & Mrs. Alfred Vigil Sue Vincent Anthony & Imojean Vollack Mr. & Mrs. Paul Vorndran Carolyn Wagers Rich & Berta Waldmeier Mrs. Daylan Wallace Beverly Walter Wilson W. Wampler Scott Warner Janie Warren Tobi Watson Kirk O. Weber Mr. & Mrs. Michael West Marsha Wheeler Miller Thomas Whitten Thomas & Kimberly Whyte David Wilhelm Jr. & Marsha Breit Dr. & Mrs. Richard Williams Mr. & Mrs. Donald Williams Mr. & Mrs. Greg Williams Richard R. Willaims Payne Williams-Heselton Dr. & Mrs. Roe E. Willis Donna Wilson Becky Wilson Richard & Jane Winkel Mr. & Mrs. Timothy Wirtjes Mr. & Mrs. Gerald Wischmeyer Pam Wolf Millie Wolkowicz Mark Wong Glen Woodson Mr. & Mrs. Lester Woodward Mrs. Doris Wright Ms. Marion Wright Sara Wright Stephanie Wrotny Katrina Zakhem Wilma Zellitti Dr. & Mrs. Carl N. Zimet Mrs. Colleen Zimmer Stuart & Kathy Zimmerman John Chapter & Dale Zitek S. Zoratti Amy Zsohar
THE ENCORE SOCIETY
Anonymous (2) Holly Bachmeyer Dr. Angela Betker & Dr. Anthony Simon Ms. Susan C. Burrows Ms. Anne Burton Jim Caputo Mr. & Mrs. Thomas J. Carson Isabelle Clark Mr. Leslie Crispelle Mr. Michael Donner John & Sandra Downing Mr. & Mrs. Joseph Elinoff Mr. & Mrs. John E. Fuller Barbara Garlinghouse Mr. Thomas R. Graham & Ms. Judith Pettibone Ms. Janet Grant Chuck & Pat Griffith Terry & Noel Hefty Carol & Jerry Huller Mr. & Mrs. Paul Jeffery Ms. Martha Kelce Leo & Susan Kiely Mike & Diana Kinsey Sandy Leerskov Ellyn E. Lyman Mr. & Mrs. Alan Meny Mr. & Mrs. Ron Neel Ms. Marilyn Oliver Ms. Linda D. Rieger Daniel L. Ritchie Mr. & Mrs. Harvey Rothenberg Mr. Bruce Schmidt Martin & Jo Ann Semple Mrs. Ruth Silver Bob & Carole Slosky Mr. & Mrs. Roger Stansbury Jenene & James Stookesberry June Travis John Van Epps Randy Weeks Dolores M. Wilson
A P P L A US E
womens voices fund
women “A theatre that is missing the work of women is missing half the story, half the canon, half the life of our time.” — Marsha Norman, Playwright and Activist
women’s VOICES fund
“There’s nothing like this anywhere in America. There is nothing like this in the world... The Women’s Voices Fund is a miracle, a living breathing American Theatre miracle.” — Michele Lowe, Playwright
d e n v er center. or g
Did you know?
ewer Broadway productions were by women playwrights in 2009 than in 1908. Only 18% of plays produced nationwide in 2008 were by women, and only one of eight new plays produced on Broadway were by a female playwright. The need to hear all voices, to share in stories told by women as well as men is what led Kent Thompson, Producing Artistic Director for the Denver Center Theatre Company (DCTC) to establish The Women’s Voices Fund (WVF) in 2005. The fund helps develop the pipeline of new work by women playwrights available for production in theatres nationwide. This endowment supports the commissioning, development and production of new plays by women. The first of its kind in the nation, The Women’s Voices Fund has enabled the DCTC to: • Produce 25 plays by women, including six world premieres • Employ 14 female directors • Commission 11 female playwrights
he WVF is currently at $850,000. By its 10th anniversary in 2015, Thompson hopes to see the WVF hit $1 million, making a significant, clear statement about the DCTC and its long-term commitment to supporting women who tell stories. “There’s nothing like this anywhere in America. There is nothing like this in the world,” says Michele Lowe, the playwright who wrote Inana and Map of Heaven and was a recipient of all the benefits of the WVF. “The Women’s Voices Fund is a miracle, a living breathing American Theatre miracle.”
irector Wendy Goldberg adds, “Creating funding for the development and production of new work is a struggle…. This unique fund makes it possible to support the most gifted storytellers of our time.” A portion of the funds for the WVF comes from DCTC’s Women with Hattitude luncheon, an annual event that draws more than 600 women—and gentlemen—who show their support for theatre with a stunning array of hats of all sizes, shapes and imaginings, and make it a joyous celebration of women in theatre. Speaking of which, you won’t want to miss two world premieres by two uncommonly talented women this season: playwright Karen Zacarías’ stage adaptation of Just Like Us, the book by Helen Thorpe—and The Most Deserving, a delightful, engaging comedy by Catherine Trieschmann. n
PHOTOS BY BY STEVE PETERSON
Some choice chapeaux glimpsed at our 2013 Hattitude Luncheon
join the Women’s Voices Fund: Visit denvercenter.org/wvf or call Mary Mosher at 303.572.4594 or email her at email@example.com
FOUNDERS: *Dina Brudenell Altman Dina Brudenell Altman in honor of Edward F. Altman, Jr. American Zang Education Foundation Inc. – The Greiner Family Geary Anderson in honor of Alicia Anderson Lee and Sheri Archer *Carol Atha Carol Atha in honor of Carolee D. Atha Carol Atha in honor of Bette Haerther Ursula Awad Barbara Shannon-Bannister Maureen Kelly Barker Mary Reisher Berlin Fran Berlin Gail Classon Berliner Barbara Bridges Brown Family Foundation Diane Bryant *Joy S. Burns Merle C. Chambers Janette W. Chase in honor of Christina J. and Kathryn M. Chase *Isabelle Clark Elaine J. Collins Jack & Suzanne Collins in memory of Joyce A. Korgan Andrea Warner Crispe Jill I. Crow *Katie Cymbala *Dorothy Denny in memory of Barbara Denny Rottkamp Dorothy Denny in honor of Emily Stanford Pam Duke Charleen Dunn Sharon Dwinnell in honor of my sister Peggy Harrington *Dianne G. Eddolls *Anita Edwards in memory of my mother Lois Richardson Anita Edwards in memory of Ty Jurras *Bobbie Farris Natley Farris *Lois Felt Heather Fitzgerald Adrienne Ruston Fitzgibbons Wilbur Flachman in honor of Dr. Marilyn Flachman Nancy Follett Katie Fox Margot Gilbert Frank Jeannie Fuller in honor of Florence Smith Stephanie Weeks Gamble in honor of Sarah Weeks Gamble Lynn Marie Gangone in honor of The Women’s College of DU Robert S. Garner in memory of Dorothy Garner
Sally R. Gass & Alan G. Gass Peter B. Gregory in honor of my wife Ann M. Gregory *Celeste Grynberg *Noel Hefty Laura L. Hill Elizabeth Holt Dianne Honig Ms. Denise Horton Jeff Hovorka in honor of Patricia Hovorka Tara Hefty Hume Georgia R. Imhoff Pat Wooster Jackson Craig Johnson in honor of my wife Lisa DanielJohnson Gail Johnson Michael Karmil in honor of Eleanor Karmil Susan Kiely in honor of my daughter Whitney Moehle Holly Arnold Kinney in honor of Mary Fox Arnold Diana W. Kinsey Elizabeth Kirkpatrick Karolynn Lestrud Deborah Loftness in memory of Mary C. Hess Lee Maes in honor of Dr. Kathryn G. Maes Kathleen McCall Carol McEnroe (Phipps) Judy McNeil *Michael A. Meisinger in honor of Rosemary Meisinger *Vicky Miles Jeff Munn & Shellie Ruston Munn Judi Newman Northern Trust Bank in honor of Jeannie Fuller Peggy Notebaert Nancy & Paul Oberman in honor of our daughter Jordana Oberman *M. Ann Padilla Debra J. Perry *Perry Mansfield Performing Arts School & Camp in honor of Charlotte Perry and Portia Mansfield Linda Plaut *Jane J. Prancan Quinette Family Fund in honor of Luella Mockett Fran Quinlan in honor of Alan Bromley *Elizabeth J. Rave *Mary Carol Riaski *Tina Risch in honor of Cheryl and Rachel Caufield Tina Risch in memory of Karen Knudsen Walter Rosenberry & Susan Bonsall *Molly O. Ross
Carol Ann Rothman in honor of my granddaughters Brielle and Kara *Ms. Peggy Rottner Florence Ruston Roselyn Saunders Dutchess Scheitler *Donald R. Seawell in honor of Eugenia Rawls Donald R. Seawell in honor of my collaborator, Judi Wolf *Alison Shetter Ruth Silver *Carole Slosky Carole Slosky – in honor of Bob Slosky’s service as a DCPA Trustee Sarah Steinberg Janet Swinburn Bea Taplin Kate Taucher in honor of Katherine A. May Sandy Tenenbaum/ Occasions by Sandy June Travis Lester L. Ward in honor of Rosalind H. Ward *Randy Weeks in honor of Joan Watson Weeks Randy Weeks in memory of Esther M. Weeks Carol E. Wolf Judi Wolf in honor of Donald R. Seawell Christine Yaros in honor of Catherine Hein
womens voices FUND
Women’s Voices Fund members:
Associate Members: Renée Duncan Jennifer Fleming *Griffith Family Trust Ryan Maier Essie Perlmutter Other Generous Donations: Mitzi Brodnax Risa Friskey Kathryn Bates Gavin Kathy Graveley Montine Hansl Elizabeth Hickman Yvette Hunt Pam Josephs Marilyn Koeplin Elena Sandoval-Lucero Media Salad Margaret O’Keefe *Paula Rosson Missy Stolberg Christine Tatum Sandra Roberts-Taylor Beverley Turnley Susan Weinstein Irma Wilborn Marilyn Wolf Diedre Wooden Suzanne Yoe *Multiple Gifts
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Whisper Creek II
The Lakes at Westwoods
The Village at Castle Pines
Indiana St & 87th Ave
63rd Ave & McIntyre Pkwy
144th Ave & Sheridan Pkwy
48th Ave and Easley Rd
I-25 & Founders Pkwy
from the high
from the high
from the low
from the high
taylormorrison.com Only valid in Taylor Morrison Denver Communities. *Appliance offer valid on inventory homes that close by December 31st 2013. GE “Level One” Stainless Steal Refrigerator and GE “Level Two” Front load washer and dryer are selected by Taylor Morrison. Offer void where prohibited or otherwise restricted by law. All incentives, pricing, availability and plans subject to change or delay without notice. Please see a Taylor Morrison Sales Associate for additional disclaimers and visit www.taylormorrison.com. © September, 2013, Taylor Morrison of Colorado, Inc. All rights reserved.
from the low
I-25 & Happy Canyon Rd
In-theater magazine produced for the Denver Center for the Performing Arts