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VOLUME XXIX • NUMBER 3 • NOV – DEC 2017

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APPLAUSE

SIGHTLINE

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BY JANICE SINDEN

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Thank you for your ongoing support. You make all the difference.

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Denver Center for the Performing Arts is a not-for-profit organization dedicated to creating unforgettable shared experiences through Broadway musicals, world-class plays, educational programs and inspired events. One Color Reversed Logo

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BOARD OF TRUSTEES Martin Semple, Chairman Daniel L. Ritchie, Immediate Past Chairman William Dean Singleton, Sec’y/Treasurer Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond L. Roger Hutson Robert C. Newman Alan Salazar Hassan Salem Richard M. Sapkin Robert Slosky Tara Smith June Travis Ken Tuchman Tina Walls Lester L. Ward Dr. Reginald L. Washington Judi Wolf Sylvia Young

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APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG

HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES William Dean Singleton, President Martin Semple, Vice President Judi Wolf, Sec’y/Treasurer Lester L. Ward, President Emeritus Roger Hutson David Miller Robert C. Newman Daniel L. Ritchie Robert Slosky Dr. Reginald L. Washington

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HONORARY MEMBERS Jeannie Fuller M. Ann Padilla Cleo Parker Robinson

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

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Angie Flachman, Publisher For advertising 303.428.9529 or sales@pub-house.com coloradoartspubs.com

We hit an all-time subscription high, distributed nearly 30% more $10 tickets, entertained 15% more people at our Colorado New Play Summit and reached 15% more students through our in-school programs.

We invite you to join us on this path forward through your participation or with a gift. Please consider a donation to our Annual Fund, which will help us lay the foundation of an even brighter future — one that welcomes, supports and connects with the growing needs of our very vibrant community. To make a gift, please visit denvercenter.org/give or call 303.572.4594.

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Applause magazine is funded in part by

We launched the pre-Broadway debut of Disney's Frozen, reopened The Space Theatre and introduced tiny guests to our new Theatre for Young Audiences program.

We want to engage with you more deeply, advance inclusiveness and eliminate barriers to engagement. Starting with our newly crafted Community Engagement vision statement of “Together with the Community we will spark connections to ignite collaborations…,” we will launch a listening tour to invite community members to help us craft the end of the statement so that it best meets your vision for the DCPA.

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Applause is published seven times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

This past year has been a milestone. We said goodbye to our past Chair Dan Ritchie and Artistic Director Kent Thompson and welcomed many new faces, most notably Chair Martin Semple and Associate Artistic Director Nataki Garrett.

As we look forward, we have three priorities: to advance equity, to connect with our community, and to renovate our Stage and Ricketson theatres to ensure that they are ADA compliant and accessible to all. These aren’t about numbers. These are about you — our patrons, our students, our supporters and our community.

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EDITOR: Suzanne Yoe CREATIVE DIRECTOR: Rob Silk ASSOCIATE EDITOR: John Moore SENIOR ART DIRECTOR: Adam Obendorf ART DIRECTOR: Kyle Malone SENIOR DESIGNERS: Casey Eickhoff, Brenda Elliott CONTRIBUTING WRITERS: Hope Grandon, Brittany Gutierrez

As the year nears its end, I reflect on our accomplishments and look toward our future.

But those are numbers, and while impressive, they don’t tell the story of a child standing, arms outstretched to catch snowflakes as they pour down inside a theatre. They don’t capture the joy of 5,000 students as they perform scenes of Shakespeare in every nook and cranny of our Arts Complex. And they don’t convey the artistry of our staff who work each day to perfect the simplest scenic element for your enjoyment.

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EXECUTIVE MANAGEMENT Janice Sinden, President & CEO Clay Courter, Vice President, Facilities & Event Services John Ekeberg, Executive Director, Broadway & Cabaret Deanna Haas, Chief Development Officer Vicky Miles, Chief Financial Officer Yovani Pina, Associate Vice President of Information Technology Shaunda VanWert, Vice President of Human Resources Charles Varin, Managing Director, Theatre Company Allison Watrous, Executive Director of Education


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RENT

STILL RELEVANT 20 YEARS LATER B Y D A N S U L L I VA N

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Musicals are time capsules. Oklahoma! recalls what we were fighting for in ’43; Hair shows what we were fighting about in ’67; A Chorus Line mirrors the anxieties of the ’70s; The Phantom of the Opera captures the gilded ’80s. When we think of Rent, we think of the ’90s. Yet it hasn’t become a period piece. The music still sounds like today and the story sounds like a storm warning. The burning question, “How we gonna pay the rent?” echoes the not too distant past. It was a question that was true of New York in the ’90s and one that Rent’s young composer-lyricist, Jonathan Larson, had often asked himself while waiting on tables in SoHo. When somebody proposed he write a campy uptown version of La Bohème, Larson decided instead to set it in the East Village and to take his characters as seriously as Puccini had. The result was the megahit that every Broadway composer dreams of. Tragically, Larson died of an aortic aneurysm just before previews were to begin, as severe a shock as Rent’s co-producer, Kevin McCollum, ever hopes to sustain. “Jonathan’s death was a tragedy,” McCollum said. “But it’s a mistake to see him as a character in his own story. It never occurred to him that he wasn’t going to be the new voice in the American musical theatre.” Like La Bohème, Rent concerns a band of would-be superstars, not all of them geniuses, toughing out the winter in an unheated loft in the East Village. As members of Generation X, they speak the musical language they were brought up on: rock, pop, soul, salsa, disco, country. Although hard to track, their adventures on Avenue B are both exuberant and alarming. And Rent shows why today’s parents agonize even more than their parents did when a child takes off to a roach-ridden apartment in the big city in order to “find out who I am.” “Can’t you do that around here?” Mom and Dad want to say. Instead they murmur, “Don’t forget to call.” Which the kid never does. So the parents do, and get voicemail. Mom’s fake-cheery voice from Scarsdale gets a laugh in Rent, but not a mean one: Larson, a White Plains boy, shares her concern. La vie bohème on Avenue B is hardcore and high-risk. Where Hair once glossed over the penalties of freaking out, Rent deals with them. A music video for “the life,” it’s not. Human, it is. One’s heart goes out to Mimi, the clueless cat-dancer, and to Roger, the out-of-tune guitarist, struggling to come up with his one great song (which keeps turning into Musetta’s waltz from Bohème). Yet hope keeps breaking in. Plus a certain amount of self-dramatization. (I said these were young people.) And true love, of course. (I said it was an American musical.) And a terrific score. Rent may not have been the first big step that the rock musical had taken since Hair — we can’t forget Jesus Christ Superstar — but it was the most propulsive musical to surface in a long while, fired not only by the energy of the young, but by their desperate need to make their lives happen before they ran out of time.

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“We didn’t change Jonathan’s show. We made it clearer by using the clues he left us. We didn’t go with the cliché, ‘What would Jonathan have wanted?’ He would have wanted people to come to his musical!”

COMING UP FROM BROADWAY:

STOMP COSTUME COLUMN

In 1991, after collaborating for ten years on several projects, Luke Cresswell and Steve McNicholas created a unique production of unconventional percussion, movement and visual comedy with STOMP.

— KEVIN MCCOLLUM, Co-Producer, RENT

Although STOMP is performed on the stage of a theatre, it is not a traditional musical or theatre production with a narrative. STOMP takes audiences through a journey of rhythm and finding the music through the everyday sounds we ignore. Inspired by street performing and the rhythm of life, Cresswell and McNicholas found rhythm through the movements and sounds of people, objects, and even weather. “Everything that happens in the show has to do with rhythm, said McNicholas “The prime directive for all the performances is: rhythm comes first.”

The intensity of the emotion does not swamp the ship. “Mindless,” the usual synonym for rock musicals, won’t work for this one. If Larson’s tunes sound like the Top 40 fare his kids grew up on, he wrote them as a theatre composer, with careful attention to character and situation. Meanwhile his lyrics have an ironic edge that keeps the show from whining. “Jonathan did write a song about what victims his characters were; he took it out,” recalls McCollum, whose partner, Jeffrey Seller, had been tracking Larson’s career. Rent’s first workshop in ’93 hadn’t knocked Seller out. The next winter, Seller said to McCollum: “Remember that thing I saw a year ago? They’re doing another workshop tonight.”

From brooms to garbage cans, from matchboxes to hubcaps, don’t miss your chance to hear the explosive and inventive sounds of STOMP returning to The Buell Theatre this spring (Feb 13 – 18).

McCollum wasn’t interested.

“The show starts; I don’t know what’s going on. A girl called Mimi comes out and sings, ‘Light my candle’ and I start to cry. And the next song, and the next, and it’s some of the best writing I’ve ever heard. At the end of the first act I turn to Jeffrey and say, ‘Get out the checkbook.’ ” It wasn’t that simple, of course. It got very complicated after Larson’s sudden death just as the show started previews in the winter of 1996. It left McCollum and Seller with an unfinished show. Larson’s score was amazing, his characters alive, but the story still needed sorting out. A solution was proposed: Incorporate Larson’s stage directions into the dialogue. The device helped to clarify what the characters wanted — not perfectly, but well enough — and McCollum wasn’t about to apologize for it. “We didn’t change Jonathan’s show. We made it clearer by using the clues he left us. We didn’t go with the cliché, ‘What would Jonathan have wanted?’ He would have wanted people to come to his musical!” Thousands of performances later, they’re still coming. Dan Sullivan directed the Eugene O’Neill Theater Center’s National Critics Institute and reviewed for the Los Angeles Times.

RENT • NOV 14 – 21 • BUELL THEATRE ASL Interpreted, Audio-Described & Open Captioned Performance: Nov 18, 2pm

Cast of STOMP • Photo by Steve McNicholas

“I’d been doing deals all day and just wanted to go home and read a book. But Jeffrey says it’ll be good for me to go out. We walk into the New York Theatre Workshop. We see this huge stage with three metal tables set up. Jeffrey says, ‘This is either gonna be brilliant or a total mess.’


S AT U R DAY

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JO IN U S ON MARCH 3, 2018 TO DI SCOVER THE DIFFERENCE YOU CAN MAKE History isn’t made in a night, but the course of it can change in an instant. The moment when one person decides to go against the grain. The support of a stranger that brings the confidence to take action. Saturday Night Alive supports DCPA Arts and Education programs that give students of all kinds the opportunity to take their first step towards changing their lives and transforming the world around them. Draw inspiration from an American innovator and discover the impact that one gala can make.

PLATINUM SPONSORS Colorado Oil and Gas Industry, United Airlines EMERALD SPONSOR: Westin Denver Downtown AUCTION SPONSOR: Colorado State Bank and Trust GOLD SPONSORS: Alpine Bank, Epicurean Catering, HealthONE, Kathie & Keith Finger, Susan and Steve Struna, Trice Jewelers, Tuchman Family Foundation, Xcel Energy

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HAMILTON

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The Denver engagement of Hamilton is not sold out. Tickets will go on sale after the first of the year. To sign up for alerts visit denvercenter.org/Hamilton

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25 YEARS OF

A CHRISTMAS CAROL BY JOHN MOORE Senior Arts Journalist

Over that time, more than 820,000 audience members have watched the Theatre Company present the timeless story complete with original songs, ghostly chills, period sets and costumes. 16

APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG

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It seems A Christmas Carol and its seasonal message of redemption and empathy for all is a perennial need in this country. Charles Dickens’ classic tale of the miser Scrooge’s spiritual redemption remains the DCPA Theatre Company’s most popular and mostproduced show. This holiday season marks the company’s 25th musical presentation of the story dating to 1990 — with two years off along the way. Over that time, more than 820,000 audience members have watched the Theatre Company present the timeless story complete with original songs, ghostly chills, period sets and costumes. In that time, there have been 18 young Tiny Tims but only two versions of the script. From 1990-2004, the DCPA staged an adaptation written by Laird Williamson and Dennis Powers. Since 2005, the company has presented the adaptation by Richard Hellesen and David de Berry. Dickens wrote his opus in just six weeks, motivated in part by his own financial problems and in part by his anger seeing children working in appalling conditions in the tin mines and barely living in streets overrun with half-starved, illiterate urchins and orphans.


1843 1844 1845 1852 1870 1901 1990 2005 2007 2009 2015 2016 2017

COSTUME COLUMN

Charles Dickens publishes A Christmas Carol as a novel on December 19. By Christmas Eve, more than 6,000 copies are sold.

DCPA Theatre Company has produced A Christmas Carol since 1990 with very few interruptions. In fact, this year marks the DCPA’s 25th staging and Kevin Copenhaver’s 13th time designing costumes for the holiday classic.

The first stage presentation of A Christmas Carol is held, running for 40 nights. Within a year, eight rival A Christmas Carol theatrical productions are playing around London. By now 13 editions of the A Christmas Carol novella have been released.

Charles Dickens’ works span the Victorian era (mid-to-late 1800s). Hallmarks of this period include fitted bodices atop full skirts, high collared shirts and top hats, plus winter coats, scarves, shawls, bonnets and mittens. It is Christmas after all.

Charles Dickens gives the first of 127 public readings in London. Charles Dickens’ death. Scrooge, or, Marley’s Ghost is produced as a silent blackand-white British film. Since then, there have been at least 18 film variations featuring everyone from Albert Finney to Bill Murray to The Muppets to Mr. Magoo to Scrooge McDuck. Other actors to portray Scrooge on screen or stage include F. Murray Abraham, George C. Scott, Kelsey Grammer, Tony Randall, Hal Linden, Tim Curry and even The Who frontman Roger Daltrey.

Copenhaver’s team uses technological advances to recreate these period garments. While petticoats would have been made out of horsehair (otherwise known as crin, which is where we get the word "crinoline"), we now recreate that same structure with plastic.

The DCPA Theatre Company presents A Christmas Carol for the first time, an adaptation by Laird Williamson and Dennis Powers. Laird Williamson also directs, which he continues through 2004.

A Christmas Carol features more than 100 Dickensian costumes. Since the production is an annual affair, it doesn’t require building 100 costumes from scratch — but a production of this size will always involve new touches.

The company switches to an adaptation by Richard Hellesen and David de Berry directed by Bruce K. Sevy. Philip Pleasants plays Scrooge and continues as the primary Scrooge through 2015.

“An annual production gives the opportunity to reimagine moments and characters,” said Copenhaver. “It’s fun to revisit things and not get stuck in a rut.”

The DCPA gives A Christmas Carol a year off in favor of Irving Berlin’s White Christmas and will do so again in 2012. Charlie Korman is cast as Tiny Tim at age five. He would play the role for the next four years before aging up to play Young Scrooge in 2014. Korman would later play featured roles in the Theatre Company’s Lord of the Flies and Frankenstein.

Last season Copenhaver debuted a brand new design for the Ghost of Christmas Past, a stunning white costume that used more than 60 yards of fabric to create a luminous effect.

Elias Harger, the Theatre Company’s Tiny Tim the year before at age 7, is cast in Netflix’s "Fuller House," the sequel to the long-running hit family sitcom "Full House."

See if you can spot any new touches when A Christmas Carol returns to brighten the holiday season.

Sam Gregory becomes the eighth actor to play the Theatre Company’s Scrooge. Additionally, Melissa Rain Anderson takes the reins as director. For the first time, a young female actor, Peyton Goossen, plays the role of Tiny Tim.

A CHRISTMAS CAROL • NOV 24 – DEC 24 • STAGE THEATRE ASL Interpreted and Audio Described performance: Dec 10, 1:30pm

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

Here’s a brief look at how the story has played out in London and Denver:


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ALL-FEMALE

CREATIVE TEAM SERVES UP A SLICE OF HEAVEN IN WAITRESS BY JOHN MOORE

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The team behind the hit Broadway musical Waitress were elbow-deep into the creative process before anyone even noticed there were not yet any men in the room. But it made perfect sense for a story like Waitress, the stage adaptation of Adrienne Shelly’s underdog 2007 indie film about an unhappily married pregnant waitress in the deep South, to be primarily birthed by women. It had just never occurred to anyone. It was certainly not something Director Diane Paulus set out to do. But the historical significance, albeit unintentional, soon became clear: Waitress opened in 2016 as the first musical in the 265-year history of Broadway with a female director, writer (Jessie Nelson), composer (six-time Grammy Award nominee Sara Bareilles) and choreographer (Lorin Latarro). “I’ve said it time and time again: Every artist is in their position at Waitress because they were the best person for the job,” Paulus said. “There was no agenda to only consider women. It’s just a reflection that women are at the top of their fields in composing, in writing and in choreography. This is the 21st century, and we all have benefited from the generations of women behind us who were told they couldn’t be the directors or the writers.”

“We need to set the example for the next generation of artists. We need to say to them: ‘Look, this is a place for anyone, if you work hard and you work with integrity.”

While it is a point of pride that this particular pie crust of history has finally crumbled, it is still disconcerting to Nelson that it took until 2016 for Broadway to reach the milestone, especially given that 68 percent of the Broadway audience is female. “It means more to me as time passes because when it was first pointed out to us, we weren’t even aware of it,” said Nelson, who wrote both the Waitress screenplay and the Broadway book. “We were so focused on the work that it wasn’t about gender. It was about finding people who were really in sync with the creative vision that was forming.” Now that Waitress has embarked on its first national tour, Desi Oakley, who plays the lead character of Jenna, calls it “an unbelievable honor to be a part of telling this story alongside these women creators. This is a dream come true, especially as a woman actor. “There are men in the cast, and they are an important part of our story, but it just makes sense because this woman, Jenna, goes through some insanely woman-type things. She goes through a pregnancy, she goes through hormone shifts, she goes through being a wife, being a daughter and so much more. And so when Diane says to me, ‘Desi, when you have this contraction, let me tell you, it feels like this,’ or when Jessie says, ‘Hey, remember what it was like when you were a kid with your mom?’ — to be getting that kind of direct experience from these women that I can then dive into and pour into my portrayal of Jenna is insanely special.” But Lenne Klingaman, who played both Juliet in the DCPA Theatre Company’s Romeo and Juliet and most recently a female Hamlet for the Colorado Shakespeare Festival, does not want the audience to think that Waitress is the theatrical equivalent of a chick flick.

—DIANE PAULUS, Director

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APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG

“Waitress is the story of three women who are all taking huge risks in their lives by taking a leap into the unknown,” said Klingaman, who plays the anxious yet lovable waitress Dawn. “To really risk being your authentic self is relatable to anyone across any gender line.” For Nelson, the greatest gift of her Waitress experience was the joy of collaborating with Sara Bareilles, who flooded America’s radios in 2007, the same year Waitress was released as a film. Her “Love Song” sold 9 million singles and vaulted her to an Album of the Year Grammy nomination.


COMING UP FROM BROADWAY: RODGERS & HAMMERSTEIN’S

THE KING AND I Performing at The Buell Theatre for the first time in 20 years is the Broadway classic The King and I, running (Jan 2 – 14). Get to know the history of the production with five fast facts.

Oakley said fans of the movie should love the stage musical as well, in part because Nelson wrote both. “Some of our lines come straight from the film,” Oakley said. “And then Sara Bareilles has incorporated the tone of the film right into her music. Sara is such a witty writer and a dynamic storyteller, and she can write a hook like nobody’s business. Sara’s words are real, just like our script.” Nelson also brings the authenticity of having been a longtime waitress herself. And let her tell you: “You can know everything you need to know about a person by how they treat their waitress,” said Nelson, whose writing credits include I Am Sam with Sean Penn and Love the Coopers with Diane Keaton and John Goodman. “You can size up a person’s character in two brushstrokes when you wait on them. I always called waitressing my Hollywood Finishing School because I learned everything I know about writing from waitressing.”

Perhaps that’s why she so deeply relates to Jenna, whose customers call her the “The Queen of Kindness and Goodness.” But you never really know what’s going on behind the smile of the person who’s filling your coffee cup at the Village Inn. “Jenna knows how to take care of everybody but herself,” Nelson said. “She presents this sunny exterior and she bakes these extraordinary pies and she’s the only one who can handle the most curmudgeonly customers. But secretly, she’s living this very dark secret that is really destroying her self-esteem and her hopes and her dreams. So just know that when a person serves you, there’s a whole human being behind there.” And if it took a team of women to bring that story to Broadway audiences, Paulus said, let it be just the start. “We need to set the example for the next generation of artists,” Paulus said. “We need to say to them: ‘Look, this is a place for anyone, if you work hard and you work with integrity. If you tell important stories, this is not a closed door.’ We still have a long way to go for women. But, yes, this was a great landmark — and let’s hope it continues.”

WAITRESS • DEC 19 – 31 • BUELL THEATRE ASL Interpreted, Audio-Described Performance & Open Captioned: Dec 31, 2pm

Lenne Klingaman as Dawn, Desi Oakley as Jenna and Charity Angel Dawson as Becky in the National Tour of WAITRESS. Photo by Joan Marcus.

“Sara and I were both doing our very first musicals,” Nelson said, “so there were a lot of back and forth 2am emails saying things like, ‘How about a song right here that talks about how much Jenna loves baking?’ It was a lot of fun working with her. Sara can really capture characters with her music in such a beautiful way.”

1. The story of Anna Leonowens in The King and I is based on the 1944 best-selling novel Anna and the King of Siam written by Margaret Landon, which tells a fictionalized account based on the real Anna’s memoirs. 2. The King and I opened on March 29, 1951, and became the third Rodgers and Hammerstein musical to run for more than 1,000 performances on Broadway. 3. With a price tag of $360,000, the original Broadway production was the most expensive show in Broadway history at the time. 4. The King and I features a cast of more than 50 people with multiple costumes, adding up to more than 200 costume designs. 5. The production has won various awards including Tony Awards for Best Musical, Best Actress, Best Featured Actor, and Best Scenic and Costume Design. (The film won five Academy Awards.)


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Jose Llana and Laura Michelle Kelly in Rodgers & Hammerstein’s The King and I. Photo by Matthew Murphy.

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ELF

THE MUSICAL

A NEW HOLIDAY CLASSIC

E

Elf, the 2003 Christmas movie, is America’s newest holiday classic. It ranks up there with It’s a Wonderful Life, A Christmas Story and Miracle on 34th Street. When Buddy, a six-foot-plus man raised by elves, sets out to find his father, his rosy, optimistic and endearing outlook on humankind thaws even the coldest heart — his dad’s. Director Sam Scalamoni discusses how collaborators brought this iconic movie to life for the tour of ELF The Musical.

Tell us about your experience directing ELF The Musical on tour.

Whose idea was it to put the elves at the North Pole on their knees?

When they were planning the tour, the original Broadway director was unavailable. So they passed it to me and I brought on my choreographer and design team. We re-imagined the whole show from scratch.

We came to the idea together. When we came to Gregg Barnes, (the original Broadway costume designer who redesigned the show for the tour) with it he said, “Oh great, because I designed these amazing things; they’re called ‘knee shoes’” that wrap around the actors’ knees with a built-in kneepad. The actors are as comfortable as they can be and the shoes lay flat on the floor. It’s really brilliant.

Did the writers resist the changes you wanted? Not at all – in fact they really embraced our ideas. They see the tour or a run-through in the studio every year. So Tom will see it and might say, “This isn’t funny. This joke is working – this isn’t.” They had some strong opinions not only about things they wanted to keep, but some they wanted to change. For example, the second year the show was on Broadway they added a new song, “Happy All the Time.” It’s a very funny opening number Santa sings about how happy the elves are all the time and how he just needs a little break.

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— SAM SCALAMONI, Director

Why do you think both the movie and now the musical have become such instant classics? It’s one of the few contemporary films about the holidays that really connects with audiences. The fact that the story is present day with current content really strikes a chord with people. See what chord — or funny bone — it strikes with you and your family this holiday season. It’s sure to make you “Happy All the Time.”

ELF THE MUSICAL DEC 13 – 17 BUELL THEATRE ASL Interpreted, Audio-Described & Open Captioned Performance: Dec 16, 3pm

APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG

Matt Kopec (Buddy) in Elf The Musical. Photo by Joan Marcus

It was an amazing experience! We were able to work with the original writers: Matt Sklar (music), Chad Beguelin (lyrics), Bob Martin (book) and Tom Meehan (book). They were incredible collaborators and they continue to work with us each year to refine it. ELF The Musical on tour is really its own entity and we’re very proud of that.

“The original writers… were incredible collaborators and they continue to work with us each year to refine it. ELF The Musical on tour is really its own entity and we’re very proud of that.”


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DCPA EDUCATION CLASSES

A MOTHER’S INSIGHT BY S U Z A N N E YO E

I

I enrolled my son in the Children’s Acting Program at the Denver Center for the Performing Arts (DCPA) when he was five. To see my tiny toddler on stage with 750 faces staring at him…well, I was nervous. But there he stood, dressed as Harry Potter, reciting his lines and fiddling non-stop with his pipe cleaner glasses. He didn’t appear scared. He was brave. He was confident. And — quoting another parent — he was taller in every way. Did I do that? Well, I signed him up, but it was the DCPA’s extraordinary teaching artists — Tam, Allison, David, Stuart, Tim, Laurence, Jessica and so many others — who shaped that little guy. Who inspired him, encouraged him and told him he could be anything he wanted to be.

Well, he didn’t want to be an actor, that’s for sure. But he did want to do something even if it meant simply holding the curtain open in Charlie and the Chocolate Factory. “Great,” they said. “We’ll put him in tech, work him to death and see if he has what it takes.” And he did. Now my son has some challenges. He has dyslexia. He has ADD. He is unfocused, not terribly academic and frustrated by mainstream education. But DCPA Education opened new doors for him. He worked two summers supporting the Teen Company productions, which, in turn, piqued his interest in sound design. He quickly moved from pressing “play” to begin a song to designing the entire soundtrack for a show. Before I knew it, he wanted to audition for Stagecraft at Denver School of the Arts (DSA).

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And there I was again. Nervous. Scared. How do you audition for Stagecraft? Well, let me tell you. It’s about how well you work with others. How you engage, collaborate and create. And he’d learned all of that from the DCPA instructors. Why was I worried? He wasn’t. Now he’s a Sophomore at DSA. He found his people. This summer he wanted to spend every day working with the Teen Acting Program, but it’s popular! He could only work on Bard Wars: The Empire Striketh Back. Other kids needed a chance after all. He was disappointed that he couldn’t be at the DCPA every day. Until… Tim McCracken, Director of the Adult Acting Program, asked him to run sound for the Master Class project — Trip to Bountiful — which sounded better than a trip to Florida! Instead he made birds chirp, buses arrive and music play. He told his friends, invited his grandmother, and tried (unsuccessfully) to play it “cool” around the adult cast. Despite the fact that he just turned “Sweet 16,” he’s had experience with the full gamut of the DCPA’s acting program — child, teen and adult. Because of DCPA Education and its fun, creative and incredibly devoted teachers, my son has gained confidence, poise, creativity, craftsmanship, a strong work ethic and life skills. And even though I continue to give him a really hard time about his last starring role — he was a cow whose only line was “moo” — I couldn’t be more proud of the young man he has become. He was raised by a loving family and that family is the DCPA. Suzanne Yoe is editor of Applause, Director of Communications & Cultural Affairs, and mother to two aspiring artists — Edward and Alexia.

APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG


CHICAGO

AND SEASON SPONSORS

Barry & Fran Weissler present

CHICAGO

Book by

Music by

Fred Ebb & Bob Fosse

Lyrics by

John Kander

Fred Ebb

Based on the play by Maurine Dallas Watkins Original Production Directed and Choreographed by Bob

Fosse

Starring

Dylis Croman Lana Gordon Jeff McCarthy Paul Vogt Also Starring

Jennifer Fouché

D.Ratell

Christophe Caballero Taylor Collins Lauren Gemelli Daniel Gutierrez Tanya Haglund Michal Kolaczkowski Tiffany Mellard Sophie Lee Morris Laura Oldham Deon Ridley Celia Mei Rubin Evelyn Christina Tonn Adam Vanek Colt Adam Weiss Matthew Winnegge Corey Wright

Supervising Music Director

Rob Fisher

Scenic Design

Sound Design

John Lee Beatty

Script Adaptation

Costume Design

Lighting Design

William Ivey Long

Scott Lehrer

David Thompson

Music Director

Robert Billig Ken Billington

Orchestrations Dance Music Arrangements

Ralph Burns

Casting

Stewart/Whitley Executive Producer

Peter Howard

Musical Coordinator

John Monaco

Company Manager

Marion Taylor

Presented in Association with

Alecia Parker

B.J. Holt & Hilary Hamilton

Anita Dloniak & Associates, Inc.

Technical Supervisor

Production Stage Manager

General Management

Arthur Siccardi

Broadway Across America Tour Marketing & Press

Michael Danek

Based on the presentation by City Center’s Encores!

Choreographer Original New York Production Ann Reinking In the style of Bob Fosse

Re-creation of Original Production Choreography by

Director Original New York Production

Re-creation of Original Production Direction by

Walter Bobbie

David Bushman David Hyslop

Broadway Cast Recording on RCA Victor


CHICAGO

CAST

(in order of appearance)

Velma Kelly............................................................................................................................. LANA GORDON Roxie Hart............................................................................................................................... DYLIS CROMAN Fred Casely..........................................................................................................MICHAL KOLACZKOWSKI Sergeant Fogarty..................................................................................................................... ADAM VANEK Amos Hart........................................................................................................................................PAUL VOGT Liz...........................................................................................................................................LAUREN GEMELLI Annie.................................................................................................................................. TIFFANY MELLARD June......................................................................................................................................... LAURA OLDHAM Hunyak.................................................................................................................................. CELIA MEI RUBIN Mona............................................................................................................................... SOPHIE LEE MORRIS Matron “Mama” Morton..............................................................................................JENNIFER FOUCHÉ Billy Flynn..............................................................................................................................JEFF McCARTHY Mary Sunshine....................................................................................................................................D.RATELL Go-to-Hell-Kitty................................................................................................................ TANYA HAGLUND Harry.................................................................................................................................DANIEL GUTIERREZ The Doctor...........................................................................................................................TAYLOR COLLINS Aaron.................................................................................................................................COLT ADAM WEISS The Judge............................................................................................................................TAYLOR COLLINS The Bailiff....................................................................................................................................DEON RIDLEY Martin Harrison.............................................................................................................DANIEL GUTIERREZ Court Clerk.................................................................................................................................DEON RIDLEY The Jury.....................................................................................................................MATTHEW WINNEGGE

THE SCENE: Chicago, Illinois. The late 1920s. UNDERSTUDIES Understudies never substitute a listed player unless a specific announcement for the appearance is made at the time of the performance. For Roxie Hart — LAUREN GEMELLI, EVELYN CHRISTINA TONN For Velma Kelly — LAUREN GEMELLI, LAURA OLDHAM For Billy Flynn — DANIEL GUTIERREZ, DEON RIDLEY For Amos Hart — MATTHEW WINNEGGE, COREY WRIGHT For Matron “Mama” Morton — LAURA OLDHAM, EVELYN CHRISTINA TONN For Mary Sunshine — C. CABALLERO For Fred Casely — DANIEL GUTIERREZ Dance Captain — CHRISTOPHE CABALLERO SWINGS CHRISTOPHE CABALLERO, EVELYN CHRISTINA TONN, COREY WRIGHT

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited.


ACT I

“All That Jazz”.............................................................................................................. Velma and Company “Funny Honey”............................................................................................................................................Roxie “Cell Block Tango”.................................................................................................................Velma and Girls “When You’re Good to Mama”.......................................................................... Matron “Mama” Morton “Tap Dance”................................................................................................................ Roxie, Amos and Boys “All I Care About”.......................................................................................................................Billy and Girls “A Little Bit of Good”..............................................................................................................Mary Sunshine “We Both Reached for the Gun”.................................. Billy, Roxie, Mary Sunshine and Company “Roxie”........................................................................................................................................ Roxie and Boys “I Can’t Do It Alone”............................................................................................................................. ....Velma “My Own Best Friend”........................................................................................................Roxie and Velma INTERMISSION ACT II

Entr’acte................................................................................................................................................The Band “I Know a Girl”............................................................................................................................................Velma “Me and My Baby”................................................................................................................. Roxie and Boys “Mister Cellophane” ................................................................................................................................ Amos “When Velma Takes the Stand”.......................................................................................Velma and Boys “Razzle Dazzle”................................................................................................................ Billy and Company “Class” .................................................................................................Velma and Matron “Mama” Morton “Nowadays”........................................................................................................................... Roxie and Velma “Hot Honey Rag”................................................................................................................. Roxie and Velma Finale......................................................................................................................................................Company Original choreography for “Hot Honey Rag” by Bob Fosse ORCHESTRA Musical Conductor — ROBERT BILLIG Associate Conductor/Piano — BRIAN WHITTED Piano/Accordion — JONATHAN PARKS Drums/Percussion — MIKE LUNOE DENVER MUSICIANS

Trombone 2 — SCOTT BEAN Trumpet 1 — JAKE BOLDMAN Reed 1 — ART BOUTON Banjo/Ukulele — DAVE DEVINE Tuba — JAMES GRAY Trumpet 2 — DAWN KRAMER Reed 2 — TOM MYER Trombone 1 — ROB OLDS Violin — BRITT SWENSON Upright Bass — JAMES VAUGHN Reed 3 — SAM WILLIAMS Local Musicians Contractor — JAMES HARVEY The musicians employed in this production are members of the American Federation of Musicians of the United States and Canada.

CHICAGO

MUSICAL NUMBERS


CHICAGO

WHO’S WHO IN THE CAST DYLIS CROMAN (Roxie Hart) is thankful to have been a part of the Chicago family for a decade now. She most recently performed the role of Roxie Hart in New York City on Broadway. Other Broadway and national tour credits include New York Stage & Film’s new production of In Your Arms; A Chorus Line (standby Cassie/Sheila); Movin’ Out (Brenda); Sweet Charity (Rosie, u/s Charity); Oklahoma!; Thou Shalt Not (u/s Therese Raquin); and Fosse (trumpet solo, filmed for PBS “Great Performances”). On television, she appeared as Andrew Daniels on “Guiding Light,” “Smash” on NBC, as well as many national commercials. “Thank you Mom, Dad, Todd, Janet, Seth and my beautiful friends for your endless love and support. My life is so blessed because of you. I dedicate this performance to every patron who graces this theater. Thank you God for this gift to share.” You can follow Dylis on IG @dycro33 and on FB at Dylis Croman. LANA GORDON (Velma Kelly) is thrilled and blessed to return to Chicago and share the stage with such talented and professional people! Lana was part of the original Lion King cast (u.s Nala/Shenzi) on Broadway and the revival of Jesus Christ Super Star (Soul Sister).   During the past 10 years she has been performing all over Europe in various shows such as Chicago (Velma), Sister Act (Deloris), Tarzan (Kala), West Side Story (Anita), Carmen Cubana (Carmen), and at the Jazz at Lincoln Center in Qatar (Guest vocalist).   Special thanks to Gregory, Tanya, Rob, and all of my family and friends that have supported me. Stay in touch and follow Lana at IG: lanajeangordon and FB: Lana Gordon.   Mom, look what God has done, I know you’re watching me! Blessings Always! JEFF McCARTHY (Billy Flynn) has enjoyed a theater, TV, film and recording career that has taken him all over this mad world. Leading roles in NYC: Kunstler, Urinetown, Sideshow, Chicago, Southern Comfort, Zorba, Sympathetic Magic, Dream True, Smile, The Grinch Who..., Beauty and The Beast and several others. Regional: My Fair Lady, The Front Page, Sweeney Todd, The Price, Follies, All My Sons, The Underpants, hundreds of others. TV: “Elementary,” “Madam Secretary,”

“The Good Wife,” “Schweitzer” (title role), “Star Trek(S),” “Designing Women,” “Law And Order(S),” “Cheers” and many others. Film: Starting Out In The Evening, Robocop 2, Consent, Eve of Destruction, Cliffhanger and others. Mr. McCarthy paints: https://theartstack.com/JeffMcCarthy/artworks. His directing film debut: Keepsake...and just recently wrote and published a book for kids “Flying Thru with Gra’ma.” PAUL VOGT (Amos Hart) Broadway: Hairspray (Edna Turnblad), Chicago (Amos Hart). Regional: Oliver (Mr. Bumble) Arena Stage Wash DC., Replaced Harvey Fierstein in Vegas (Hairspray), Ursula in Disney’s Little Mermaid (MUNY), Laurel and Hardy (Falcon Theater-West Coast Premiere), Idaho (Forestburgh-World Premiere), Elf and Funny Thing...Forum (Paper Mill), Hairspray (NSMT, Sacramento, MUNY, PCLO, TUTs), Disney’s Aladdin (Tuacahn), Minsky’s (AhmansonWorld Premiere). Film: Mothers Day, Valentines Day, Princess Diaries 2, Good Boy, Lilo and Stich 2, Blonde Ambition. TV: MADtv, “ReRUN Show,” “Raising Hope,” “Glee,” “Grey’s Anatomy,” “Hannah Montana,” “Arrested Development,” “Reno 911,” “Maximum Bob.” Twitter @Therealpaulvogt Web www.paulcvogt.com. JENNIFER FOUCHÉ (Matron Mama Morton) Off Broadway: Sistas The Musical (Orig. cast), Babes in Toyland (Lincoln Center). Regional: Rock of Ages (Justice), Julius Caesar (Brutus), Ain’t Misbehavin’ (Nell), Hamlet (Player Queen), Hairspray (Motormouth Maybelle). Television: “Jessica Jones,” “Quantico,” “Person of Interest,” “Mysteries of Laura,” “SMASH.” Film: Crown Heights, White Pickett Fence, Judy’s Child. Proud alum of The American Academy of Dramatic Arts! So thrilled to be part of the Chicago Broadway Tour!! www.jenniferfouche.com D. RATELL (Mary Sunshine) Excited to be reunited with my CHICAGO family! Huge thank you to Stewart/Whitley, Dulcina Eisen Associates, and, of course, my supportive parents Scott and Debby. Previous accolades include Broadway’s CHICAGO (Ambassador Theatre, Ny) and Winner of SVT’s 7th season of “Allt För Sverige.” www.dratell.com Instagram: @d.ratell

CHRISTOPHE CABALLERO (Swing, Dance Captain) Four Broadway shows including original Tony-winning companies of La Cage Aux Folles & Jerome Robbins’ Broadway. Multiple national/ international tours & productions. TV hightlights: FAME with Debbie Allen, Tracey Ullman Show, voice of Odd in Code Lyoko; performing on the Tony Awards in each of the last three decades. ChristopheCaballero.com TAYLOR COLLINS (The Doctor, The Judge) is honored to be joining the Chicago family. NY: Radio City Christmas Spectacular. Tour: A Chorus Line, Catch Me if You Can. Off-Bway: Chautauqua! BFA: Pace University. Thanks Avalon Artists Group. Love Mom, Dad, Britt, Josie, and Diego. @taylorcollins5 LAUREN GEMELLI (Liz, u/s Roxie, u/s Velma) NYC: City Opera’s CANDIDE, directed by Hal Prince. National Tours: THE DROWSY CHAPERONE. Regional: Arena Stage, Trinity Rep, PCLO, OSTC, NBFT. Training: Boston Ballet, Manhattanville College, Verdon Fosse Legacy. Thanks to the entire Chicago creative team, everyone at Stewart/Whitley, and Irene @ DDO Artists Agency. laurengemelli.com, t: @laurengemelli, ig: @lalagem DANIEL GUTIERREZ (Harry, Martin Harrison, u/s Billy Flynn, u/s Fred Casely) B’way: Chicago. Tours: Chicago, Christmas Carol. NY: Lincoln Center, MMAC, The Pitt, Town Hall. T.V / Film: “2016 Tony Awards”, “Macy’s Day Parade “, “The View”, “L&O” . Regional: Mary Poppins, Millie, Starlight Express, WSS, Gypsy, Fiddler. Wisconsin Cheesehead! @dannygcreative TANYA HAGLUND (Go-to-Hell-Kitty) The Muny, Alabama Shakespeare, Arizona Opera, York Theatre, Park Avenue Armory, Carolina Ballet. Concert dance: Balanchine, Keigwin, Justin Peck. BFA in Dance, University of Arizona. Gratitude to God, parents, and CESD. Love to Lars. MICHAL KOLACZKOWSKI (Fred Casely) Previous Tours: Dirty Dancing, Disney’s Beauty and the Beast (National and First International.) Regional: Goodspeed, Engeman Theatre. Dance: ALMA NYC, iLuminate’s The Tourist. Training: Professional Semester at


credits/reels/resume! Gratitude to an amazing God, her supportive family, and incredible friends! Enjoy the show!

TIFFANY MELLARD (Annie) Bronx, NY native. Tiffany is thrilled to embark on her first national tour with CHICAGO! Tours: West Side Story (International). Proud alumna of The FAME School and FSU College of Dance. Endless love and gratitude to God, my family, CESD, and Stewart/Whitley! tiffanymellard.com

ADAM VANEK (Sergeant Fogarty) National tours: The Wizard of Oz (Scarecrow). Regional: Bucks County Playhouse, Theatre Under the Stars, Flat Rock Playhouse, Pennsylvania Shakespeare Festival. BA University of Alabama. Thanks to CTG, Stewart/ Whitley, Mom, Dad, Rachel, and Nick! AdamVanekOnline.com.

SOPHIE LEE MORRIS (Mona) National Tours: Dirty Dancing (Swing, u/s Baby* and Lisa*). Regional: Westchester Broadway, Seven Angels, McCarter Theatre, Theatre Raleigh. TV/Film: “Gotham” (Celestine Wayne). Thanks to Eddie Rabon at Take 3 Talent and to my loving husband, Matt. Rah, Rah, TCU!

COLT ADAM WEISS (Aaron) is from Hamburg, Pennsylvania and is a graduate of The University of the Arts, with a concentration in Jazz Dance Performance. Colt is excited to be rejoining the National touring company of CHICAGO! Other Credits: Broadway: CHICAGO. Off Broadway: Trip of Love.

LAURA OLDHAM (June, u/s Velma, u/s Matron “Mama” Morton) is so jazzed to be back on the Cellblock! Other favorites: Radio City Christmas Spectacular, A Chorus Line (Maggie), Avenue Q (Kate/Lucy), Drowsy Chaperone (Janet). Graduate of Birmingham-southern college. Ridiculously happily married to Morgan. Proud daughter of Wynn and Henry.

MATTHEW WINNEGGE (The Jury, u/s Amos Hart) is so thrilled to be returning to Chicago! New York City: Radio City Christmas Spectacular. Regional: Casa Mañana, KC Starlight, Stages St. Louis, Arkansas Rep. Thanks to Stewart Whitley & Co, Hilary and the Davids! Love to family and friends. Instagram: mjwinnegge.

DEON RIDLEY (The Bailiff, Court Clerk, u/s Billy Flynn) Broadway/NY Credits: The Lion King, A Christmas Carol MSG. Other credits: A New Day Starring Celine Dion Dance Captain Las Vegas, Cats Hamburg, Michael Jackson 30th Anniversary MSG, The Wiz, Spamalot Raleigh NC, Damn Yankees National Tour and Fame North American Tour. Sending my love to my friends and family home in Hampton Roads Virginia for your constant love and support! CELIA MEI RUBIN (Hunyak) Broadway: Natasha, Pierre and the Great Comet of 1812 (Chita Rivera Award), Matilda. West End: Parade, Joseph...Dreamcoat, Candide. Touring: West Side Story, Saturday Night Fever. Thanks: Hybrid Agency. Gratitude: Stewart/Whitley. Love: Mom, Dad, Joyce. Instagram: @celia_mei EVELYN CHRISTINA TONN (Swing, u/s Roxie, u/s Matron “Mama” Morton) Blessed to once again be on the road with her family, Evelyn is simply delighted to share the stage with those whom she loves! Feel free to give her imdb page a gander for her tv

COREY WRIGHT (Swing, u/s Amos Hart) Favorite credits: theater: Chicago, Washer/Dryer. TV: “General Hospital,” “The Daily Show with John Stewart.” Film: In the Night, Where Do We Go From Here. Writing: Lou in Lieu of Genius (a new musical coming to Broadway), Bridges (a feature film currently in development.) IG: CoreyCor. corey-wright.net JOHN KANDER & FRED EBB (Music, Book/Lyrics). The John Kander and Fred Ebb collaboration of four decades created what many would consider Broadway standards and contemporary classics: Flora, the Red Menace; Cabaret (Tony Award); The Happy Time; Zorba; 70, Girls, 70; Chicago; The Act; Woman of the Year (Tony Award, Best Score); The Rink; Kiss of the Spider Woman (Tony Award, Best Score); and Steel Pier. Their collaboration also transferred itself to movies and television as they wrote original material for the Academy Awards; “Liza With a Z” (Emmy Award); HBO’s “Liza Minnelli’s Stepping Out” (Emmy Award); Funny Lady (Oscar nominated for “How Lucky Can You Get”); Lucky Lady; New York, New York; Stepping Out; and Chicago (Oscar nominated for Best

Song). In the mid ’80s the song “New York, New York” becoming the official anthem of New York City. At the time of the unfortunate death of Mr. Ebb, Kander and Ebb had several projects in different stages of completion waiting in the wings: All About Us, Curtains and The Scottsboro Boys. Life goes on. BOB FOSSE (Book). First director in history to win Oscar, Tony and Emmy awards in one year (1973) for the film Cabaret, the musical Pippin and the TV special “Liza With a Z.” He won the first of eight Tonys as choreographer for The Pajama Game followed by directing and choreographing Redhead, Little Me, Sweet Charity (stage and film), Chicago, Dancin’. Other choreography: Damn Yankees, New Girl in Town, How to Succeed…, Big Deal. Film: My Sister Eileen, The Pajama Game, Damn Yankees. Director: Lenny (Oscar nom.), All That Jazz (Oscar nom.), Star 80. WALTER BOBBIE (Director) directed the New York productions of Bright Star, Venus in Fur, The Landing, Golden Age, School for Lies, Irving Berlin’s White Christmas, Chicago, The Submission, Cabin Pressure, The Savannah Disputation, New Jerusalem, High Fidelity, The Other Woman, The Marriage of Bette and Boo, Sweet Charity, Twentieth Century, Footloose, Durang/Durang, For Whom the Southern Belle Tolls, and A Grand Night for Singing. He was artistic director of City Center Encores!, where he also directed Fiorello!, Chicago, Tenderloin, Golden Boy, No, No, Nanette, and Zorba! as well as the Carnegie Hall concerts of South Pacific and Carousel. Mr. Bobbie served for 12 years on the Board of the Stage Directors and Choreographers Society. He is the recipient of Drama Desk, Outer Critics Circle, and Tony Awards. ANN REINKING (Choreographer). 1997 Tony Award, Best Choreography for Chicago, as well as Drama Desk, Outer Critics Circle, Astaire and NY Drama Critics awards. Other credits include: director, co-choreographer for Fosse (1998 Tony Award for Best Musical); Tony nomination for Best Director in a Musical, Fosse, Nominations for Tonys in 4 different categories: Best Actress, Best Supporting Actress, Best Choreographer, Best Director (won the Tony for Best Choreography), as well as Tony nominations for her leading performances in Dancin’ and Goodtime Charlie; won the Lawrence Olivier Award for Fosse; recipient of Theatre World, Clarence Derwent

CHICAGO

Broadway Dance Center, MSU. Thanks to God, Mom, Dad, casting, and CESD. @michalkolaczko


CHICAGO

and Outer Critics Circle awards for her work as Maggie in Over Here! Film credits: Movie, Movie; All That Jazz; Annie; Micki and Maude. Recent choreography: Sondheim Suite for Pacific Northwest Ballet, Suite Kander for Missouri State Ballet, Ritmo & Ruido for Ballet Hispanico, Legends for Joffrey Ballet of Chicago, The Threepenny Opera for Williamstown Theatre Festival, Nilsson/Schmillson for Seattle’s Spectrum Dance Theatre, “Bye Bye Birdie” for ABC-TV, national tour of the revival of Applause. Cochoreographed The White City and Light In The Dark/Thodos Dance Chicago. Choreographed The Harrison Tribute/American Ballet Theatre. She is the recipient of the National Broadway Theatre Award for best choreography, Fosse, 2001, the Drama League Award for Distinguished Achievement in Musical Theatre 1999, Musical Hall of Fame Award 1999, Dance Library of Israel Award 1998, Distinguished Artist Award 1998, School of American Ballet Artistic Achievement Award 1997, National Art Club Award for Service to the Arts 1995, Governor’s Award— Ambassador of the Arts for the State of Florida 1994, Honorary Doctorate from Florida State University, Dance Magazine Award, Ford Foundation Scholarship for the San Francisco Ballet Company and the Robert Joffrey Scholarship with the Joffrey Ballet. JOHN LEE BEATTY (Set Design). Broadway: Junk, Disgraced, Venus in Fur, After Midnight, The Nance, Other Desert Cities, The Color Purple, A Delicate Balance, The Heiress, The Sisters Rosensweig, The Most Happy Fella, Burn This, Ain’t Misbehavin’, Talley’s Folly, Fifth of July, among 100 others. Off-Broadway: Sylvia; The Substance of Fire; Lips Together, Teeth Apart; A Life in the Theatre; many seasons at MTC, Circle Rep, Lincoln Center and Encores. Major regional theaters, film, opera, TV and the circus. Multiple Tony, Obie, Drama Desk and Outer Critics Circle awards. Graduate: Brown and Yale. WILLIAM IVEY LONG (Costume Designer) has designed costumes for over 70 Broadway productions. Select credits include The Prince of Broadway, A Bronx Tale: The Musical, On the Twentieth Century, Cabaret (2014 and 1998 revivals), Rodgers + Hammerstein’s Cinderella, The Mystery of Edwin Drood, Grey Gardens, Hairspray, The Producers, The Boy From Oz, Contact, Crazy for You, Guys and Dolls, Nine. He was

recently nominated for an Emmy Award for his work on Grease:Live! for the FOX television network, and designed costumes for The Rocky Horror Picture Show: Let’s do the Time Warp Again, also for FOX. He has designed costumes for Mick Jagger, Siegfried and Roy, the Pointer Sisters and Joan Rivers.. Mr. Long has won 6 Tony Awards, with 15 nominations. He recently completed a 4 year elected term as Chairman of the American Theatre Wing, and was inducted into the Theatre Hall of Fame in January 2006. KEN BILLINGTON (Lighting Designer) 100 Broadway shows include such milestones as Sweeney Todd and Chicago. Current tours Waitress, Chicago (worldwide), Dirty Dancing, White Christmas. Awards: TONY, NY Drama Desk, Outer Critics, Ace and the Lumen for his architectural lighting for New York’s Tavern on the Green. He is a member of the Theatre Hall of Fame. SCOTT LEHRER (Sound Design) received the first Tony awarded to sound for the Lincoln Center Theater revival of South Pacific. Recent B’way work: Honeymoon in Vegas, A Delicate Balance, Love Letters, A Raisin in the Sun, Betrayal, Lucky Guy, Chaplin (Drama Desk), Death of a Salesman (Tony nom), That Championship Season, Women on the Verge, Finian’s Rainbow, A View From the Bridge (Tony nom), Joe Turner’s Come and Gone (Tony nom) and over 40 City Center Encores. Music engineer/ producer projects include Loudon Wainwright’s Grammy-winning High Wide and Handsome, Bebe Neuwirth’s Porcelain, Judy Kuhn’s All This Happiness and Meredith Monk’s Mercy. DAVID HYSLOP (Director Recreation) has been affiliated with the Broadway production of Chicago since 2005. One of his duties there has been to rehearse dozens of new cast members, including Huey Lewis, Usher, Brian McKnight, John O’Hurley, Lisa Rinna, George Hamilton and Sofia Vergara. He has over 20 Broadway credits as a stage manager including Priscilla Queen of the Desert, La Cage, Democracy, Rocky Horror Show, The Blue Room, Jekyll & Hyde, An Ideal Husband, Grease!, and A Few Good Men. Resident theatres include seasons with PCPA/Solvang Theatrefest and with The American Conservatory Theatre in San Francisco. Recently, he served as director/restager for the national tour of Priscilla Queen of the Desert.

DAVID BUSHMAN (Choreography Recreation) Broadway/National & International Tours: Chicago, Dance Captain/Swing, Amos u/s. Other credits: Criss Angel’s BELIEVE (Las Vegas), Assistant Director. David also danced principal roles in works by world-renown choreographers with North Carolina Dance Theater, Feld Ballet and Les Grands Ballet Canadiens. He graduated from NC School of the Arts. DAV I D THOMPSON (S c ript Adaptation). Broadway productions include the librettos for The Scottsboro Boys (Tony and Drama Desk Award nominations, Hull-Warriner Award), Steel Pier (Tony nomination) and Thou Shalt Not. Off-Broadway: And the World Goes ‘Round (Drama Desk and Outer Critics Circle awards), Flora, the Red Menace (Drama Desk nomination). Regional: McCarter Theater ’s A Christmas Carol. Television: “Sondheim: A Celebration at Carnegie Hall,” “My Favorite Broadway.” Thompson is a graduate of Northwestern’s Medill School of Journalism. ROB FISHER (Supervising Music Director). Original conductor and music director for Chicago and Grammy Award-winning cast album. Music supervisor Chicago companies worldwide. Founding music director (12 seasons) of City Center’s Tony Award-winning Encores! series . Broadway: An American in Paris (score supervisor), 3 Penny Opera (Sting), The Apple Tree (Chenoweth), Wonderful Town, Me and My Girl, more. New York Philharmonic: Carousel (Emmy nomination). San Francisco Symphony: Sweeney Todd (LuPone and Hearn). Carnegie Hall: Guys and Dolls (Lane and Mullally). Guest conductor 25 U.S. orchestras, 25 recordings as conductor or producer. Many broadcasts and projects with Garrison Keillor. JOHN MONACO (Music Coordinator) is a veteran of the musical theatre. He has been music coordinator for over 100 Broadway musicals and has performed in more than 40 Broadway shows. Mr. Monaco has had the privilege of working with Richard Rodgers, John Kander, Jule Styne, Elmer Bernstein, Harvey Schmidt, Philip Springer, George Forrest, Robert Wright, Janusz Stoklos, Steve Margoshes and many others. ROBERT BILLIG (Music Director/ Conductor). Broadway credits include Wicked, Man of La Mancha (2002


DAV I D B R I A N B R OW N (W ig / Hair Design). Broadway: highlights: Curious Incident…, If/Then, Bridges of Madison County, Macbeth, The Nance, Death of a Salesman, Follies, Sister Act, Arcadia, A Steady Rain, Shrek, The Little Mermaid, Legally Blonde, Spamalot, Tarzan, Dirty Rotten Scoundrels, Fiddler on the Roof, Nine, Gypsy, Sweet Smell of Success, The Invention of Love, Aida, The Iceman Cometh, Chicago, Sideshow, Steel Pier. Off-Broadway: Far From Heaven, Giant. Film/TV credits: “The Sound of Music”—live NBC, It’s Complicated, “A n g e l s I n A m e r i c a ” ( E m m y nominated), To Wong Foo…. S T E WA R T/ W H I T L E Y (C a s t i n g) Duncan Stewart CSA & Benton Whitley CSA. BWAY/NY:  The Great Comet, A Clockwork Orange, As You Like It, On The Town, Pippin,  La Cage Aux Folles, The Radio City Christmas Spectacular,  Carnegie Hall West Side Story, The Band Wagon, Pageant; WEST END/UK: Thriller Live, Menier Chocolate Factory, West Side Story; TOURS: Finding Neverland, Dirty Dancing, The Sound of Music,  Into t h e Wo o d s ,   T h e B o d y g u a r d , Chicago The Musical, Once, Shrek, Elf,  Flashdance,  Anything Goes, Bullets Over Broadway, We Will Rock You; UPCOMING:  Prince of Egypt, Hadestown, August Rush; REGIONAL: American Repertory Theater, Alley Theatre, Bay Street, Goodspeed, TUTS, Asolo Rep, Hollywood Bowl, TheatreWorks, Royal Caribbean. The Casting Society of America. Artios Award Winning. stewartwhitley.com ARTHUR SICCARDI, THEATRICAL SERVICES INC. (Technical Supervisor) has been involved in more than 200 Broadway shows: Hello, Dolly!; A Chorus Line; Cats; The Real Thing; Ballroom; Dreamgirls; Chess; Broadway Bound; Jerome Robbins’ Broadway; Cat on a Hot Tin Roof; Gypsy; Lost in Yonkers; Fiddler on the Roof; Falsettos; The Goodbye Girl; My Fair Lady; Sunset

Boulevard; Laughter on the 23rd Floor; My One and Only; Billy Elliott; The Tony Awards and Night of a Thousand Stars. In 2012, he received a Tony Honor for Excellence in the Theatre as well as the first “Broadway Legend” award given my SUNY Purchase. MICHAEL DANEK (Production Stage Manager) is thrilled to be on tour with Chicago. Broadway: Chicago, Pippin, Wicked. National Tours: Rock of Ages; Dr. Dolittle; Little House on the Prairie; Chitty Chitty Bang Bang; Disney’s High School Musical. Off Broadway: A Christmas Carol; The Fantasticks. European Tour of Grease Das Musical performed IN German. RICK PESSAGNO (Stage Manager). Credits include Chicago the Musical, Cell Block Tour 2013/14/15/16/17, Title of Show (Tidwell Productions), The Mad Project (Martian Productions) and many others. My journey with Chicago began in 1997 with the first national tour. Where I originated the role of Fred Casely. Thanks to my friend Hilary for believing in me, to my T.S. for standing by me, to my beautiful daughters AND to the newest addition in my life my Granddaughter Lyla. Places Please! GAY MERWIN (Assistant Stage Manager) is happy to rejoin the Chicago Tour. Broadway: RENT, The Dinner Party, Miss Saigon, Cabaret, Chicago, CATS, TopDog/UnderDog. Off-Broadway: Steve Martin’s The Underpants, Bat Boy, Falsettoland. Tours: Chicago, Mamma Mia! Tour 1, An Inspector Calls, Promises, Promises. BA R RY a n d F R A N W E I S S L E R (Producers) have had a producing career that spans 40 years. They are the recipients of seven Tony Awards: Othello starring James Earl Jones and Christopher Plummer, Fiddler on the Roof with Topol, Gypsy with Tyne Daly, Annie Get Your Gun with Bernadette Peters and Reba McEntire, the 2010 revival of La Cage Aux Folles with Kelsey Grammar, the 2013 revival of Pippin, and Chicago, presented in over 25 countries in over a dozen languages. Celebrating over two decades on Broadway, Chicago is the longest running American musical is history! Fran and Barry have produced over 30 Broadway shows, including their newest hit, Waitress, currently playing at the Brooks Atkinson Theatre in New York and on tour nationwide, features an original score by Grammynominee Sara Bareilles.

BROADWAY ACROSS AMERICA (Producer) is part of The John Gore Organization family of companies, which includes B roadway.com , under the supervision of nine-time Tony-winning producer John Gore (Owner and CEO). Current and past productions include Beautiful, Cats, Fiddler on the Roof, Finding Neverland, Hairspray, Million Dollar Quartet, On Your Feet!, School of Rock and The Producers. BroadwayAcrossAmerica. com; Broadway.com. ALECIA PARKER (Executive Producer) serves as the executive producer of all worldwide productions of Chicago, the Broadway and touring productions of Waitress, Pippin and Finding Neverland. Currently licensing Once the Musical internationally. Other credits, spanning more than 30 years, include executive producer of Priscilla Queen of the Desert, La Cage aux Folles, The Scottsboro Boys, Sweet Charity, Wonderful Town and Seussical; and associate producer of Annie Get Your Gun, My Thing of Love, Grease!, My Fair Lady, Falsettos, Fiddler on the Roof, Cat on a Hot Tin Roof, Cabaret and Zorba starring Anthony Quinn. She is the proud mother of Michael Parker – Atlantic Records. B . J . H O LT (G eneral Manage r). Broadway, West End and touring productions include Chicago, Fosse, La Cage aux Folles, Les Misérables (CM), Miss Saigon (CM), Pippin, Priscilla Queen of the Desert, Seussical, Sweet Charity and the upcoming Finding Neverland, The Heart of Robin Hood and Waitress. His favorite role, however, is to be father to Christina and Payson, who make everything worthwhile! CITY CENTER’S ENCORES! GREAT AMERICAN MUSICALS IN CONCERT. City Center, a not-for-profit theater founded in 1943 as Manhattan’s first performing arts center, is home to many of America’s leading dance companies, education programs and popular engagements. The award– winning series Encores! was created in 1994 to revisit rarely heard scores, of which Chicago is one. Presented by special arrangement with American Play Company, Inc., Sheldon Abend, President.

CHICAGO

Revival), Chicago, Les Misérables, Miss Saigon, Song And Dance, Singin’ In The Rain And The Best Little Whorehouse In Texas. Recent national tours: Chicago, Les Misérables (25th anniversary production), Young Frankenstein, The Drowsy Chaperone and Wicked. Off-Broadway:Little Shop of Horrors. Film: Little Shop of Horrors, Geppetto. Other conducting credits range from intimate nightclubs to international symphony orchestras and everything in between.


CHICAGO

STAFF FOR CHICAGO

Production Photography...................Paul Kolnik, Jeremy Daniel

GENERAL MANAGEMENT

Merchandising............................... Creative Goods

B. J. Holt, General Manager Nina Skriloff, International Manager Hilary Hamilton, Associate General Manager

DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2017/18 BROADWAY SEASON

STAFF FOR NATIONAL ARTISTS Vice President of Marketing.....Chelsea Salyer Director of Marketing.............................Ken Sperr

TOUR MARKETING/PRESS Anita Dloniak & Associates. Inc. Anita Dloniak

Melissa A. Hazek

Chief Financial Officer...........................Tejal Petal International Manager ..................... Nina Skriloff Head of Business Affairs.....Daniel M. Posener Accounting................................ Marian Albarracin

CASTING STEWART/WHITLEY Duncan Stewart, CSA; Benton Whitley, CSA; Paul Hardt; Christine McKenna; Danny Dunitz; Allie Carieri

Associate to the Weisslers..........Brett England Assistant to Barry Weissler............. Anna Mack Assistant to Alecia Parker........... Alana Graber Assistant to BJ Holt.......................... Tyler Forrest Receptionist................................Michelle Coleman

COMPANY MANAGER...............MARION TAYLOR PRODUCTION STAGE MANAGER...............................MICHAEL DANEK Stage Manager................................ Rick Pessagno Assistant Stage Manager.................Gay Merwin General Management Associate......................................Stephen Spadaro Associate Lighting Designer Worldwide......................John Demous Associate Sound Designer......................................... Benjamin Furiga Assistant to William Ivey Long....................... Donald Sanders Production Carpenter...........................Mark Wise Flyman....................................................... Paul Wilson

Messenger.................................................Victor Ruiz

TOUR DIRECTION 250 West 57th St., Suite 901 New York, NY 10107 917.206.4600 tel/917.206.4646 fax www.columbiaartiststheatricals.com

CREDITS

Master of Properties.......................Michael Triolo Wardrobe Supervisor.....................Cindy Krantz-Silverstein Hair Supervisor..............................Scott Mortimer Banking..................................... City National Bank/ Michele Gibbons Music Preparation.............................Donald Oliver, Evan Morris/Chelsea Music Service, Inc. Payroll.............................. Castellana Services, Inc. Accountants............................Marks Paneth, LLP. Counsel................... Seth Gelblum/Loeb & Loeb Insurance......... Stockbridge Risk Management

Web Design.......................................... Spot Design

• LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas. • PHOTOS, RECORDING & CELL PHONE USE are prohibited. • CHILDREN 6+ are welcome in our theatres

Lighting equipment from PRG Lighting.

• DRINKS are allowed in provided containers.

Sound Equipment by PRG Audio.

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

The musicians employed in this production are members of the American Federation of Musicians.

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

United Scenic Artists represents the designers and scenic painters for the American Theatre.

Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

The Press Agents and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

Art Design........................................................ Spotco Advertising..............................................................RPM

PLEASE BE ADVISED

Scenery built and painted by Hudson Scenic Studios,

Production Sound Engineer........Jared Ullman Assistant Sound......................................... JD Arney

For information call: 720.865.4220

Columbia Artists Theatricals

Master Electrician..........................Sean Hamilton

Lightboard Operator.........................Adam Grant

CITY & COUNTY OF DENVER Michael Hancock, Mayor ARTS AND VENUES Kent Rice, Director

Production Electrician...................Alan Schuster

Front Light Operator...................Sean Hamilton

THE BUELL THEATRE is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Arts and Venues.

This production is produced by a member of The Broadway League in collaboration with our professional union-represented employees.

and must be ticketed.

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you. • BRAILLE PROGRAMS are available with 2 weeks’ notice to ckrueger@dcpa.org or 303.893.4836.

Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719 Linda Ackerschott Carrie Breidenbach Vonnie Clough Janel Clough Craig Cory Cyndie Cory Laura Cotugno Steve Davies Anne Davis Carolyn Dore Deborah Guess

AnnSue Gunter Judy Holabird Leslie Lambert Sharon Millikan-Hale Callie Morrow Yolanda Pollock Dave Poole Liz Spadi Amy Tepel Marybeth Tscherpel Barb Wilson

DPAC House Crew Mark Anthony Perry Elliot James R. Gralian John Kendrick

Randy Mitchell Tanya M. Rist Albert Sainz, Sr David A. Wilson


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CHICAGO STILL HAS THAT “RAZZLE DAZZLE” B Y G E N E V I E V E M I L L E R H O LT

— CANDY BROWN, Denver resident who originated the role of June

T

In the preceding year, while visionary director and choreographer Michael Bennett was developing A Chorus Line, the equally visionary Bob Fosse enlisted composer John Kander and lyricist Fred Ebb (Cabaret) to create a new piece too: the musical version of a 1926 play about an infamous dame who’d killed her husband. Fosse was an established Broadway director and choreographer at this point (Pippin, Sweet Charity) with a corps of loyal dancers. Denver resident Candy Brown was one of them. In January 1974, while Brown was dancing in Pippin, she and 18 other dancers gathered to discuss the challenges of being a Broadway gypsy, which eventually became the basis of Michael Bennett’s A Chorus Line. Bennett’s project was an unknown quantity with only the glimmer of becoming something bigger, so some participants defected to more secure gigs, Brown among them. She joined Fosse’s Chicago. “I felt a loyalty to Bob,” she said, “as Chicago would be my third project with him... not to mention the fact that no one knew if the Michael Bennett workshop would even be a show.” A year later, Brown arrived for the first day of rehearsal, yet just after lunch, the cast was told that Fosse had been hospitalized. “I went numb,” said Brown. “We all were in a state of disbelief.” Work stopped as Fosse suffered two heart attacks and underwent bypass surgery.

Months later, the Chicago team reassembled and Fosse began to construct his iconic musical. “Every costume, every gesture, every bit of lighting, every word and moment were all woven together to create the story,” said Brown, who played the role of June. Chicago opened on Broadway on June 3, 1975, to enthusiastic audience response. Fosse considered it a compliment that some took offense at his cynical take on the American justice system and the cult of celebrity. “When people walked out,” said Brown, “Bob got tickled because he figured that in order to be offended, they must have ‘got it.’” But when the Tony Awards came around, the unconventional A Chorus Line won them all. In his review of Chicago’s 1996 revival, New York Times critic Ben Brantley reflected that the 1975 production of Chicago had been, “in a sense, the evil twin of its rival musical, as acerbic and coldhearted as the other was sentimental and warm.” But Chicago would eventually get its due. The 1996 revival was a resounding success, winning six Tonys and a Grammy while Rob Marshall’s film version won the 2002 Academy Award for Best Picture. Still considered one of Fosse’s towering undertakings, Chicago returns to Denver for a seventh time, and, after 20 years, is the longestrunning American musical on Broadway today. It’s still got that razzle dazzle. Genevieve Miller Holt is the General Manager for Broadway Across America in Cincinnati.

CHICAGO • NOV 28 – DEC 3 • BUELL THEATRE ASL Interpreted, Audio-Described & Open Captioned Performance: Dec 2, 2pm

28

APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG

Photos: (bottom left) Dylis Croman as Roxie Hart. Photo by Jeremy Daniel. (top) Terra C MacLeod as Velma Kelly and Ensemble. Photo by Paul Kolnik

“Every costume, every gesture, every bit of lighting, every word and moment were all woven together to create the story.”

The 1975/76 Broadway season made history. Meryl Streep earned her first Tony® nomination and Sondheim’s Pacific Overtures premiered on Broadway. And two of musical theatre’s most enduring musicals were created nearly simultaneously.


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“Our decision to become a corporate sponsor… is all part of our wider corporate citizenship thinking, which allows our employees to channel their talents and resources toward worthy causes and become invested in the community where we live and work.” — T. SCOTT KENNEDY, COO AND PRESIDENT

A

Arts and culture are one of the few areas in life where we can share a common experience that brings us together and, hopefully, helps us create a better world. As a locally-based insurance and health benefits brokerage, CCIG believes its support of the Denver Center for the Performing Arts (DCPA) is one of the best ways we can express our passion for the arts and our commitment to the health and welfare of our region at large. A commitment to giving back has been at the heart of CCIG’s values from the very day we opened our doors in 1985. Culture is a big and growing part of the Denver economy, representing $1.8 billion in economic activity, according to the latest available figures. We’d love to see it grow even more. That’s why we’re happy to be a DCPA corporate sponsor, in hopes that our support not only can help pay the salaries of actors, set designers and others working in the performing arts, but also help drive cultural tourism, expand arts education and fuel job growth. As brokers of insurance products designed to safeguard the hard work of our community’s entrepreneurs, that is important to us. Arts and culture, of course, are much more than economic drivers; they can illuminate our inner lives and enrich our emotional world. Studies have shown that participation in culture is significantly associated with good health and high life satisfaction. For example, one study into the effects of dance on people with Parkinson’s disease found that dance provided stimulation – not just physical, but emotional, intellectual and social. As brokers of employee health benefits, that is important to us. Arts and culture also are a means to public dialogue, helping us understand each other, build community and leadership. Exposure to the arts opens people’s minds. It boosts their creativity. It makes them more innovative. It also creates a sense of pride and belonging. As a corporate citizen, all of that is important to us. “Our decision to become a corporate sponsor is something we’re very proud of,” said T. Scott Kennedy, COO and President of CCIG. “It’s all part of our wider corporate citizenship thinking, which allows our employees to channel their talents and resources toward worthy causes and become invested in the community where we live and work.” In addition to the DCPA, CCIG is proud to support several other organizations including the Special Olympics of Colorado, Metro Caring, Project Angel Heart, the Denver Rescue Mission and Habitat for Humanity. Learn more than CCIG’s corporate giving at http://thinkccig.com/careers/#community-involvement.

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APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG


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IN THE SPOTLIGHT

UPCOMING

SHOWS

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

First Date Now – Apr 22, 2018 RENT 20th Anniversary Tour Now – Nov 21

2

A Christmas Carol Nov 24 – Dec 24 The SantaLand Diaries Nov 24 – Dec 24 Chicago Nov 28 – Dec 3

ROBERT LEE HARDY

Mannheim Steamroller Christmas by Chip Davis Dec 9 – 10

1

ELF The Musical Dec 13 – 17

5

Waitress Dec 19 – 31

3

Rodgers & Hammerstein’s The King and I Jan 2 – 14 Zoey’s Perfect Wedding Jan 19 – Feb 25

4

American Mariachi Jan 26 – Feb 25

6

Photos by John Moore, Amanda Tipton Photography and Adams VisCom

The Great Leap Feb 2 – Mar 11

1 DCPA CEO Janice Sinden is pretty in pink when she performed for the 8th annual Dancing with the Denver Stars, a benefit to support education programs at Cleo Parker Robinson Dance. 2 OFF-CENTER stages The Wild Party under the direction of Amanda Berg Wilson, who discusses how to transform The Hangar at Stanley Marketplace for the immersive musical. 3 DCPA THEATRE COMPANY invites cast, crew, donors and civic partners to a season opening celebration following an electrifying take on Macbeth. 4 DCPA EDUCATION welcomes 18,000 children ages 3-9 to its new Theatre for Young Audiences program when they see The Snowy Day and Other Stories by Ezra Jack Keats. 5 DCPA staffers participate in a benefit performance for the Denver Actors Fund, which offers financial and practical relief for members of the Colorado theatre community who are in medical need. 6 DCPA BROADWAY invites the cast and crew of Frozen to join Trustees, donors and fans of all ages at a Gala to benefit for DCPA Education and commemorate the debut of this bound-for-Broadway musical.

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APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG

STOMP Feb 13 – 18 Hamilton Feb 27 – Apr 1 This Is Modern Art Mar 22 - Apr 15 Disney's Aladdin Apr 6 – 28

Native Gardens Apr 6 – May 6 The Who’s Tommy Apr 20 – May 27 Human Error May 18 – Jun 24 School of Rock May 29 – Jun 10 The Book of Mormon Jun 13 – Jul 1 Les Misérables Jul 25 – Aug 5 On Your Feet! Aug 8 – 19

FOR A COMPLETE LIST, VISIT DENVERCENTER.ORG Tickets for some shows are currently unavailable.


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APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG

PHOTO COURTESY OF CORINNE RESTAURANT

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As another year comes to a close, we know you are asked to donate to numerous organizations. We hope that you will consider giving to the DCPA as we work to create a resilient and unified community. By telling your stories we hope to foster shared understanding and respect for different backgrounds and life-experiences.

ARTISTIC LIVING STARTS WITH GIVING EVERY DONATION HELPS UPLIFT AND TOUCH THE COMMUNITY WE VALUE

• $25 helps send a child to a student matinee for their first live theatre experience • $50 helps bring new and diverse voices to the American theatre through our New Play Summit

DENVERCENTER.ORG/GIVE 44

APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG

Photo by Amanda Tipton Photography

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“It’s imperative that Larimer Square supports the thousands of talented, creative and entrepreneurial theatregoers who fill the Arts Complex every season.” — JEFF HERMANSON, PRESIDENT & CEO

T

The famed brick buildings on Larimer Square have worn many hats throughout their years on Denver’s most historic block. The celebrated Square has been home to Denver’s first Post Office, theatre, City Hall, barbershop, speakeasy and countless others. For nearly 160 years, Larimer Square has entertained and provided a community gathering hub for Denverites and out-of-towners that is unparalleled. Today, Denver’s oldest block continues to be recognized for its remarkable story, premier shopping, exquisite dining and entertainment. Larimer Associates President & CEO, Jeff Hermanson, has taken great care to make it that way, spending the past 20 years attracting locallyowned, independent boutiques, clubs and restaurants to the block while preserving its beauty and charm. Larimer Square provides visitors a unique experience that compliments the cultural offerings of its neighbor, the Denver Center for the Performing Arts (DCPA). “Larimer Square has found the perfect partner in the DCPA,” said Hermanson. “The exceptional combination of theater, music, nightlife, dining and shopping that our two special places provide is unrivaled.” Larimer Square and the Denver Center for the Performing Arts share a strong commitment to the arts. The

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APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG

Square has distinguished itself from other districts by creating a place for independently minded shops and restaurants, giving entrepreneurs the artistic freedom and support they need to make their business dreams a reality. At the same time, Larimer Square offers an experience that complements the artistic and creative sensibilities of the DCPA and hosts multiple events each year to promote the arts including the popular Denver Chalk Art Festival and Art of Winter. “It’s imperative that Larimer Square supports the thousands of talented, creative and entrepreneurial theatregoers who fill the Arts Complex every season,” said Hermanson. “We similarly support the many artists on Larimer Square. Our chefs, bartenders and merchants are some of the most creative in the city.” In addition to the DCPA, Larimer Square is a proud supporter of the Downtown Denver Partnership, the Larimer Arts Association, Colorado Business Committee for the Arts, We Don’t Waste, Volunteers of America, the Denver Art Museum, and more. “Denver is in the middle of an entrepreneurial and cultural transformation,” continued Hermanson. “It’s been amazing to witness and an honor to be a part of this exciting change with our partners at The Denver Center.”


TICKETS START UNDER $20 for most concerts!

Faith - A Tribute to the Music of George Michael

A Colorado Christmas

NOV 25 SAT 7:30

DEC 15-17 FRI 7:30 SAT 2:30 & 6:00 SUN 1:00

Christopher Dragon, conductor

Christopher Dragon, conductor Colorado Symphony Chorus, Duain Wolfe, director Colorado Children’s Chorale, Deborah DeSantis, artistic director

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Drums of the World

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NOV 26 SUN 1:00 Colorado Symphony Percussionists

All-Beethoven Conducted by Brett Mitchell DEC 1-3 FRI-SAT 7:30 SUN 1:00

HalfNotes

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Holiday Brass Returns to Boettcher Concert Hall

HalfNotes

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DEC 20 WED 7:30 Colorado Symphony Brass

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Too Hot To Handel

Brett Mitchell, conductor Jeffrey Kahane, piano

Handel’s Messiah

DEC 22-23 FRI-SAT 7:30 HOLIDAY

DEC 8-9 FRI-SAT 7:30 Brett Mitchell, conductor Colorado Symphony Chorus, Duain Wolfe, director

Yo-Yo Ma with the Colorado Symphony DEC 10 SUN 7:30 Brett Mitchell, conductor Yo-Yo Ma, cello

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Christopher Dragon, conductor Cynthia Renee Saffron, soprano Vaneese Thomas, mezzo Lawrence Clayton, tenor Colorado Symphony Chorus, Mary Louise Burke, associate director

A Night In Vienna

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DCPA TEAM

DCPA Janice Sinden.......................................President & CEO Maggie Lamb................................ Executive Assistant to the CEO & CDO

BROADWAY & CABARET John Ekeberg.........Executive Director Broadway Alicia Bruce..........................................General Manager Ashley Brown................................... Business Manager Abel Becerra..................Technical Director, Cabaret Donna Hendricks........................ Executive Assistant to the Executive Director Broadway

DEVELOPMENT Deanna Haas................Chief Development Officer Shawn Bayer....................................Associate Director Megan Fevurly.....................Development Manager Katie Imhoff...........................Development Manager Melissa Olson......................Development Associate Marc Ravenhill.................................Associate Director David Zupancic...............Director of Development

EDUCATION

MARKETING, SALES & PATRON SERVICES

Claudia Carson........................................... Bobby G and Jill Schwager.Audience Development Associate Playwriting Coordinator Andrew Sanders................................Project Manager Leslie Channell................................Business Manager Rob Silk.........................Director of Creative Services Melissa Sumner..........Office Manager & Registrar Suzanne Yoe..............Director of Communications & Cultural Affairs Linda Eller................................................................Librarian Tim McCracken......................................Head of Acting

THEATRE SERVICES Andre Rodriguez..............................Teaching Artist & Shakespeare Coordinator Carol Krueger................ Theatre Services Manager David Saphier....................Teaching Artist & School Adam Alberti, Ethan Aumann, Nora Caley, Coordinator Samantha Egle, Jahnice Jones, Hadley Kamminga-Peck, LeiLani Lynch, Elizabeth Schmit...........................Assistant Registrar Aaron McMullen, Gregory Melton, Rachel Taylor.....................Teaching Artist & At-Risk Douglas Murphey, Joyce Murphey, Coordinator Margaret Ohlander, Dylan Phibbs, Stephanie Prugh, Valerie Schaefer, Lauren Veselak Ilasiea Gray, Chloe McCleod, Mica Ward..........................................Theatre Company Maggy Stacy, Justin Walvoord, House Managers Robyn Yamada....................................Teaching Artists TICKETING SERVICES

Jennifer Lopez.......Director of Ticketing Services Clay Courter..............................................Vice President, Facilities & Event Services Kirk Petersen..........................Assoc. Dir. of Ticketing Services – Patron Relations Dwight Barela, Zachary Brent, Micah White............................Assoc. Dir. of Ticketing Clint Flinchpaugh, Services – Subscription Services Michael Kimbrough.........................................Engineers Quentin Crump...............................Security Specialist Katie Pollard............................. Subscription Manager

Tom Duffin....................Manager, Event Technology Jessica Bergin, Vincent Bridgers, Tristan Jungferman ..............Box Office Managers Colin Dieck...................Event Technology Specialist Billy Dutton....................Senior Box Office Manager George Hartman....................................Chief Engineer Amanda Gomez...................VIP Ticketing Manager Stori Heleen.................Event Technology Specialist Román Anaya, D.J. Dennis, Edmund Gurule, Jaymes Kimbrough.......................Event Technology Noah McDermott, Specialist Hayley Solano................................................Show Leads Clint King.........................................Security Supervisor Kirsten Anderson, Roger Haak, Brian McClain..............................Custodial Supervisor Rebecca Hibbert, Scott Lix, Gregory Swan.............................Subscription Agents Chris Lagana, Matt Leaver, Tara Miller..............................................Events Managers Ally Beacom, Malcolm Brown, Rena Bugg, Brook Nichols..............Director, Event Technology Keenan Coke, Kelcee Covert, Jennifer Gray, Shari Hansen, Maggi Quinn........Director Facilities Management Noah Jungferman, Alia Kempton, Will Stowe....................Event Technology Specialist Daniel Lindsey, Gustavo Márquez, Tara Wenger............................................Facilities/Event Lisa McClellan, Clayton Nickell, Services Business Manager Gunnar Reinig, Jason Scoggins, Dawn Williams....................Director, Event Services Liz Sieroslawski, Brad Steinmeyer, Andrew Sullivan, Tomas Waples, Juan Loya, Carmen Molina, Cindy Yeast.................................................Ticket Agents Blanca Primero, Judith Primero, Angeles Reyes Soto.....................................Custodians

48

Sound Design

Vicky Miles................................Chief Financial Officer Craig Breitenbach..........................Director of Sound Eric Boone...................................Front End Developer Jennifer Jeffrey...........................Director of Financial Tyler Nelson...........................................Sound Designer Planning & Analysis Alex Billman, Madlyne Kuhl.......Sound Operators Heidi Bosk.......Senior PR & Promotions Manager Jonalyn Bradshaw............................. Education Sales Julie Schumaker.......................... Executive Assistant Stage Management to the CFO & Board Liaison Kurt Van Raden..........Production Stage Manager Coordinator Christoper C. Ewing............Senior Stage Manager Nathan Brunetti....................................Digital Manager ACCOUNTING Flora Jane DiRienzo.................Director of Strategic Jennifer Siemers................. Director of Accounting Kailey Buttrick, Rachel Ducat, Heidi Echtenkamp, Corin Ferris, Chris Lubke, Partnerships Michaele Davidson......................Senior Accountant Rick Mireles, Kristen O’Connor, Casey Eickhoff..................Senior Graphic Designer Linda Erickson................................Senior Accountant Lyle Raper, D. Lynn Reiland......... Stage Managers Brenda Elliott.....................Senior Graphic Designer Juliette Hidahl....................................Accounting Clerk Scene Shop Brianna Firestone................... Director of Customer Eric Moore...........................................Technical Director Experience & Loyalty Kim Stewart.........................................Staff Accountant Robert L. Orzolek..............................................Associate Hope Grandon........................ PR & Events Manager Technical Director HUMAN RESOURCES Brittany Gutierrez.............................Communications Albert “Stub” Allison..................Assistant Technical Coordinator Shaunda Van Wert..........................Vice President of Director Human Resources Jeff Hovorka............Director of Sales & Marketing Regina Matthews.......Director Human Resources Louis Fernandez III............................Lead Technician Jennifer Kemps........................Group Sales Manager Aubrey Antonsen.....................................HR Generalist Tyler Clark, Brian “Marco” Markiewicz, Emily Kent...................................Director of Marketing Wynn Pastor, Kyle Scoggins, Kyle Simpson Brian Carter..................Human Resources Manager Mara Zimmerman........................Scenic Technicians David Lenk...............................................Video Producer Jamie Hawkins......................................HR Coordinator Prop Shop Emily Lozow...........................Marketing Coordinator Jill Martinez............................................Payroll Specialist Robin Lu Payne............................ Properties Director Adam Lundeen....................Marketing Technologist Monica Robles............................Mailroom Supervisor Eileen S. Garcia.......Assistant Properties Director Kyle Malone......................................................Art Director

Carolyn Michaels............................................Copywriter Allison Watrous..............................Executive Director Cheyenne Michaels............Marketing Coordinator of Education John Moore................................Senior Arts Journalist Patrick Elkins-Zeglarski........Associate Director of Education and Curriculum Manager Adam Obendorf...........................Senior Art Director Stuart Barr.................Education Technical Director Joseph Schurwonn.........................Financial Analyst

FACILITIES & EVENT SERVICES

SHARED SERVICES

Jamie Stewart Curl, David Hoth, Georgina Kayes, Yovani Pina................... Associate Vice President of Katie Webster..........................................Props Artisans Information Technology Paint Shop Rick Bennett.................................................Director of IT Jana L. Mitchell...........................Charge Scenic Artist Simone Gordon.........................IT Program Manager Melanie Rentschler.......................Lead Scenic Artist Christopher Hoge......VoIP/System Administrator Kristin Hamer MacFarlane....................Scenic Artist Paul Howell...........................................................Help Desk Costume Shop Bobby Jiminez......Senior AudienceView Analyst Janet S. MacLeod.........................Costume Director/ Jacob Parker................................Software Developer Costume Design Associate David Tschan................................................Director of IT Meghan Anderson Doyle.............Costume Design Associate John H. Voorheis............Manager of Infrastructure INFORMATION TECHNOLOGY

THEATRE COMPANY ADMINISTRATION Charles Varin...................................Managing Director Ryan Meisheid.........Associate Managing Director Allison Taylor..................................Company Manager Katie Grayson..........Assistant Company Manager ARTISTIC

Carolyn Plemitscher, Louise Powers, Jackie Scott...........................Drapers Cathie Gagnon..................................................First Hand Sheila P. Morris..............................................................Tailor Costume Crafts Kevin Copenhaver..........Costume Crafts Director Chris Campbell...............Costume Crafts Assistant Wigs Diana Ben-Kiki.................................................Wig Master

Nataki Garrett................Associate Artistic Director House Crew Charlie Miller.................Associate Artistic Director/ Doug Taylor*..........................Supervising Stagehand Off-Center Curator Forest Fowler, Dennis Leach, Douglas Langworthy.....................Literary Director/ Stephen D. Mazzeno*, Kyle Moore*, Director of New Play Development Becca Pearce, Miles Stasica*, Tyler Stauffer*, Matt Wagner* Melissa Cashion.................................Artistic Producer (*IATSE Local 7 Stagehands)..............Stagehands Grady Soapes.............................Associate Producer/ Wardrobe Director of Casting Chad Henry........................................Literary Associate PRODUCTION

Brenda Lawson........................Director of Wardrobe

Teresia Larsen as Wardrobe Assistant.........Taylor Malott, Jessica A. Rayburn..............Wig Assistants

Robin Appleton, Amber Donner, Anthony Mattivi, Tim Nelson, Matthew Campbell.................Assistant Production Lisa Parsons Wagner, Manager Alan Richards.........................................................Dressers Julie Brou.Production & Artistic Office Manager Amoreena Knabb..................................................... Swing Jeff Gifford...............................Director of Production

Scenic Design Lisa M. Orzolek................Director of Scenic Design Kevin Nelson, Nicholas Renaud.............Scenic Design Assistants Lighting Design Charles R. MacLeod..................Director of Lighting Lily Bradford.....................Lighting Design Assistant Reid Tennis............................... Production Electrician Multimedia Gregory W. Towle...................Projection Supervisor Topher Blair.................................Multimedia Specialist

APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG


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HOW MUCH DO YOU KNOW September 2017 ABOUT OUR HOLIDAY SHOWS?

CLUES 1 Lyric: I have to go out ___________ 2 Lyric: Measure your life in ___________ 3 Last name of RENT creator who died just hours after the show’s final dress rehearsal off-Broadway. 4 Longest-running revival in Broadway history, and it’s coming to Denver.

N E E T S G N I R P S R B Z 50

T L B L N B A R E I L L E S

L H N O S R A L O Q K F L Y

Z O G L D V M G N W O B L T

N O V I R Z A R S S S Y Q Z

R R O E N C R U S E N Z X X

J A G E I O L E V K T R L G

K D P H Y U T E T B F N R T

D N C T A R N T R E U E A M

DW Y Q Y W N Y G P J D K Q M S R T N I E Y R V R M R U O L G O N D R L G D Q W J Y

R G R Y G L L Y A U V P F J

N Y N M L M Z D G D W L L J

APPLAUSE • NOV – DEC 2017 • 303.893.4100 • DENVERCENTER.ORG

ic: I have to go out ___

11 Mannheim Steamroller has sold

5 Lyric: We both reached for it. 6 Chicago writers are Kander, Ebb and ___________. 7 Number of years Marley has been a ghost before visiting Scrooge. 8 Last name of the actor who is back to play Scrooge. 9 This boy is Ignorance. This girl is ___________ 10 Mannheim Steamroller is largely credited with establishing the genre of New ___________ music. 11 Mannheim Steamroller has sold more albums than Billy Joel, Bon Jovi and Bruce ___________. 12 Last name of the Mannheim Steamroller founder. 13 Name of the orphan who mistakenly crawls into Santa’s sack. 14 Actress ___________ Deschanel performs three songs in the Elf The Musical source film. 15 Last name of six-time Grammy nominee who wrote the music and lyrics to Waitress. 16 Last name of Waitress director who also launched the national tour of Pippin in Denver. 17 What’s inside of love? Sugar, butter, ___________.

For answers please visit denvercenter.org/news-center

Jerry MacKinnon in the Steppenwolf for Young Adults production of This Is Modern Art. Photo by Michael Courier.

TO LEAVE THEIR MARK ON THE WORLD, GRAFFITI ARTISTS RISK IT ALL


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Applause Magazine, November 28-December 3, 2017  
Applause Magazine, November 28-December 3, 2017  

In-theater magazine produced for the Denver Center for the Performing Arts

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