Applause Magazine, November 14-19, 2017

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VOLUME XXIX • NUMBER 3 • NOV – DEC 2017

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p28 The Company of the RENT 20th Anniversary Tour • Credit: Carol Rosegg, 2017.

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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.

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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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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.’

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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.

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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).

26

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

RENT 20TH ANNIVERSARY TOUR

AND SEASON SPONSORS

WORK LIGHT PRODUCTIONS EXECUTIVE PRODUCER, STEPHEN GABRIEL

Book, Music and Lyrics by

Jonathan Larson

Set Design

Costume Design

Paul Clay

Lighting Design

Angela Wendt

Jonathan Spencer

Sound Design

Keith Caggiano

Musical Arrangements

Original Concept & Additional Lyrics

Billy Aronson

Lynn M. Thompson

Musical Direction

Set Design Adaptation

Production Stage Manager

Steve Skinner

Matthew DeMaria Casting

Additional Casting

Joy Dewing Casting Producer

Matthew E. Maraffi

Production Manager

Rhys Williams

Katy Herman

Associate Choreographer

Tour Marketing

Wojcik | Seay Casting

Nancy Gabriel

Dramaturg

Allied Touring General Manager

Anièle Fortin

MiRi Park

Company Manager

Jon Satrom

Music Supervision and Additional Arrangements

Tim Weil Choreography

Marlies Yearby Directed by

Evan Ensign Based on Original Direction by

Michael Greif

Originally produced on Broadway by

Jeffrey Seller Kevin McCollum Allan S. Gordon and New York Theatre Workshop EXCLUSIVE TOUR DIRECTION by THE BOOKING GROUP www.thebookinggroup.com

3

RENT 20TH ANNIVERSARY TOUR

CAST OF CHARACTERS (in order of appearance)

Roger Davis..........................................................................................................................KALEB WELLS Mark Cohen....................................................................................................................... SAMMY FERBER Tom Collins............................................................................................................ AARON HARRINGTON Benjamin Coffin III.............................................................................................................MARCUS JOHN Joanne Jefferson..........................................................................................................JASMINE EASLER Angel Schunard........................................................................................................... AARON ALCARAZ Mimi Marquez..................................................................................................................... SKYLER VOLPE Maureen Johnson................................................................................................................... LYNDIE MOE Mark’s Mom and others......................................................................................................... YAEL REICH Christmas Caroler, Mr. Jefferson, Pastor and others....................................CAMERON MULLIN Mrs. Jefferson, Woman with Bags and others..................................................ALANA CAUTHEN Gordon, The Man, Mr. Grey and others.......................................................... JORDAN DUNN-PILZ Steve, Man with Squeegee, a Waiter and others...................................................JORDAN LONG Paul and others...................................................................................................................DEVIN J. HALL Alexi Darling, Roger’s Mom and others................................................................CHRISSY NARUO

UNDERSTUDIES Swings and understudies never substitute for listed performers unless a specific announcement is made at the time of the appearance. for Roger—LOGAN FARINE, JORDAN LONG for Mark—JORDAN DUNN-PILZ, JORDAN LONG for Tom Collins—DEVINRÉ ADAMS, CAMERON MULLIN for Benny—DEVINRÉ ADAMS, CAMERON MULLIN for Joanne—ALANA CAUTHEN, ASHLEY DE LA ROSA for Angel—DEVIN J. HALL, FELIX MARCHANY for Mimi—ASHLEY DE LA ROSA, PAOLA HERNANDEZ, YAEL REICH for Maureen—PAOLA HERNANDEZ, YAEL REICH DEVINRÉ ADAMS, ASHLEY DE LA ROSA, LOGAN FARINE, PAOLA HERNANDEZ, FELIX MARCHANY Conductor/Keyboards—MATTHEW DEMARIA Assistant Conductor/Keyboards/Guitar—PAUL O’KEEFE Guitar—DAVID MALACHOWSKI Bass—THOMAS BRINKLEY Drums—JEFF SNIDER

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

Please turn off all electronic devices such as cellular phones, beepers and watches. The use of cell phones in the theatre is prohibited.

DEVINRÉ ADAMS

AARON ALCARAZ

ALANA CAUTHEN

ASHLEY DE LA ROSA

JORDAN DUNN-PILZ

JASMINE EASLER

LOGAN FARINE

SAMMY FERBER

DEVIN J. HALL

AARON HARRINGTON

PAOLA HERNANDEZ

MARCUS JOHN

JORDAN LONG

FELIX MARCHANY

LYNDIE MOE

CAMERON MULLIN

CHRISSY NARUO

YAEL REICH

SKYLER VOLPE

KALEB WELLS

RENT 20TH ANNIVERSARY TOUR

CAST

RENT 20TH ANNIVERSARY TOUR

MUSICAL NUMBERS ACT ONE “Tune Up/Voice Mail #1”.......................................................Mark, Roger, Mrs. Cohen, Collins, Benny “Rent”............................................................................................................................................. The Company “You Okay Honey?”....................................................................................................................Angel, Collins “One Song Glory”......................................................................................................................................Roger “Light My Candle”.......................................................................................................................... Roger, Mimi “Voice Mail #2”............................................................................................................Mr. and Mrs. Jefferson “Today 4 U”.................................................................................................................................................. Angel “You’ll See”...........................................................................................Benny, Mark, Collins, Roger, Angel “Tango: Maureen”........................................................................................................................ Mark, Joanne “Life Support”.................................................................................................Paul, Gordon, The Company “Out Tonight”..................................................................................................................................................Mimi “Another Day”................................................................................................... Roger, Mimi, The Company “Will I?”.......................................................................................................................................... The Company “On the Street”........................................................................................................................... The Company “Santa Fe”..............................................................................................................Collins and The Company “I’ll Cover You”.............................................................................................................................Angel, Collins “We’re Okay”............................................................................................................................................ Joanne “Christmas Bells”........................................................................................................................ The Company “Over the Moon”....................................................................................................................................Maureen “La Vie Bohème/I Should Tell You”..................................................................................... The Company ACT TWO “Seasons of Love”...................................................................................................................... The Company “Happy New Year/Voice Mail #3”...........................................Mimi, Roger, Mark, Maureen, Joanne, Collins, Angel, Mrs. Cohen, Alexi Darling, Benny “Take Me or Leave Me”.......................................................................................................Maureen, Joanne “Without You”................................................................................................................................. Roger, Mimi “Voice Mail #4”............................................................................................................................. Alexi Darling “Contact”....................................................................................................................................... The Company “I’ll Cover You” (Reprise)......................................................................................... Collins, The Company “Halloween”.................................................................................................................................................... Mark “Goodbye, Love”............................................. Mark, Mimi, Roger, Maureen, Joanne, Collins, Benny “What You Own”...............................................................................Pastor, Mark, Collins, Benny, Roger “Voice Mail #5”..............................................Roger’s mom, Mimi’s mom, Mr. Jefferson, Mrs. Cohen “Your Eyes/Finale”.......................................................................................................Roger, The Company

Film by Tony Gerber “White Christmas” used by arrangement with the Irving Berlin Music Company; “Do You Know the Way to San Jose” written by Burt Bacharach and Hal David, used by permission of Casa David and New Hidden Valley Music. “The Christmas Song (Chestnuts Roasting on an Open Fire)” by Mel Tormé and Robert Wells, used by permission of Edwin H. Morris & Company, a division of MPL Communications Inc. “Rudolph the Red-Nosed Reindeer” written by Johnny Marks, used by permission of St. Nicholas Music Inc.

DEVINRÉ ADAMS (Swing, u/s Benny, Collins) is a theater, dance and musical artist from the D.C./Maryland area.

Alma maters include Duke Ellington School of the Arts and The University of the Arts, B.F.A. ’17. He is happy to start his first touring experience with the 20th anniversary Rent tour!

AARON ALCARAZ (Angel) is so thankful to be spreading love with this show! Favorite credits include Aladdin in Disney Dreams (Disney Cruise Line) and Paul in A Chorus Line (Ithaca College). B.F.A. in musical theater, Ithaca College. “Thank you to my family, friends, Hudson Artists Agency, Joy Dewing Casting and the Rent team.”

LOGAN FARINE (Swing, u/s Roger) is thrilled to be joining the cast of Rent! Logan was born and raised in Pittsburgh, Pa., where his dream of performing changed from a hobby to a passion by 10th grade. He attended Montclair State University for a short time before leaving to try to begin his career. “^..^meow?”

SAMMY FERBER (Mark Cohen) is thrilled to be back on the tour after playing Gordon last year. Previous credits include The 25th Annual...

Spelling Bee (Leaf), Assassins (Byck) and Company (Robert, nominated for an Illinois High School Musical Theatre Award). B.F.A. in progress at NYU Tisch’s Experimental Theatre Wing. sammy-ferber.com.

ALANA CAUTHEN (Ensemble/Seasons of Love Soloist, Mrs. Jefferson, u/s Joanne) is thrilled to be joining the 20th anniversary tour of Rent! Recent credits include Smokey Joe’s Cafe (BJ), Beehive at Theatre By The Sea; Big River (Alice) at The Old Castle Theatre. Alana would like to thank her brilliant cast, family and friends for their continued support! Jude 1:2.

DEVIN J. HALL (Paul, u/s Angel).

National tour debut! Training: The American Musical Dramatic Academy (AMDA). Regional: Hair (Hud), Hairspray (Seaweed), Sister Act (TJ), Rent (Angel), Dreamgirls (C.C. White).

“To God be the glory! No Day but Today. Matthew 6:33.” Instagram: @devin_hall.

ASHLEY DE LA ROSA (Swing, u/s Mimi, Joanne, SoL) is a swing for the tour. Born in New York, but raised in Florida, she recently graduated from AMDA New York. This is her first professional theater experience. Recent credits include Top 12 contestant on NBC’s “The Voice,” where she was mentored by Christina Aguilera.

AARON HARRINGTON (Tom Collins) is a native of Durham, N.C., and a Shaw University graduate. This is Aaron’s second year touring with Rent and he’d like to dedicate each performance to his late father Gary Harrington. You can find Aaron on all social media platforms under the username Doubbleayye.

JORDAN DUNN-PILZ (Ensemble, Gordon, Mr. Grey, The Man, u/s Mark).

National tour debut! Recent credits include Spring Awakening and I Carry Your Heart (Hangar Theatre). Love to all the people. Ithaca College B.F.A. 2017.

PAOLA HERNANDEZ (Swing, u/s Maureen, Mimi, SoL). Born and raised in Puerto Rico. Proud Circle in the Square Theater School alumna. Recent: Rent 20th anniversary tour (Swing), Twelfth Night (Viola), Rent (Joanne), Spring Awakening (Martha), Legally Blonde (Vivienne), Hairspray (Dynamite), Godspell, Hair. “Gracias to everyone who helped in the process. To those starting, keep fighting.” Follow: @phtanon.

JASMINE EASLER (Joanne Jefferson).

Favorite credits include Rose in Fences (WSU) and Velma in Crowns (Human Race Theater). With a B.F.A. in musical theater from Wright State University, she’s thrilled to travel with this incredible show. She thanks her family for love, friends for support and Joy Dewing Casting for this opportunity. @JasmineEasler

MARCUS JOHN (Benny Coffin III).

B.F.A.: University of the Arts. Nat’l tour: Mamma Mia! farewell tour.

Favorite regional: iLLA (NYMF), Kill Move Paradise (Interact Theatre Co.), The Jungle Book (Arden Theatre Co., Mowgli u/s). “I love

you today. Pray often, worry not!”

MarcusJohn.weebly.com.

JORDAN LONG (Ensemble, Steve, The Waiter, Squeegee Man, u/s Mark and Roger). “Happily returning to Rent because this show is far too important to me to only do it once!” Proud Belmont University graduate. Favorite roles: current role in this show, West Side Story (Big Deal), Joseph… nat’l tour (Swing, Joseph u/s), All Shook Up (Chad), Oklahoma! (Will Parker).

IG: jordantimothylong.

FELIX MARCHANY (Swing, u/s Angel, Dance Captain) is thrilled to join the Rent family on the road. Select regional credits: Spanish language premiere of In the Heights (Piragua Guy), WSS (Pepe), Priscilla...Dessert (Farrah) and more! Proud graduate of the University of California, Irvine: B.F.A. in musical theater and B.A. in dance performance. IG: @felix_the_fierce.

LYNDIE MOE (Maureen Johnson) is over the moon to be making her national tour debut with the 20th anniversary production of Rent! She just completed her freshman year at Rider University pursuing a B.F.A. in musical theater. Huge thanks to her parents, family and friends for the endless amount of support they provide.

CAMERON MULLIN (Swing, u/s Collins, Benny). National tour debut! New York credits: Young Charles Dickens (NYCCT). Regional: Sister Act (Wagon Wheel Center for the Arts), American Idiot (Phoenix Theatre), Seussical (IFT).

“Many thanks to JDC, my professors, family and friends for their continued support.” Indiana University grad! MT ’16 love! cameronmullin.net.

CHRISSY NARUO (Ensemble, Alexi Darling, Mrs. Davis) is very excited to be part of the Rent national tour! Her most recent credits are production cast principal at Norwegian Cruise Lines and an equity stage performer at Walt Disney World. She would like to thank God and her family for their love and support!

YAEL REICH (Ensemble/Mrs. Cohen, u/s Maureen and Mimi) is honored to share this art! B.F.A.: University of Florida. National tours: Mamma

RENT 20TH ANNIVERSARY TOUR

WHO’S WHO IN THE CAST

RENT 20TH ANNIVERSARY TOUR

Mia! ’15–’16 and farewell. Regional: West Side Story (Anita), Man of La Mancha (Aldonza), Annie (Lily St. Regis). Endless gratitude to ATB, JD Casting and the most incredible support system! “Spread love and light.” yaelreich.com.

SKYLER VOLPE (Mimi Marquez) is honored to be returning to Rent. She has performed at La Mama etc., The Signature Theater, The Mint Theater and others. Recent credits include Passing Strange, Devil and the Deep, Cherchez la Femme. Connecticut College Graduate. skylervolpe.com.

Instagram: @svulpes. As always, for Uncle Alan.

KALEB WELLS (Roger Davis) is honored to be keeping the spirit of Rent alive. Originally from New Hampshire, Kaleb has since performed in various projects around the U.S. and internationally. Recent credits: Rock of Ages, Burn the Floor, Jesus Christ Superstar.

B.F.A. acting, Pace University. Kalebwells.com. Insta: @kalebwells. “Thank you, Jonathan Larson.”

JONATHAN LARSON (Book, Music, Lyrics) received the 1996 Pulitzer Prize for Drama for Rent. Rent received four 1996 Tony Awards (including Best Musical and two to Mr. Larson— Best Book of a Musical and Best Score of a Musical); six Drama Desk Awards (including Best Musical, Best Book of a Musical, Best Music and Best Lyrics); Best Musical Awards from the New York Drama Critics Circle and the Outer Critics Circle (Off-Broadway); and three Obie Awards (including Outstanding Book, Music and Lyrics).

Previously, he received the Richard Rodgers Award, the Richard Rodgers Development Grant, the Stephen Sondheim Award and The Gilman & Gonzales-Falla Theatre Foundation’s Commendation Award. Earlier work includes Superbia; tick, tick...BOOM!; the score of J.P. Morgan Saves the Nation; and selections of Sitting on the Edge of the Future. He also wrote music for “Sesame Street,” and the children’s book-cassettes An American Tail and Land Before Time, as well as for Rolling Stone magazine publisher Jann Wenner. He conceived, directed and wrote four original songs for Away We Go!, a children’s video. Rent had its world premiere on February 13, 1996, at New York Theatre Workshop and opened at Broadway’s Nederlander Theatre on April 29, 1996. Mr. Larson

died unexpectedly of an undiagnosed aortic aneurysm, believed to be caused

by Marfan Syndrome, on January 25, 1996. It was 10 days before his 36th birthday. His semi-autobiographical musical tick, tick… BOOM! (which he wrote previous to Rent) had a successful run off-Broadway at the Jane Street Theatre.

MICHAEL GREIF (Original Broadway Director) most recently directed Dear Evan Hansen at the Music Box and War Paint at the Nederlander.

Additional Broadway credits: Rent, Grey Gardens, Next to Normal (Tony noms.); Never Gonna Dance; If/Then.

Recent work includes A Parallelogram (Second Stage); Our Lady of Kibeho and Angels in America (NY’s Signature Theatre); The Intelligent Homosexual’s Guide… (Public); and The Tempest, The Winter’s Tale and Romeo and Juliet at The Public’s Delacorte Theater. OffBroadway, he’s received Obie Awards for Machinal, Dogeaters (Public) and Rent (NYTW), and has directed new plays and musicals at Playwrights Horizons, Roundabout, MTC, MCC, New York Theatre Workshop and at Second Stage, where he directed Next to Normal and Dear Evan Hansen. Regional work includes premieres and revivals at Williamstown Theatre Festival (10 seasons), La Jolla Playhouse (AD, five seasons), Arena Stage, Center Stage, Mark Taper Forum, Dallas Theater Center, Trinity Repertory Company. Mr. Greif holds a B.S. from Northwestern University and an M.F.A. from the University of California, San Diego.

EVAN ENSIGN (Director). As Director: Rent (U.S. 20th anniversary tour, Montreal and Far East), Richard Thomas’ Wrong Songs for Christmas (National Theatre—London), Avenue Q (two U.K. tours), Wrong Songs for Summer (London), Womyn In Three, Out of the Reach of Children and Simone at Town in NYC. Associate: Avenue Q (Broadway, Vegas, London and U.S. tours), Rent (Broadway and U.S. tours), Les Misérables (U.S. tour), Elf (London), Shrek (Broadway and U.S. tour). As resident: The Phantom of the Opera (London and U.K. tour), White Christmas, Strangers on a Train (London). Other: Chicago, Exit the King, Annie Get Your Gun, Barbara Cook— Mostly Sondheim, Julie Andrew’s The Gift of Music—London, workshops of The Book of Mormon. Film/TV: “The Late Show staring Joan Rivers” and Film Stars Don’t Die in Liverpool.

MARLIES YEARBY (Choreography) is the Tony-nominated and Drama League Award-winning choreographer of Rent. Her work was licensed for the film adaptation. She is a recipient of the New York Dance Performance Bessie Award and nominations for the Helen Hayes Award and Joe A. Callaway Award. Theater commissions include the American Music Theatre Festival and Penumbra Theatre. Ms. Yearby is the founder/artistic director of the Movin’ Spirits Dance Theater and has toured with her company both nationally and internationally.

Company commissions include Lincoln Center, American Dance Festival, Harlem Stages, Kansas Lied Center for the Performing Arts, Jacob’s Pillow and American Festival of Theatre and Dance in France.

TIM WEIL (Music Supervision and Additional Arrangements). As musical director: Broadway: Jonathan Larson’s Rent, Tom Stoppard’s Jumpers, Jeanine Tesori’s Shrek The Musical; Off-Broadway: Patti Griffin’s Ten Million Miles, Stephen Schwartz’s The Baker’s Wife; Regional: South Pacific (Guthrie Theater, dir. Joe Haj). As composer: Broadway: Sally Marr and Her Escorts staring Joan Rivers; OffBroadway: Susan Lori Parks’ F***ing A. As arranger/orchestrator: Broadway: Lady Day At Emerson’s Bar and Grill starring Audra MacDonald (also for HBO), Rent, Shrek The Musical. Film: Todd Graff’s Camp, Chris Columbus’ Rent, The Mark Pease Experience starring Ben Stiller and Anna Kendrick.

Also, Tim has served on the board of the Jonathan Larson Foundation, which provides grants for upcoming composers and lyricists.

PAUL CLAY (Set Design) is an award-winning artist and designer.

Projects include scenic design for Rent (Broadway, NYTW, tour). Recent projects include In Water I’m Weightless (National Theatre Wales, the Southbank Centre, London), Commedia (Dutch National Opera, Amsterdam), Forgetful Snow (The Kitchen, NYC). Clay has also worked with Mabou Mines, La MaMa, David Dorfman (at BAM) and many more in the N.Y. theater and dance community. He has received the MAN Theatre Awards “Best Design,” Municipal Arts Society Times Square Spectacular Award, Drama-Logue Award, NEA/TCG Fellowship and the Bessie Award, among others.

ANGELA WENDT (Costume Design) received the American Theatre Wing Design Award and a Drama Desk Award nomination for Best Costume Design for Rent. Her theater credits include the Off-Broadway and studio productions of Rent (NYTW); All My Sons by Arthur Miller (50th anniversary production at the Roundabout Theatre); the American premiere of Play with Repeats by Martin Grimp; Lysistrata by Barry Edelstein; Twelfth Night (Tennessee Rep.); The Great Pretenders (Juilliard); Marisol by Jose Rivera (Public Theatre). Feature film: Childhood’s End directed by Jeff Lipsky. Dance: Tilliiboyo and Regions

by Molissa Fenley; Savanna by Peggy Baker. She has also designed numerous music videos in the United States and Europe.

JONATHAN SPENCER (Lighting Design) designed the lighting for the first national tour of Priscilla Queen of the Desert. Off-Broadway productions include Middle of the Night by the Keen Theater Company, The Ohmies at DRT and Playwrights Horizons, Who Is Floyd Stearn? and Squeeze Box. John Moran’s Book of the Dead Second Avenue at NYSF Public Theater.

Re-Lights for Legally Blonde at the Star Theater in Sydney, Wicked at Universal Studios Japan and Mary Zimmerman’s Metamorphoses at St. Louis Rep, Missouri Rep, Cincinnati Playhouse and Hartford Stage. Associate/Assistant Broadway credits include Cabaret, Pippin, A streetcar Named Desire, Sister Act, Finian’s Rainbow, Wicked,

Legally Blonde, White Christmas and Metamorphoses. Jonathan teaches a summer Master’s program in lighting design at Southern Oregon University, lives in New York City and is a member of United Scenic Artists Local 829.

VisitJSpencerDesign.com.

KEITH CAGGIANO (Sound Design) has worked across the country and internationally, from musicals on Broadway, London’s West End and Australia to spectacles in Las Vegas.

Recent credits include New York: Holiday Inn (in production), Himself and Nora, The Radio City Spring Spectacular, Cabaret, Disenchanted.

Tours: Irving Berlin’s White Christmas, Nice Work If You Can Get It, Anything Goes. Regional: American Idiot, Hedwig and the Angry Inch.

STEVE SKINNER (Arrangements) worked with Jonathan Larson as arranger and recording producer for 12 years. He received the 1996 Drama Desk Award for Best Arrangements for Rent. Broadway: Doonesbury (keyboards and assistant conductor).

Recording/arranging for Bette Midler, Taylor Dayne, Billy Mann, Chaka Khan, Bebe & Cece Winans and Michael Crawford.

BILLY ARONSON (Original Concept and Additional Lyrics). His plays have been honored with publication in Best American Short Plays ’92–93 and are frequently performed at Ensemble Studio Theatre. His lyric writing includes the libretto for an opera being developed by American Opera Projects, and first draft lyrics for “Santa Fe” and “I Should Tell You.” His new play, The Art Room, will premiere at Washington, D.C.’s Woolly Mammoth Theatre this spring.

His true love is Lisa Vogel.

LYNN M. THOMSON (Dramaturg) is a dramaturg, director and teacher.

She brought nearly 20 years of new play dramaturgical experience to her months of work with Jonathan Larson on the script of Rent. She was associate artistic director for the Philadelphia Theatre Company where she created and administered a new play festival. She was dramaturg at Circle Repertory Company. She has directed more than 100 productions of both new plays and revivals at regional and New York theatres, and many more workshops and readings

of new plays. She is currently head of the M.F.A. program in dramaturgy at Brooklyn College.

ALEXANDER PIERCE (Assistant Stage Manager) is thrilled to be exploring the country with Rent! National tours: Mamma Mia!. Regional: Diner The Musical (Delaware Theatre Company); Mary Poppins, Memphis, 9 to 5 The Musical, Private Lives (Walnut Street Theatre); Disgraced (Philadelphia Theatre Company); Billy Elliot, Grease (Ogunquit Playhouse). Becoming Cuba (Huntington Theatre Company).

Graduate of Emerson College.

JON SATROM (Company Manager) is thrilled to be joining the Rent touring family! He comes directly from serving as asst. company manager of the Mamma Mia! tour, also with Work Light Productions. Onstage credits include national tours of A Year with Frog and Toad and The Musical Adventures of Flat Stanley. NYU grad.

KATY HERMAN (Production Stage Manager). Tours: Irving Berlin’s White Christmas, Cinderella, Saturday Night Fever, Disney’s Beauty and the Beast international and Man of La Mancha.

Corporate: Sea Lion High at SWO; Deck the Halls and Night Beats at BGW. Regional: Cleveland Play House and Two River Theater Company. B.F.A.: stage management from CCM. MATTHEW DEMARIA (Conductor/ Keyboard 1) is ecstatic to be a part of the Rent family. Most recently, he assisted the music department on the Broadway production of Come from Away. Thanks to Tim Weil for this opportunity, to his family for their endless support and to Kate for being his sanity. mcdemaria.com.

ALLIED TOURING (Tour Marketing & Press) is a full-service engagement management agency representing Broadway tours and other live touring events across North America. Current tours: An American in Paris, The Book of Mormon, Bright Star, Rodgers & Hammerstein’s Cinderella, Elf the Musical, The Humans, Kinky Boots, Motown the Musical, RENT, School of Rock, Something Rotten!, and Irving Berlin’s White Christmas. Upcoming tours: Charlie & the Chocolate Factory and The Scenario.

RENT 20TH ANNIVERSARY TOUR

MATTHEW MARAFFI (Touring Set Adaptation) is proud to return to Rent for the 20th anniversary. As a member of IATSE Local 829 and Local 74, he has worked on projects large and small around the world.

Some projects include Ring of Fire, La Bohème, Buried Child, How to Succeed in Business Without Even Trying, Side Man. In the film industry he is noted for his production design for π (Pi), (1998 Sundance Directors Award). He has been the director of operations at Global Scenic Services since in fall 2007, while continuing his passion for live entertainment as the production manager for the Greater Bridgeport Symphony Orchestra. Outside work, he enjoys fishing with his three sons, Luke, Will and Mark, and serves on the board of both his town youth soccer program and the SWD Connecticut Junior Soccer Association.

RENT 20TH ANNIVERSARY TOUR

JOY DEWING CASTING (Casting Director) is thrilled to join the Rent family! Casting credits include Broadway, Off-Broadway, regional theater, dance companies and about 525,600 tours.

Recent tours: 42nd Street, Annie, Joseph and the Amazing Technicolor Dreamcoat (starring Diana DeGarmo and Ace Young), Mamma Mia!, The Wizard of Oz and the upcoming Cheers Live on Stage. Past tours: In the Heights, Cats, Legally Blonde, Jesus Christ Superstar (starring Ted Neeley), Movin’ Out, West Side Story, Catch Me If You Can, Bring It On. WOJCIK | SEAY CASTING (Additional Casting). Tours: Kinky Boots, Motown, Vocalosity, Flashdance, Dreamgirls, Nice Work If You Can Get It, Jekyll & Hyde, Joseph…Dreamcoat and A Chorus Line. Off-Broadway: Othello: The Remix, Church & State, The Portal, Tennessee Williams’ The Two Character Play, Handle with Care, Triassic Parq and more! Regional: Multiple seasons/ shows for Riverside Theatre, Fla.; The Engeman Theatre, N.Y.; Theatre Raleigh, N.C.; Stages St Louis, Mo.; Theatre Aspen, Colo.; Gretna Theatre, Pa.; The Arvada Center, Colo.; and Tuacahn PAC, Utah. wscasting.com.

WORK LIGHT PRODUCTIONS (Producer). Dedicated to creating and producing live entertainment. In addition to Rent, productions include Motown, Something Rotten!, Cinderella, Mamma Mia!, Irving Berlin’s White Christmas and Crazy for You. Created the new a cappella group Vocalosity with Deke Sharon and is developing a new stage play based on the Paramount movie Clue. Produced Julie Andrews—The Gift of Music with performances at The Hollywood Bowl and London’s O2 Arena. Other recent touring productions include the Tony Award winners American Idiot, In the Heights and Avenue Q. WLP is led by founding partner and President Stephen Gabriel and Vice President Nancy Gabriel. worklightproductions.com.

STAFF FOR RENT ORIGINAL LIGHTING DESIGN

BY BLAKE BURBA GENERAL MANAGEMENT WORK LIGHT PRODUCTIONS Stephen Gabriel Nancy Gabriel Scott Seay Anièle Fortin Kevin Greene Courtney King Emily Miller Carolyn Smith TECHNICAL SUPERVISION PORT CITY TECHNICAL Rhys Williams Mike East Mackenzie Foster Rossella Human Tom Klonowski Susie Prueter PRODUCTION TEAM

Film Designer......................................Tony Gerber Projection Consultant................... Bruno Ingram Associate Costume Designer... Sarafina Bush Costume Assistant...................Maddie Peterson Wardrobe Consultant......................... Molly Walz Associate Lighting Designer.....Mike Megliola, Aaron Tacy Lighting Programmer.................. Dustin Adams Production Hair and Makeup Designer.........................Barry Lee Moe Hair & Make-Up Design Associate.... Lily Volle Production Electrician...................... James Lees Production Assistant.................... Abigail Matey Creative Services... Allied Integrated Marketing/ Debbie Allamong, Doug Blemker, Eric Stormoen

CASTING JOY DEWING CASTING Joy Dewing, CSA, Kevin Metzger-Timson ADDITIONAL CASTING WOJCIK | SEAY CASTING Scott Wojcik Gayle Seay Holly Buczek Kevin Metzger-Timson TOUR MARKETING DIRECTION ALLIED TOURING Marya Peters Andrew Damer Meghan Kastenholz Anne Dailey Meyer Sarah Dahlberg Jen Gallagher Scott Praefke Jacqueline Smith Anne Waisanen Company Manager.............................Jon Satrom Production Stage Manager......... Katy Herman Assistant Stage Manager..... Alexander Pierce Dance Captain.............................. Felix Marchany Head Carpenter............................Shelby Damron Assistant Carpenter................................ Chee Lee Head Electrician.................................. James Lees Assistant Electrician...........Chrissi McCullough Head Audio.......................................Chris Ransom Second Audio...................... Ashley Ottensmeier Head Props............................................ Noah Smith Head Wardrobe................................... Cat Lovejoy Head Hair and Makeup.......................... Lily Volle Production Photography.............Carol Rosegg General Management Consultant... John Corker Legal Counsel.......... Levine Plotkin Menin, LLP Loren Plotkin, Hailey Ferber Accounting....................... WithumSmith+Brown Robert Fried, CPA, Karen Kowigos, CPA, Anthony Moore, CPA Controller ........................................ Galbraith & Co Kenny Noth & Jill Johnson Merchandising..........Broadway Merchandising Merchandise Supervisor.............. Christa Arzon Insurance.............................. Maury, Donnelly and Parr Bob Middleton Banking............................................Signature Bank Tomas Kasulka, Margaret Monigan Payroll...................................PEOPLE/Kim Merhar Travel Agent...........................................Road Rebel

Trucking & Hauling........................ Janco Limited TOUR BOOKING AGENCY THE BOOKING GROUP Meredith Blair, Mollie Mann Brian Books and Rich Rundle thebookinggroup.com CREDITS AND ACKNOWLEDGEMENTS Sound Equipment by Masque Sound ® Lighting Equipment by Christie Lites INGLOT is the Official Make-Up Provider of the RENT 20th Anniversary Tour Backstage and Front of the House Employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

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

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

CITY & COUNTY OF DENVER Michael Hancock, Mayor ARTS AND VENUES Kent Rice, Director For information call: 720.865.4220

PLEASE BE ADVISED • 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 and must be ticketed.

• DRINKS are allowed in provided containers.

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

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

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

© 2006 RCSH All Rights Reserved

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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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PROUD SPONSOR OF THE DENVER CENTER FOR THE PERFORMING ARTS

“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

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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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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

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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

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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

FAMILY

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

CLASSICS

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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

HOLIDAY

SPECIAL

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

HOLIDAY

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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

BIG MUSICALS

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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

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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.

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