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VOLUME XXIX • NUMBER 3 • NOV – DEC 2017

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

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A CHRISTMAS CAROL

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APPLAUSE

SIGHTLINE

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BY JANICE SINDEN

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

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

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

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

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

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HONORARY MEMBERS Jeannie Fuller M. Ann Padilla Cleo Parker Robinson

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

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

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

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

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Applause magazine is funded in part by

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

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

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

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

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

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

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

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

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


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RENT

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

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

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

COMING UP FROM BROADWAY:

STOMP COSTUME COLUMN

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

— KEVIN MCCOLLUM, Co-Producer, RENT

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

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

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

McCollum wasn’t interested.

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

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

Cast of STOMP • Photo by Steve McNicholas

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


S AT U R DAY

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

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

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HAMILTON

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

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25 YEARS OF

A CHRISTMAS CAROL BY JOHN MOORE Senior Arts Journalist

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

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

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


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

COSTUME COLUMN

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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ALL-FEMALE

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

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

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

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

—DIANE PAULUS, Director

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“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.

24

— 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


LOGO WITH SUBDIVISIONS

A CHRISTMAS CAROL

presents

A

CHRISTMAS

CAROL

Charles Dickens ADAPTED BY Richard Hellesen MUSIC BY David de Berry BY

With Hadley Brown, Latoya Cameron*, Kevin Curtis*, Michael Fitzpatrick*, Peyton Goossen, Sam Gregory*, Darrell T. Joe*, Chas Lederer, Kyra Lindsay, Brody Lineaweaver, Chloe McLeod, Timothy McCracken*, Chris Mixon*, Grace Morgan*, Leslie O’Carroll*, Erick Pinnick*, Daniel Plimpton*, Jim Poulos*, Max Raabe, Tristan C. Regini, Augie Reichert, Helen Reichert, Jeffrey Roark*, Marco Robinson, Christine Rowan*, Shannan Steele*, Jackie Vanderbeck*, Brian Vaughn*, Owen Zitek

SET DESIGN BY Vicki Smith

COSTUME DESIGN BY Kevin Copenhaver

LIGHTING DESIGN BY Don Darnutzer

CHOREOGRAPHY BY Christine Rowan

MUSIC DIRECTION & ORCHESTRATIONS BY Gregg Coffin

DIRECTOR OF PRODUCTION Jeff Gifford

SOUND DESIGN BY Craig Breitenbach

VOICE AND DIALECT COACHING BY Kathryn G. Maes Ph.D

STAGE MANAGER Heidi Echtenkamp*

DIRECTED BY Melissa Rain Anderson We warmly dedicate this year’s production of A Christmas Carol to the memory of Daniel Langhoff (1975-2017). The entire Denver Center family mourns this enormous loss. You can read more about his story at MyDenverCenter.org.

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

THE STAGE THEATRE • NOVEMBER 24–DECEMBER 24, 2017

SHOW SPONSOR

PRODUCING PARTNER

Singleton Family Foundation

SEASON SPONSORS


A CHRISTMAS CAROL

CAST

(In Order of Appearance) Ebenezer Scrooge..............................................................................................................................................................SAM GREGORY* Bob Cratchit......................................................................................................................................................................... BRIAN VAUGHN* Fred, Scrooge’s Nephew....................................................................................................................................................... JIM POULOS* Subscription Gentlemen.......................................................................................... ERICK PINNICK*, MICHAEL FITZPATRICK* A Beggar Child.....................................................................................................................................................BRODY LINEAWEAVER Ghost of Jacob Marley.................................................................................................................................................JEFFREY ROARK* Ghost of Christmas Past.........................................................................................................................................LATOYA CAMERON* Schoolmaster.............................................................................................................................................................................CHRIS MIXON* Schoolboys...............PEYTON GOOSEN, BRODY LINEAWEAVER, MAX RAABE, AUGIE REICHERT, OWEN ZITEK Their Parents.............................................DARRELL T. JOE*, KYRA LINDSAY, ERICK PINNICK*, MARCO ROBINSON, CHRISTINE ROWAN*, SHANNAN STEELE*, JACKIE VANDERBECK* Ebenezer the Child.......................................................................................................................................................TRISTAN C. REGINI Fan, Scrooge’s Sister..................................................................................................................................................... HELEN REICHERT Ebenezer the Young Man...................................................................................................................................................... JIM POULOS* Dick Wilkins.............................................................................................................................................................................. KEVIN CURTIS* Fezziwig..................................................................................................................................................................MICHAEL FITZPATRICK* Mrs. Fezziwig................................................................................................................................................................ LESLIE O’CARROLL* Fezziwig Daughters..............................................................KYRA LINDSAY, CHRISTINE ROWAN*, SHANNAN STEELE* Their Suitors............................................................................DARRELL T. JOE*, DANIEL PLIMPTON*, MARCO ROBINSON A Fiddler................................................................................................................................................................................ BRIAN VAUGHN* Belle........................................................................................................................................................................................GRACE MORGAN* Older Belle....................................................................................................................................................................CHRISTINE ROWAN* Belle’s Husband........................................................................................................................................................................CHRIS MIXON* Ghost of Christmas Present........................................................................................................................................... ERICK PINNICK* Mrs. Cratchit..................................................................................................................................................................LATOYA CAMERON* Martha.........................................................................................................................................................................................KYRA LINDSAY Peter............................................................................................................................................................................................. KEVIN CURTIS* Belinda................................................................................................................................................................................... HADLEY BROWN Edward.............................................................................................................................................................................................OWEN ZITEK Tiny Tim.............................................................................................................................................................................PEYTON GOOSSEN Fred’s Wife..........................................................................................................................................................................GRACE MORGAN* Topper................................................................................................................................................................................MARCO ROBINSON The Wife’s Sister........................................................................................................................................................CHRISTINE ROWAN* Fred’s Party Guests........................................................................................................ LESLIE O’CARROLL*, JEFFREY ROARK* Ghost of Christmas Yet To Come............................................................................................................................ DARRELL T. JOE* Want....................................................................................................................................................................................... HELEN REICHERT Ignorance.................................................................................................................................................................BRODY LINEAWEAVER Old Joe.........................................................................................................................................................................................CHRIS MIXON* The Undertaker’s Man............................................................................................................................................................. JIM POULOS* The Laundress..............................................................................................................................................................LESLIE O’CARROLL* The Charwoman....................................................................................................................................................JACKIE VANDERBECK* Merchants from the Exchange....................................DANIEL PLIMPTON*, JEFFREY ROARK*, MARCO ROBINSON Street Singer................................................................................................................................................................CHRISTINE ROWAN* Boy in the Street..........................................................................................................................................................................MAX RAABE ENSEMBLE Londoners, Carolers, Fezziwig Party Guests and Phantoms HADLEY BROWN, LATOYA CAMERON*, KEVIN CURTIS*, MICHAEL FITZPATRICK*, PEYTON GOOSSEN, DARRELL T. JOE*, KYRA LINDSAY, BRODY LINEAWEAVER, CHRIS MIXON*, GRACE MORGAN*, LESLIE O’CARROLL*, ERICK PINNICK*, DANIEL PLIMPTON*, JIM POULOS*, MAX RAABE, TRISTAN C. REGINI, AUGIE REICHERT, HELEN REICHERT, JEFFREY ROARK*, MARCO ROBINSON*, CHRISTINE ROWAN*, SHANNAN STEELE*, JACKIE VANDERBECK*, BRIAN VAUGHN*, OWEN ZITEK UNDERSTUDIES

Understudies never substitute for the listed players unless a specific announcement for the appearance is made at the time of the performance.

HADLEY BROWN (Youth Understudy), CHAS LEDERER (Male Swing), CHLOE MCLEOD (Female Swing), TIMOTHY MCCRACKEN* (Scrooge Understudy), CHRIS MIXON* (Male Understudy), DANIEL PLIMPTON* (Male Understudy), MAX RAABE (Youth Understudy), TRISTAN C. REGINI (Youth Understudy), AUGIE REICHERT (Youth Understudy), HELEN REICHERT (Youth Understudy), MARCO ROBINSON (Male Understudy), SHANNAN STEELE* (Female Understudy), JACKIE VANDERBECK* (Female Understudy). Place & Time: London, 1840s There will be one 15-minute intermission. Dance Captain............................................................................................................................................................CHRISTINE ROWAN* Assistant Stage Managers.............................................................................MICHAEL G. MORALES*, D. LYNN REILAND* Stage Management Apprentices....................................................................................... MARIAH BROWN, KATIE MEDVED Children’s Supervisor.................................................................................................................................................. LAUREN LACASSE *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.


ACTING COMPANY HADLEY BROWN (Belinda Cratchit/ Ensemble). At the Theatre Company: Debut. Other favorite roles have included Jane Banks in Forestgate Community Theatre’s production of Mary Poppins, Fay in Stagedoor Manor’s production of The Boy Friend, and Max in the Academy for the Performing Arts’ production of Where the Wild Things Are. TV/Film: Princess in the short film Solo Halloween (directed by Luke Galvas). Hadley also has enjoyed working on two projects with Oscarwinning filmmaker Donna Dewey. She is grateful to her family, friends, and her many performing arts teachers and mentors for their support. LATOYA CAMERON (Ghost of Christmas Past/Mrs. Cratchit/ Ensemble). At the Theatre Company: A Christmas Carol. Other Theaters: As You Like It, Shakespeare In Love, Treasure Island, Henry V, Much Ado About Nothing, Mary Poppins, Fiddler on the Roof, The Greenshow (Utah Shakespeare Festival); RENT, Rocky Horror, Elf the musical, The Music Man (Pioneer Theatre Company); Not One Drop, MAMA, A Version of Events, Different = Amazing, RUFF! (Plan-B Theatre); Stupid F***ing Bird, Saturday’s Voyeur 2014 (Salt Lake Acting Company), The Color Purple, Closer (Wasatch Theater Company/Process Theater Company); The Mountaintop, The Odettes For the Holidays (Good Company Theatre); Hair, Jesus Christ Superstar (Egyptian Theater). KEVIN CURTIS (Peter Cratchit/Dick Wilkins/Ensemble). At the Theatre Company: Sweeney Todd, A Christmas Carol. Off Broadway: Invisible Thread (Second Stage); Daniella Uses Dirty Words (Abingdon Theatre Company). National Tour: A Chorus Line. Regional: Hair (Dallas Theatre Center); Hairspray (Arvada

Center); Witness Uganda (ART); A Chorus Line (TUTS Houston); A Chorus Line, Hairspray, The Student Prince (Pittsburgh CLO); Hairspray, High School Musical (North Shore Music Theatre); Sister Act (Stages St. Louis). TV/Film: “Take Care,” “Newlyweeds,” “Live from Lincoln Center: Tribute to Marvin Hamlisch.” Graduate of AMDA NY and The Baltimore School for the Arts. Special thanks to TKO! Insta @KevinTCurtis. MICHAEL FITZPATRICK (Fezziwig/Ensemble). At the Theatre Company: A Christmas Carol, Animal Crackers. Other Theatres: 42nd Street (national tour); Beauty and the Beast (Atlanta TOTS); Gross Indecency (Off- Broadway and Theatre in the Square in S.F.); Twelfth season with the Great River Shakespeare Festival; A Christmas Carol (Geva); , Urinetown, Two Gentlemen of Verona, The Tempest, Forever Plaid, The Compleat Wks of Wm Shkspr (Utah Shakespeare Festival); Rosencrantz and Guildenstern are Dead (Willamette Rep); Tommy, The Lion in Winter, Henry II (PCPA). TV/Film: “Nash Bridges,” “Six Degrees,” Remission. Training: Pacific Conservatory of the Performing Arts, American Conservatory Theatre Masters Program. PEYTON GOOSSEN (Tiny Tim/ Ensemble). At the Theatre Company: Debut. Other Theatres: Breckenridge Backstage Theatre (The Jungle Book, School of Rock, The Lion King, Willy Wonka). Peyton is in 4th grade and spends her free time dancing and skiing. SAM GREGORY (Ebenezer Scrooge). At the Theatre Company: 46 productions. Other Theatres: multiple seasons for the Colorado, California, and Alabama Shakespeare Festivals. He has appeared at the Seattle, Milwaukee

and San Jose Reps, Cleveland Playhouse, Cincinnati Playhouse, American Players Theatre, Eureka Theatre Company, George Street Play House, Eugene O’Neill Theatre Center: New Playwrights Festival, Chautauqua Theatre Company, TheatreWorks, Two River Theatre Company and Northern Stage Company. New York Theatre: The Actor’s Theatre Company and the Directors Company. Local Theatre: Arvada Center Black Box, Curious, and Boulder Ensemble Theatre Companies. TV/Film: “NY Undercover,” “One Life To Live,” “As The World Turns.” DARRELL T. JOE (Ghost of Christmas Yet To Come/ Ensemble). At the Theatre Company: Debut. National Tour: Damn Yankees. Off-Broadway: The Time Machine (Theatre Row). Regional: I’ll Be Home for Christmas (Arvada Center), Holiday Inn (MUNY and Goodspeed), Smokey Joe’s Cafe (Theatre by the Sea), Thoroughly Modern Millie (Engeman), South Pacific (Riverside), Hello, Dolly! (TUTS), Kiss Me, Kate (Westchester Broadway). BFA, Sam Houston State University. www.darrelltjoe.com CHAS LEDERER (Swing). At the Theatre Company: Debut. Other Theatres: Bonnie and Clyde, Violet, The Robber Bridegroom (Town Hall Arts Center); Peter and the Starcatcher, Joseph and the Amazing Technicolor Dreamcoat (BDT Stage); Belleville (Progressive Theatre); Bright Ideas (The Avenue Theatre), It’s A Wonderful Life: Radio play (Spotlight Theatre). Training: BA, University of Northern Colorado. KYRA LINDSAY (Martha Cratchit/ Ensemble). At the Theatre Company: Death of a Salesman, A Christmas Carol, Shadowlands. Other Theatres: She Kills Monsters (Aurora Fox); The Drowsy Chaperone; Harry

A CHRISTMAS CAROL

WHO’S WHO


A CHRISTMAS CAROL

the Great (Creede Repertory Theatre); Charlotte’s Web; Junie B. Jones (Arvada Center); White Christmas (Starkey Theatrix); Annie Warbucks (Candlelight Dinner Playhouse); Nunsense; Baby (Southern Colorado Repertory Theatre); The Unsinkable Molly Brown (Town Hall Arts Center); Taming of the Shrew; Love, Sex and the I.R.S.; Little Shop of Horrors (Shuler Theatre); The Tempest; The Merry Wives of Windsor (Colorado Shakespeare Festival). BRODY LINEAWEAVER (Ensemble). At the Theatre Company: A Christmas Carol (4th season). Other Theatres: Breckenridge Backstage Theatre: Billy Elliot (Michael), The Witches (Boy), Lion King JR. (Simba), School of Rock (Freddy), The Jungle Book (Mowgli), Seussical Jr. (JoJo), A Christmas Story (Randy). Rocky Mountain Repertory: The Addam’s Family (Pugsley), Les Misérables (Gavroche). I Am Alive Denver and LA (Young Kourken). Breck’s Got Talent 2015-1st Place. Brody is a 7th grader at Summit Middle School in Frisco who loves to ski and play soccer.

Repertory Theatre of St. Louis, Alabama Shakespeare Festival, Geva Theatre, Capital Rep and many others. In Colorado: Colorado Shakespeare Festival, Arvada Center, Curious Theatre, Boulder Ensemble Theatre Company, Local Theatre, Stories on Stage. TV/Film: Small, Beautifully Moving Parts, “Law and Order,” “Delocated.” Awards/ Training: Drama Desk Award, MFA: National Theatre Conservatory. CHRIS MIXON (Old Joe/Ensemble) At the Theatre Company: Absurd Person Singular, Irving Berlin’s White Christmas, and A Christmas Carol. He toured with Broadway’s How to Succeed in Business Without Really Trying, and has performed in nearly 100 plays and musicals with (among others) the Cincinnati Playhouse, Philadelphia Theatre Co., George Street Theatre, Repertory Theatre of St. Louis, and the Utah, Alabama, Orlando, Nebraska, Hudson Valley and Great River Shakespeare Festivals.

CHLOE MCLEOD (Female Swing). At the Theatre Company: A Christmas Carol. Other Theatres: A Midsummer Night’s Dream, Romeo and Juliet (Shakespeare in the Parking Lot, DCPA Education), Bad Jews (Edge Theater), Wait Until Dark (Avenue Theater), Biloxi Blues (Miners Alley Playhouse), Little Women (Aurora Fox), Steel Magnolias, Enchanted April (Spotlight Theatre). Training: American Musical and Dramatic Academy.

GRACE MORGAN (Belle/Fred’s Wife/ Ensemble) At the Theatre Company: A Christmas Carol. Broadway National Tour: understudy Christine Daae in The Phantom of the Opera. Other Theatres: Anne in A Little Night Music (Indiana Repertory Theater), Sandy in Grease (Forestburgh Playhouse). She also can be heard on many of MTI’s Broadway Jr. Recordings. Training: BFA, University of Michigan. Thanks to Melissa Rain Anderson, Greg Coffin, Christine Rowan, DCPA, and Daniel. To God be the Glory!

TIMOTHY MCCRACKEN (Scrooge Understudy). At the Theatre Company: A Christmas Carol, Jackie and Me, The Giver and others. New York: The Dining Room (Keen Company), Troilus and Cressida (NY Shakespeare Fest), The Sea and The Triangle Factory Fire Project (TACT) and many others. Regional:

LESLIE O’CARROLL (Mrs. Fezziwig/ Ensemble). At the Theatre Company: 21 seasons, including Benediction, When We Are Married, Reckless, Eventide, Plainsong, The Diary of Anne Frank, All My Sons. Other Theatres: Parallel Lives (Colorado Springs Fine Arts Center); Much Ado About Nothing, Grapes of Wrath, Our Town (Theatreworks); Silent Sky

(BETC); The Odd Couple (Senior Housing Options); Good People (Curious Theatre); Tartuffe, Mrs. Mannerly, Blithe Spirit, The Crucible (Arvada Center); Noises Off, Twelfth Night, Romeo and Juliet (Colorado Shakespeare Festival). Regionally: Northern Stage, Arizona Theatre Company, San Diego Rep, Missouri Rep. TV/ Film: “Breaking Bad,” “Longmire,” Footloose. Awards/ Training: Best of Westword, Denver Post Ovation Award; MFA, NTC. ERICK PINNICK (Ghost of Christmas Present/Ensemble). At the Theatre Company: Debut. New York: A Christmas Carol starring Frank Langella (MSG), Tin Pan Alley Rag (Roundabout Theatre Company). National Tours: Sunset Boulevard starring Petula Clark. European tours: Jesus Christ Superstar. Other credits: Curtis in both Dreamgirls and Sister Act, Alan in Baby, Valentin in Kiss of the Spiderwoman, Jake in Side Show, Henry in Race, Headmaster Morrow in Choir Boy, and King Triton in The Little Mermaid. Training: James Madison University. DANIEL PLIMPTON (Suitor/Ensemble). At the Theatre Company: The Secret Garden. National Tours: The Book of Mormon (Ellie Caulkins), Spring Awakening (Buell). Regional credits include O’Neill Theatre Center, Paper Mill Playhouse, Goodspeed Opera House, North Shore Music Theatre, Weston Playhouse, Engeman Theatre. Favorite Concerts include An Evening with Bobby Lopez and Kristen Anderson-Lopez at Lincoln Center, The Boston Pops with Conductor Keith Lockhart, and Broadway Close Up with Jack Viertel and David Loud. Training: BFA, The Boston Conservatory. JIM POULUS (Fred/ Young Scrooge/ Undertaker’s Man/ Ensemble) Jim comes directly to DCPA Theatre Company after playing the title role in Hamlet at


MAX RAABE (Ensemble). At the Theatre Company: A Christmas Carol (5th season), Shadowlands (Douglas understudy). Other Theatres: Michael Banks in Mary Poppins (BDT Stage), Tiny Tim in A Christmas Carol (Colorado Shakespeare Festival), Aladdin in Aladdin (Rocky Mountain Theater for Kids), Oliver in Oliver! (Rocky Mountain Conservatory Theatre), Charlie Bucket in Willy Wonka Jr. (Wolf Theatre Academy). Theater, voice and piano training: DCPA Education. Max is in the 7th grade at the Most Precious Blood Catholic School. He enjoys lacrosse, baseball and the beach. TRISTAN C. REGINI (Boy Ebenezer/ Ensemble). At the Theatre Company: Debut. Tristan enjoyed performing at Her Majesty’s Theatre, London, with West End Stage this past summer and in Billy Elliot (Small Boy) at Vintage Theatre, Denver, earlier in 2017. Tristan is loving 6th Grade at the Denver School of the Arts as a Theatre major. Many thanks to friends and family for their constant support! AUGIE REICHERT (Ensemble). At the Theatre Company: A Christmas Carol (4th season, previously Tiny Tim and Ignorance). Other Theatres: Small Boy

in Billy Elliot (Breckenridge Backstage Theatre), Bert in All My Sons (Arvada Center). Training: DCPA Education; Breckenridge Backstage, Piano (Mallory Bernstein), French Horn (Joni Anderson). Augie is in fourth grade at University Park Elementary and enjoys lacrosse, soccer and skiing. HELEN REICHERT (Fan/Ensemble). At the Theatre Company: A Christmas Carol (3rd season, previously Belinda). Other Theatres: Lanie (keyboardist) in School of Rock (Breckenridge Backstage Theatre). Awards: DPS Shakespeare Festival Spirit Award for Tatiana in Midsummer Night’s Dream. Training: DCPA Education, PerryMansfield, Rocky Mountain Conservatory Theatre, acting (Jessica Austgen), piano (Mallory Bernstein), voice (Traci Kern). Helen is in sixth grade at St. Anne’s Episcopal School and loves art, gymnastics, and skiing. JEFFREY ROARK (Jacob Marley/ Ensemble). At the Theatre Company: Sweeney Todd, All the Way, To Kill A Mockingbird, A Christmas Carol, Trip to Bountiful, King Lear, White Christmas, Gross Indecency, Hamlet, The Tempest, Dracula. At DCPA Cabaret: The Doyle and Debbie Show, My Way. Other Theatres: The Crucible, Evita, Harvey, Jekyll & Hyde, The Secret Garden, A Man For All Seasons, Cabaret, Legally Blonde, Curtains (Arvada Center); An Ideal Husband (Papermill); My Fair Lady, HMS Pinafore (Berkshire); Sorrows of Stephen (Blue Heron). TV/Film: Rain Man, Little Man Tate Training: BFA (Miami University), MFA (National Theatre Conservatory). MARCO ROBINSON (Topper/Ensemble). At the Theatre Company: Debut. At Off-Center: The Wild Party. Other Theatres: Eddie Birdlace in Dogfight, Radames in Aida, Everett in Swing!, El Gallo in The Fantasticks (Little Theatre of the

Rockies); Anthony Hope in Sweeney Todd, Balladeer/L. H. Oswald in Assassins, Eugene Jerome in Brighton Beach Memoirs/Biloxi Blues/Broadway Bound, Link Larkin in Hairspray (Colorado Springs Fine Arts Center); Bill/Ensemble in the new musical The Museum of Broken Relationships (Theatre Aspen). Awards: 2009 Gold Award for Best Actor for his portrayal of Eugene Jerome in Brighton Beach Memoirs by The Gazette (Best of the Springs). National ads/Commercial: Dominos Pizza, Best Buy, Goodwill, Red Robin, AFA and more. CHRISTINE ROWAN (Street Singer/Older Belle/Ensemble). At the Theatre Company: Sweeney Todd, Animal Crackers, Quilters, Christmas Carol, Irving Berlin’s White Christmas, You Can’t Take It With You; A Funny Thing Happened… Forum. Other Theatres: Guys & Dolls (Utah Shakespeare Festival, Choreographer), Reluctant Pilgrim– the Lesser Known Songs of Stephen Schwartz (New York Musical Theater Festival), FLOPZ (Joe’s Pub), Embrace! (Westside Theatre), Interborough Repertory Theatre, The Duplex, Don’t Tell Mama, Sacramento Music Circus, Alabama Shakespeare Festival, Barter Theatre, Sierra Rep, Seaside Music Theatre, Theatre by the Sea, Ryman Auditorium, toured nationally. Training: New York University. Awards: 2014 Henry Award Recipient for Best Supporting Actress in a Musical for Animal Crackers. SHANNAN STEELE (Ensemble). At the Theatre Company: Sweeney Todd, A Christmas Carol (Fred’s Wife), Animal Crackers (Understudy). At DCPA Cabaret: I Love You, You’re Perfect, Now Change (Colorado Theater Guild Henry Award nomination), The Last Five Years, My Way. Other Theatres: Over 20 productions with the Arvada Center including Kala in Tarzan (True West Award), Ginger Brooks in The 1940s Radio Hour (CTG Henry Award nomination); Pam in Baby the Musical (True West Award nomination) at Cherry Creek Theater, Church (Theaterworks) and most recently,

A CHRISTMAS CAROL

Repertory Theatre of St. Louis. At the Theatre Company: A Christmas Carol. Broadway: Mark Cohen in Rent, Huck Finn in The Adventures of Tom Sawyer. Off-Broadway: Playwrights Horizons, Prospect Theater. Regional Theater: Geva Theatre Center, Rep Theatre of St. Louis, Cleveland Playhouse, Utah Shakespeare Festival, Philadelphia Theatre Company, Idaho Shakespeare Festival, Arden Theater Company. TV/Film: “SloMo,” “Guiding Light,” “The Rosie O’Donnell Show.” Special Awards/Training: DayTony Award Winner, Kevin Kline and Barrymore Award Nominee, trained at Pacific Conservatory for the Performing Arts.


A CHRISTMAS CAROL

Evita at the Lone Tree Arts Center. Film: Ink. JACKIE VANDERBECK (Ensemble). At the Theatre Company: A Christmas Carol. Other Theatres: Laurey in Oklahoma!, Marian in The Music Man (PCPA Theaterfest!); Emily in The Belle of Amherst, Roxane in Cyrano de Bergerac, Margot in Dial ‘M’ For Murder, Mrs. Cratchit in A Christmas Carol, (Sacramento Theatre Co); Fosca in Passion (New Helvetia Theatre), Sarah in Guys & Dolls (Shawnee Playhouse). Two time soloist with the Tokyo Philharmonic, Cincinnati Pops Orchestra, Rogers & Hammerstein Org. Jackie is the Artistic Director of the nonprofit organization, Sing for Your Seniors. Training: BFA, The University of Cincinnati – College Conservatory of Music. BRIAN VAUGHN (Bob Cratchit/ Ensemble). At the Theatre Company: A Christmas Carol. Regional: Artistic Director of The Utah Shakespeare Festival. Over 50 productions at the festival including title roles in Hamlet, Henry V, Cyrano de Bergerac, and most recently Sky Masterson in Guys and Dolls and Brad in the World Premiere of Neil LaBute’s How to Fight Loneliness. 13 seasons as a resident company member at The Milwaukee Repertory Theatre, Arizona Theatre Company, Chicago Shakespeare Theatre, Northlight Theatre, Orlando Shakespeare Theatre, PCPA Theatrefest, Skylight Music Theatre. Recent directing credits include Henry IV pt. 1 & 2, Henry V, and the regional premiers of Peter and the Starcatcher, and Shakespeare in Love. OWEN ZITEK (Edward/Ensemble). At the Theatre Company: A Christmas Carol (3rd season). Other Theatres: The Hobbit (Aurora Fox Theatre); Alice in Wonderland, Peter Pan (Classic Acts. Training: DCPA Education, Colorado School of Acting. Owen is a 6th

grader at Falcon Creek Middle School who enjoys running, reading, climbing 14ers and snowboarding.

lives in New York City with her husband, actor Jim Poulos. Please visit melissarainanderson.com. 

PLAYWRIGHT

CREATIVE TEAM

RICHARD HELLESEN (Playwright/ Adaptor) is pleased to again be part of the DCPA season. In addition to A Christmas Carol, his plays include Kingdom (DCPA, 1999; Stavis Award, National Theatre Conference), Moonshadow (McIntyre Playwriting Award), Once in Arden (Beverly Hills Theatre Guild Award), All She Wrote, Compelled, an adaptation of the Frank Norris novel The Octopus, and four plays for Ford’s Theatre in Washington DC, where he is an Associate Artist: Necessary Sacrifices, One Destiny, The Road From Appomattox, and the 2015 adaptation of the Frank Wildhorn musical Freedom’s Song. Among his two dozen shorter plays are five finalists in the Actors Theatre of Louisville’s Ten-Minute Play Contest; his one-act Dos Corazones was included in The Best TenMinute Plays 2012. Work for young audiences includes adaptations of The Emperor’s New Clothes, Johnny Tremain, The Twelve Dancing Princesses, and (with composer Michael Silversher) a musical version of The Wind in the Willows as well as 12 school tour productions for South Coast Repertory. Their musical adaptation of Lois Lowry’s young adult novel Gathering Blue (with lyrics by Joy Sikorski) premiered this summer at the Gretna Theatre in Pennsylvania. A member of the Dramatists Guild, Mr. Hellesen has twice served as Playwright-inResidence at the William Inge Center in Kansas. www.richardhellesen.com

CRAIG BREITENBACH (Sound Designer). At the Theatre Company: The Unsinkable Molly Brown, Just Like Us, Sense & Sensibility The Musical, Irving Berlin’s White Christmas, Ring of Fire: The Music of Johnny Cash, A Christmas Carol, To Kill a Mockingbird, A Midsummer Night’s Dream, Mama Hated Diesels, Eventide, A Raisin in the Sun, Quilters, A Prayer for Owen Meany, Noises Off, Third, A Funny Thing…Forum, King Lear, Amadeus, Crowns, The Clean House, Measure for Measure, A Flea in Her Ear, Fire on the Mountain, The Misanthrope, The Three Sisters, Love’s Labor’s Lost, The Skin of Our Teeth, Betrayal, Spinning Into Butter, Dinner With Friends, Gross Indecency: The Three Trials of Oscar Wilde, The Laramie Project, The Little Foxes. Awards: 2008 Henry Award for Plainsong.

DIRECTOR MELISSA RAIN ANDERSON (Director). At the Theatre Company: A Christmas Carol. Other Theatres: Regional: Utah Shakespeare Festival (The Cocoanuts); Geva Theater where she is an affiliate artist (In The Heights, Spamalot, Spelling Bee, A Funny Thing Happened ... Forum); Arkansas Repertory Theatre (The Little Mermaid, Spamalot); Great River Shakespeare Festival (The Comedy of Errors, The Complete Works of William Shakespeare (abridged) and The Fantasticks). Upcoming projects include The Marvelous Wonderettes at Repertory Theater of St. Louis and Big River at Utah Shakespeare. Ms. Anderson

GREGG COFFIN (Music Director and Orchestrator). At the Theatre Company: Composer – Heartbreak House, The Taming of the Shrew, The Liar, A Midsummer Night’s Dream, Mariela in the Desert, Othello, A Prayer for Owen Meany, The Merry Wives of Windsor, Pride and Prejudice, King Lear, Measure for Measure. Musical Director/ Orchestrator – The Secret Garden, Sweeney Todd, Animal Crackers, Irving Berlin’s White Christmas, A Funny Thing…Forum, A Christmas Carol. Other Theatres: Alley Theatre, American Players Theatre, Arena Stage, Asolo Rep, Berkeley Rep, Geva Theatre Center, Guthrie Theatre, Indiana Rep, PCPA TheatreFest, Pioneer Theatre Company, South Coast Rep, and the Oregon, Utah, California, Alabama, Great River, St. Louis and Santa Cruz Shakespeare Festivals. KEVIN COPENHAVER (Costume Designer). At the Theatre Company: (25 seasons) Frankenstein, Sweeney Todd, Just Like Us, Ring of Fire: The Music of Johnny Cash, The Whale, Dracula, Mama Hated Diesels, A Christmas Carol, Noises Off, A Funny Thing…Forum, Living Out, Crowns, Fire on the Mountain, Boston Marriage, Oedipus Rex, Dirty Story, Blithe Spirit, Lobby Hero, Blue/ Orange, Almost Heaven, Scapin,


DON DARNUTZER (Lighting Designer). At the Theatre Company: 50 productions. Other Theatres: Broadway: It Ain’t Nothin’ But The Blues. Off-Broadway: Hank Williams: Lost Highway, The Immigrant, Almost Heaven: John Denver’s America. Other Theatres: Guthrie Theatre, Arizona Theatre Company, Seattle Repertory, Cincinnati Playhouse, The Shakespeare Theatre, American Conservatory Theatre, Oregon Shakespeare Festival, Cleveland Play House, Actors Theatre of Louisville, Portland Opera, Florentine Opera, New Orleans Opera, and Kennedy Center for the Performing Arts. DAVID DE BERRY (Composer/ Lyricist). At the Theatre Company: A Christmas Carol. Other Theatres: Composer/lyricist – A Cappella, Sisters: A Legend, original scores for Twelfth Night, The Good Person of Setzuan, All My Sons, The Tempest, The Taming of the Shrew, ’Night Mother, The Time of Your Life (Sacramento Theatre Company).Composer: The Merry Wives of Windsor, The Comedy of Errors, The Glass Menagerie, King Lear, Betrayal, Our Country’s Good, The Recruiting Officer, Terra Nova, The Miser (Oregon Shakespeare Festival); Romeo and Juliet (San Francisco Shakespeare Festival); M. Butterfly (Arizona Theatre Company). Actor:Oregon Shakespeare Festival, Arizona Theatre Company, PCPA, Pennsylvania State Theatre, Charles Playhouse, Sacramento Theatre Company. KATHRYN G. MAES Ph.D (Voice and Dialect Coach). At the Theatre Company: The Secret Garden, The Christians, The Book of Will, A Christmas Carol, Frankenstein, The Glass Menagerie among others. Other Theatres: Royal Shakespeare Company, Royal National Theatre (Arthur Miller’s American Clock), Cincinnati Playhouse-in-the-Park. Special Awards/Training: ADVS (Central School of Speech and

Drama. London, England); Ph.D. (University of Pittsburgh). CHRISTINE ROWAN (Choreographer). See bio under Acting Company. VICKI SMITH (Set Designer). At the Theatre Company: When We Are Married, Fences, Heartbreak House, Adventures of Tom Sawyer, Dracula, Mariela in the Desert, Mama Hated Diesels, Eventide, Plainsong, Christmas Carol, 29 others. Other Theatres: Children’s Theatre Company, Arizona Theatre Company, Indiana Repertory Theatre, Cincinnati Playhouse, Penumbra Theatre Company, Kansas City Repertory Theatre, Cleveland Play House, Seattle Repertory Theatre, Actors Theatre Louisville, Repertory Theatre St. Louis, Geva Theatre Center, Milwaukee Repertory Theatre, Oregon Shakespeare Festival, and others. Awards: Bay Area Critics Awards – Kite Runner, Execution of Justice; Dramalogue Award – Cyrano; Colorado Theatre Guild Award – Mariela in the Desert; Ovation Awards – Pierre, I’m Not Rappaport; Prague Exposition 2007.  STAGE MANAGEMENT HEIDI ECHTENKAMP (Stage Manager). At the Theatre Company: The Christians, workshop production of Lady Day at Emerson’s Bar and Grill. At Off-Center: The Wild Party. Regional credits include: American Musical Theatre of San Jose (Wizard of Oz, West Side Story, Gypsy, A Chorus Line, Christmas Dream Land); STAGES Theatre (Always… Patsy Cline); Carousel Dinner Theatre (Thoroughly Modern Millie); Lone Tree Arts Center (39 Steps, Guys and Dolls in Concert, South Pacific in Concert, Sylvia); Arvada Center for the Arts and Humanities (Putting it Together, Children of Eden). Other Credits: Alabama Shakespeare Festival: Stage Manager Consultant. Teatro ZinZanni: Venue Manager and Production Manager. D. LYNN REILAND (Assistant Stage Manager). At the Theatre Company: (14 seasons) The Nest, Tribes, Appoggiatura, Vanya and Sonya and Masha and Spike, The Legend of Georgia McBride, The Most Deserving. At Off-Center: Sweet & Lucky, Perception. Other Theatres: Curious Theatre Company, Phamaly Theatre Company, and Seven Devils Playwrights Conference.

MICHAEL G. MORALES (Assistant Stage Manager). At the Theatre Company: Debut. National Tours: The Lion King, Phantom of the Opera, Mary Poppins, Rock of Ages (1st National), Jesus Christ Superstar, Chicago and Movin’ Out. PreBroadway: Wonderland and Miss Abigail’s Guide… Regional: My Fair Lady (The Asolo), West Side Story (The Fulton), The Threepenny Opera (Seaside). Training: BFA, UCF. Special thanks to his family and his beautiful wife for their love and support. Proud AEA Member. THEATRE COMPANY LEADERSHIP TEAM CHARLES VARIN (Managing Director) and his team are responsible for the administrative, financial and business operations for Theatre Company and OffCenter productions and other artistic initiatives. Since joining the Theatre Company in 2006, he has played a major role in executing the artistic vision of the organization and facilitating the production of shows such as Sweet & Lucky, The Unsinkable Molly Brown, Sense & Sensibility The Musical, The 12, Sweeney Todd with DeVotchKa and many more. Charles is passionate about artistic innovation and firmly believes in DCPA’s long-standing commitment to new plays and new voices. NATAKI GARRETT (Associate Artistic Director) Featured in the November 2016 edition of American Theatre magazine’s “One to Watch,” Nataki Garrett is the former Associate Artistic Director of CalArts Center for New Performance. Garrett is a Company Member at Woolly Mammoth Theatre Company a recipient of the NEA/ TCG Career Development Program for Directors, a NAACP Award nominee and a member of SDC. Recent regional credits include: Hurt Village (Ubuntu Theater Project), An Octaroon (Woolly Mammoth and Mixed Blood), Pussy Valley (Mixed Blood), Neighbors (Mixed Blood, Matrix), Bullrusher (Skylight Theater Company), Hoodoo Love (Mo`olelo Performing Arts Company), Smoke Lilies and Jade (CalArts Center for New Performance). Radio credits include Biloxi Blues, Tape, 16 Wounded, The Living Room. Opera credits: Wet and Sucktion. For NPR.

A CHRISTMAS CAROL

The Miser, Jesus Hates Me, Bernice/ Butterfly, Pierre, Inna Beginning, Elevation of Thieves, Servant of Two Masters, Tantalus. Other Theatres: Smokey Joe’s Café; Hedwig and the Angry Inch, Dream a Little Dream; Love, Janis; regional premiere Peter and the Starcatcher (USF). Training: BA in Theatre Design, University of Cincinnati College Conservatory of Music, Centro Maschere e Strutture Gestuali, Padua, Italy.


JEFF GIFFORD (Director of Production) is in his fifth season at the DCPA and oversees everything you see on stage except the actors. Guiding this amazing and talented staff of 75 artists and artisans who create all these wonderful shows is a joy.  Working on world premieres is especially exciting and Jeff has worked on more than 40 of them.  Top of the list is The Book of Will, Dinner with Friends, The Violet Hour, and Jeffrey Sellers musical Fly.

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals. The Theatre Company is a division of the Denver Center for the Performing Arts, a not-for-profit organization serving the public through the performing arts. The Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The Theatre Company also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada.

PLEASE BE ADVISED that once the show begins:

• LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas. • PHOTOS, RECORDING & CELL PHONE USE are prohibited during the performance. • CHILDREN 4+ are welcome in our theatres and must be ticketed. • DRINKS are allowed in provided containers. • ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you. • BRAILLE PROGRAMS are available with 2 weeks’ notice to ckrueger@dcpa.org or 303.893.4836.

The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.

The Theatre Company is constituent of Theatre Communications Group (TCG), the national organization for not-forprofit resident theatre companies.

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

The costumes, wigs, lighting, props, furniture, scenic construction, scenic painting, sound and special effects used in connection with this production were constructed and coordinated by the Theatre Company’s Production Staff.

Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.)

In addition to DCPA staff, the following crew worked on this production: Corinne Serfass.

The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.

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A CHRISTMAS CAROL

CHARLIE MILLER (Associate Artistic Director) oversees new and innovative programming at the Denver Center including Off-Center, audience engagement projects, and other strategic initiatives. As co-founder and Curator of OffCenter, Charlie has led its growth from a small theatrical testing center to one of the DCPA’s signature lines of programming. Before joining the Artistic Team full time, Charlie divided his time between OffCenter and the Theatre Company’s Multimedia Department. As DCPA’s award-wining Resident Video Designer, Charlie designed and created projection/video content for 35 productions in nine seasons. Charlie is a Harvard graduate and a sixth generation Denverite.


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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

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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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(photo) Nance Williamson and Jennifer Le Blanc in The Book of Will. Photos by Adams VisCom. Illustrations by Kyle Malone

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Illustrations by Kyle Malone

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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

A

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

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


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IN THE SPOTLIGHT

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SHOWS

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

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

2

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

ROBERT LEE HARDY

Mannheim Steamroller Christmas by Chip Davis Dec 9 – 10

1

ELF The Musical Dec 13 – 17

5

Waitress Dec 19 – 31

3

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

4

American Mariachi Jan 26 – Feb 25

6

Photos by John Moore, Amanda Tipton Photography and Adams VisCom

The Great Leap Feb 2 – Mar 11

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

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

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

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

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


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

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

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

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

DENVERCENTER.ORG/GIVE 44

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

Photo by Amanda Tipton Photography

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PROUD SPONSOR OF THE DCPA THEATRE COMPANY

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

T

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

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

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


TICKETS START UNDER $20 for most concerts!

Faith - A Tribute to the Music of George Michael

A Colorado Christmas

NOV 25 SAT 7:30

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

Christopher Dragon, conductor

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

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Drums of the World

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NOV 26 SUN 1:00 Colorado Symphony Percussionists

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

HalfNotes

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Holiday Brass Returns to Boettcher Concert Hall

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DEC 20 WED 7:30 Colorado Symphony Brass

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Too Hot To Handel

Brett Mitchell, conductor Jeffrey Kahane, piano

Handel’s Messiah

DEC 22-23 FRI-SAT 7:30 HOLIDAY

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

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

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

A Night In Vienna

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DCPA TEAM

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

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

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

EDUCATION

MARKETING, SALES & PATRON SERVICES

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

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

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

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

48

Sound Design

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

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

FACILITIES & EVENT SERVICES

SHARED SERVICES

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

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

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

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

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

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

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

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

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


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denverOFFcenter.org

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ic: I have to go out ___

11 Mannheim Steamroller has sold

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

For answers please visit denvercenter.org/news-center

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

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


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Stroll to First Friday showings on Santa Fe. Walk to headline events at the DCPA. Catch the A-Line light rail to DIA. Cycle the Platte River Trail. And, all the time, live in a new, contemporary residence crafted by one of Colorado’s most respected builders. That’s life at CityHomes at Lincoln Park. Come ready to fall in love, art and soul.

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Applause Magazine, November 24-December 24, 2017  

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

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