Applause Magazine, Sept. 30-Oct. 30, 2016

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VOLUME XXVIII • NUMBER 3 • SEP – OCT 2016

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SIGHTLINE

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

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Colorado is not only the Cultural Capital of the Rocky Mountain West, it is regarded by many as the Cultural Capital of America.

Consider this: in 2015 the National Endowment for the Arts ranked Colorado as top in the nation in terms of per capita attendance at museums, concert venues and theatres.

What happened to change this Cow Town into a cultural mecca?

In 1988, voters in the metro Denver area overwhelmingly approved a public funding model for the arts. Known as the Scientific & Cultural Facilities District (SCFD), this 1¢ on $10 sales tax is in large part responsible for the cultural renaissance in metro Denver.

This fall, you will be asked to extend the SCFD through 2030, and we need your help.

Our “Polar Bear tax” makes an enormous difference. It now distributes nearly $55 million to more than 275 organizations in the seven-county metro area. Your support has helped our cultural institutions create world-class experiences — from organizations large and small — that, in turn, are enjoyed by more than 14.2 million people each year.

Now the envy of the nation, the SCFD means jobs, access, education and economic stimulation. Importantly, it means free days at our region’s leading cultural facilities, historic preservation of everything from dinosaurs to the Wild West, and field trips to museums and concerts. It also means enjoying one of more than 40 plays and musicals right here at the Denver Center for the Performing Arts.

We — nearly 300 organizations — gratefully acknowledge your support of the SCFD and the incredible impact one penny can make. This fall, we ask that you vote yes on SCFD and continue your support of the world’s best, most diverse and most welcoming experiences.

DAN L. RITCHIE Chairman & CEO Denver Center for the Performing Arts

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BOARD OF TRUSTEES Daniel L. Ritchie, Chairman William Dean Singleton, Sec’y/Treasurer Robert Slosky, First Vice Chair Margot Gilbert Frank, Second Vice Chair Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond L. Roger Hutson Mary Pat Link David Miller Robert C. Newman Hassan Salem Richard M. Sapkin Martin Semple Tara Smith Jim Steinberg Ken Tuchman Tina Walls Lester L. Ward Dr. Reginald L. Washington Judi Wolf Sylvia Young

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

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NOTHING SHOULD STAND BETWEEN A CHILD AND THEATRE

There’s no better way to get swept up in the magic of theatre than experiencing it as a child. But many children across the state have never had an experience to spark their love of the craft. Thanks to donors like you, we’re able to give thousands of students the opportunity to dream bigger than ever before. We bring students to the theatre with discounted matinees, and bring theatre directly to their classrooms with performances, workshops and competitions.

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DCPA EDUCATION

DEVELOPING OUR FUTURE PLAYWRIGHTS

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The Denver Center for the Performing Arts’ (DCPA) third annual Regional High School Playwriting Competition culminated June 17 with two free, fully-staged performances of playwright Kendra Knapp’s Sonder.

Last fall, DCPA Education staff members conducted 145 classroom workshops for 3,100 Colorado students. That resulted in 212 one-act play submissions from young writers all over the state. DCPA artistic, literary and educational professionals then blindly judged the submissions, selecting 10 semifinalists. Of those, three were selected to have their plays read by professional actors at the 2016 Colorado New Play Summit. They were: • Gabrielle Moore, D’Evlyn High School, Divinity of Hell • Jessica Wood, Denver Christian School, Dark River • Kendra Knapp, Valor Christian High School, Sonder Knapp was a top-10 finalist last year. This year, her newest play was singled out for full production. Sonder follows a community of young people who are seeking real connection, but from the safety and distance of the internet.

DCPA Director of Education Allison Watrous said the purpose of the teen writing initiative is to advance literacy, creativity, writing and communication through playwriting.

“This program is all about inspiring the passion of playwriting in the next generation of writers regardless of their career aspirations,” she said. Knapp, for example, is headed to Embry-Riddle Aeronautical University in Daytona Beach, Florida where she will study aerospace engineering.

“But I will probably still be writing, too,” Knapp said.

The three finalists each receive a cash scholarship of $250. In addition, each teacher of the three finalists receives a $250 gift certificate for books, supplies or other teaching tools.

At a time when much of the national theatre dialogue is focused on the lack of female representation, it was telling that all three of the student finalists are young women.

“I think that‘s great, especially because it was picked blind,” said Wood. “We know we were not being picked just because we are women — we were picked because we have

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talent, and we have abilities, and it’s great that the DCPA is helping us realize this.”

Added Moore: “I really appreciate the DCPA for not feeling the need to fill a quota, and that we’re being appreciated for our talent, no matter what age or gender or background we come from.”

Knapp says she’s used to facing prejudice as a woman, a Hispanic, a person of faith and a theatre kid. “I’m used to people meeting me and then having this taste in their mouth where they go, ‘You’re from a Christian school? And you’re into theatre?’ I’m used to that attitude. But then I come here to the Denver Center and they just say, “OK, let’s get to work.” And I’m like, “Wait, you’re not going to ask me about my political views? Where’s the interrogation?”

Each finalist was mentored during the Colorado New Play Summit by a commissioned playwright with the DCPA Theatre Company.

“Rogelio [Martinez] had some ideas and insights for the play that hadn’t been presented to me by any other voice,” said Knapp. “It’s just a really good feeling to get feedback from someone you know is established who says to you genuinely, ‘This is good.’ ” Submissions for the 2017 High School Playwriting Competition are accepted starting Oct 1. For more information, visit denvercenter.org/playwright.

SONDER playwright Kendra Knapp, Valor Christian High School

Photos by Brian Landis Folkins and John Moore

BY JOHN MOORE

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ROLE REVERSAL IN FRANKENSTEIN

BY JOHN MOORE

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Illustration by Kyle Malone

Much has been made of the mirrored relationship between Man and Maker in Mary Shelley’s enduring Gothic classic, Frankenstein. Creator and Cadaver.

Father and Son. Master and Slave. God and Man. The DCPA Theatre Company’s new staging explores a whole new and incendiary duality: Black and White.

Frankenstein is, of course, the familiar story of the young science student who assembles a living being from parts of exhumed corpses. In 2011, London’s National Theatre did some Frankensteinlike reanimating of its own when it breathed astonishing new life into Shelley’s nearly 200-yearold horror story. Noted film director Danny Boyle (Trainspotting) and playwright Nick Dear had their two leading actors alternate nightly playing the roles of Victor Frankenstein and his creation.

Returning audiences not only got to consider how differently the two actors approached the same roles, they got to witness Father become Son. Master become Slave. Man become God. The National Theatre staging was a sensation.

Now, five years later, the DCPA becomes the first theatre company in North America to revivify the London creation. Sam Buntrock, Director of the Denver production, and Producing Artistic Director Kent Thompson also will have their actors trade roles. But there’s more. At a time when racial tensions in America are at their highest levels in 40 years, acclaimed actors Sullivan Jones and Mark Junek have been hired to play Frankenstein and the creature. Jones is black. Junek is white.

And Thompson knows that may take on added visual significance with today’s audiences, because one more vital relationship between the story’s two archetypal characters is dominance and submission.

Thompson is often known to cast actors of color to play characters traditionally played by white actors. So that’s nothing new. But in a year of ever-escalating racial tension in America, yes, Thompson says, he is trying to make a statement.

A bold one about “the complex ways people from different cultures and classes relate to one another,” Thompson said. “And I’m highlighting that by having actors of two different races switching in these two roles.”

A notable departure from Shelley’s source novel is the newly adapted play’s primary focus on The Creature — grotesque as he is, and yet childlike in his innocence. The real horror of Shelley’s story is not those silly (and jettisoned) neck bolts made famous by Boris Karloff. It is the doctor’s cruel rejection of his bewildered creature and casting him out into a hostile world. Meeting with cruelty

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wherever he goes, The Creature grows increasingly vengeful. And that all will inevitably look different to a contemporary audience depending on which performance they attend. And that’s OK, says Thompson.

“I don't know that we’ll ever be a post-racial society,” he said. “But I hope one day we will be post-racist.”

The supreme challenge of two actors having to bring two entire characters to life on alternating nights is that it affords a rich and rare creative opportunity for potential audiences.

“In the original London production the reviewers and the audiences were fascinated at how differently they approached each character,” Thompson said.

“They were not the exact same performance, and the dynamic between them changed.”

Producing Artistic Director Kent Thompson is trying to make a statement about “the complex ways people from different cultures and classes relate to one another. And I’m highlighting that by having actors of two different races switching in these two roles.”

New York Times critic Ben Brantley found it thrilling to attend The National Theatre's Frankenstein on successive nights in London. “Watching each of those actors find their feet and test their body parts is such a dizzy high point that it can’t be topped,” he wrote. “And their approaches were just different enough to make you want to see both.”

Those who see both Jones and Junek will see that Frankenstein continues to strike disturbingly urgent chords that go far beyond race and encompassing “otherness” of all kinds.

“There are many other things that make The Creature scary,” said Thompson.

“There’s his deformity. That he can’t talk. That he seems to be brutish.”

“Otherness” tends to evoke ignorance, cruelty and fear, said Thompson, who is fascinated by what makes “otherness” frightening to other people in the first place, be it disability, skin color…or even a person’s presidential preference.

“All of that fear multiplies once you start to consider race and culture and age and political opinions,” said Thompson. “It’s easy to demonize the person on the other side of an issue. That is going on all over America today. The challenge we are left is: ‘How do we stop demonizing each other?’”

Thompson pointed out that the man in power in this scenario — the omnipotent doctor — may fall somewhere squarely on what we would call “the autism spectrum” today.

“He’s a genius, but his ability to emotionally respond and psychologically understand the consequences of his actions has been thwarted,” Thompson said. “Yet, he holds the power to create life in his hands as surely as a gun would hold the power to end it.”

But while the landmark London staging offered audiences a whole new way of looking at the Frankenstein myth — as will the DCPA’s team of designers and actors — “None of that profoundly changes the major theme of the piece,” Thompson said. Which is, essentially: “Is it even ethically appropriate for man to create life? I mean, once you start down that road, how do you stop?”

John Moore is the DCPA’s Senior Arts Journalist. Follow his coverage of the Colorado theatre community at denvercenter.org/news-center

FRANKENSTEIN

SEP 30 - OCT 30 • STAGE THEATRE ASL INTERPRETED AND AUDIO DESCRIBED PERFORMANCE: OCT 23, 1:30PM

COSTUME COLUMN The DCPA’s Costume Crafts Director Kevin Copenhaver is knee deep in necromancy preparing for the Theatre Company’s upcoming production of Frankenstein.

Fresh off his Henry Award-winning costume designs from last season’s Sweeney Todd, Copenhaver is taking inspiration from elevated, haute couture fashion and the films of Guillermo del Toro as he prepares to dive into the world of Mary Shelley’s creature.

“I always find myself gravitating back to the ‘bad boys of fashion,’” said Copenhaver. “I’m very inspired by Alexander McQueen and John Galliano.

In their designs, the volume has been turned up to 14. It’s a highly theatrical haute couture.”

As he creates his own Creature, Copenhaver is moving away from the nuts and bolts movie monster. Instead, he’s interested in exploring the “built-in fear of something alien, something that doesn’t look like you.” He’s currently playing around with contact lenses to find the striking yellow eyes described

by Shelley in the novel.

“When you think about the way the original story was conceived, this group of friends sitting around trying to one up each other by telling a ghost story or a scary tale, that alone gives you license to play and interpret,” said Copenhaver.

This little scary tale is sure to send shivers up your spine.

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DENVER FAVORITE GEOFFREY KENT DIRECTING AN ACT OF GOD

BY JOHN MOORE

A “What’s joyful to me is that through the course of the play, we get to watch God learn something about himself — and that humanizes him.”

—GEOFFREY KENT, DIRECTOR

An Act of God is a new comedy that imagines The Almighty is coming down to Earth to adapt the dusty 10 Commandments for these modern times. But because the very majesty of God might simply be too much for we mere mortals to handle, He takes on the far more approachable human form of a fabulously fun actor with just enough snark and charm. Imagine Jim Parsons or Sean Hayes — two popular TV sitcom actors who have played the role on Broadway.

“Think of God as the perfect host of the perfect cocktail party…and he has the mic,” said Geoffrey Kent, a longtime actor and stage-combat expert who will be making his DCPA directorial debut when An Act of God premieres regionally at the Garner Galleria Theatre on October 15. Kent calls the show part stand-up comedy…and part “Oprah.”

In An Act of God, Kent said, “We get to watch God appear before us as a reflection of who we are now.”

And who are we now?

“Oh, we can be kind of terrible sometimes, and we can also be wonderful,” Kent said with a laugh. “And the same thing can be said of God.” An Act of God, written by 13-time Emmy winner David Javerbaum of Comedy Central’s “The Daily Show, is laugh-a-minute funny," Kent said.

“I think it pokes fun at the theist and the atheist equally,” Kent said. “But a comedy can ask meaningful questions just as well as a drama can. What’s joyful to me is that through the course of the play, we get to watch God learn something about himself — and that humanizes him.”

Kent is a Colorado native who attended Centaurus High School in Lafayette and the University of Northern Colorado in Greeley. He is a self-made theatre man who debuted as an actor with the DCPA Theatre Company in Anthony Powell’s Hamlet in 2002. “I played Sailor No. 2,” said Kent. “And there was no Sailor No. 1. So basically I was Sailors No. 1 and No. 2 combined.”

But Kent is used to combining job responsibilities. He started teaching classes with DCPA Education back in 1996, and he also is President of the Society of American Fight Directors — the largest organization of stage combatants in the world. He is resident fight director for both the DCPA Theatre Company and Colorado Shakespeare Festival, where this summer he directed a genderbending The Comedy of Errors and appeared as Iachimo in Cymbeline and Achilles in Troilus & Cressida.

Next stop: Garner Galleria Theatre where he grew up attending long-running shows such as Always…Patsy Cline, Forever Plaid and I Love You, You’re Perfect, Now Change. He'll be directing Wesley Taylor as God along with local favorites Steven Cole Hughes, Erik Sandvold and Steven J. Burge.

“I never thought I would ever have an opportunity to direct a show at the Galleria Theatre,” Kent said, “and it’s thrilling.”

AN ACT OF GOD

OCT 15 – MAR 12 • GARNER GALLERIA THEATRE ASL INTERPRETED & AUDIO DESCRIBED PERFORMANCE: JAN 29

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MORE CUTTING THAN GLASS

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B Y S Y LV I E D R A K E

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The Glass Menagerie is not Tennessee Williams’ first play. Nor his second. Not even his third. But it is an early play and the first one to provoke the kind of stir that awakens the public to the sense that they might be witnessing the birth of an important new playwright.

Life does not often allow us to be so suddenly and miraculously aware of something big occurring.

Because it is derived from his short story Portrait of a Girl in Glass, The Glass Menagerie is achingly autobiographical and remains Williams’ most confessional and poetic play.

Structurally, it depicts the uneasy three-way tension among Tom (the Tennessee Williams stand-in), his mother Amanda Wingfield (based on Williams’ mother, Edwina, a flailing, aging Southern belle, abandoned by her husband to rear their two children alone), and Tom’s gentle but damaged sister Laura (based on Williams’ sister Rose).

Tom adores Laura but is helpless to rehabilitate her (just as Williams was tormented by guilt over a disastrous lobotomy that doctors performed on Rose when she was barely in her 20s). Tom is the observer — the play’s narrator — who views this family triangle as the stone that keeps him tethered under water and unable to breathe.

Amanda, a materfamilias in spite of herself, refuses to acknowledge her social and financial destitution or Laura’s physical deficiencies (a bad limp). She fantasizes about finding her a proper husband and counts on Tom to help her find one. Tom, meanwhile, is choking on the task — torn between his familial love for these women, while yearning to break loose.

The 1944 original production, staged by Eddie Dowling and Margo Jones and featuring Laurette Taylor in a legendary turn as Amanda, caused a small earthquake during its Chicago debut.

The wide-ranging enthusiasm surrounding it encouraged a March 1945 transfer to Broadway, where The New York Times’ Brooks Atkinson used two words that remain key to describing the play: “lovely and merciful.”

Written in a fresh and freer lyrical style, Menagerie’s wistful tone and filmy quality inspired designer Jo Mielziner to also break out of the confines of theatrical realism for both the set and lighting of the Broadway version. Menagerie became an immediate hit and won the New York Drama Critics’ Circle Best Play award of 1945.

No one was more surprised than Williams who retained a tenuous (and diffident) relationship with success throughout his life.

Ina Marlowe, the Menagerie’s director at The Denver Center, has her own memorable connection to the play. Two years out of grad school, she staged a sign-language version of it in a tiny theatre outside Chicago.

“I’m not saying there’s no pain, guilt at leaving Laura, frustration at the difficulty of communicating with his mother…

There’s heartbreak everywhere…”

—INA MARLOWE, DIRECTOR “Tom will not be in a Merchant Marine uniform,” she said. “There will be the clicking of a typewriter in the background to remind us he’s a writer telling the story of a family full of love, frustration and dreams — too much love in a sense — and all of them trying to escape their reality.”

Williams, who had a compulsion to do both, needed to write the way other people need to drink. “He had to write,” Marlowe insisted, speaking of the blurred lines between Williams’ reality and the play. “He has to relive the experiences so as to be able to leave [his mother and sister]

knowing the meanness and pettiness will disappear and only beauty and truth will remain. He must see them as iconic so he can leave them behind....”

What about the pain this causes?

“I’m not saying there’s no pain, Tom’s guilt at leaving Laura, his frustration at the difficulty of communicating with his mother.

There’s heartbreak everywhere….

Even the gentleman-caller causes pain. But because Tom is a writer, he gets to the point where he must be able to leave if he’s to survive.”

To achieve her goals in practical terms, Marlowe wanted things “the color of memory” — faded by time.

The floor is lit from below, suggesting a vestigial reality. “Williams talks about the lighting as an El Greco lighting, almost an interior light, a spiritual illumination.”

Laura’s glass animals are suspended in space. “She is, in effect, enveloped by them whenever she enters [the menagerie] to pick one up. They’re her escape — they and her father’s phonograph. Tom has his writing, Amanda has her memories of those 17 gentleman-callers…”

Dissatisfied with the way the presence of the missing Dad too often is handled, Marlowe made sure his portrait would be prominent.

“The place is haunted by the people who have left,” she said. “Loneliness inhabits the space between the characters.

“I want to create memory with clean, simple images. This play is so strong that no matter what twist or concept you place on it, it teaches you something about all relationships. I feel fortunate to be involved with a piece of literature that brings up such a well of emotions — so delicate, so human, so deep, so universal.”

Sylvie Drake was Director of Media Relations & Publications for The Denver Center for the Performing Arts 1994-2014. She is a former theatre critic and columnist for the Los Angeles Times and current contributor to culturalweekly.com.

THE GLASS MENAGERIE SEP 9 – OCT 16 RICKETSON THEATRE ASL INTERPRETED & AUDIODESCRIBED PERFORMANCE: OCT 15, 1:30PM

Finding Neverland, Original Broadway Cast, Laura Michelle Kelly, photo by Carol Rosegg

“I love plays of language and character,” she said on the phone from her home in Conifer. “I’ve taught Williams, read him, staged him, seen the films. When I researched Menagerie, I read both published versions — the New Directions and the Dramatists Play Service.”

In order to deliver the dreaminess that Williams had in mind, Marlowe eliminated the script’s cluttering screens and scrims in favor of an upto-date stagecraft that didn’t even exist in the 1940s.

COMING UP FROM BROADWAY:

FINDING NEVERLAND Peter Pan continues to fly high in our collective pop-culture consciousness, says Finding Neverland co-composer Eliot Kennedy, because he’s taken wing inside our DNA. Playwright J.M. Barrie may have imagined Peter Pan a century ago, Kennedy said, “but it remains such a young story. It’s all about youth and young energy.”

The story of Peter Pan, Director Diane Paulus adds, is a call to anyone of any age to ask themselves: “When do we wake up and live the life that we know we need to live — not the life we think we should be living?” That, she said, is the story of Finding Neverland (playing The Buell Dec 20-Jan 1).

The innovative Broadway musical is based on the 2004 Oscar-winning film of the same name. The story follows Barrie as he summons the courage to become the writer — and the man — he yearns to be. Barrie finds his inspiration when he meets a widow and her four young sons who inspire him to conjure the magical world of Neverland.

Paulus believes the new musical is “a complete love letter to the theatre.” She cites a line from the show Captain Hook says to Barrie himself: “Go back to being what everyone expects you to be. Or you can find the courage to…write your own story.”

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DCPA TEAM DCPA Janice Sinden......................................................President & CEO Eve Gordon...........................Executive Assistant to the CEO

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LOGO WITH SUBDIVISIONS

presents

Nick Dear FROM THE NOVEL BY Mary Shelley BY

With Molly Carden*, Thaddeus Fitzpatrick*, Meridith C. Grundei, John Hauser, Sullivan Jones*, Mark Junek*, Charlie Korman*, Jenny Leona*, Avi Levin, Rodney Lizcano*, Conan McCarty*, Kevin McGuire*, Leigh Nichols Miller*, Douglas Rees*, Jessica Robblee, Brian Shea*, Brynn Tucker*, Nellesa Walthour*, Erin Willis*, Max Woertendyke*

SCENIC DESIGN BY Jason Sherwood

COSTUME DESIGN BY Kevin Copenhaver

LIGHTING DESIGN BY Brian Tovar

SOUND DESIGN AND ORIGINAL MUSIC BY Curtis Craig

PROJECTION DESIGN BY Topher Blair and Charlie I. Miller

DRAMATURGY BY Douglas Langworthy

FIGHT DIRECTION BY Geoffrey Kent

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

CASTING BY Elissa Myers Casting / Paul Foquet, CSA

DIRECTOR OF PRODUCTION Jeff Gifford

STAGE MANAGER Kurt Van Raden*

DIRECTED BY Sam Buntrock Frankenstein was first presented by the National Theatre, London on February 5, 2011 The Denver Center for the Performing Arts Theatre Company’s license to present Nick Dear’s version of Mary Shelley’s Frankenstein is granted by Rosica Colin Limited, London.

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

THE STAGE THEATRE | SEPTEMBER 30–OCTOBER 30, 2016

SEASON SPONSORS

FRANKENSTEIN

Kent Thompson, Producing Artistic Director

FRANKENSTEIN

CAST

(In Order of Speaking) Victor Frankenstein/The Creature.....................................................................SULLIVAN JONES*, MARK JUNEK* Gretel/Clarice ................................................................................................................................................ JESSICA ROBBLEE Gustav/Constable.......................................................................................................................................RODNEY LIZCANO* Klaus.................................................................................................................................................................. CONAN MCCARTY* De Lacey/M. Frankenstein...........................................................................................................................KEVIN MCGUIRE* Felix..............................................................................................................................................................MAX WOERTENDYKE* Agatha...................................................................................................................................................................MOLLY CARDEN* Elizabeth Lavenza................................................................................................................................................ JENNY LEONA* William Frankenstein.................................................................................................................................CHARLIE KORMAN* Female Creature.................................................................................................................................. NELLESA WALTHOUR* Servant 1......................................................................................................................................................................... ERIN WILLIS* Servant 2.................................................................................................................................................. MERIDITH C. GRUNDEI Ewan....................................................................................................................................................................... DOUGLAS REES* Rab...................................................................................................................................................... THADDEUS FITZPATRICK* Ensemble............................................MOLLY CARDEN*, THADDEUS FITZPATRICK*, MERIDITH C. GRUNDEI, JENNY LEONA*, RODNEY LIZCANO*, CONAN MCCARTY*, DOUGLAS REES*, JESSICA ROBBLEE, NELLESA WALTHOUR*, ERIN WILLIS*, MAX WOERTENDYKE* UNDERSTUDIES Understudies never substitute for the listed players unless a specific announcement for the appearance is made at the time of the performance.

Meridith C. Grundei (Gretel, Elizabeth), John Hauser (Felix, Rab), Avi Levin (William), Leigh Nichols Miller* (Victor Frankenstein, Gustav, Constable), Brian Shea* (Ewan, Klaus, De Lancy, M. Frankenstein), Brynn Tucker* (Female Creature, Servants), Erin Willis* (Agatha, Clarice), Max Woertendyke* (The Creature) SETTING Europe, around 1818

Fight Captain .............................................................................................................................................. RODNEY LIZCANO* Assistant to the Director................................................................................................................................ ELI CARPENTER

Stage Manager............................................................................................................................................. KURT VAN RADEN* Assistant Stage Manager................................................................................................................ MATTHEW CAMPBELL* Stage Management Apprentice.................................................................................................. ELISABETH COOLIDGE.

*Member of Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers in the United States

ACTING COMPANY MOLLY CARDEN (Agatha/Ensemble).

At the Theatre Company: Debut.

New York credits: Emotional Creature (Signature Theatre), Please Continue (Ensemble Studio Theater), How To Live On Earth (Colt Coeur), Cherry Smoke (Working Theater), Downtown Race Riot (NYSF/Powerhouse Theater). Regional: The Night Alive (John Drew/Guild Hall), On Clover Road (Contemporary American Theater Festival), Emotional Creature (Berkeley Repertory Theatre), The Great Immensity (co-production with The Civilians at Kansas City Repertory Theatre).

Training: UNCSA. THADDEUS FITZPATRICK (Rab/ Ensemble). At the Theatre Company: Colorado New Play Summit 2016 The Book of Will. New York credits include Autumn’s Harvest (Lincoln Center), Alcestis Ascending (Clurman Theatre). Regional: I and You (Olney Theatre Center and Geva Theatre Center), The Jungle Book (Arden Theatre Company). He is currently involved in several developing plays. Commercial credits include Yes Television with Alec Baldwin, Lady Gaga MTV VMA promotion, and voiceover work for Sierra Mist commercial. Special Awards/Training: National Award Winner in Prose and Poetry Performance. BA, University of Alabama.

MERIDITH C. GRUNDEI (Servant 2/ Ensemble, Understudy Gretel/ Elizabeth). At the Theatre Company: Debut. Off-Center: Sweet & Lucky, SWEAT. Other Theatres: The Misanthrope (American Conservatory Theatre), God’s Ear, Messenger #1, Failure...A love story,

Mr. Spacky, Mr. Burns, The Three Faces of Dr. Crippen, Spirits to Enforce (The Catamounts), FAITH (LOCAL Theater Company) and House of Yes (square product).

Meridith is the recipient of the 2011 Camera Eye Award for Best Actress in a Drama and nominated as Best Actress in a Comedy for the 2012 Culture West, True West Awards.

JOHN HAUSER (Understudy Felix, Rab). At the Theatre Company: Debut.

At Off-Center: Sweet & Lucky.

Other Theatres: Eugene in Biloxi Blues (Miners Alley), Romeo in Romeo and Juliet (Shakespeare in the Parking Lot, DCPA Education touring show), Jason in Rabbit Hole (Vintage Theatre), Matthew in The Few (Boulder Ensemble Theatre Company), Lee in Jerusalem (The Edge).

SULLIVAN JONES (Victor Frankenstein / The Creature). At the Theatre Company: Debut.

Other Theatres: Head of Passes (Berkeley Repertory Theater), One Night in Miami… (Baltimore Center Stage, Rogue Machine Theater), Clementine in the Lower Nine (Theaterworks), Twelfth Night (African-American Shakespeare Company), Intimate Apparel, References to Salvador Dalí Make Me Hot (AlterTheater Ensemble).

TV/Film: “Parks and Recreation,” “Stanistan,” NBA 2K17. Special Awards/Training: Princess Grace Award; Brown University Acting.

MARK JUNEK (Victor Frankenstein / The Creature).

At the Theatre Company: Debut.

Other Theatres: Broadway: The Performers.

Regional: The Forgotten Woman (Bay Street Theatre), after all the terrible things I do (Milwaukee

Repertory Theatre), The Vibrator Play (Syracuse Stage), Family Play (The New Ohio), Galileo, A Midsummer Night’s Dream (New York’s Classic Stage Company), Vanya and Sonia and Masha and Spike (Berkeley Repertory Theatre), The Imaginary Invalid (Bard Summerscape). TV/Film: the second season of “The Outs,” “Blindspot,” “Forever,” “Smash,” and “Law and Order: SVU.” Training: Graduate of Columbia University and The Juilliard School, Group 40.

CHARLIE KORMAN (William). At the Theatre Company: Sweeney Todd, Lord of the Flies, Shadowlands, A Christmas Carol (six seasons), and Ed, Downloaded. Other Theatres: Oliver! (Denver School of the Arts), Poor Baby in Whistle Down the Wind, Our Time Cabaret, Bye Bye Birdie (Stagedoor Manor).

Training: Sweatshop Dance, Vocal Training with Bob Downard, Denver School of the Arts Theatre Major.

Awards: 2016 NYCDA regional Junior Outstanding Dancer first runner-up, 2016 Stagedoor Manor Best Featured Actor in a Musical, 2015 Stagedoor Manor Best Member of an Ensemble. www.charliekorman.com JENNY LEONA (Elizabeth/ Ensemble). At the Theatre Company: Debut. New York: Fire.Water.Night (Yara Arts Group; La Mama), The Beekeeper’s Daughter (Theatre For The New City). Regional: And A Nightingale Sang (Westport Country Playhouse), The Winter’s Tale (Shakespeare Theatre Company, DC), Our Town, The Underpants (Long Wharf Theatre), The Underpants (Hartford Stage). TV/Film: The Breatharians, Cleaver’s Destiny, “Unforgettable.”

Training: BFA, The Juilliard School of Drama.

FRANKENSTEIN

WHO’S WHO

FRANKENSTEIN

AVI LEVIN (Understudy William). At the Theatre Company: A Christmas Carol.

Other Theatres: Comedy of Errors (Colorado Shakespeare Festival), Les Misérables, Oliver, Shrek The Musical (American Academy of Dramatic Arts). Annie (Colorado Children’s Theatre), Avi is a seventh grade Theatre Major at the Denver School of the Arts.

RODNEY LIZCANO (Gustav/Constable/ Ensemble). At the Theatre Company: Hamlet, American Night, Merchant of Venice, Spinning Into Butter, Inna Beginning, The Tempest, Gross Indecency, The Rivals, Kingdom, A Winter’s Tale, A Christmas Carol. Other Theatres: Colorado Shakespeare Festival (Much Ado About Nothing, Othello, Henry V, The Tempest, Merry Wives of Windsor, Henry IV Parts 1 & 2, Equivocation, Cymbeline), Arvada Center (Archbishop’s Ceiling, The Crucible, A Man For All Seasons), Dallas Shakespeare Festival, Stories on Stage, Theatre Aspen and OffBroadway with Actors Ensemble Theater and DreamScape Theatre Company. TV/Film: Silver City and “Stage Struck”. Training: BFA, Southern Methodist University; MFA National Theatre Conservatory.

CONAN MCCARTY (Klaus/Ensemble).

At the Theatre Company: Debut.

Other Theatres: Broadway: Macbeth (with Christopher Plummer and Glenda Jackson), A Few Good Men, A Life in the Theatre and Fool for Love. New York: When We Go Upon the Sea by Lee Blessing, Dark Rapture, and the original production of Beyond Therapy. He has appeared at many regional theaters, among them George Street Playhouse, Actors Theatre of Louisville, Cleveland Playhouse, Arizona Theater Company, Shakespeare Santa Cruz, and San Jose Repertory. TV includes “Law and Order,” “The Closer,” and “Nurse Jackie.”

KEVIN MCGUIRE (De Lacey/ M. Frankenstein/ Ensemble). At the Theatre Company: Sweeney Todd.

Broadway, National, international tours of Les Misérables, The Phantom of the Opera, Jane Eyre, The Secret Garden. Off Broadway: Forbidden Broadway, Hamlet (Classic Stage Company); Romeo and Juliet (The New York Shakespeare Festival); DonnyBrook!

(Irish Repertory Theatre); The Seagull, Big Maggie, Much Ado About Nothing, A Midsummer Night’s Dream, Moses Man (NYMTF 2015).

Regional: Williamstown Theatre Festival, Hartford Stage Company, Capital Repertory Theatre (Red, Other Desert Cities), The Shakespeare Theatre Company DC (Henry IV Part 1 and 2), Arizona Theatre Company, The Theatre Company Hubbard Hall, The Juilliard Acting Company (three seasons).

LEIGH NICHOLS MILLER (Understudy Victor Frankenstein, Gustav, Constable).

At the Theatre Company: Jackie and Me, Romeo and Juliet, A Midsummer Night’s Dream, Richard III, The Miracle Worker, A Trip to Bountiful.

At Off-Center: Sweet & Lucky. Other Theatres: Faith (LOCAL Theatre Company), Dividing the Estate (The Arvada Center), The Three Musketeers (Shakespeare Santa Cruz), Henry IV, Part 1 (Shakespeare Santa Cruz), The Mysterious Mr. Love (Grant Humphrey’s Mansion), A Flea in Her Ear (Connecticut Rep), A Man for All Seasons (Arvada Center), Yankee Tavern (Curious Theatre), As You Like It (Sparrow Theatre), Cloud 9 (National Theatre Conservatory Rep), Macbeth (National Theatre Conservatory Rep), Death of a Salesman (Chautauqua Theatre Company). Training: MFA – National Theatre Conservatory.

DOUGLAS REES (Ewan/Ensemble).

At the Theatre Company: Debut.

Regional Theaters: Opus (world premiere, Arden Theatre Company),

appearances at Pittsburgh Public, Wilma Theater, Arden Theatre, City Theater of Pittsburgh, Cincinnati Playhouse in the Park, Madison Rep, Alabama Shakespeare Festival, among others. New York credits: Opus (NY premiere, Primary Stages), multiple appearances at The Mint Theatre Company. Television: “30 Rock.” As ever, for Janet, with love.

JESSICA ROBBLEE (Gretel/Clarice/ Ensemble). At the Theatre Company: All the Way. At OffCenter: Lord of the Butterflies, Drag Machine. Other Theatres: Siren Song, Duck Duck Dupe, Trunks: a live comic book (Buntport Theater for All Ages), The Odyssey: A Walking Tour (Buntport Theater), Waiting for Obama (Wild Blindness Productions & Bas Bleu), This (Boulder Ensemble Theatre), Gidion’s Knot (Sis Tryst Productions), 5 Lesbians Eating a Quiche (square product theatre), After the Revolution, Homebody Kabul, Rabbit Hole, Aphrodisiac (Curious Theatre). She is an actorwriter-director for Buntport Theater for All Ages and Real Live Theater at the Denver Art Museum.

BRIAN SHEA (Understudy Klaus, De Lacey, M. Frankenstein, Ewan, Ensemble). At the Theatre Company: Death of a Salesman, A Christmas Carol, The Winter’s Tale, The Tempest. Other Theatres: Cyrano, Ideation, Stupid F**king Bird (Boulder Ensemble Theatre Company); On An Average Day (Curious Theatre Company). TV/Film: Headlong, Shiny Things, The Five, In Plain Sight. Training: BFA, New York University, MFA, National Theatre Conservatory.

BRYNN TUCKER (Understudy Female Creature, Servants).

At the Theatre Company: Debut.

Other Theatres: Marcus: The Secret of Sweet (Curious Theatre).

A Midsummer Night’s Dream (North Carolina Shakespeare), Washington D.C. credits include Rosencrantz &

NELLESA WALTHOUR (Female Creature/ Ensemble). At the Theatre Company: Debut. Other Theatres: Disney’s The Lion King (national tour), Ragtime (Kennedy Center), Once on This Island, and Pippin. Other New York credits include Heather Smiley for President and A House is Not a Home. Dance companies include The Metropolitan Opera and Dallas Black Dance Theater (DBDT).

Choreographers she has worked with include Ron Brown, Sean Curran, Alonzo King and Donald McKayle and choreographed for DBDT, NYMF’s Trav’lin, benefits and solo projects. She works regularly in industrial commercial and film. Film/ TV: The Bicycle Movie, “The Good Wife,” “Flight of the Conchords,” “The Haunting of…” Awards/Training: Harvard graduate. Certified GYROTONIC® instructor. AEA. ERIN WILLIS (Servant 1/ Ensemble, Understudy Agatha, Clarice). At the Theatre Company: All The Way, The 12, A Christmas Carol.

Other Theatres: Memphis (Arvada Center); Misbehavin’ (Milwaukee Repertory Theatre), My Fair Lady (Cameron Mackintosh first national tour), Ragtime (Cohoes Music Hall); Romeo and Juliet (Shakespeare in the Parking Lot, DCPA Education); Dreamgirls (Asbury Park). NY Workshops: Amazing Grace and My Heart is the Drum. TV: “Celebrity Ghost Stories.” Erin also provides vocals and keyboards for the Indie Rock Band Kenji Urada. Graduate of The Boston Conservatory. Thanks to Denver Center, family and friends, Radical, and John.

MAX WOERTENDYKE (Felix/Ensemble, Understudy The Creature). At the Theatre Company: Debut. Broadway: Ivo van Hove’s A View from the Bridge. Off-Broadway: Romeo and Juliet (The Public Theater). Max was a 2015 graduate from The Juilliard School of Drama. School credits include Rabbit Hole, The Ruby Sunrise, Dancing at Lughnasa, This is Our Youth, and Metamorphosis. Film: Sisterhood of the Traveling Pants 2, The Airport Run, Adherence and Beneath the Rock.

PLAYWRIGHT NICK DEAR (Playwright) was born in Portsmouth, England and grew up along the coast in Southampton.

In 1977, he graduated from the University of Essex with a BA in Comparative European Literature.

His breakthrough came in 1986 with the production of The Art of Success at the Royal Shakespeare Company in Stratford-upon-Avon. Nick’s work has been directed by Danny Boyle, Declan Donnellan, Adrian Noble, Lindsay Posner, Trevor Nunn, Roger Michel, Richard Eyre, and Richard Jones. In 1995, his first film for TV, Jane Austen’s Persuasion won a BAFTA award. His adaptation of Frankenstein, directed by Danny Boyle at the National Theatre, became one of the first successes of NT Live. In 2003 he began a series of adaptions for ITV of Agatha Christie’s Poirot. Nick lives in London with his wife, Penny Downie. They have two sons and a dog called Bob. AUTHOR MARY SHELLEY (Original Author).

Mary Wollstonecraft Shelley was an English novelist, short story writer, dramatist, essayist, biographer, and travel writer, best known for her Gothic novel Frankenstein: or, The Modern Prometheus (1818).

DIRECTOR SAM BUNTROCK (Director). At the Theatre Company: Ed, Downloaded

by Michael Mitnick. Other Theatres: Sunday in the Park With George (Broadway, West End, Menier and 5th Avenue Seattle-Tony Nomination),

The Wildness (Ars Nova), Turn of the Screw at BAM (New York City Opera), The Rocky Horror Show (European Tour since 2008), the World Premiere of John Guare’s Are You There, McPhee? and Travesties (both McCarter), The A to Z of Mrs P (Southwark Playhouse), Much Ado About Nothing (Two River), A Maze (NYSF), Cradle and All (MTC), Take Flight (Menier and McCarter).

ARTISTIC STAFF TOPHER BLAIR (Co-Projection Designer). At the Theatre Company: All the Way, As You Like It, Tribes, Appoggiatura, Lord of the Flies, black odyssey, Just Like Us. At Off-Center: How I Got Over, Lived Re-Lived, Drag Machine. Other Theaters: The Scarlet Letter (Opera Colorado).

KEVIN COPENHAVER (Costume Designer). At the Theatre Company: 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, 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.

CURTIS CRAIG (Sound Designer and Composer). At the Theatre Company: All The Way. Other Theatres: Classical Theater of Harlem, Watertower Theater, Dallas Theater Center, Arkansas Rep, and Pennsylvania Centre Stage. Recent sound design and composition: The First Noel (Apollo Theater); The List (New York Fringe Festival); Creep (Watertower Theater); A Midsummer Night’s Dream, The Whipping Man, On The Razzle (Clarence Brown Theater). His sound & media design for Gizmo was selected for exhibition at the 2013 World Stage Design expo in Cardiff, Wales. His composition and sound design work for Pentecost — gold medal in sound design at the

FRANKENSTEIN

Guildenstern are Dead (Folger Shakespeare Theatre), The Widow Lincoln, Our Town (Ford’s Theatre), Pluto, The Illusion (Forum Theatre), *A Guide to Dancing Naked (D.C. Capital Fringe Festival). Special Awards/Training: Spelman College, British American Drama Academy, *TheaterMania: “Best Dance and Physical Theater Piece”.

FRANKENSTEIN

2009 World Stage Design exposition in Seoul, South Korea.

GEOFFREY KENT (Fight Director).

At the Theatre Company: (16 seasons) Hamlet, Richard III, Romeo & Juliet, 1001, Skull in Connemara, King Lear, Superior Donuts. Other Theaters: Troilus & Cressida, Othello, Henry 4 Part 1, Macbeth, Treasure Island, Three Musketeers (Colorado Shakespeare Festival); Complete Works of William Shakespeare (Utah Shakespeare Festival); Cymbeline, Taming of the Shrew (Orlando Shakespeare Theatre); Lieutenant of Inishmore (Curious Theatre Company); Carmen (Opera Colorado); Land of the Dead (Creede Rep). Henry Award for Achievement in Fight Direction. www.thefightguy.com DOUGLAS LANGWORTHY (Dramaturg). At the Theatre Company: All The Way, As You Like It, Appoggiatura, Lord of the Flies, The Unsinkable Molly Brown, Shadowlands, Hamlet, Just Like Us, Sense & Sensibility The Musical, The Three Musketeers, When We Are Married. Other Theatres: The Oregon Shakespeare Festival produced his adaptation (with Linda Alper and Penny Metropulos) of Dumas’ The Three Musketeers and his translation of Brecht’s The Good Person of Szechuan. Target Margin Theatre produced his translations/adaptations: Medea

by Hans Henny Jahnn, Goethe’s Faust, and the opera The Sandman with David Herskovits and Thomas Cabanis. Awards/Training: Elliot Hayes Award for Dramaturgy, National Theatre Translation Fund Award, John Gassner Award in Critical Writing. Yale School of Drama.

KATHRYN G. MAES Ph.D (Voice and Dialect Coach). At the Theatre Company: FADE, The Nest, Tribes, Benediction, Appoggiatura, Vanya and Sonia and Masha and Spike, Lord of the Flies, The Unsinkable Molly Brown, Animal Crackers, Shadowlands, Hamlet, black odyssey, A Christmas Carol, Jackie & Me, The Most Deserving, Just Like Us, Death of a Salesman, When We Are Married, Fences, The Three Musketeers, Heartbreak House, Great Wall Story. Other

Theatres: Royal Shakespeare Company, Royal National Theatre (Arthur Miller’s American Clock).

Special/Training: Voice and Dialect Coach for numerous professional theatre companies in the United States, Head of Voice at DCPA Theatre Company 1989 to 1992.

Ph.D. in Theatre Arts, University of Pittsburgh; Advanced Diploma in Voice Studies, Central School of Speech and Drama, London, England.

CHARLIE I. MILLER (Co-Projection Designer). At the Theatre Company: 9 seasons, 35 productions. Highlights include: All The Way, As You Like It, Tribes, Appoggiatura, Lord of the Flies, black odyssey, Just Like Us, Ed Downloaded, The Giver, American Night, The House of the Spirits, When Tang Met Laika. OffCenter: Sweet & Lucky, Lived/ Re-Lived, Wheel of Misfortune, Cult Following, Drag Machine, DATE*.

Other Theatres: Ed Downloaded workshop (Roundabout, NYC), username: FAUST (Boston).

Special/Awards/Training: BA from Harvard, 2010 and 2011 Denver Post Ovation Awards, 2012 Henry Award, 2013 Best of Westword Awards. Co-Curator of Off-Center.

ELISSA MYERS CASTING, Paul Fouquet, CSA (Casting). Three Emmy nominations and one win, and one Peabody Award for Outstanding Contribution to Television. Over fifteen films for PBS. Theatre includes seven Broadway shows, and 26 Off-Broadway shows.

Current regional casting includes Denver Center, Geva Theatre, Cleveland Play House, Alabama Shakespeare Festival, Magic Theatre, Arena Stage, and Arizona Theatre Company. The office has so far received 16 nominations and has won three Artios Awards for “Outstanding Achievement in Casting.”

JASON SHERWOOD (Scenic Design). At the Theatre Company: The Unsinkable Molly Brown. New York: New York Theatre Workshop, Playwrights Realm, 59E59, City Center, The Flea. Frozen for Disney Creative Entertainment.

Regional: Alliance Theatre, 5th

Avenue, Signature, Goodspeed, Portland Center Stage, Studio Theatre, Trinity Rep, Bucks County Playhouse, Marin Theatre Company, among others. Sherwood is a Live Design Magazine “Designer to Watch.” He has been a guest artist at NYU and Yale. Training: NYU. @JasonSherwoodDesign BRIAN TOVAR (Lighting Designer).

At the Theatre Company: Ed, Downloaded. Other Theatres: Off-Broadway: Tamar of The River (Drama Desk nomination), The Wildness, City Of, The Underclassman, Sex Tips, Sleeping Rough, Spidermusical, Accidentally Like a Martyr, The Wendy Complex, The Wendigo.

Regional: Goodspeed, Signature, Denver Center, Two River, Northern Stage. Brian is the Founder and Creative Director of NYC based design company IONIC and has designed events for companies such as Samsung, NFL, Audi, Bravo, Porsche, Refinery29, Bravo and Nike, among others. www.BrianTovarDesign.com | www.Ionic.nyc STAGE MANAGEMENT MATTHEW CAMPBELL (Assistant Stage Manager). At the Theatre Company: All The Way, As You Like It, The 12, Lord of the Flies, Hamlet, Just Like Us, Other Desert Cities, Romeo & Juliet, When We Are Married, The Three Musketeers, Heartbreak House, The Taming of the Shrew, A Christmas Carol, To Kill a Mockingbird, A Midsummer Night’s Dream, Dracula. At OffCenter: Sweet & Lucky. Other Theatres: Colorado Shakespeare Festival, Arvada Center, Cleveland Play House, Hope Summer Repertory Theatre in Holland, Michigan; Colorado Festival of World Theatre, Country Dinner Playhouse, Candlelight Dinner Playhouse, Omaha Symphony.

Served as Assistant Professor of Technical Theater at Brooklyn College. Training: MFA, University of Iowa; BA, University of Northern Colorado.

KURT VAN RADEN (Stage Manager). At the Theatre Company: 35+ productions including Sweeney Todd, Lookingglass Alice,

EXECUTIVE STAFF KENT THOMPSON (Producing Artistic Director) is in his 12th season as Producing Artistic Director of the Theatre Company.

In Denver he directed productions of Sweeney Todd, Hamlet, Just Like Us, Other Desert Cities, Irving Berlin’s White Christmas, The Taming of the Shrew, A Midsummer Night’s Dream, Plainsong, Eventide, Benediction, Amadeus, The Liar and Measure for Measure, among others.

Three of Kent’s major accomplishments since coming to Denver have been the creation of Off-Center (innovative theatrical experiences aimed at millennial audiences), the Colorado New Play Summit (a premier national festival for new American plays), and the Women’s Voices Fund (an endowment that supports the commissioning and development of new plays by women).

Prior to moving to Denver he was Producing Artistic Director of the Alabama Shakespeare Festival for 16 seasons. Kent created the Southern Writers’ Project which commissioned and produced 16 world premieres during his tenure.

He served eight years on the Board of Directors for Theatre Communications Group (TCG) and as president for three years. He has served on peer review panels for

the NEA (also chair), TCG, The Pew Charitable Trusts, The Fulbright Scholars Program, The Wallace Funds, The Doris Duke Foundation and The Andrew W. Mellon Foundation, among others.

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

JEFF GIFFORD (Director of Production) is in his fourth season at the DCPA and oversees every­ thing you see on stage except the actors. Guiding world premieres to their first opening night is especially gratifying and Jeff has worked on more than 35 of them.

Among his favorites are Dinner with Friends, The Violet Hour, The Beard of Avon, Mr. Marmalade, and the new musical FLY. Jeff holds an MFA from California Institute of the Arts.

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

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.

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

PLEASE BE ADVISED that once the show begins: • LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

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

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

• DRINKS are allowed in provided containers.

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres.

Ask an usher to direct you.

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

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District.

Special thanks also to grants from Arts & Venues Denver; the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals.

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

The Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The Theatre Company also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada.

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

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.

FRANKENSTEIN

Benediction, The Unsinkable Molly Brown, Animal Crackers, Hamlet, Just Like Us, Romeo & Juliet, Irving Berlin’s White Christmas, The Three Musketeers, Ring of Fire: The Music of Johnny Cash, The Taming of the Shrew, A Christmas Carol, The Liar, Superior Donuts, The House of the Spirits, Othello, Eventide, A Raisin in the Sun, A Prayer for Owen Meany, Richard III, Noises Off, The Merry Wives of Windsor, Our House, Pride and Prejudice, Third, Mrs. Warren’s Profession, 1001, Season’s Greetings, Living Out, After Ashley. At DCPA Cabaret: First national tour of Murder For Two. Other Theatres: Over 56 new plays at The O’Neill Theatre Center (National Playwrights Conference, Cabaret and Performance Conference, Artistic Associate and Production Stage Manager), The Great River Shakespeare Festival.

Photo by Vicki Kerr

FRANKENSTEIN

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CABARET

A MIRROR OF ITS TIMES

A

American musicals hold a mirror up to our culture, hoping to reflect the issues of their day and the concerns of Americans. As a product of the tumultuous 1960s, the original Cabaret seduced and entertained while commenting on social issues and showing a frightening vision of our darkest potential.

The generation reared in the conservative 1950s became the counterculture youth of the ’60s, and American society was divided by volatile conflicts. The African-American civil rights movement that began in the ’50s was growing to involve large-scale nonviolent protests and civil disobedience. The National Organization for Women (NOW) was formed in 1966 in order to help gain full participation for American women in mainstream society and gain the same freedoms and privileges as American men of that time. President Lyndon B. Johnson promoted reforms to extend human rights, education, economic opportunities, and health care. Not all Americans supported these reforms, and some reacted with alarming violence. A rise of Klu Klux Klan activity in the south instigated beatings, shootings, and lynchings of activists.

Broadway was not immune to the cultural shocks of the

24

APPLAUSE • Sep – Oct 2016 • 303.893.4100 • denvercenter.org

era. The Broadway and Times Square district saw a rise in prostitution, adult shops, and derelicts, which created a dangerous environment for theatergoing. Production costs were rising, and Broadway producers had to raise ticket prices: a top price of $12 in 1966 was the equivalent of $86 today. Prior to the rise of rock-and-roll in the mid-’50s, show tunes were considered popular music — what played on Broadway played on the radio. By the ’60s, an entire generation was listening to rock and pop instead of show music.

Broadway needed to reinvent itself and find a new relevance, and visionary directors like Bob Fosse, Gower Champion, and the emerging Harold Prince became more prominent and, sometimes, more identified with shows than the songwriters. With the rise of the director came the “concept musical,” described by critic Martin Gottfried as a show whose music, lyrics, choreography, and scenes are woven together to create “a tapestry-like theme” or central metaphor, more important than plot. Gottfried identified West Side Story (1957), Gypsy (1959), and Fiddler on the Roof (1964), as the first important concept musicals, and Cabaret is an important title in this genre.

[Director Harold] Prince saw an opportunity to show these ties between racism in the U.S. and the rise of Nazism in the early 1930s through Cabaret.

At his first rehearsal, Prince showed the cast a photograph of a group of angry young white men taunting a crowd off-camera. The cast assumed that it was a picture of Nazi youth harassing Jews; in fact, the picture was taken that year in Chicago, and the men were taunting black tenants of an integrated housing project. For a short time, Prince thought about ending the show with a film of the march on Selma, Alabama, though he abandoned that idea.

The original idea for the show was to begin with a prologue of cabaretstyle songs to set the tone of Weimar Germany and then move into a straight play, but the team found that the songs worked better when distributed throughout the evening. As the show took shape as a more traditional musical, with some songs within book scenes, the cabaret world emerged as a central metaphor. The Brechtian device of songs that comment on the action rather than tell a story gave a central function to the Emcee character. Designer Boris Aronson conceived the production’s penultimate metaphor: a giant mirror center stage reflected the audience and reinforced the message that “it could happen here.”

After previewing in Boston, the play opened in November 1966 to great acclaim. Cabaret won eight Tony Awards, including Best New Musical, Best Direction, Best Score, and Best Featured Actor for Joel Grey as the Emcee.

The production ran nearly three years, for a total of 1165 performances, followed by international productions, a national tour, an Academy Awardwinning film, and Roundabout Theatre Company’s breakthrough revival in 1998. In its own day, and almost 50 years later, Cabaret validates the power of musical theatre to reflect a complicated world and the willingness of audiences to see ourselves in its mirror.

ROUNDABOUT THEATRE COMPANY’S CABARET

Sep 27 – Oct 9 • Buell Theatre ASL interpreted, Audio described & Open Captioned performance: Oct 9 Reprinted with permission from Roundabout Theatre Company’s Upstage Guide.

Darren Criss in the Broadway production of HEDWIG AND THE ANGRY INCH. Photo by Joan Marcus.

(lower right) Andrea Goss as Sally Bowles, (left) The 2016 National Touring cast of Roundabout Theatre Company’s CABARET. Photo by Joan Marcus.

By the early 1960s Harold Prince had a proven reputation as a producer and was emerging as a formidable director. At this time Prince was taking on the challenge of turning the play I Am a Camera into a musical, but it was not until Prince received the first draft of the libretto from Joe Masteroff that he realized this was an opportunity to tell the story parallel to contemporary problems. Prince saw an opportunity to show these ties between racism in the U.S. and the rise of Nazism in the early 1930s through Cabaret. Prince brought on writing team John Kander (composer) and Fred Ebb (lyricist), whose first show, Flora the Red Menace, had premiered the year before. The team set out to create a show about civil rights and tell audiences that what happened in Germany could happen here. (What he might not have foreseen was that parallel remaining relevant 50 years later.)

COMING UP FROM BROADWAY:

HEDWIG AND THE ANGRY INCH From being a cult musical to rocking out the Broadway stage, Hedwig and the Angry Inch is uniting audiences as diverse as its characters. The rock ’n’ roll opera follows Hedwig, an East German singer bouncing back from a botched transgender surgery who moves to America. While searching for fame and a truer sense of self, Hedwig fronts the band The Angry Inch.

Born with a book by John Cameron Mitchell and music and lyrics by Stephen Trask, Hedwig and the Angry Inch premiered Off-Broadway in 1998 with Mitchell playing the lead role.

The 1998 production won its creators an Obie Award and the Outer Critics Circle Award for Best Off-Broadway Musical. After a film adaptation in 2001 and various on-stage tours worldwide, Hedwig hit Broadway in 2014, winning four Tony Awards, including Best Revival of a Musical. Additionally, 2014’s production won Drama Desk Awards, Drama League Awards and Outer Critics Circle Awards.

Now, the production is dusting off its heels and coming to rock The Buell Theatre Dec 6-11. Rock on…

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Closer to home, citizen support of the SCFD has enabled the DCPA to diversify its programming and welcome those who might not otherwise be able to attend. Among our many programs, some new and expanded examples include:

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In 1988, citizens of the metro area voted to tax themselves 1¢ on $10. The goal? To ensure broad access to our area’s incredible assortment of cultural opportunities.

That was the beginning of what has become the nation’s strongest example of public funding for the arts. The Scientific & Cultural Facilities District (SCFD) now draws in nearly $55 million a year — the equivalent of one third of the funds distributed by the National Endowment for the Arts — and, in turn, distributes those funds to 275 organizations throughout the seven-county metro area.

But did it achieve its goal of providing access to our ever-growing community? The answer is simple — yes.

In the most recent Economic Impact Study conducted by the Colorado Business Committee for the Arts (watch for a new report to be released October 5), 14.2 million people participated in the arts, of which nearly 10 million admissions were free or discounted. And that level of engagement places Colorado at the top of the list for per capita attendance at museums, concert venues and theatres in the nation.

28

APPLAUSE • Sep – Oct 2016 • 303.893.4100 • denvercenter.org

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Assistive listening devices, open captioned and signed performances, occasional tactile tours, large-print and Braille programs This fall, the SCFD is up for renewal. When you are asked to cast your vote, we hope that your answer is simple — Yes, I want to extend the SCFD. Yes, I want to preserve these opportunities. And yes, I want to protect Colorado’s culture for years to come.

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303-595-0333

www.thecheesecakefactory.com

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

SEE WHAT HAPPENS BEHIND THE SCENES. For theatre fans who want to get to know our players personally, the Directors Society allows you to meet and greet our incredible cast at our select Wednesday evening showings. Enjoy an intimate experience over dinner and drinks and see what happens after the curtains close.

DIRECTORS SOCIETY 2016/17 SEASON The Glass Menagerie | Sep 21 Frankenstein | Oct 19 The Book of Will | Feb 1 The Christians | Feb 8 Two Degrees | Mar 1 Disgraced | Apr 12 The Secret Garden | Apr 28 The Curious Incident of the Dog in the Night-Time* | Jun 14 Due to the nature of theatrical bookings, all shows, artists and dates are subject to change. * Since The Curious Incident of the Dog in the Night-Time is a national touring Broadway production, the pre-show program will differ from our Theatre Company offerings.

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APPLAUSE••Sep Sep–– Oct Oct 2016 2016 •• 303.893.4100 303.893.4100 •• denvercenter.org denvercenter.org APPLAUSE

Photos by Adams Visual Communications Photos by Adams Visual Communications

LET US GIVE YOU THE STAR TREATMENT

PARK SMART DENVER PARKING TIPS FOR PATRONS With a capacity of 12,000 guests and only 1,700 spots in the Arts Complex garage, parking is at a premium. Here are some tips to help:

WHEN THE SHOW IS OVER, THE PARTY HAS JUST BEGUN. These lively and entertaining experiences for professionals and actors alike let you loosen your tie, have fun and make new connections.

At select Thursday showings, mingle over drinks and appetizers before the show and party with the cast afterward at Larimer Square’s hotspots.

1

New! Prepaid Parking at the Arts Complex: reserve a spot with 24 hours’ notice

2

Valet Parking at the Arts Complex: $25 valet parking on Friday & Saturday nights on 13th Street

3

Email alerts: provide your email when you buy tickets to receive performance reminders with parking alerts

4

Prepaid Parking downtown: reserve your spot downtown in advance through Parking Panda or ParkMe Parking

MARQUEE CLUB 2016/17 SEASON Frankenstein | Oct 20 An Act of God | Dec 1 The Book of Will | Feb 2 The Secret Garden | May 18

5 6

Park at a Restaurant: come early, dine downtown and grab a spot at a partner restaurant

7

Use Park-and-Ride and ride the LightRail or Train

The Curious Incident of the Dog in the Night-Time* | Jun 15

SPONSORED BY

FIND THE SUBSCRIPTION THAT SUITS YOU AND JOIN TODAY! MELISSA OLSON: 303.446.4840 molson@dcpa.org • denvercenter.org/members

Park next door at the Colorado Convention Center

TO RESERVE YOUR SPOT

or discover more information, visit denvercenter.org/plan-your-visit

A PROUD SPONSOR OF DCPA FUNDRAISERS

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Clos Du Bois has partnered with the Denver Center for the Performing Arts for many years. We truly believe that wine and the arts go hand in hand. Both create an individual and unique experience for all to enjoy.

In 1974, Frank Woods founded Clos du Bois with a vision of blending fine French winemaking techniques with the best Sonoma County grapes to craft a range of balanced, approachable wines. Year after year, our wines have been recognized by both wine critics and wine lovers. Just over ten years later, in 1986, Wine Spectator named Clos du Bois “California’s best kept secret,” confirming our place as one of Sonoma County’s premier wineries. Today, we continue to create approachable, elegant wines, from everyday favorites to small-production jewels, always with Frank Woods’ vision as our guide.

Sustainability is a way of life Sustainability means different things to different people, but at Clos du Bois, it’s part and parcel of who we are. Our commitment to sustainability is what has allowed us to thrive for more than 40 years. And it’s what will help us continue to craft quality Sonoma County wines for many vintages to come.

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THANK YOU EXTRAORDINARY GIVING The Joan & Phill Berger Charitable Fund Daniel L. Ritchie^ Citizens of the Scientific & Cultural Facilities District The Wallace Foundation

CHAIRMAN’S CIRCLE PLATINUM ($100,000+) Bonneville Denver+ CBS4+ Comcast/Comcast Spotlight+ Denver Post Community+ Epicurean Catering+ KSE Radio (KIMN, KXKL, KWOF)+ Murray BMW of Denver+ Robert & Judi Newman/ Newman Family Founation* The Shubert Foundation The Harold & Mimi Steinberg Charitable Trust United Airlines+

CHAIRMAN’S CIRCLE GOLD ($50,000 - $99,999) Joy S. Burns* Fidelity Investments Margot & Allan Frank*+ Leo & Susan Kiely*+ The Lewis E. Myers Jr. Scholarship Fund Temple Hoyne Buell Foundation 36

The Denver Center for the Performing Arts gratefully acknowledges the generous support of the following donors of $250 or more for activities July 1, 2015 - June 30, 2016.

U.S. Bank Warner Living Trust

CHAIRMAN’S CIRCLE SILVER ($25,000 - $49,999) Always Best Care Senior Services Ameristar Casino Resort Spa+ Anadarko Petroleum Corporation Anonymous (2) Atlantic Trust Private Wealth Management The Belay Fund Dr. & Mrs. Barry P. Berlin* Colorado Cadillac Dealers Colorado State Bank & Trust Mr. & Mrs. Tom Corley/ The Corley Family Fund Denver Center Alliance Entercom Broadcasting* Event Rents* Exclusive Resorts* Keith & Kathie Finger HealthONE L. Roger & Meredith Hutson/HRM Resources, LLC^ National Endowment for the Arts/Arts Midwest Noble Energy Polsinelli PwC Rollin M. Gerstacker Foundation Rose Community Foundation

APPLAUSE • Sep – Oct 2016 • 303.893.4100 • denvercenter.org

Mr. William Dean Singleton/Singleton Family Foundation* Robert & Carole Slosky* Ms. Tara Smith & Mr. Brian Swibel/Triptyk Studios+ Stonebridge Companies+ June Travis* Ken & Debra Tuchman Vectra Bank Westfield Property Services+ Westin Denver Downtown+ Marvin & Judi Wolf* Women’s Voices Fund

CHAIRMAN’S CIRCLE BRONZE ($15,000 - $24,999) AARP Colorado Mr. & Mrs. Jim Bender* Marilyn Brown & Doug Morton Centerplate Catering+ Robert & Kathy Clark Isabelle Clark* Colorado Public Radio+ Constellation Wines+ Denver7/KMGH+ Mr. & Mrs. Norm Franke Terry & Noel Hefty* Mr. & Mrs. Nicholas Kemp/Parker Kemp Foundation Mike & Diana Kinsey* Larimer Square Mary Pat Link & John Strohm Macy’s+

Molson Coors+ Neiman Marcus The Publishing House+^ Riverfront Park Community Foundation Martin & Jo Ann Semple+^ Mark Sexton James & Alison Shetter*^ Mr. & Mrs. Roger Stansbury+ Jim & Lori Steinberg+* Theatre Forward Turner Construction Company Dr. & Mrs. Reginald Washington Xcel Energy/Xcel Energy Foundation

SPOTLIGHT VISIONARY ($10,000 - $14,999) Abend Gallery+ Anschutz Foundation* Sheri & Lee Archer+ Arthur J. Gallagher & Co. Katy Atkinson James Barlett Bayswater Exploration & Production LLP Bella Calla Denver Flower Shop+ BKD CPAs & Advisors Pat & Paula Broe/Broe Group Brownstein Hyatt Farber Schreck Bill & Betty Buchanan Steven & Robin Chotin/ The Chotin Foundation CoBiz Financial

THEATRE BUILDER ($5,000 - $9,999) 5280 Magazine+ Albertsons Safeway Anonymous Anthem Blue Cross Blue Shield Mr. & Mrs. Russell Atha* Mr. James Ball & Ms. Maureen Geoghan Ms. Emily Ballinger Bank of Oklahoma Bank of the West Wealth Management Baroness Wine Distributors+ Doug & Catherine Benson The Blanche & Irving Laurie Foundation Boeing The Brown Box Fund, established by Mark & Rachel Brown Doug & Abby Brown Larry & Margaret Byrne Camp Out for Kids John Carlen & Jean Gleason Mr. Randy Carter Centerre Construction CIGNA Citi Private Bank Kevin & Dawn Collins Dan Sharp Luxury Outerwear+ Denver Theatre District Mr. Stanley Di Cicco+ Mr. & Mrs. John Dunn Edgerton Foundation Faegre Baker Daniels Fairfield & Woods, P.C. Fine Arts Foundation FirstBank Holding Company of Colorado Ms. Barbee Futrell-Riehl & Mr. Daniel Riehl Ms. Amy Gaines & Mr. Ron Litvak GH Phipps Construction Companies Giovanini Foundation

Giving Generations Foundation Great Divide Brewing Co.+ Hays Companies of Denver Hein & Associates, LLP Holmes Murphy ICON Foundation iHeart Media ( KBCO, KHOW)+ JHL Constructors Inc. KONE Denver Ruth Krebs & Peter Mannetti/New Century Property Mr. William LaBahn/ William R. LaBahn Fund Michael & Gianna LaRouche MDC Holdings, Inc./ Richmond American Homes Mr. Kyle Malone+ Marie Maltz Miracle Ear MKK Consulting Engineers Mr. James Newcomb John & Sherri Nitta Nordstrom at Cherry Creek PCL Construction Services Inc. The PeyBack Foundation Ms. Ronna N. Phelps Ralph L. & Florence R. Burgess Charitable Trust RBC Wealth Management+ Republic National Distributing Company+ Ross Foundation Ms. Peggy Rottner* Sage Hospitality Resources, LLC+ Semple Brown Design, P.C. Dr. Sean Shaw SSB Consulting Group LLC Mrs. Katharine Stapleton

Starr Painting Stratton Consulting Group, LLC+ Mr. Steve Talley Mrs. Bea Taplin* Target Jack & Penny TerHar Mr. James Turpen UBS Mr. & Mrs. Joe Vrablik Tina Walls*^ Ms. Janet Ward Mr. & Mrs. Michael Wozniak

ARTISTIC DREAMER ($2,500 - $4,999) Anonymous (2) Willis Ashby & Karen Burch Ray & Denise Bellucci* LaFawn Biddle* The Brass Bed+ Brushstrokes Gallery+ Ms. Kay Burke Calypso St. Barth+ Dr. Jennifer Caskey Jerry Conover & Jacquelyn Wonder Elisabeth Cook/Dedalo Living+ Mr. Leslie Crispelle & Mr. Glenn Tiedt Mr. & Mrs. Jordan Dechtman+ Denver Health Foundation Denver Life Magazine+ EnCana Oil & Gas Larry & Joanne Fisher Fortis Private Bank Four Seasons Hotel+ Sally & Alan Gass* Chuck & Pat Griffith Ms. Juliette Hemingway+ Jack Hanley & Barbara Huff Ms. Kathy Huwaldt Mr. & Mrs. C. Howard Johnson Ms. Judy Johnston Frank & Marti Judson

THANK YOU

Colorado Creative Industries Alex & Cathy Cranberg/ Aspect Energy LLC DaVita, Inc. Rick & Shelly Sapkin/ Edgemark LLC EKS&H Jack Fitzgibbons & Adrienne Ruston Fitzgibbons* Mr. & Mrs. Alan F. Fox* Mr. & Mrs. John E. Fuller*^ Henry H. & Lorie Gordon Gränd Salon+ Grimaldi’s Pizzeria Hard Rock Cafe IMA Financial Group Jeanne Land Foundation Kevin Taylor Restaurant Group+ Karolynn Lestrud* Mabel Y. Hughes Charitable Trust Ms. Carol McMurry & Mr. Pat Spieles Morgan Stanley Private Wealth Management Mr. & Mrs. Ralph Nagel The Ponzio Family Mr. & Mrs. Neil Ray RK Foundation RK Mechanical, Inc. Miriam C. Robins Paul & Wendy Spencer Sprint Press Denver+ TeleTech Teocali Energy LLC Mr. & Mrs. Jerry Tepper Thomas D. Lookabaugh Foundation Turner Morris, Inc. University of Denver Virginia W. Hill Foundation Walter S. Rosenberry, III Charitable Trust* Welborn Sullivan Meck & Tooley, P.C.+

THANK YOU

Ms. Barbara Kelley Rick & Molly Klau Mrs. Gene Koelbel Land Title Guarantee Company Brent & Denise Snyder/Mariel+* Ms. Amy McClenathan Mr. & Mrs. James Miller+ Mr. & Mrs. Paul Niederman Mr. & Mrs. Ed Osborne Don & Grace Quade+ Mr. & Mrs. Gary Reece Rollie R. Kelley Family Foundation Fund Mark & Maxine Rossman Tess Saad+ Ms. Kirsten Savage & Mr. Brian Zeiger+ Dr. Michael & Mrs. Lyn Schaffer+ Ms. Stephanie Schultz Jeremy & Susan Shamos Mr. & Mrs. Scott Shiller* Joseph A. Shively+ Dodie Simmons Marlis & Shirley Smith Topher & Emelie Straus+ Alan & Gayle Talesnick Uncorked Kitchen+ USAA Mr. Scott Vasina+ Westfield Property Services+ Williams Jewelers+ Mr. Mike Weissmann & Ms. Rachel Williams* Dr. & Mrs. David Wong Dr. Eve Wood & Mr. Thomas Wieber

SCENE MAKER ($1,200 - $2,499) Ms. Valerie Alford Ms. Maggie Anderson Mr. & Mrs. Gary Antonoff Judith Babcock+ Balistreri Vineyards+ Lynn & Lori Belcher Mr. & Mrs. Andy Bishop* 38

Doris & Tom Blyth Breakthru Beverage Group+ The Brown Palace Hotel+ Mr. Rudolph Butler Mr. Montgomery Cleworth Cook Street Consulting Rita Cook Cottonwood Cellars/ Olathe Winery of Colorado+ Mr. & Mrs. Jay Davidson Denver Athletic Club Ms. Stephanie Doss Odak Ms. Louise Douglass+* Ms. Suzie Draper Easter-Owens* Mr. Stephen Edmonds & Mr. Daniel Kopinsky Philip Edwards John Ekeberg & Jen Schwem Ms. Linda Embree European Wine & Spirits+ Lois Felt* First National Wealth Management Al & Terri Fisher Mr. Randy Fitch & Mr. Terry Siek Mr. & Mrs. Phillip Foster Mr. Freeman Fowler Sheldon & Ellen Friedman Ms. Ellen Fromm Hon. Robert Fullerton & Ms. Beverlee Henry Fullerton* H. Robert & Lois Gill Trish Green* Ms. Lora Heller Henry E. Wurst Family Foundation Mr. Jon Seay & Ms. Robin Heppler Ms. Cathey Herren Christopher & Julie Hill+ Chip Horne & Jan Kennaugh Ms. Amber Human*

APPLAUSE • Sep – Oct 2016 • 303.893.4100 • denvercenter.org

Renee Hurley Ms. Mollie Jankovsky Mr. Don Johnson & Ms. Arlene Mohler-Johnson* Mrs. April Jones* Patricia Kacerguis David Kammerzell+ Brad Kaplan The Kappler Marrack Foundation Leslie Kaye Mrs. Joyce Kelly Lapides Ms. Deborah Kelly Joe Kelso Mr. & Mrs. David Kiefer Mr. & Mrs. John Kulich Ms. Stephanie Levert The Little Nell+ Carolyn MacRossie Diane MacRossie Gerald R. & Carole J. Makela Paul Manoogian Mr. Christopher Merrell^ Private Banking & Investment Group at Merrill Lynch Ms. Barbara Miller Mr. David Miller & Ms. Lisa Farber Miller^ Mr. & Mrs. Kenny Moore Trish Morris* Mr. & Mrs. John Muhr Mr. & Mrs. Chris Murphy William & Megan Mutch James Neely Newman Center for the Performing Arts+ Ms. Stacy Ohlsson Mikael Olson+ Ms. Elizabeth A. Orr Dr. Alexis Parker* Mr. & Mrs. Gregory Peay* Ms. Jane Prancan* Reicon Charitable Foundation* Ms. Louise Richardson Dr. & Mrs. Paul M. Scheele Seasons 52+

Mr. & Mrs. Stan Sena Sherman & Howard, LLC Ms. Marlene Siegel* Southern Wine & Spirits of Colorado+ Specialty Wine+ Mr. & Mrs. Daryl Stewart Stephen & Susan Struna Kent Thompson & Kathleen McCall*^ Ross & Sue Thompson Cynthia Treadwell & Scott Richardson* University of Denver Division of Athletics & Recreation+ University of Denver Fritz Knoebel School of Hospitality Management+ V.I.P. Tours of New York+ Vail Resorts Ms. Patricia Villegas Mr. & Mrs. Paul Vorndran Mrs. Sandra Walling Lester & Rosalind Ward* Mr. David Wedmore Mr. & Mrs. Robert Wiegand, II Wild Dunes Resort+ Mr. & Mrs. Steven Woodward* Dr. & Mrs. Ronald Yaros* Robert Zupkus

BACKSTAGE ENTHUSIAST ($500 - $1,199) Richard Adams Ms. Lynna D. Adell Suzanne Alliano-Rossick & Peter Rossick Anonymous Aubrey Ardema & Lucky Vidmar Mr. & Mrs. Timothy Arnold Asarch Center for Dermatology, Laser & Mohs Surgery+ Aspen Skiing Company+ Mr. Hartman Axley Mr. Paul Aylmer

Tamara Darnow Ms. Jennifer Davis Paul & J’ne Day-Lucore The Deane Family Fund Mrs. Jennifer Dechtman DelaFoto Pet Photography+ Denver Film Society+ Mr. John DiCarlo Ms. Joy Dinsdale* The DiRienzo Family*^ Disneyland Resort Corporate Citizenship+ Mr. Brett Dolan Mr. & Mrs. David Duke+* Mr. & Mrs. Kevin Durban^ Ms. Linda Eller* Mr. & Mrs. Christopher Elliott Mrs. Casey Ellis Elway’s Steakhouse+ Mr. & Mrs. Charles Ergen Josh & Penny Erlich JW & Jennifer Evans Mr. & Mrs. William Evans Mrs. Jennifer Fairfield Fairmont Heritage Place, Franz Klammer Lodge+ Mr. & Mrs. Howard L. Farkas Ms. Jill Farquhar Travis Fasching & Chris Perschbacher Mrs. Brianna Firestone* Mr. David Flake Mr. & Mrs. Craig Fleishman Mr. Don Freedman+ Mr. Lawrence French & Mr. Gregory Sargowicki Galvin Family Foundation The Gant+ Mrs. Sally Gart^ Sam & Nancy Gary GE Foundation The Gilman Family Glenn & Kim Goodwin Ronald & Vivian Gordon Grand Lodge on Peak 7, Michael Millisor

Mark Gyetvay Ms. Julia Haddad Charles & Linda Hamlin/ The Hamlin Family Fund Rhondda Evans Hartman/The Jackson H. Fenner Foundation Ms. Kristin Harvey Christine Hauschel Mrs. Jennifer Havercroft-Miller Ms. Susan Helmer* Rod & Sandy Henderson Mr. Todd Heskett & Mrs. Hilary Pawsey Anne & Jim Hillary Mr. & Mrs. Travis Hohn Guy Holman Mr. & Mrs. Robert Holt* Hyatt Regency Denver at Colorado Convention Center+ Ms. Eleanor Isbill Janus Foundation Paul R. Jeselnick & Andy W. Strickland Mr. & Mrs. George Johnson* Mr. Jay E. Johnson JW Marriott Denver Cherry Creek+ Heather Kekstadt & Dave Nesslage Kinder Morgan Foundation Mr. & Mrs. Michael King Mrs. Cynthia Klaiber Diane Kremer Lakewood Country Club+ Dr. & Mrs. Dennis Lanier Mr. & Mrs. Gary LaPlante Leede Operating Company Dr. & Mrs. David Leonardi Drs. Charles & Gretchen Lobitz Ms. Miquela Luna Mark Stevens Photography+ Sarah McCarthy Collins Mr. Aaron McDowell

Ms. Carol McEnroe & Mr. Graham Phipps* McNeil Designer Portraits+ Mr. & Mrs. Bryce McTavish Mr. Robert Meade Jr. Michael A. Meisinger* Ms. Lois Melkonian & Mr. Art Raymond Memories du jour & AIC Great Chefs Club+ MGM Grand Hotel & Casino+ Howard & Meredith Michalski+ Mr. & Mrs. Todd Mikesell Max Miller Myron Miller^ Gene & Dee Milstein Monarch Casino & Resort, Inc. Ms. Rayanne Mori Mrs. Lynnette Morrison Mr. & Mrs. Scott Mulvany Ms. Marcia Naiman National Cinemeida Mr. Ben Nesbitt Mr. & Mrs. Gordon W. Netzorg Ms. Kristeen Nickless Denny & Judy O’Brien Mrs. Linda Omura^ Gregory & Caitlin Osborn Oster Jewelers+ Ms. Cleo Parker Robinson Ms. Lois Paul Mr. & Mrs. Joe Perrotto Mr. Kirk Petersen^ Marc & Margot Pinto* Mrs. Toby Pippin* Pam & Don Piro Gene Postma Jim & Kathleen Potter Mrs. Ann Pritzlaff Ms. April Prohaska Ms. Elizabeth Raabe Mr. & Mrs. Gary Ray RE/MAX, LLC Dr. Tom Reiley & Mrs. Linda Cobb-Reiley

THANK YOU

Mrs. Jennifer BakerStrasburg* Ms. Sybil Barnes Barolo Grill+ Peter Baumgartner Mr. Sherwin Beck Donald & Martha Bender Ron & Martha Berge Mr. Brandon Berkley Mr. Peter Bernstein & Ms. Donna Clifford Jennifer & Steve Betz Ms. Kim Bimestefer Mr. Ernie Blake & Ms. Sharon Magness Blake+ Mr. Robert Blauvelt & Mr. Michael Corrigan Sarah Bock Libby Bortz Mr. Johnathan Brackin Mr. & Mrs. Cole Brannick Mr. & Mrs. Deron Brown Ms. Justine Brown+ Dr. Dina Brudenell & Mr. Edward Altman* Dr. & Mrs. Richard W. D. Bryan Mr. & Mrs. Keith Burge Mr. Robert Busch Steve & Colleen Carrico Mr. John Carrillo & Mr. Rick Worthington Shelly Catterson Merle Chambers & Hugh Grant* Bob & Liana Clark Classic Wines, LLC+ ClubCorp Colorado+ Mr. Tudor Coleman & Ms. Cindy Kent Colorado Ballet+ Colorado Fresh Markets+ Mr. & Mrs. Mark Colville The Container Store Mr. Patrick Cott Mr. & Mrs. Thomas Cox Mr. & Mrs. Kyle Craig Ms. Colleen Curran Laura Daily+ Danny Showers Entertainment

THANK YOU 40

Mr. Colin Richards Fred & Ayliffe Ris Donald & Janenne Rosen Mr. Leonard Rozek Mr. & Mrs. William Russell Mrs. Lorraine Salazar Mr. & Mrs. Hassan Salem Carmel Scopelliti Ms. BJ Scott Ms. Julie Scott^ Dr. Sally Scott & Mr. Kevin Kearney The Sebastian – Vail – A Timbers Resort+ Lisbeth & Earl Sethre Shell Oil Ms. Victoria Siebert Ms. Pamela Sletten Cheryl L Solich & John W Kure Dr. & Mrs. Harlan Spritzer Ms. Merriam Spurgeon Ms. Colleen Stein/Sam & Beth Coyle Family Fund Stellar Solutions Foundation Mr. & Mrs. Russell O. Stewart, Sr./The Henry Laird Smith Foundation Ms. Susan Stiff Stinson Leonard Street Mr. Al Stutson The Sunnywood Collection, Inc.+ Ms. Suzanne Swanson Mrs. Melanie Tafaro Mrs. Lynda Taniguchi Mr. & Mrs. Douglas Tashiro Philip & Page Tatar Team Evergreen Bicycle Club, Inc. Mr. Ted Tow & Ms. Cathy Traugott John & Pamela Tumler Ms. Klasina VanderWerf Paco Varela & Tim Wilson Mr. Charles Varin^ Ms. Kareen Wardell

Mr. Travis Webb Lee & Jilda Weinstein Mr. & Mrs. Michael West Ms. Deborah Westman Dr. Jeff Wheeler Tim White Earl Wilcox^ Mr. & Mrs. Kemper Will Mr. & Mrs. Donald Williams Mike & Dottie Williams Mr. JuanCarlos Wong II Ms. Katherine Wong Joe Yakich Mr. & Mrs. Mark Yaron Mr. & Mrs. Bob Zaparanick Craig & Kim Zeller David Zucker

ENSEMBLE ($250 - $499) Ms. Andrea Nicole Ackerman* Mr. & Mrs. Frank Adler Jean Adler & Diana Black+ Anne Aguirre Ms. Kirsten Anderson Jamie & Alan Angelich* Anonymous (3) Daniel P. Archer & Julie A. Dionigi Ms. Nancy Arellano-Meyer Mr. Andrew Armstrong & Ms. Christine Elliott-Armstrong Rebecca Baier* Mr. Dave Baker & Ms. Maureen McDonald Lovedy Barbatelli Chelsey Bardgett John Barker Karen Barker Mr. Roy Bash Kevin Bauder Dr. Dianne Baynes Mr. Trey Beattie & Ms. Nicole Conklin Ms. Christin Bechmann

APPLAUSE • Sep – Oct 2016 • 303.893.4100 • denvercenter.org

Mr. Paul Beckman Ms. Martha Bennett* Ms. Tamara Berkman Angela Betker & Anthony Simon Mr. & Mrs. Dave Betker David Birnbaum* Kerri Blum Sara Boyd* Betsy Brachfeld Ms. Magrit Brinker Ms. Lyndal Brookhart Brooks & Chester Luby Mr. & Mrs. Don Brown Mr. Stephen Brown Don & Nita Burkhardt Mr. & Mrs. Ron Butz Mr. & Mrs. Reynolds Cannon* Mrs. Karen Carr Gary Chappel & Joe Moenich Dr. Rebecca Chopp John & Amy Cimbura Carol & Craig Clark Colorado Avid Golfer+ Colorado Neurological Institute Colorado Rockies+ Colorado Symphony Orchestra+ Ms. Ellen Connor Mr. Roberto Corrada Ms. Ann Corrigan Linda Crist Clare Cummings Curious Theatre Company+ Karen & William Curtis Jim Dadiotis Ms. Mary Dahlstrom Ms. Melanie Davidson Heather Day-Richter Carlos & Mary De la Rosa Ms. Laura Dean^ Ms. Antonette DeLauro Denver Museum of Nature & Science+ Devils Thumb Ranch+ Ms. Maggie Divelbiss Mrs. Allison Dopler*

Douglas & Martha Dyckes Mr. & Mrs. Carl Eklund Mr. Norman Ellison Mr. Paul Erlendson Mr. Viktor Felkers Mr. & Mrs. Richard Fieman Dr. Marilyn Flachman & Mr. Wilbur Flachman*^ Ms. Deborah FordWilliams Ms. JoAnne Friedman Ms. Christine Frye Karen Garcia Ms. Victoria Gartelos Marion & Lou Gelfand Ms. Jillian Gibbs Mr. Gary Gilbert & Ms. Marcia Goldin Glenmoor Country Club+ David Goldstein Mrs. Rochelle Gould Wally & Kristin Graham Ms. Martha Graves Reese & Mr. Mark Reese Mr. Tennyson Grebenar Mark Grueskin^ Mr. Garrett Guinivan Lisza Gulyas Julie Gunlikson* Jayne Hackworth Ms. Margaret Hainey Mrs. Karen Haley Christopher Hall Jan Hammond Ms. Margaret Hare Ms. Linda L. Harmon Mr. Mike Harms Mr. David Harper Alfred Harrell Mrs. Lisa Harris Ms. Debbie Hartung+ Ms. Jeanine Harvey Mr. Thomas P. Hayes Mrs. Joan Hazen Mr. John Helfrich Bob & Lisa Hephner Jacinto & Pamela Hernandez Dawnyel Himes

Mr. & Mrs. John MacFarlane Jerry Maglio Mr. Michael Mallett Ms. Marcia Malone Mr. & Mrs. Gilbert Marchand Mr. & Mrs. Tom Marsh Mr. David Marshall Mr. Joe Maslowski Mary & Robert Mathews Ms. Heather McCallin Ms. Therese McCarthy Mr. & Mrs. Harold Meadows Meridian Golf Club+ Victoria Miles*^ Eva Milko James Miller^ Ms. Mariette Moore Dr. Nita Mosby Henry Ann Mosso Moxie+ Laura Nachbur* Kim & Kevin Nanke Ms. Bonnie Neiheisel* Mrs. Kim Nichols Ronnie Nunes Ms. Lauren O’Hearn Ms. Rhonda Olguin Ms. Marilyn Oliver Noel Olson Ed & Jean Onderko Mr. James O’Neal Opera Colorado+ Mrs. Donna Outlaw Robin & Stuart Pack Ms. Jodi Page Palm Restaurant+ Chuck & Helina Palmer Elizabeth Pancoast Susan S. Parkhurst J & L Parsons Nancy & Richard Peters Kaarin Pigford* Mr. & Mrs. Edward Pinfield Mr. Steve Pirner Ms. Margaret A. Platte Linda & Frank Plaut* Ms. Sheri Raders

Ms. Glenda Rainold* Red Ladders Entertainment & SeriesFest+ William & Mary Carol Riaski* Ms. Lisa Richberg^ Ms. Linda Rieger Ms. Wendy Ritter* Bob & Dianne Rizzuto David Roberts Mr. & Mrs. Thomas Roberts Ms. Pat Robinson* Mrs. Nancy Roeder Rosenberg’s Bagels & Delicatessen+ Jason Ross Mr. & Mrs. Jack Rotole Ms. Katie Rubano* Ms. Georgina Santich Mr. Bob Sattler Dr. & Mrs. Mark Saunders Mr. & Mrs. Donald Schiff Ms. Lisa Schmidt Mr. & Mrs. Wayne Schmitt Ruth Schoening Ms. Mary Ann Schricker Joe Schurwonn^ Mr. & Mrs. Karl Seller Mrs. Tisha Shade Theresa & Marston Shelton Celia Sheneman Elena Sirpolaidis Antje Sliger Kendall Smith Snowmass Tourism+ Mr. Michael Snuttjer Mr. Jon Sorensen Mr. Samuel Spight Kathryn & Hanspeter Spuhler St. Julien Hotel & Spa+ Mr. & Mrs. Paul Stanko Dr. & Mrs. Robert Sterrett Tammey & Tom Sullivan Bill Thompson Taylor Thorn+ Adrian Tinsley

Mr. Darryl Traweek Mr. & Mrs. Howard L. Turetzky Mark & DonnaDale Turner Mr. Richard Turner Valley Country Club+ Ms. Renee Verspoor John Vienhage Ms. Herminia Vigil Mr. & Mrs. Richard F. Wagner Luann Waida Colin A. Walker Lawrence Wall Mr. & Mrs. Samuel Wallace Ms. Tobi Watson* Mr. Jerome Webster Miss Sarah Welt Mr. Chris Wiger Mr. Eric Wiler Marsha Williams Ms. Judith Wulf Wyatt & Michele Yates Mr. Christopher Yoakem Suzanne M. Yoe+ Steven Zeeh Mr. David Zupancic^ + Includes in-kind donation * Women’s Voices Fund ^ Fund for Innovation

THANK YOU

Ms. Ann Hinkins-Steiner & Mr. Dave Steiner* A. Barry & Arlene Hirschfeld^ Ms. Pamela Hirschman Mr. David Hoch Jody Hodges Mrs. Trisha Hood* Dr. Todd Horwitz Mr. James B. Howard Kelley Howes Mr. Edward Hurry Ms. Jill Hutcheson IBM Ms. Sarah Indyk^ Shelley Indyk* Mr. & Mrs. Paul Jeffery Stock Jonekos Rebecca & George Kalinowsky Ms. MaryEllen Karlson Theresa & Bob Keatinge Mr. Michael Keister Mr. Lloyd Keller III Mr. Dean Kenney The Kitchen Next Door Roberta & Mel Klein Mrs. Janet Klotz Linda Konde/Diagnostic Imaging Mrs. Donna Kornfeld Ms. Sara Koster Mr. & Mrs. Stuart Kritzer Kroenke Sports Enterprises+ Kum & Go Charitable Fund Mrs. Margaret Kurtz-Miosek Dr. & Mrs. Thomas P. Larkin Joyce Larson & Eric Mead Ms. Mary Lauer Professor Richard S. Leaman Mrs. Lindsey Leavell* Mrs. Yuliya Ledneva Mr. Stephen Lewis Mr. & Mrs. Harold Logan Lone Tree Arts Center+ Karen Lozow

TRY BUSINESS SPECTACULAR. You wow your customers — and so do we. Our innovative team of on-site creative professionals can turn your vision into an unforgettable corporate event.

SEAWELL GRAND BALLROOM denvercenter.org • 303.572.4466

TheFALL fall OF of man - and THE MAN — AND woman WOMAN

ACROSS

Try our puzzle on Cabaret, Frankenstein and

Try our on Cabaret, Frankenstein and The The puzzle Glass Menagerie Glass Menagerie 1

Cabaret’s Sam Mendes also directed “American ____”

5

She’s playing Amanda on Broadway next year (last name)

6

Cabaret’s tasty piece of fruit

7

The scientist is named ____ Frankenstein

8

It’s an old French word meaning “tavern”

10 Tomorrow’s owner

2

13 Classes Laura quit taking

3 4

2

15 Creator of the hilarious film parody

Young Frankenstein (last name)

5

16 Leave your troubles here 6

17 Jim broke it, but good.

7

18 The name Williams was born with 8

10

9

DOWN

11

12

13

14

15 16 17

1

Christopher Isherwood’s source novel: Goodbye to ____

3

Tennessee Williams’ real-life older sister

4

“In memory, everything seems to happen to ____”

6

Shelley subtitled her novel The Modern ____

9

Weimar ____

11 Inventor who first adapted Frankenstein on film (last name)

18

12 Lord Byron challenged Shelley to write a ____ story 14 The Creature was cast out by his Creator, much like ____

ACROSS

DOWN

2 Cabaret's Sam Mendes also 1 Christopher Isherwood's source directed American ____" • Sep – Oct 2016 • 303.893.4100 novel: •Goodbye to _____" APPLAUSE denvercenter.org 42 5 She's playing Amanda on 3 Tennessee Williams' real-life older Broadway next year (last name) sister 6 Cabaret's tasty piece of fruit 4 “In memory, everything seems

For answers please visit denvercenter.org/news-center.

Photos by Adams Visual Communications and Amanda Tipton

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Consultation MUST occur before (November 4, 2016)