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VOLUME XXIX • NUMBER 4 • JAN – MAR 2018

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Jose Llana as The King in Rodgers & Hammerstein's The King and I. Photo by Matthew Murphy.

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SIGHTLINE BY JANICE SINDEN

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Welcome to the DCPA! You are joining us at the height of our season. Not only are we in full swing with The King and I and First Date by our Broadway and Cabaret team, beginning our winter education classes, gearing up for our signature fundraiser in March and welcoming our new Theatre Company Artistic Director Chris Coleman (see page 6), but we also are hosting our annual Colorado New Play Summit, complete with three stagings of entirely new works by diverse playwrights.

First up is Zoey’s Perfect Wedding, a comedy by playwright Matthew Lopez, which tells of Zoey’s wedding day woes. Next is American Mariachi by playwright José Cruz González who brings us another heartwarming story about breaking gender rules in the male-dominated musical world of mariachi. Finally, The Great Leap by playwright Lauren Yee whose dramatic account of an AmericanBeijing basketball faceoff is inspired by her own father’s life. These plays are symbolic of two fundamental values of the DCPA: Our commitment to new plays and the advancement of equity, diversity and inclusion (EDI). From the programming on our stages and hiring of our staff to the schools we reach and the people we serve, the DCPA is committed to embracing our community and our artists. To us this is a core value of what we want to be — a home for diverse artists, a safe hub for our community and an organization that leads by example. To help us with this effort, we have hired artEquity to guide us on best practices, joined the Theatre Communications Group cohort on EDI, and hired Shaunda Van Wert as Vice President of Human Resources who has extensive experience with equitable recruitment and retention practices. We’ve also turned to our Trustees and staff to guide our efforts. A staff-led, cross functional team is leading the organization’s EDI work. The Board’s Education Committee has expanded its scope to include Community Engagement. We are continuing to host artistic roundtables and embarking on community listening to broaden our perspectives and build new relationships reimagining how we engage across the seven county metro area. This work will be the foundation of all we do as a company because our collective differences elevate our art.

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

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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG

 ll people A are equal Moments are shared Differences are valued Discussion is encouraged We respect that everyone experiences our stories differently.


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APPLAUSE

MEET CHRIS COLEMAN: INCOMING DCPA THEATRE COMPANY ARTISTIC DIRECTOR

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“Chris Coleman is not only a gifted theater artist, he’s one of the best community connectors I’ve ever worked with,” a resigned Cynthia Fuhrman added. “That is a rare combination.” Coleman was named the fourth Artistic Director of the nearly 40-year-old DCPA Theatre Company. For the past 17 years, the Atlanta native has led a company with many of the same sensibilities as his new one — 12 offerings ranging from classics to contemporary works to musicals, an annual new play festival, education programs and an array of community events. All of which sounds a lot like the DCPA Theatre Company. With one big difference: He will inherit twice as many performance spaces, and more financial resources. “There is not another theatre in the country with the same administrative and physical infrastructure inside one organization,” said Coleman. In announcing the appointment, DCPA President & CEO Janice Sinden cited Coleman’s “commitment to artistic excellence, community engagement, new play development and discovery of new voices” — all of which she said will resonate throughout the region. Coleman said his

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“He just has such a knack for championing a remarkably wide variety of voices in the new play world,” said Lauren Gunderson, author of last season’s The Book of Will and currently the mostproduced living playwright in the nation. “I think that’s because he has such a variety of experiences himself as a director, playwright, actor and artistic leader. What makes him a genius is that he knows every aspect of the creation of art first-hand. “I just think he is a great voice for the American theatre as a whole, and I can’t wait to see what he does to continue Kent [Thompson’s] legacy,” Gunderson, said. “Oh my God, Denver is so lucky to get him.”

APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG

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“I am interested in telling BIG stories — both from cultures that haven’t found their way onto our stages yet, and those that are waiting to burst out of the mind of the young playwright down the street.”

“I am super interested in figuring out how we put the most resonant work on stage we can,” Coleman said. “Work that really lands emotionally for people. So much so that audiences feel compelled to let us know that we affected them, and that the work has stayed with them.”

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

priorities also include local storytelling.

Among the many rising playwrights Coleman has nurtured along their paths are Matthew Lopez and Lauren Yee, whose latest plays Zoey’s Perfect Wedding and The Great Leap, respectively, are on the Theatre Company’s stages this winter.

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EDITOR: Suzanne Yoe CREATIVE DIRECTOR: Rob Silk ASSOCIATE EDITOR: John Moore SENIOR ART DIRECTOR: Adam Obendorf ART DIRECTOR: Kyle Malone SENIOR DESIGNERS: Casey Eickhoff, Brenda Elliott CONTRIBUTING WRITERS: Sylvie Drake, Hope Grandon, Genevieve Miller Holt, Douglas Langworthy, Cheyenne Michaels

BY JOHN MOORE

When the Managing Director at Portland Center Stage learned that longtime Artistic Director Chris Coleman was being hired away by the DCPA Theatre Company, she said, “I hope you know you just won the lottery.”

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B Y G E N E V I E V E M I L L E R H O LT

“It doesn’t have narrative and it doesn’t have dialogue and it doesn’t have melody particularly, but it is totally rhythmically based.” — STEVE MCNICOLAS, Creator/Director

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It’s been a while since you heard those clomping, clanging racket makers — racketeers? — right here in your own back yard. Yes, STOMP is back in Denver in all its explosive, syncopated glory with those incredible percussionists who treasure the old adage about one man’s trash… The troupe still doesn’t look at everyday objects the way the rest of the world does. In their hands, brooms, garbage cans, Zippo lighters (we’re not sure about Grouchos and Harpos) and the general detritus of the 21st century takes on a life of its own. STOMP, created and directed by Luke Cresswell and Steve McNicholas, is an exploration of the outer limits of rhythmic invention. It’s a Pipe (read drain pipe) and Drum (read anything) Corps for our age. And speaking of age, it has not withered STOMP’s clatter — or fun. STOMP, that concatenation of sound and skill, is back with its rhythms and drumbeats intact.

Photo by Lois Greenfield

The same goes for its nonstop movement of bodies, objects, sound — even abstract ideas. There’s no dialogue, speech or plot. But music?

Absolutely. Uncommon music, created in nontraditional ways — with every day objects ranging from matchbooks to every household item you can imagine. “It’s a piece of theatre that’s been created by musicians,” said McNicholas. “It doesn’t have narrative and it doesn’t have dialogue and it doesn’t have melody particularly, but it is totally rhythmically based.” You’re bombarded by a caterwauling noise that under any other circumstances you would choose to shut out. But not here. Here all is syncopated and choreographed with the precision of an army bugle corps (minus the bugles) and by the fertile imagination of buskers or street performers from the streets of Brighton — the spot where STOMP’s creators hail from and where they dream up versions of this utterly inventive, unexpected, whacked-out show. “Most ideas come from everyday life,” said McNicholas, “but when we put a routine together we are thinking not just in terms of the rhythmic qualities, the sound qualities of the instruments, but also visual impact.” And impact it will have. So sit back, relax, tap your feet, clap your hands. There’s only fun to be had here — from the ringing of hollow pipes to clashing metal weaving its spell, and industrial strength dance routines involving a lot of supremely wellcoordinated bodies.

STOMP • FEB 13 – 18 • BUELL THEATRE Audio described performance: Feb 17, 2pm

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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG

Cast of STOMP. Photo by Steve McNicholas.

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SEEING YOURSELF ON STAGE IN

BY JOHN MOORE

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American Mariachi is a new musical play that illuminates a very specific time and place in Chicano cultural history by telling the story of a young woman who forms her own mariachi band during the male-dominated 1970s. But José Cruz González’s latest world premiere for the DCPA Theatre Company is the furthest thing from a barrier-busting, Norma Rae kind of play that takes on an entire backward industry. It’s a much more intimate story about a daughter who simply wants to learn how to play a mariachi song in the hope that the notes will somehow reach into her mother’s receding mind and awaken her.

“I have never seen myself represented on stage. I see movies or TV shows or plays, and it’s never about me. This was about me.” — FEMALE AUDIENCE MEMBER 10

“This is really a play about families dealing with Alzheimer’s disease and other issues that we all deal with every day and in every community,” González said. The story centers on Lucha, whose mother is succumbing to Alzheimer’s. An estimated 5.5 million Americans have the insidious disease that robs a person of memory and other cognitive abilities. And it crosses all ethnic, gender and economic lines. You would be hard-pressed, González said, to find a person whose life does not intersect with a loved one with dementia. And while González is most proud to have been invited back to the DCPA to debut his third culturally specific play (following September Shoes and Sunsets and Margaritas), he would like to believe his stories are more than curiosities for audiences outside the Latino-American umbrella. “I hope that my plays speak directly to everyone,” he said. And not just because dementia is universal. “This is a play about young women finding their voices — and they could be any women,” he said. “This is also a play with gorgeous live music — and music is the universal language.”

APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG


But mariachi is not necessarily a universally known musical language. That should make American Mariachi both an opportunity for non-Latino audiences to get a lyrical sense of the importance of mariachi to the Mexican heritage and cultural identity, as well as a point of pride for Latino audiences, he said.

COSTUME COLUMN

Five mariachi musicians will make up the orchestra and perform at every performance, but all nine actors will play a live musical instrument at some point in the show as well. The score will include portions of 14 songs, including the ballad that fuels Lucha’s journey.

Costume designer Meghan Anderson Doyle is deep into all things ’70s as she prepares for the upcoming world premiere production of José Cruz González’s play American Mariachi.

American Mariachi was first introduced to DCPA audiences as a featured reading at the 2016 Colorado New Play Summit, an annual gathering where promising new plays are developed. The first 12 years of the Summit have resulted in 30 world premiere plays staged by the DCPA Theatre Company on its mainstage season.

“The great thing about designing a show that involves 20th century clothing, especially one that takes place after the early 50s, is that we can look at actual snapshots,” said Doyle. “I get to look at actual photos of LatinX families during this time period — baby pictures, family photos, shots from church events.”

Longtime Summit observers who attended the 2016 reading have said they cannot recall another offering that drew a sustained standing ovation before the reading had even ended. González credits that to the universal language. “Music plays such an important role in this piece,” he said. “First of all, it’s live. And that mariachi sound is so fantastic when you fill a room with people and you hear people singing. It’s really a rich mix of world-class musicians and actors, some of whom learned to play just for this show. But that’s OK, because the young women in our story are beginners, too, so they are not supposed to be the best musicians in the world. They’re kind of The Bad News Bears of mariachi bands. But they find their path, and they learn the song. And along the way, they find their places in the world.

Prior to this time period, any photographs or portraits would have been very formal. “After all, if you were going to get a portrait done, you certainly wouldn’t have worn your everyday clothes,” said Doyle. “Having documentation of what people were wearing in various situations is invaluable to a designer.”

“And speaking of found voices, let me tell you: All of the singing voices you are going to hear are incredible.” The DCPA Theatre Company also is making some history with its presentation of American Mariachi. For the first time, the DCPA is staging two new plays this season that will immediately transfer to major theatres around the country. (The other is Lauren Yee’s The Great Leap.) American Mariachi closes here on February 25, and less than a month later (on March 23), the production will re-open at the Old Globe Theatre in San Diego with the actors and creative team intact. The director, in fact, is James Vásquez, whose home base is the Old Globe.

The most exciting part of American Mariachi for Doyle? Creating a look for the female mariachi band. “In one of the early drafts of the script there’s a scene where they decide what they’re going to wear. Do they wear those tiny shorts, which were very on-trend during this time? Do they opt instead for the long traditional skirts that kind of mimic the men’s pants?”

González said it is important the DCPA is continuing its longstanding commitment to tell stories that speak directly to the Latino community, a canon that has included titles such as Lydia and Just Like Us. After an earlier public workshop reading of American Mariachi, Vásquez said he was greeted by a young woman who told him, “I have never seen myself represented on stage. I see movies or TV shows or plays, and it’s never about me. This was about me.”

Playwright José Cruz González is familiar to Denver audiences for his plays Sunsets and Margaritas and September Shoes. A professor of Theatre Arts at California State University Los Angeles, Cruz also has written Curious, Among the Darkest Shadows, The Highest Heaven, The Long Road Today, The Astronaut Farmworker and The Magic Rainforest. American Mariachi is a DCPA Theatre Company Commission and a co-production with The Old Globe.

AMERICAN MARIACHI JAN 26 – FEB 25 • STAGE THEATRE ASL & Audio-described performance: Feb 18, 6:30pm

Tia Carmen costume design by Meghan Anderson

“She walked out feeling like she had a place in the world,” Vásquez said, “and I think that is a testament to the play José has written.”

Doyle is exploring various options that give a nod to tradition while underscoring the “girl power” at the heart of this story. Her goal is to capture the essence of these women and present them as the powerhouse revolutionaries that they are.


EVERYONE DESERVES TO BE HEARD

The Women’s Voices Fund enables our DCPA Theatre Company to commission, workshop and produce new plays by women, ensuring all stages (and roles) are shared equally. Contributors to the Fund take a stand against inequality and support a community of forward-thinking theatre creators in an effort to bridge the gap in the years to come. Members are invited to meet the women who benefit from the Fund at events throughout the year.   Currently the Fund is one of the largest of its kind at more than $1.3 million and has enabled us to: • Produce 30 plays by women • Commission 19 female playwrights • Hire 23 female directors • Contribute to 13 world premiere plays written by women, including this year’s The Great Leap by Lauren Yee   Annual membership starts at $300. One-time gifts are also incredibly appreciated.

DENVERCENTER.ORG/WVF 303.572.4593

(l-r) WVF commissioned playwrights Lauren Gunderson (The Book of Will) and Lauren Yee (The Great Leap). Photo by John Moore

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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG

Valeka J. Holt and Jasmine Hughes in the reading of Last Night and the Night Before. Photo by Adams Viscom.

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GIVING RISE TO NEW VOICES

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REGIONAL HIGH SCHOOL PLAYWRITING WORKSHOPS AND COMPETITION

OUR CLASSES EMPOWER STUDENTS OF ALL AGES

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As Applause magazine went to press, students from across the state were finalizing their drafts, readying to hit “submit” and putting the finishing touches on their entries into the fifth annual Denver Center for the Performing Arts Regional High School Playwriting Workshops and Competition. The program is designed to nurture young writers, develop new plays and inspire Colorado high school students to challenge themselves. Students and their teachers may participate in the two-pronged initiative. First, drama and language arts teachers may request a free playwriting workshop with DCPA teaching artists who introduce them to the fundamentals of writing a one-act play. Second, students may submit their one-act plays into the competition; all scripts are judged blindly by DCPA artistic, literary and educational professionals. Ten semifinalists are selected but only three finalists will have their scripts read as part of the DCPA Theatre Company’s Colorado New Play Summit in February. Finally, one winning play is selected for full production each summer as part of DCPA Education’s teen acting program. The winning playwright is part of the rehearsal process as his or her play is brought to life. 

Photo by Brian Landis Folkins

The DCPA’s Regional High School One-Act Playwriting Workshops and Competition is made possible by the generous support of Robert and Judi Newman and their Newman Family Foundation with matching gifts from The Ross Foundation, June Travis and Transamerica. Gifts to support this important work are always welcome. To learn more about the program, play readings and the final public performance please visit denvercenter.org/playwriting.

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“These young playwrights are the next generation of theatre,” said Executive Director of Education Allison Watrous. “It is our responsibility and our privilege to encourage them and give them the tools to succeed. We launched the one-act playwriting competition in 2013 to nurture Colorado’s promising young playwrights, create new plays and inspire creativity. In just four short years, we’ve been overwhelmed with the response: 577 submissions and nearly 12,000 students served through the program, giving voice to the next generation of American theatre.”


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ROOTING FOR

Every family has stories that get passed down through the years, often taking on mythic proportions. For playwright Lauren Yee, one such story she grew up with was her father’s trip to China in the 1980s to play basketball. “It was like family lore from a very young age,” she says. “I knew that the trip had been a very large part of his life before he had kids.” Larry Yee, Lauren’s father, traveled with a basketball team to play a “friendship game” in China in the period after the Cultural Revolution. Larry was born in San Francisco and this was his first time visiting the homeland of his parents. His international journey became the loose storyline of Lauren’s play The Great Leap.

BY DOUGLAS LANGWORTHY

One part of the story that Lauren was curious about was the idea of being Chinese American and going to China to represent America. “Who do you root for?” Lauren wonders. “Do you root for the people that have the same citizenship as you? Do you root for the people who look like you? Are you ever torn?” Lauren admits she didn’t know a lot about China and basketball going into the project, so she needed to do her research. Her primary source was her father, of course — she loved listening to his “war stories” about the trip. In addition, she attended some pro games. She talked to players. She also spoke with a professor from China at the University of Denver who shared his experiences growing up. “I got a window into what an ordinary person’s life was like growing up in China in the ’60s, ’70s and ’80s,” says Lauren. She studied the game of basketball and became consumed by the big philosophical ideas behind the game. “One idea that I found very helpful,” she reports, “was the idea that basketball is all about creating space for yourself on the court. That every pass and every fake and every dribble is made with the intent of losing your defender long enough for you to have a chance to make a shot. And I think that has parallels for our everyday lives — everyone in this world goes about their lives trying to make space for themselves that they can call their own.” She discovered that basketball had a long history in China, something that surprised her: “Even though it wasn’t professionalized until the mid-’90s, basketball has had a very long love affair with China, the way it’s had with America.”

Illustration by Kyle Malone

Lauren’s father also inspired another one of her plays, The King of the Yees, based on Yee family history, sort of. “A lot of this is true,” the play’s inscription reads, “but a lot of it is only kind of true. Just like the stories your father once told you as a child.” Set in San Francisco, Lauren folds herself and her father into the middle of this meta-theatrical play, so that there is an actor playing an actor playing Larry and an actor playing an actor playing Lauren, as well as two actors playing the “real” version of each of them. After Larry saw The King of the Yees and attended a reading of The Great Leap, he turned to Lauren and asked if she was done 16

APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG


“I go into the writing process like an audience member…. I think in order for [them] to be surprised in a play, I need to be surprised while I am writing.”

COMING UP FROM THEATRE COMPANY:

NATIVE GARDENS COSTUME COLUMN

Playwright Karen Zacarías has noticed a trend: most arguments between neighbors happen over property and a difference in taste or culture. The same goes for our nation and the world at large.

— LAUREN YEE Playwright

“I thought there was something poetic, primal and absurd about what makes us get so triggered and angry that we lose sight of what’s important,” said Zacarías. “I wanted to investigate that with humor.”

[with him]. “I think that’s enough about me,” he said. Lauren isn’t bothered by seeing herself portrayed on stage: “I know by making myself a character I’ve immediately theatricalized it. What I am interested in is someone else’s interpretation of that particular character in those circumstances.”

In her play Native Gardens (April 6 – May 6), a young LatinX couple moves into a well-to-do DC neighborhood next door to an old money, white couple. Things get thorny (and hilarious) when a disagreement over a longstanding fence line spirals into an all-out war of taste, class, privilege and entitlement.

“It was in the play’s DNA from the first scene to set you up to love my father, Larry,” Lauren confesses, “and be disappointed to find out that this play is about Lauren. I set the Lauren character up for being a bit roasted in this play.” When asked to describe her writing process, Lauren says: “I start writing as soon as I can come up with a world I find interesting but don’t completely understand and a character voice that I find really compelling. Usually if I spend enough time in that world with those voices then I am led to some sort of plot and general structure. With The Great Leap, I immediately heard Manford (the central character) and also heard Saul, his coach.

A Mexican immigrant herself, Zacarías couldn’t have known the relevance her early 2016 play would have today when disputes over building a wall on the USMexican border are regularly in the headlines. But she did see the beginnings of what is now a deeply divided country and a possible way to heal it.

“I go into the writing process like an audience member, I don’t know why these characters want what they want yet, but usually, after a couple of drafts, I stumble upon things. So for me, a lot of things that happen in the play were things that I did not know at the very beginning of the writing process. I think in order for the audience to be surprised in a play, I need to be surprised while I am writing.”

“I think in this political climate, we all need a chance to laugh at ourselves and find ways — no matter what side of the political fence you’re on — to have a conversation and to remember we are a community.”

And who doesn’t love a surprise?

THE GREAT LEAP FEB 2 – MAR 11 • RICKETSON THEATRE ASL and Audio-described performance: Mar 4, 1:30pm

Illustration by Kyle Malone

Playwright Lauren Yee’s works include Ching Chong Chinaman, The Hatmaker’s Wife, Hookman,  In a Word, King of the Yees,  Samsara and The Tiger Among Us. The Great Leap, which was commissioned by DCPA Theatre Company as part of its new play development program, will go on to the Seattle Rep following its Denver debut.


PROUD SPONSOR OF THE DCPA'S ARTS AND EDUCATION SHAKESPEARE IN THE PARKING LOT PROGRAM

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Anadarko has a strong commitment to giving back to the communities in which we live and operate. We are proud to support more than 100 nonprofit organizations across Colorado. With a shared passion for bringing arts education to students, we have found a natural partner in the Denver Center for the Performing Arts (DCPA). The Shakespeare in the Parking Lot program has reached 54 schools and nearly 25,000 students over the last two years. “We are proud to support DCPA’s Shakespeare in the Parking Lot for a third consecutive year,” said Scott Moore, Anadarko’s Senior Vice President, Midstream & Marketing. “Through this partnership, we see high school students thrive because of direct involvement with the arts on their campuses. Anadarko is passionate about helping others. It’s an honor to invest in the future leaders of the communities that we both operate in and live in with our own families.” Anadarko supports a variety of organizations in the communities where we operate, focusing on STEM Education, conservation and growing the next generation of agriculture leaders. Our community-based

projects contribute more than just funding to local organizations; these projects provide long-term benefits to local Colorado communities. “Giving is not just a word to us; it is a core value at our company,” said Moore. Anadarko is among the largest producers of oil and clean-burning natural gas in Colorado, with a strong commitment to safely and responsibly develop these energy resources, which fundamentally support Colorado’s economy and modern life. Colorado has world-class natural resources, holding almost 10 percent of the nation’s natural gas reserves and almost 2 percent of its oil reserves. Anadarko continues to demonstrate its commitment to working collaboratively with all stakeholders, including communities, landowners, governments and regulatory agencies, to develop the energy we need, support the economy and protect the environment. We are proud to be a part of enhancing America’s energy security, while contributing to the $30 billion economic benefit of the oil and natural gas industry in Colorado.

“Anadarko is passionate about helping others. It’s an honor to invest in the future leaders of the communities…” — SCOTT MOORE, SENIOR VICE PRESIDENT, MIDSTREAM & MARKETING

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IN THE SPOTLIGHT

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

First Date Now – Apr 22, 2018 Rodgers & Hammerstein’s The King and I Now – Jan 14 Zoey’s Perfect Wedding Jan 19 – Feb 25

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American Mariachi Jan 26 – Feb 25

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The Great Leap Feb 2 – Mar 11 STOMP Feb 13 – 18 Hamilton Feb 27 – Apr 1 Lady Day at Emerson’s Bar & Grill Mondays • Mar 5 – Apr 23 The Magic of Adam Trent Mar 20

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Disney's Aladdin Apr 7 – 28 Native Gardens Apr 6 – May 6 The Who’s Tommy Apr 20 – May 27 Remote Denver Spring/Summer 2018 Human Error May 18 – Jun 24

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Photos by Emily Lozow and John Moore

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1 BROADWAY’s Breakin’ Convention inspired more than 1,200 attendees to bust a move at its free family festival. 2 THEATRE COMPANY held Talkbacks after many performances of Smart People to discuss the play’s themes with patrons. 3 THEATRE COMPANY’s incoming Artistic Director Chris Coleman (gray suit) is welcomed by his new staff. 4 BROADWAY’s RENT 20th Anniversary Tour cast meets Rodney Hicks (seated), who originated the role of Paul in the show’s 1997 debut. 5 OFF-CENTER inspired patrons to dress the part at its recent production of The Wild Party, which was set in the Roarin’ Twenties. 6 BROADWAY’s Molly Scotto and Hazel Thompson look at The Buell Theatre as they anticipate alternating the role of Lulu in the Denver engagement of Waitress. 7 EDUCATION asked The Snowy Day and Other Stories actors to read the popular children’s book at area bookstores. 20

APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG

School of Rock May 29 – Jun 10 The Book of Mormon Jun 13 – Jul 1 Les Misérables Jul 25 – Aug 5 On Your Feet! Aug 8 – 19 Beautiful — The Carole King Musical Sep 4 – 9

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


Ambassador Theatre Group

present

NETworks Presentations LLC

Music

Book and Lyrics

Richard Rodgers

Oscar Hammerstein II

Based upon the novel Anna and the King of Siam by Margaret Landon with

Jose Llana Madeline Trumble Joan Almedilla Q Lim Kavin Panmeechao Patrick Boll Anthony Chan Brian Rivera Rhyees Stump and

Jaden D. Amistad Kayla Paige Amistad Sydney Chan Andrew Cheng Michelle Liu Coughlin Max B. Ehrlich Nicole Ferguson Marie Gutierrez Rie Hatanaka Spencer Donovan Jones Mindy Lai Darren Lee Stephanie Lo Michael Lomeka Saki Masuda Nobutaka Mochimaru Rommel Pierre O’Choa Yuki Ozeki Kevin Schuering Marcus Shane Alicia Shumway Ryan Stout Michiko Takemasa Noah Toledo CJ Uy Jeoffrey Watson Keira Belle Young Kelli Youngman SETS

COSTUMES

Michael Yeargan

LIGHTING

Catherine Zuber

ASSOCIATE DIRECTOR

WIG AND HAIR DESIGNER

Sari Ketter

ORCHESTRATIONS

MUSIC COORDINATOR

Broadway Booking Office NYC

COMPANY MANAGER

Steve Varon

Trude Rittmann

TOUR BOOKING, ENGAGEMENT MANAGEMENT, PRESS & MARKETING

Telsey + Company Abbie Brady-Dalton, CSA Gregory Vander Ploeg

DANCE & INCIDENTAL MUSIC ARRANGEMENTS

Gerald Steichen

CASTING

GENERAL MANAGER GENTRY & ASSOCIATES

Greg Zane

MUSIC CONDUCTOR

David Lai

Scott Lehrer ASSOCIATE CHOREOGRAPHER

Tom Watson

Robert Russell Bennett

SOUND

Donald Holder

PRODUCTION STAGE MANAGER

Peyton Taylor Becker

PRODUCTION MANAGER NETWORKS PRESENTATIONS

Hector Guivas

EXECUTIVE PRODUCER

Seth Wenig

MUSIC SUPERVISOR

Ted Sperling

CHOREOGRAPHER

Christopher Gattelli

BASED ON THE ORIGINAL CHOREOGRAPHY BY DIRECTED BY

Jerome Robbins

Bartlett Sher Produced by Special Arrangement with Rodgers & Hammerstein Organization: An Imagem Company TheKingandITour.com

National Tour Premiere: October 30 - November 6, 2016 Sponsored in Denver by:

RODGERS & HAMMERSTEIN'S THE KING AND I

AND SEASON SPONSORS


RODGERS & HAMMERSTEIN'S THE KING AND I

CAST OF CHARACTERS King of Siam..........................................................................................................................................................................................JOSE LLANA Anna Leonowens................................................................................................................................................................MADELINE TRUMBLE Lady Thiang...............................................................................................................................................................................JOAN ALMEDILLA Kralahome..........................................................................................................................................................................................BRIAN RIVERA Tuptim....................................................................................................................................................................................................................Q LIM Lun Tha.................................................................................................................................................................................KAVIN PANMEECHAO Prince Chulalongkorn............................................................................................................................................................... ANTHONY CHAN Louis Leonowens..........................................................................................................................................................................RHYEES STUMP Captain Orton / Sir Edward Ramsey...................................................................................................................................... PATRICK BOLL Phra Alack............................................................................................................................................................................................. DARREN LEE Princess Ying Yaowalak..................................................................................................................................................KEIRA BELLE YOUNG Royal Court Dancers..........................................................................................................................SAKI MASUDA, JEOFFREY WATSON Fan Dancers..........................................................................................................................................................RIE HATANAKA, YUKI OZEKI Royal Wives, Townspeople............................................................................... KAYLA PAIGE AMISTAD, MICHELLE LIU COUGHLIN, NICOLE FERGUSON, MARIE GUTIERREZ, RIE HATANAKA, SAKI MASUDA, YUKI OZEKI, ALICIA SHUMWAY, MICHIKO TAKEMASA Guards, Monks, Townspeople......................................................................................................... ANDREW CHENG, MAX B. EHRLICH, DARREN LEE, MICHAEL LOMEKA, NOBUTAKA MOCHIMARU, ROMMEL PIERRE O’CHOA, KEVIN SCHUERING, JEOFFREY WATSON Royal Children.....................................................................................................................JADEN D. AMISTAD, KAYLA PAIGE AMISTAD, SYDNEY CHAN, RIE HATANAKA, SPENCER DONOVAN JONES, NOAH TOLEDO, CJ UY, KEIRA BELLE YOUNG THE SMALL HOUSE OF UNCLE THOMAS (BALLET) Eliza........................................................................................................................................................ STEPHANIE LO, MICHIKO TAKEMASA Uncle Thomas.................................................................................................................................................................KAYLA PAIGE AMISTAD Angel/George.............................................................................................................................................................NOBUTAKA MOCHIMARU Topsy.......................................................................................................................................................................................................... YUKI OZEKI Simon of Legree.......................................................................................................................................................ROMMEL PIERRE O’CHOA Little Eva.............................................................................................................................................. STEPHANIE LO, MICHIKO TAKEMASA Propmen................................................................................................................. MAX B. EHRLICH, DARREN LEE, KEVIN SCHUERING Dogs..........................................................................................................................MARIE GUTIERREZ, RIE HATANAKA, SAKI MASUDA Guards..................................................................................................... ANDREW CHENG, MICHAEL LOMEKA, JEOFFREY WATSON Royals Singers....................................................................... MICHELLE LIU COUGHLIN, NICOLE FERGUSON, ALICIA SHUMWAY SWINGS MINDY LAI, STEPHANIE LO, MARCUS SHANE, RYAN STOUT, KELLI YOUNGMAN UNDERSTUDIES Understudies and Standbys never substitute for listed performers unless a specific announcement is made at the time of the performance.

For Anna Leonowens: NICOLE FERGUSON; for King of Siam: DARREN LEE, BRIAN RIVERA; for Lady Thiang: MICHELLE LIU COUGHLIN, NICOLE FERGUSON; for Kralahome: ANDREW CHENG, DARREN LEE; for Tuptim: MICHELLE LIU COUGHLIN, ALICIA SHUMWAY; for Lun Tha: MAX B. EHRLICH, KEVIN C. SHUERING; for Prince Chulalongkorn: SPENCER DONOVAN JONES, KEVIN C. SHUERING, MARCUS SHANE; for Louis Leonowens: SPENCER DONOVAN JONES, RYAN STOUT; for Captain Orton/Sir Edward Ramsey: DARREN LEE, ROMMEL PIERRE O’CHOA; for Phra Alack: ANDREW CHENG, MARCUS SHANE; for Princess Ying Yaowalak: SYDNEY CHAN; for Eliza: STEPHANIE LO, SAKI MASUDA, MICHIKO TAKEMASA; for Uncle Thomas: RIE HATANAKA, STEPHANIE LO; for Angel/George: ANDREW CHENG, MICHAEL LOMEKA; for Topsy: RIE HATANAKA, STEPHANIE LO; for Simon of Legree: NOBUTAKA MOCHIMARU, JEOFFREY WATSON; for Little Eva: RIE HATANAKA, STEPHANIE LO Dance Captain.........................................................................................................................................................................................YUKI OZEKI Assistant Dance Captain..............................................................................................................................................................STEPHANIE LO Fight Captain...............................................................................................................................................................................ANDREW CHENG

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cellular phones, beepers and watches. The use of cell phones in the theatre is prohibited.


ACT I Overture................................................................................................................................................................................ Orchestra Scene 1: Deck of the Chow Phya and Docks of Bangkok “I Whistle a Happy Tune”....................................................................................................................................Anna and Louis Scene 2: The King’s Throne Room “My Lord and Master”........................................................................................................................................................... Tuptim “Hello, Young Lovers”................................................................................................................................................................Anna “The March of Siamese Children”............................................................................................................................... Orchestra Scene 3: On the Palace Grounds “A Puzzlement”............................................................................................................................................................................. King Scene 4: The Schoolroom “The Royal Bangkok Academy”.................................................................................................. Royal Children and Wives “Getting to Know You”...................................................................................................... Anna, Royal Children and Wives The Garden “We Kiss in a Shadow”................................................................................................................................Lun Tha and Tuptim A Palace Corridor “A Puzzlement” (Reprise)................................................................................................................Chulalongkorn and Louis Scene 5: Anna’s Bedroom “Shall I Tell You What I Think of You?”...............................................................................................................................Anna “Something Wonderful”............................................................................................................................................ Lady Thiang Scene 6: The King’s Study Final Act I.......................................................................................................................................................... King and Company ACT II Scene 1: The Schoolroom “Western People Funny”.........................................................................................................Lady Thiang and Royal Wives Scene 2: Dining Room and Garden “I Have Dreamed”..........................................................................................................................................Lun Tha and Tuptim “Hello, Young Lovers” (Reprise)............................................................................................................................................Anna Scene 3: Theater Pavilion “The Small House of Uncle Thomas” (Ballet)....................................................... Tuptim, Royal Singers and Dancers Scene 4: The King’s Study “Song of the King”.................................................................................................................................................. Anna and King “Shall We Dance?”.................................................................................................................................................. Anna and King Scene 5: Outside the Gates of the Palace Scene 6: The King’s Study “I Whistle a Happy Tune” (Reprise).....................................................................................................................................Anna There will be one 20-minute intermission ORCHESTRA Conductor: GERALD STEICHEN Associate Conductor/Synthesizer: TIM LACIANO Acoustic Bass: CHIHO SAEGUSA, Drums/Percussion: MARK O’KAIN DENVER MUSICIANS Violin: PHYLLIS CARLSON Trombone: JAMES GRAY Harp: JANET HARRIMAN Bassoon: BRIAN JACK French Horn: SUSAN McCULLOUGH Flute/Piccolo: PAUL NAGEM Trumpet: COLIN OLDBERG Clarinet: MICHELLE ORMAN French Horn: MATTHEW SCHEFFELMAN Oboe/English Horn: MAX SOTO SIBAJA Viola: NAOMI SMITH Violin: BRITT SWENSON Cello: JEFFREY WATSON Local Musicians Contractor: JAMES HARVEY

RODGERS & HAMMERSTEIN'S THE KING AND I

SCENES AND MUSICAL NUMBERS


RODGERS & HAMMERSTEIN'S THE KING AND I

CAST

JOSE LLANA

Q LIM

JADEN D. AMISTAD

JOAN ALMEDILLA

MADELINE TRUMBLE

KAVIN PANMEECHAO

PATRICK BOLL

ANTHONY CHAN

KAYLA PAIGE AMISTAD

SYDNEY CHAN

ANDREW CHENG

BRIAN RIVERA

MICHELLE LIU COUGHLIN

RHYEES STUMP

MAX B. EHRLICH

JONES NICOLE FERGUSON

MARIE GUTIERREZ

RIE HATANAKA

SPENCER DONOVAN

MINDY LAI

DARREN LEE

STEPHANIE LO

MICHAEL LOMEKA

SAKI MASUDA

NOBUTAKA MOCHIMARU

ROMMEL PIERRE O’CHOA

YUKI OZEKI

KEVIN SCHUERING

MARCUS SHANE

ALICIA SHUMWAY

RYAN STOUT

MICHIKO TAKEMASA

NOAH TOLEDO

CJ UY

JEOFFREY WATSON

KEIRA BELLE YOUNG

KELLI YOUNGMAN


JOSE LLANA (King of Siam) returns to the role of the King of Siam after two starring engagements in the Tonywinning Lincoln Center Theater revival. Broadway: The 25th Annual Putnam County Spelling Bee (Drama Desk Award), Wonderland, Flower Drum Song, Rent, Street Corner Symphony and the 1996 Revival of The King and I (Lun Tha). Off-Broadway: Twelfth Night, Here Lies Love (Lortel nom.), Falling For Eve, On the Town and Saturn Returns. Regional: Poster Boy, Oliver!, Martin Guerre, Ballad of Little Jo (Jefferson nom.) and Candide (Barrymore nom.). TV/Film: Sex and the City and Hitch. Albums: VIVA Philippines label and Altitude based on his concert for Lincoln Center’s American Songbook series. www.josellana.com @thejosellana MADELINE TRUMBLE (Anna Leonowens). Broadway: Newsies (Katherine standby). National tour: Mary Poppins (Mary Poppins), Wicked (Elphaba standby). Regional: MUNY, TUTS, ZACH Theatre, Berkeley Rep. Native of Berkeley, CA and a graduate of University of Michigan. Much love and many thanks to the creative team, Cesar, Telsey + Co., and Nicolosi & Co. For my best friend, my mom. JOAN ALMEDILLA (Lady Thiang). Broadway/National Tour: Miss Saigon (Kim), Les Misérables (Fantine), Jesus Christ Superstar. Regional: Chess, Criers for Hire, Once Upon A Play Date, It’s Only Life, Songs for a New World, Here Lies Love (Carnegie Hall). She has performed at Walt Disney Concert Hall. She was discovered while performing on Showtime at The Apollo. She’s a member of the Mama Bares. joanalmedilla.com Q LIM (Tuptim). National tour debut! Broadway: The King and I (Tuptim u/s). Regional: The King and I (Tuptim), The Fantasticks (Luisa), Miss Saigon (Ogunquit Playhouse, Riverside), Disenchanted (Mulan). Concerts/other: Broadway’s Rising Stars (The Town Hall, NYC), Disney Cruise Line (Jasmine, Mulan, Pocahontas). Huge thanks to Telsey, Bart, mom, dad, and my hubby. KAVIN PANMEECHAO (Lun Tha). National Tour: …Spelling Bee (Chip). Regional: A Chorus Line (3-D Theatricals), Into the Woods (Lucas Theater), Thoroughly Modern Millie, Their Eyes Saw Rain, Miss Saigon (Ogunquit Playhouse). UK: Romeo and Juliet (Nuffield Theater). BA, UCLA; MFA, SCAD. Love and thanks to mom, dad, friends, my team at Semler Entertainment and Bret Adams Agency, and especially Bartlett and Ted. Twitter/ IG: @kavindpan

PATRICK BOLL (Captain Orton, Sir Edward Ramsey).  Broadway: Old Times, Mamma Mia!, Faith Healer, Twentieth  Century, Hedda  Gabler, Death of a Salesman,  Tom Sawyer. Off-Broadway: much.  Regional: Baltimore Center Stage, Pittsburgh CLO, Goodspeed, Shakespeare Theatre  NJ, Williamstown. Film: How to be Single, Burn After Reading. TV: Odd Mom Out, Quantico, Madam  Secretary, Veep, The Good Wife, Person of Interest, Gossip Girl and many Law & Order’s. www.patrickboll.com ANTHONY CHAN (Prince Chulalongkorn). Bay Area native. National Tour: Anything Goes (John). Off-Broadway/NYC: Manuel vs. Statue of Liberty (NYMF), Allegiance (Pre-Broadway workshop), Hesitation Waltz (Comic). Regional: Thoroughly Modern Millie (Ching Ho), Valley of the Heart (Calvin), Avenue Q (Princeton), …Spelling Bee (Chip), Ching Chong Chinaman (Upton), All Shook Up (Dennis). Love to family, friends, Nicola, FFAM/RFUFAM, TKAI team, and Rachelle. BA: UCI. @chanttt BRIAN RIVERA (Kralahome). Broadway: The King and I. Regional: The Orphan of Zhao, Major Barbara (American Conservatory Theater), American Night, Hamlet (California Shakespeare Theater), Yellowjackets (Berkeley Rep), Posibilidad (San Francisco Mime Troupe), Fukú Americanus, Alleluia: The Road (Campo Santo), Rashomon, The King and I (Sierra Repertory Theatre). TV: Trauma, Cuff Me If You Can. RHYEES STUMP (Louis Leonowens) is thrilled to return to The King and I. Regional: The Music Man (Winthrop), Cabaret (Young Nazi), and Oliver! (Oliver). He enjoys traveling, singing, dancing, electric guitar, piano and baseball. Much Love to mom, dad, three older sisters and grandparents for their support, his wonderful tour family, along with Nancy Carson and Bartlett Sher for this amazing opportunity! rhyeesstump.com

@kkstylz SYDNEY CHAN (Ensemble) is honored to join the national tour of The King and I! National Tour: A Christmas Story. Other Credits: Mother Goose Club, Crayola commercial. Thanks to Devin Ilaw, Emily Bauer, Zoom Talent, Carson Kolker, Bartlett Sher, Cesar Rocha, and Telsey! And to family/friends/teachers for their support! Instagram, Twitter, Facebook: @theSydneyChan ANDREW CHENG (Ensemble) made his Broadway debut in Lincoln Center’s The King and I. A native New Yorker and graduate of NYU, he has performed all over the U.S. and Europe. Credits include West Side Story, Chicago and several productions of The King and I. Thanks and love to Mom, Dave and John. MICHELLE LIU COUGHLIN (Ensemble) is a New York City based actress, singer, and filmmaker. Theatre: Avenue Q, Barrio Grrrl!, A New Brain, Miss Saigon and The King and I. TV/Film: Hostages, Limitless, Allegiance, It’s Complicated and a new Netflix series. Filmmaker: Jane!, 2B (Asian American Film Lab Top 40), Left Behind (in development). www.michelleliucoughlin.com MAX B. EHRLICH (Ensemble) is elated to be joining The King and I team! Recent credits: Mamma Mia! National Tour (Eddie), Seven Brides... (Adam), Vanya and Sonia and Masha and Spike (Spike). Max needs to thank Apex, his loving family, Universe, and his VCU family! maxbehrlich.squarespace.com NICOLE FERGUSON (Ensemble). National Tour: Sister Act (Swing). Favorite credits: The Pajama Game, The Light in the Piazza, and The Full Monty. Thanks to Bart, Telsey + Co., Abbie, and all mentors. Proud OCU graduate. Lots of love to family, friends, and Eric. For Grammy Sumiko.

JADEN D. AMISTAD (Ensemble) is thrilled to make his national tour debut with The King and I. Other credits: La Folia (Short Film). A special thanks to his teachers and friends. Love to Mom, Dad, Kayla, Shorty, and family. Instagram: @jaden_dex

MARIE GUTIERREZ (Ensemble). National tour debut! Regional: The Producers, How To Succeed…, Sweet Charity, Guys and Dolls, The Best Little Whorehouse in Texas, The King and I, In the Heights, Hello, Dolly!, Miss Saigon. Marie is a Los Angeles native and a CSU, Northridge graduate. Love to her friends, family and Orbs.

KAYLA PAIGE AMISTAD (Ensemble) is honored to join the national tour of The King and I. National Tour: Matilda! (Amanda). Other credits: Purpose World Tour “Children” Dancer for Justin Bieber in Philadelphia. Thanks to teachers, mentors, family, and friends, especially Mom, Dad, Jaden, and Shorty for all the continued love and support. Instagram:

RIE HATANAKA (Fan Dancer, Ensemble). National tour debut! Rie graduated from The Ailey School certificate program. Regional: Waterfall (5th Avenue Theatre). Dance companies: Faune Dance Troupe (Don Quixote, Spring Water), Life Dance Company. Thanks to my family, Gregg and my husband for your unconditional support and love!

RODGERS & HAMMERSTEIN'S THE KING AND I

WHO’S WHO IN THE CAST


RODGERS & HAMMERSTEIN'S THE KING AND I

S P E N C E R D O N O VA N J O N E S (Ensemble). National tour debut. Regional: The Little Mermaid (Flounder), Beauty and The Beast (Chip), Tarzan (Young Tarzan) at the MUNY; South Pacific at the MUNY and St. Louis Stage; A Christmas Carol at The Repertory Theatre. Film: The Lipinski (Chang Lee), The Goddaughter (Bradley). Love to my family, friends, teachers and CESD. MINDY LAI (Swing) graduated from Fordham University/ The Ailey School with a BFA in Dance. She made her Broadway debut at the Lincoln Center Theater production of The King and I (Ensemble, “Topsy”). Dance Companies: Elisa Monte Dance, Jessica Gaynor Dance, Nai-Ni Chen Dance Company, VON USSAR danceworks. DARREN LEE (Phra Alack, Ensemble). Broadway: Allegiance, Pacific Overtures, Thoroughly Modern Millie, On the Town, Kiss Me, Kate, Seussical the Musical, Chicago, Guys and Dolls, Miss Saigon, Shogun the Musical, Victor/Victoria. Film: Sisters (Salon Owner), Chicago, Hackers (Razor). Director/Choreographer: Broadway Associate, Off-Broadway, Regional, International, Holland America Cruise Line, Disney Cruise Line. www.darrenlee.com STEPHANIE LO (Assistant Dance Captain, Swing). NYC: Radio City Christmas Spectacular. Regional: The King and I (Dallas Summer Musicals, Carousel Dinner Theater), Miss Saigon (Flat Rock Playhouse), Flower Drum Song (AMTSJ), A Chorus Line (LeesMcRae Summer Theater). Dedicated to my Ank Ank. MICHAEL LOMEKA (Ensemble). The Juilliard School (BFA), Jacksonville University (MFA). Broadway: The King and I. Off-Broadway: A Christmas Carol (MSG). Concert Dance: Mikhail Baryshnikov’s White Oak Dance Project. Las Vegas: Celine Dion’s A New Day (Caesars Palace), Cirque du Soleil’s Viva Elvis (Aria Resort). SAKI MASUDA (Royal Court Dancer, Ensemble) is thrilled to be making her national tour debut! Regional/Favorite Credits: Rodgers & Hammerstein’s The King and I, Cats (Victoria), Sayonara, Sheherazade. Dance Companies: Heidi Latsky Dance, General Mischief Dance Theatre, Catskill Ballet Theatre. Assistant Choreographer for Debbie Roshe. Gratitude and love to my family, friends, Telsey and TKAI team. NOBUTAKA MOCHIMARU (Angel/ George, Ensemble). Broadway: The King and I. Off-Broadway: Queen of the Night (The Box). Regional: The King and I (various companies), Idomeneo (Los Angeles Opera). International: The Lion King (Shiki Theatre Company); The

Lightseeker, Voyage De La Vie (RWS, Singapore), Wicked (Universal Studios Japan), The Land of Legends (Turkey, Franco Dragone). ROMMEL PIERRE O’CHOA (Simon of Legree, Ensemble). Fresh off the Broadway company of The King and I, he is excited to bring this wonderful show on the road. He’s performed globally with musicals such as Miss Saigon, West Side Story, Hello, Dolly! and The King and I. He’s also an accomplished competitive pole artist/athlete. YUKI OZEKI (Topsy, Fan Dancer, Ensemble, Dance Captain) Broadway: The King and I (Dance Captain/Swing) at LCT. Her long association with the show includes national and international tours, and regional productions including Paper Mill, Zach Theater, LTOK (Associate Choreographer), Lyric Opera VA (Choreographer). Other credits: Miss Saigon (national tours, NSMT), A Chorus Line and Hello, Dolly!  BS: NYU.  www.yukiozeki.com KEVIN SCHUERING (Ensemble). National tour debut! Regional: Disney’s When You Wish (Lyric Theatre of Oklahoma), Miss Saigon (Ogunquit Playhouse), Disney’s Aladdin (Chicago Shakespeare). NYC: Rodgers & Hammerstein’s Carousel (NAAP), Wearing Black (NYMF). BFA Music Theatre, Illinois Wesleyan University. Love to the fam, Smalls, and the three amigos! MARCUS SHANE (Swing). Broadway: Mamma Mia!. National Tours: Anything Goes (Roundabout Theatre Company). NYC/Regional: Oklahoma! (NAAP), Sacramento Music Circus, Pittsburgh CLO, North Shore Music Theatre, Theatre Aspen, TUTS, Dallas Summer Musicals, MT Wichita, Cape Playhouse. Love to Mom and Dad, The Mine, Britney Spears, and all The King and I family! ALICIA SHUMWAY (Ensemble). Broadway: The King and I (Tuptim u/s). Credits: The Prince of Egypt (World Premiere, TheatreWorks Silicon Valley), Annie Get Your Gun (Sundance Summer Theatre), High School Musical (Taylor McKessie, Playmill Theatre). Television: Mozart in the Jungle (Amazon). Gratitude to Telsey + Co., H/H, and The King and I team! RYAN STOUT (Swing) is honored to make his professional stage debut with The King and I. Credits: The Finger (Short Film), Mother Goose Club Playhouse (Johnny, Papa), Dryden (Marc). Community: The Little Mermaid (Sebastian). Love and thanks to Dad, Mom, Sophie, my extended family, John Shea, Telsey + Co. and teachers! MICHIKO TAKEMASA (Little Eva, Ensemble). Broadway: The King and I (Little Eva). National Tour: The King and

I. Regional: Big River (Gallery Players), Miss Saigon (NSMT), The King and I (Sacramento Music Circus, Casa Mañana, Arkansas Rep, Harbor Lights Theatre, Gateway Playhouse, Mountain Playhouse, Shawnee Playhouse), Sayonara (La Comedia). Ballet: The Nutcracker, Don Quixote. NOAH TOLEDO (Ensemble), AKA Nono, is excited to make his national tour debut with The King and I. A 3rd grader who loves basketball (St. Anthony’s MVP), baseball, and karaoke, Noah would like to thank his teachers at The OLC School, mom, dad, and extended family for their continued love and support. CJ UY (Ensemble). This is CJ’s first Broadway national tour. When not performing, he is interested in filmmaking, stop motion animation, golf and robots. Credits: Untitled MTV Pilot (Little Tony), Tosh.0 (Little Orphan), SXSW 2014 Industrial (Christian LaBlanc), Virginia529 (Little Monster). Love to Mama & Papa and Baby Bares. strawrats.com JEOFFREY WATSON (Royal Court Dancer, Ensemble) is Professional Performing Arts School at Alvin Ailey graduate.   Performed Ulysses Dove’s Bad Blood (Las Vegas Contemporary Dance Theater), for Blue Man Group, and New York’s Fashion Week.   J has also performed in The Aluminum Show in Canada.   Television: America’s Got Talent and The Ellen DeGeneres Show. Instagram/Facebook: JeoffreyWatson KEIRA BELLE YOUNG (Princess Ying Yaowalak, Ensemble) is very excited to be making her national tour debut! Credits: Peter Pan, Cinderella, The Little Mermaid, as well as various commercials. Special thanks to John Mara Jr. and Julia Mendelsohn. Love to Mom, Dad, big sister Phoebe and her goldendoodle, Cody! KELLI YOUNGMAN (Swing). National Tour Debut! Broadway: The King and I (Ensemble/Dog/Archer). Dance: works by Robert Battle, Paul Taylor, George Faison, Samar Haddad King (Ailey Citigroup), Helen Hatch Inside/ Out (Jacob’s Pillow). Other: Legally Blonde (Pilar/Norwegian Cruise Line). BFA in Dance (Fordham University/The Ailey School). Love and thanks to the Universe, my family, Steve, soul sisters, and CTG! @kelliyoungman RICHARD RODGERS (Music) & OSCAR HAMMERSTEIN II (Lyrics and Co-Author). Composer Richard Rodgers (1902-1979) and lyricist/librettist Oscar Hammerstein II (1895-1960) joined forces in 1942 and created the most successful partnership in the American musical theater. Their output included Oklahoma! (1943), Carousel (1945), the movie State Fair (1945, remade 1962, Broadway premiere 1996), Allegro (1947), South Pacific (1949), The King and I (1951), Me and


BARTLETT SHER (Director). LCT: Golden Boy (Tony nom.), Blood and Gifts, Women on the Verge of a Nervous Breakdown (also current London production), Joe Turner’s Come and Gone (Tony nom.), Rodgers & Hammerstein’s South Pacific (Tony, Drama Desk, Outer Critics awards, London and Australia), Awake and Sing! and The Light in the Piazza (Tony nom.). Recent New York: Fiddler on the Roof, The Bridges of Madison County (Schoenfeld), Prayer for My Enemy (Playwrights Horizons), Waste (Best Play Obie Award), Cymbeline (Callaway Award, also at Royal Shakespeare Company), Don Juan and Pericles (TFANA, BAM). Artistic director of Seattle’s Intiman Theater (20002009). Previously company director for the Guthrie Theater and associate artistic director at Hartford Stage. Opera: Faust (Baden Baden), Two Boys (ENO, Metropolitan Opera), Il Barbiere di Siviglia, Les Contes d’Hoffmann, Le Comte Ory, L’Elisir d’Amore (Metropolitan Opera), Romeo et Juliette (Salzburg, Milan, Chicago), Mourning Becomes Electra (Seattle Opera, New York City Opera). Upcoming productions include Otello (Metropolitan Opera) and Adam Guettel’s new musical Millions. CHRISTOPHER GATTELLI (Choreographer). LCT:  The King and I (Tony nom.), South Pacific (Tony, OCC noms.) and Women on the Verge of a Nervous Breakdown.  Broadway:  Newsies  (Tony, Drama Desk, OCC awards for Best Choreography), Sunday in the Park with George, Casa Valentina, 13, The Ritz, Martin Short: Fame Becomes Me and High Fidelity. West End: Silence! The Musical, Sunday in the Park with George and tick, tick…BOOM!. Sydney Opera House: My Fair Lady with Julie Andrews. Film: Hail, Caesar!  Upcoming: War Paint, The SpongeBob Musical and Frozen on Broadway. JEROME ROBBINS (Original Choreography, 1918-1998) is worldrenowned as choreographer/director of ballets, theater, movies and television. His Broadway shows include On the Town, Peter Pan, The King and I, West Side Story, Gypsy, Fiddler on the Roof and Jerome Robbins’ Broadway. Among his more than 60 ballets are Fancy Free, Afternoon of a Faun, The Concert, Dances at a Gathering, In the Night and Glass Pieces, which are in the repertories of a New York City Ballet and other major dance companies throughout the world. Mr. Robbins’

numerous awards include Tonys, Oscars and Emmys. TED SPERLING (Music Supervisor). Broadway: Fiddler on the Roof, The King and I, South Pacific, Guys and Dolls, The Light in the Piazza (Tony and Drama Desk awards), Dirty Rotten Scoundrels, The Full Monty, Titanic (actor), Kiss of the Spider Woman, How to Succeed…, My Favorite Year, Drood, Sunday in the Park with George. Off-Broadway: Red Eye of Love, The Other Josh Cohen, Striking 12 and See What I Wanna See (all as director); A Man of No Importance, Saturn Returns, A New Brain, Floyd Collins, Romance in Hard Times (as music director). Artistic Director of MasterVoices, Principal Conductor of Westchester Philharmonic. Creative Director, the 24 Hour Musicals. www.tedsperling.net MICHAEL YEARGAN (Sets). LCT: Golden Boy  (Tony nom.),  Blood and Gifts, Women on the Verge of a Nervous Breakdown, Joe Turner’s Come and Gone (Tony nom.), South Pacific (Tony, Drama Desk awards; Outer Critics Circle nom.),  Cymbeline, Awake and Sing!  (DD Award, Tony nom.),  Edward Albee’s Seascape and The Light in the Piazza (Tony, DD awards). Broadway: The Ritz, Bad Habits, A Lesson from Aloes and The Road to Mecca (Roundabout).  Also credits Off-Broadway, regional theater, London, ten productions at the Metropolitan Opera and work at major opera companies throughout the United States, Europe and Australia. CATHERINE ZUBER (Costumes). LCT: The King and I (Tony Award, OCC Award), South Pacific (Tony Award), Awake and Sing! (Tony Award), The Coast of Utopia (Tony Award), The Light in the Piazza (Tony Award), Macbeth, Golden Boy (Tony nom.), Edward Albee’s Seascape (Tony nom.), Dinner at Eight (Tony nom.) and Twelfth Night (Tony nom.). Broadway: Fiddler on the Roof, Gigi, The Royal Family (Tony Award), How to Succeed in Business Without Really Trying, Born Yesterday (Tony nom.), Doubt and The Father. TV: NBC’s The Sound of Music Live! and Peter Pan Live!

Pacific directed by Bartlett Sher. Recent Broadway: The Front Page, Shuffle Along, Fiddler on the Roof, Dames at Sea, The King and I, Living on Love, Honeymoon in Vegas, A Delicate Balance, Love Letters, A Raisin in the Sun, Betrayal, Lucky Guy, Chaplin (Drama Desk), Death of a Salesman (Tony nom.), the revival of Chicago and over 50 City Center Encores!. Recording projects include the Broadway cast recording of An American in Paris (Grammy nom.), Loudon Wainwright III’s Grammy-winning High Wide and Handsome, Bebe Neuwirth’s Porcelain and Meredith Monk’s mercy. TOM WATSON (Wig and Hair Designer). LCT: OSLO, The King and I, The City of Conversation, Act One, South Pacific, Belle Epoque and A Man of No Importance. Tom is head of the wig and makeup department at the Metropolitan Opera. He has designed wigs for more than 70 Broadway productions. Current and recent Broadway designs include Wicked, Rock of Ages, Dames at Sea, Fiddler on the Roof, Bright Star, Long Day’s Journey into Night and Falsettos. GREG ZANE (Associate Choreographer). Broadway: The King and I at Lincoln Center Theater. Direction/Choreography: Singin’ in the Rain, The Sound of Music, Carousel, Peter Pan, Suessical, Elf. Performance: The King and I (1996 Broadway revival and 2000 West End revival), A Chorus Line, Radio City Christmas Spectacular. Ballet faculty at Broadway Dance Center. SARI KETTER (Associate Director). Select Assistant/Associate Directing: Broadway: Fiddler on the Roof, Lincoln Center Theater. Regional: The Guthrie Theater, Arena Stage, Denver Center Theatre, Seattle Repertory Theatre, The Acting Company, Playwrights Horizons, Hartford Stage, Manhattan School of Music. Select Directing: The Guthrie Theater, Idaho Shakespeare Festival, Intiman Theater, Great Lakes Theater, Portland Stage, Shakespeare Santa Cruz, The History Theatre, Minnesota Orchestra, Houston Symphony, St. Louis Symphony, Pittsburgh Symphony and St. Paul Chamber Orchestra.

DONALD HOLDER (Lighting) Broadway:  Fifty productions, two Tony KATHY FABIAN/PROPSTAR (Props awards (The Lion King and South Pacific) Supervisor). Recent Broadway: Falsettos, and eleven Tony nominations. Recent Fiddler on the Roof, China Doll, On Your projects include The Cherry Orchard, She Feet, An American In Paris, The Real Thing, Loves Me, Fiddler on the Roof, The Father, The Realistic Joneses, If/Then, Rocky, The On the Twentieth Century, The Bridges of Bridges of Madison County, I’ll Eat You Madison County, Golden Boy, Spiderman: Last, Kinky Boots, Lucky Guy, Breakfast Turn off the Dark, Ragtime, Movin’ Out, at Tiffany’s, Chaplin, Nice Work If You Can Bullets Over Broadway, Thoroughly Get It, A Streetcar Named Desire, On a Modern Millie,  The Boy From Oz and Clear Day You Can See Forever, Stick Fly, many others.  Television: Smash Seasons Relatively Speaking, The Normal Heart, 1 and 2 (NBC-Dreamworks). Education: House of Blue Leaves, Anything Goes, A Life in the Theatre, Fences, A Behanding Yale School of Drama in Spokane, Race and Fela! Off Broadway: SCOTT LEHRER (Sound) received the Tamburlaine, (TFANA); Piece of My Heart first Tony awarded to sound for the and Appropriate, (Signature Theatre). Lincoln Center Theater revival of South

RODGERS & HAMMERSTEIN'S THE KING AND I

Juliet (1953), Pipe Dream (1955), the TV musical Cinderella (1957, remade 1965, 1997, Broadway premiere 2014); Flower Drum Song (1958) and The Sound of Music (1959). Their shows have received several dozen major awards, including Pulitzers, Tonys, Oscars, Grammys and Emmys. Lincoln Center Theater has presented Tony Award®-winning productions of Carousel (1994) and South Pacific (2008).


RODGERS & HAMMERSTEIN'S THE KING AND I

ROBERT RUSSELL BENNETT (Orchestrations, 1894-1981) orchestrated more than 300 Broadway musical scores, including Show Boat, No, No, Nanette, Of Thee I Sing, Face the Music, Oklahoma!, Carmen Jones, Finian’s Rainbow, Kiss Me, Kate, South Pacific, The King and I, My Fair Lady and Camelot. His arrangements for the 1955 film version of Oklahoma! earned him an Academy Award. He also orchestrated and arranged Rodgers’ TV documentary score for Victory at Sea. A classically trained composer, Bennett’s prolific output of original compositions includes symphonies, sonatas, a ballet, a concerto and an opera. TRUDE RITTMANN (Dance and Incidental Music Arrangements, 1908-2005) amassed more than 50 Broadway credits as a choral and dance arranger, including The Sound of Music, The King and I, South Pacific, My Fair Lady, Carousel, Finian’s Rainbow, Brigadoon, Paint Your Wagon and Peter Pan. A composer in her own right, she provided music for such television shows as Omnibus and The Seven Lively Arts. TEL SE Y + COMPANY (Casting). B r o a d w a y/ To u r s : SpongeBob SquarePants, Once on This Island, The Parisian Woman, M. Butterfly, Anastasia, Charlie and the Chocolate Factory, Hello, Dolly!, Come from Away, Waitress, Hamilton, Kinky Boots, Wicked, The Color Purple, On Your Feet!, Something Rotten!, An American in Paris. Off-Broadway: Sweeney Todd, Atlantic, Classic Stage, MCC, Second Stage. Film: Miss Sloane, Into the Woods, Margin Call, Rachel Getting Married, Across the Universe, Camp, Pieces of April. TV: “This Is Us,” “NCIS: New Orleans,” “House of Cards,” “Rise,” “I’m Dying Up Here,” “One Day at a Time,” “Graves,” “Atypical,” commercials. www.telseyandco.com DAVID LAI (Music Coordinator). Broadway music coordinator/piano credits include The King and I, Come From Away, South Pacific, Fiddler on the Roof, Evita, Jesus Christ Superstar, Riverdance, Les Misérables, Miss Saigon, Mary Poppins and The Phantom of the Opera (conductor). Grammy Award for West Side Story; Grammy nominations for The King and I, South Pacific, Promises, Promises and Eldar. Record producer credits include Joshua Bell, Renée Fleming, Josh Groban, Itzhak Perlman, Placido Domingo, Lang Lang and Herbie Hancock. GERALD STEICHEN (Music Conductor). Broadway/National Tours: Cats, Master Class with Dixie Carter, The Phantom of the Opera, The Secret Garden, Peter Pan. New York City Opera: La Bohème, Dead Man Walking, The Little Prince,  L’elisir d’amore, The Mikado, Pirates of Penzance, Cinderella. Boston Pops, Principal Pops Conductor - Utah Symphony and New Haven Symphony,

Hong Kong, New Jersey, Indianapolis, Detroit, Hartford, Macon, Wichita Falls, Longview, Ridgefield; Utah Opera, Glimmerglass Opera, Michigan Opera Theater, Opera East Texas, Anchorage Opera. www.geraldsteichen.com PEYTON TAYLOR BECKER (Production Stage Manager). Broadway: School of Rock, Something Rotten! National Tours: Dirty Dancing. Select Off-Broadway/ Regional: Sunday in the Park… (Encores!), Our New Girl (Atlantic Theatre), The Prom (Alliance Theatre), Far From Heaven, A Doll’s House, You Better Sit Down (Williamstown), A Midsummer Night’s Dream (La Jolla). UNCSA. For Leslie, Brian, Brian Jr., and Tony. MICHAEL KRUG (Stage Manager) has worked in hundreds of theatres around the world. Favorites from Broadway and beyond: Groundhog Day, Matilda, Million Dollar Quartet, South Pacific, The Drowsy Chaperone, My Fair Lady, The Light in the Piazza. “The world is a book, and those who do not travel read only a page.” KATHARINE WHITNEY (Assistant Stage Manager). Broadway: Hamilton, Something Rotten!, Once. OffBroadway/Regional: What We’re Up Against, Vanity Fair, Stupid F*cking Bird, Blueprint Specials, Hudson Valley Shakespeare Festival, Playwrights Horizons, School of Rock, Amazing Grace, Rattlestick, many productions with BEDLAM, Rent, Women of Will, The Best of Everything. As Director: Julius Caesar. Thanks TLCCGGx5 and Henry. www.KatieYoungTheater.com MARGOT WHITNEY (Assistant Stage Manager).  Credits: Sweat (Broadway), Rodgers +  Hammerstein’s Cinderella (1st National Tour), War Horse (National Tour), The Public Theater,  Signature Theatre Company, NY Stage and Film, La Jolla Playhouse, Virginia Opera, Cincinnati Opera, and Cincinnati Ballet. B.F.A. University of Cincinnati - College Conservatory of Music. Love and thanks to family and friends! STEVE VARON (Company Manager). National Tours: Beautiful – The Carole King Musical, War Horse, The Radio City Christmas Spectacular, Wicked, Traces, Xanadu and The Acting Company. OffBroadway: Venice (The Public Theater), Bare (New World Stages) and Traces (Union Square Theatre).   Other work includes general management for NETworks Presentations and five years with Blue Man Group. BROADWAY BOOK ING OF F ICE NYC (Tour Booking, Engagement Management, Press and Marketing) is a leading theatrical tour booking, marketing and press company representing award-winning musicals and plays. Currently: Jersey Boys, Cameron

Mackintosh’s spectacular new production of Andrew Lloyd Webber’s The Phantom of the Opera, Les Misérables, Miss Saigon, Beautiful – The Carole King Musical, A Bronx Tale, Falsettos, A Gentleman’s Guide to Love and Murder, The Sound of Music, Rodgers & Hammerstein’s The King and I, Fun Home, Andrew Lloyd Webber’s Love Never Dies, Bright Star and Matthew Bourne’s The Red Shoes. www.bbonyc.com AMBASSADOR THEATRE GROUP (Producer), founded in 1992, is an extraordinary success story and the world’s number one live-theatre company with more than 40 venues in the U.K., U.S. and Australia. New York: Lyric Theatre (home to Cirque du Soleil), Kings Theatre (Brooklyn), and the soon to re-launch Hudson Theatre. North America: Saenger Theatre (New Orleans), Majestic Theatre (San Antonio). Producing credits include West End: The Spoils starring Jesse Eisenberg, Doctor Faustus starring Kit Harington and The End of Longing starring Matthew Perry.  Broadway: The King and I, Constellations starring Jake Gyllenhaal, The Mountaintop starring Samuel L Jackson. With group partner Sonia Friedman Productions: Harry Potter and the Cursed Child, Farinelli and the King starring Mark Rylance, Hamlet starring Benedict Cumberbatch. www.atgtickets.com, www.atg.co.uk N E T W O R K S P R E S E N TAT I O N S (Producer), from its inception over 20 years ago, has been an industry leading producer and manager of touring musical theatre productions and remains committed to delivering quality entertainment to audiences worldwide. Having toured over 60 productions throughout North America, NETworks is now expanding its tours into international markets including South America, Greece, Italy, Turkey and South East Asia. Current touring productions include Cameron Mackintosh’s The Phantom of the Opera, Dirty Dancing, Elf the Musical, Finding Neverland, Into The Woods, Once the Musical, The Sound of Music and Rodgers and Hammerstein’s The King and I. SETH WENIG (Executive Producer) has been with NETworks since its inception in 1995. He spearheaded the international tours of Fosse starring Ben Vereen and Ruthie Henshall. Seth has produced the Lincoln Center Theater production of Rodgers & Hammerstein’s South Pacific and the National Theatre production of War Horse. Together with Cameron Mackintosh, Seth served as Executive Producer for both the U.S. and U.K. tours of the National Theatre’s My Fair Lady, the 25th Anniversary U.S. Tour of Les Misérables and the new The Phantom of the Opera tour. He is most proud of his greatest productions – Marlo and Camden.


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STAFF FOR The King and I General Management Gentry & Associates, Inc. Gregory Vander Ploeg, Jamey Jennings, Kevin Persaud Production Management NETworks Presentations LLC Jason Juenker, Hector Guivas, Cody O’Dell, Emma Downey Tour Booking, Engagement Management, Press & Marketing Broadway Booking Office NYC Steven Schnepp Kent McIngvale, Jenny Bates, David Freeland Zach Stevenson, Sean Mackey, Stacey Burns Danny Knaub, Rachel Peterson, Phil Della Noce _______________________________________ Casting Telsey + Company: Bernard Telsey CSA, William Cantler CSA, David Vaccari CSA, Bethany Knox CSA, Craig Burns CSA, Tiffany Little Canfield CSA, Rachel Hoffman CSA, Abbie Brady-Dalton CSA, Cesar A. Rocha CSA, Karyn Casl CSA, Kristina Bramhall, Adam Caldwell CSA, Josh Einsohn CSA, Conrad Woolfe CSA, Rachel Nadler, Rachel Minow, Rikki Gimelstob, Rachel Dill, Ryan Bernard Tymensky, Rebecca Scholl, Scott Galina, Madison Sylvester, Lauren Harris, Laura Wade, Ally Kiley, Rose Bochner, Jaime Jaget, Kristian Charbonier, Julia Torres Company Manager Steve Varon Assistant Company Manager Laura Quintela Production Stage Manager . . . . . . . . . . . . . . . . . Peyton Taylor Becker Stage Manager . . . . . . . . . . . . . . . . . . . Michael Krug Assistant Stage Manager . . . . . Katharine Whitney, Margot Whitney Associate Scenic Designer . . . . . . . . Mikiko Suzuki MacAdams Assistant Scenic Designer . . . . . . . Libby Stadstad Associate Costume Designer . Patrick Bevilacqua Assistant Costume Designers . . . . . . . . Wilberth R. Gonzalez, Ryan Park Associate Lighting Designer . . . . . . . Karen Spahn Assistant Lighting Designer . . . . . . . . Rachel Levy Associate Sound Designer . . . . . . Alex Neumann Props Supervisor . . . . . . . . . . . . . . . . . Kathy Fabian Associate Props Supervisor . . . . . . . . . John Estep Make-up Designer . . . . . . . . . . . . Tommy Kurzman Head Carpenter . . . . . . . . . . . . David “Pfish” Terry Assistant Carpenter/Automation . . . Mark Comito Deck Carpenter . . . . . . . . . . . . Timothy Bergstrom Flyman . . . . . . . . . . . . . . . . . . . . . William Strickland Head Electrician . . . . . . . . Matthew Charles Hrinko Asst. Electricians . Judith Lopez, Barrett Roberts Production Electrician . . . . . . . . . . . . . . Eric Rimes Head Audio . . . . . . . . . . . . . . . Timothy K. Schmidt Assistant Audio . . . . . . . . . . . . . Alexander Spigner Production Audio . . . . . . . . . . . . . . . . . . Dillon Cody Head Props . . . . . . . . . . . . . . . . . . . . . . . Colin Howie Assistant Props . . . . . . . . . . . . . . . . Chrissie Kramer Wardrobe Supervisor . . . Laci Bradshaw-Roberts Assistant Wardrobe Supervisor. . Lyndsi S. Sager Star Dresser . . . . . . . . . . . . . . . . . Season Joy Saulet Hair and Makeup Supervisor . . . . . Steven Young Dialect Coach . . . . . . . . . . . . . . . . . . Kristin Flanders Fight Director . . . . . . . . . . . . . . . . . . . . . . Tom Schall Orchestral Reduction . . . . . . . . . . . . . Josh Clayton Children’s Tutoring . . . . . . On Location Education Tutor/Child Wrangler . . . . . Leah Osborn-Schulte Child Wrangler . . . . . . . . . . . . . . . Lindsay Schmidt Physical Therapy . . . . . . . . NEURO TOUR Physical Thearapy, Inc. Production Assistants . . . . . . Travis Coxson, Haley Wilson Print Design . . . . . . . . . . . . . . . . . . . . . . . . . . aka NYC Radio Spot Production . . . . . . . . . . . . . . HMS Media Television Spot Design/Video Production . . HMS Media Production Photography . . . . . . . Matthew Murphy Merchandising . . . . . . . . . . . Marquee Merchandise Merchandise Manager . . . . . . . . . . . . . . Jason Clark Accounting . . . . . . . NETworks Presentations LLC Legal Services . . . . . . . . . . David F. Schwartz, Esq.

Feldshon & Schwartz, LLP HR & Payroll Services . . . . Human Resources inc. Housing . Road Concierge, an ALTOUR Company Travel Agency . . . . . . . . . . . . . . . . . . . Janice Kessler, Carlson Wagonlit Travel Trucking . . . . . . . . . . . . . . . . . . . . . . . . Clark Transfer Staff for NETworks Presentations Chief Executive Officer . . . . . . . . Kenneth Gentry Chief Operating Officer . . . . . . . Scott W. Jackson President . . . . . . . . . . . . . . . . . . . . . . . . . . . .Orin Wolf Executive Vice President Production Seth Wenig Executive Assistant / Associate General Manager . . . . . . . . . . . . . . . . . . . . . . . . . . Curt Owens Director of Finance . . . . . . . . . . . . . . . . . John Kinna Controller . . . . . . . . . . . . . . . . . . . . Jennifer Gifford Director of Tour Accounting . . . . . . Laura S. Carey Executive Producer . . . . . . . . . . . . . Trinity Wheeler Senior Director, Booking & Engagements . . . . . . . Mary K. Witte Director, Booking & Engagements . . Colin Byrne Engagement Manager . . . . Esther Schwarzbauer Director of Marketing/PR . . . . . . . . . Heather Hess Digital Marketing Strategist . . . . . . Perrin Shapiro Senior General Manager . . Gregory Vander Ploeg General Manager . . . . . . . . . . . . . . Jamey Jennings Assistant General Manager . . . . . . . Kevin Persaud Senior Production Manager . . . . . . Jason Juenker Production ManagersHector Guivas, Cody O’Dell Assistant Production Manager . . . Emma Downey Music Coordinator . . . . . . . . . . . . . . . John Mezzio IT Manager . . . . . . . . . . . . . . . . . . . . . . . . . . Tim Pizza Warehouse Manager . . . . . . . . . . . . . . . . Brad Korff Office Manager . . . . . . . . . . . . . . . . Buddy Piccolino Administrative Assistant . . . . . . . . . . . Carol Jewel Credits Scenery built by Great Lakes Scenic, Burlington, Ontario; Show Control and scenic motion control featuring Stage Command Systems® by PRGScenic Technologies, a division of Productions Resource Group, L.L.C., New Windsor, NY; Buddha Statue by Cigar Box Studios, Flower Strings by Kanai Scene Shop, Tokyo; Scenery fabrication by Proof Productions and Daedalus Studios; Light Equipment provided by PRGScenic Technologies, a division of Productions Resource group; Audio equipment provided by Masque Sound; Properties by Kathy Fabian Propstar; Costume Construction by Angels The Costumier, Sarah Timberlake Studio, John Cowles, Elizabeth Villanova, Alice Bee. Anna & King Construction by EuroCo Costumes. Undergarments by BraTenders. Millinery by Arnold Costumes, Rodney Gordon. Anna shoes by LaDuca Shoes, WorldTone Shoes, Gamba Shoes. Ballet masks by Acheson Walsh. Ballet headpieces by Bob Flanagan. Tailoring by Arel Studios.; Special Props by Tom Carroll Scenery, Aardvark Interiors, Paper Mache’ Monkey, Mike Billings and Jammal & Jammal Reupholstering. Rehearsed at Gibney Dance Studios, NYC. Special Thanks to Providence Performing Arts Center; Norbert Mongeon, J.L. “Lynn” Singleton

Tax & Financial Consulting, Accounting Services CliftonLarsonAllen LLP Linda Rubenstein, Brian Enverso, Pat Guerieri Insurance Broker Services Maury Donnelly and Parr, Inc. Robert B. Middleton, Sr and Meghan Shriver Financial Services and banking arrangements by SunTrust Bank Stock and Amateur rights for The King and I are represented by R&H Theatricals: An Imagem Company, 229 West 28th Street, 11th Floor, New York, New York 10001 www.rnh.com TheKingandITour.com Like us on Facebook @TheKingandIMusical Follow us on Instagram@KingandIMusical Follow us on Twitter @KingandIMusical #TKAItour

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. All stage work performed by employees represented by IATSE. UNITED SCENIC ARTISTS represents the designers and scenic painters for the American Theatre. The Musicians employed in this production are members of the American Federation of Musicians of the United States and Canada. The Director and Choreographer are members of the Stage Directors and Choreographers Society, an independent national labor union. The Press Agents, Company and House Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers. This production is produced by a member of The Broadway League in collaboration with our professional union-represented employees.

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

PLEASE BE ADVISED • LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas. • PHOTOS, RECORDING & CELL PHONE USE are prohibited. • CHILDREN 6+ are welcome in our theatres and must be ticketed. • DRINKS are allowed in provided containers. • ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you. • BRAILLE PROGRAMS are available with 2 weeks’ notice to ckrueger@dcpa.org or 303.893.4836. Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719 Linda Ackerschott Carrie Breidenbach Vonnie Clough Janel Clough Craig Cory Cyndie Cory Laura Cotugno Steve Davies Anne Davis Carolyn Dore Deborah Guess

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

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

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

THE BUELL THEATRE is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Arts and Venues. CITY & COUNTY OF DENVER Michael Hancock, Mayor ARTS AND VENUES Kent Rice, Director For information call: 720.865.4220


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Vicky Miles................................Chief Financial Officer Gregory W. Towle...................Projection Supervisor Maggie Lamb................................ Executive Assistant Eric Boone...................................Front End Developer Jennifer Jeffrey...........................Director of Financial Topher Blair.................................Multimedia Specialist to the CEO & CDO Heidi Bosk.......................Associate Director of PR & Planning & Analysis Sound Design Integrated Marketing – Broadway & Cabaret Julie Schumaker.......................... Executive Assistant Craig Breitenbach..........................Director of Sound to the CFO & Board Liaison Alex Billman+, Frank Haas+, Jonalyn Bradshaw............................. Education Sales BROADWAY & CABARET Janice Sinden.......................................President & CEO

John Ekeberg.........Executive Director Broadway

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Alicia Bruce..........................................General Manager Nathan Brunetti............. Email Marketing Manager Ashley Brown................................... Business Manager Flora Jane DiRienzo.................Director of Strategic Partnerships Abel Becerra..................Technical Director, Cabaret Casey Eickhoff..................Senior Graphic Designer Donna Hendricks........................ Executive Assistant to the Executive Director Broadway Brenda Elliott.....................Senior Graphic Designer

DEVELOPMENT Deanna Haas................Chief Development Officer

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Jennifer Siemers................. Director of Accounting Kurt Van Raden..........Production Stage Manager Michaele Davidson......................Senior Accountant Christoper C. Ewing............Senior Stage Manager

Linda Erickson................................Senior Accountant Kailey Buttrick, Rachel Ducat, Juliette Hidahl....................................Accounting Clerk Heidi Echtenkamp, Corin Ferris, Chris Lubke, Brianna Firestone................... Director of Customer Kim Stewart.........................................Staff Accountant Rick Mireles, Kristen O’Connor, Lyle Raper, D. Lynn Reiland......... Stage Managers Experience & Loyalty Scene Shop Hope Grandon........................ PR & Events Manager HUMAN RESOURCES

Brittany Gutierrez.............................Communications Shaunda Van Wert..........................Vice President of Eric Moore...........................................Technical Director Human Resources Robert L. Orzolek..............................................Associate Coordinator Megan Fevurly.....................Development Manager Technical Director Jeff Hovorka............Director of Sales & Marketing Aubrey Antonsen.....................................HR Generalist Katie Imhoff...........................Development Manager Jennifer Kemps........................Group Sales Manager Brian Carter..................Human Resources Manager Albert “Stub” Allison..................Assistant Technical Director Melissa Olson......................Development Associate Emily Kent...................................Director of Marketing Jamie Hawkins......................................HR Coordinator Louis Fernandez III............................Lead Technician Marc Ravenhill.................................Associate Director David Lenk...............................................Video Producer Jill Martinez............................................Payroll Specialist Tyler Clark, Brian “Marco” Markiewicz, David Zupancic...............Director of Development Emily Lozow..............Marketing & Digital Manager Monica Robles............................Mailroom Supervisor Wynn Pastor, Kyle Scoggins, Kyle Simpson – Broadway & Cabaret Mara Zimmerman........................Scenic Technicians Adam Lundeen....................Marketing Technologist INFORMATION TECHNOLOGY EDUCATION Prop Shop Allison Watrous..............................Executive Director Kyle Malone......................................................Art Director Yovani Pina...........................................Vice President of Robin Lu Payne............................ Properties Director Information Technology of Education Carolyn Michaels............................................Copywriter Eileen S. Garcia.......Assistant Properties Director Patrick Elkins-Zeglarski........Associate Director of Cheyenne Michaels............Marketing Coordinator Rick Bennett.................................................Director of IT Jamie Stewart Curl, David Hoth, Education and Curriculum Manager John Moore................................Senior Arts Journalist Simone Gordon.........................IT Program Manager Georgina Kayes, Stuart Barr.................Education Technical Director Adam Obendorf...........................Senior Art Director Christopher Hoge......VoIP/System Administrator Katie Webster..........................................Props Artisans Claudia Carson........................................... Bobby G and Joseph Schurwonn.........................Financial Analyst Paul Howell...........................................................Help Desk Paint Shop Playwriting Coordinator Bobby Jiminez......Senior AudienceView Analyst Jana L. Mitchell...........................Charge Scenic Artist Jill Schwager.Audience Development Associate Leslie Channell................................Business Manager Jacob Parker................................Software Developer Melanie Rentschler.......................Lead Scenic Artist Andrew Sanders................................Project Manager Melissa Sumner..........Office Manager & Registrar David Tschan................................................Director of IT Kristin Hamer MacFarlane....................Scenic Artist Rob Silk.........................Director of Creative Services Linda Eller................................................................Librarian John H. 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Teaching Artist & Teacher Kevin Copenhaver..........Costume Crafts Director ARTISTIC Professional Development Coordinator Margaret Ohlander, Dylan Phibbs, Valerie Schaefer, Lauren Veselak Chris Coleman.......................................Artistic Director Chris Campbell...............Costume Crafts Assistant Chloe McCleod, Joelle Montoya, Mica Ward..........................................Theatre Company Maggy Stacy, Robyn Yamada....Teaching Artists House Managers Nataki Garrett................Associate Artistic Director Wigs Charlie Miller.................Associate Artistic Director/ Diana Ben-Kiki.................................................Wig Master Off-Center Curator House Crew TICKETING SERVICES FACILITIES & EVENT SERVICES Shawn Bayer....................................Associate Director

Clay Courter..............................................Vice President, Jennifer Lopez.......Director of Ticketing Services Douglas Langworthy.....................Literary Director/ Director of New Play Development Facilities & Event Services Kirk Petersen..........................Assoc. Dir. of Ticketing Services – Patron Relations Melissa Cashion.................................Artistic Producer Dwight Barela, Zachary Brent, Clint Flinchpaugh, Micah White............................Assoc. Dir. of Ticketing Grady Soapes.............................Associate Producer/ Michael Kimbrough.........................................Engineers Director of Casting Services – Subscription Services

Doug Taylor+..........................Supervising Stagehand Jim Berman+, Jennifer Guethlein+, Stephen D. Mazzeno+, Miles Stasica+, Tyler Stauffer+, Matt Wagner+.............Stagehands

Kyle Moore+................................. Assistant Stagehand Quentin Crump...............................Security Specialist Katie Pollard............................. Subscription Manager Chad Henry........................................Literary Associate Wardrobe Tom Duffin....................Manager, Event Technology Jessica Bergin, Vincent Bridgers, Brenda Lawson........................Director of Wardrobe Colin Dieck...................Event Technology Specialist Tristan Jungferman ..............Box Office Managers PRODUCTION Taylor Malott^, George Hartman....................................Chief Engineer Billy Dutton....................Senior Box Office Manager Jeff Gifford...............................Director of Production Jessica A. Rayburn^.............................Wig Assistants Stori Heleen.................Event Technology Specialist Amanda Gomez...................VIP Ticketing Manager Kate Coltun..................................Production Manager Robin Appleton^, Amber Donner^, Matthew Campbell.................Assistant Production Anthony Mattivi^, Tim Nelson^, Jaymes Kimbrough.......................Event Technology Román Anaya, D.J. Dennis, Edmund Gurule, Manager Lisa Parsons Wagner^, Specialist Noah McDermott, Alan Richards^......................................................Dressers Clint King.........................................Security Supervisor Hayley Solano................................................Show Leads Julie Brou......................................Production & Artistic Office Manager Kirsten Anderson, Roger Haak, Brian McClain..............................Custodial Supervisor + Member of I.A.T.S.E. Local 7 Rebecca Hibbert, Scott Lix, Scenic Design Chris Lagana, Matt Leaver, ^Member of I.A.T.S.E. Local 719 Gregory Swan.............................Subscription Agents Lisa M. Orzolek................Director of Scenic Design Tara Miller..............................................Events Managers Ally Beacom, Malcolm Brown, Rena Bugg, Kevin Nelson, Brook Nichols..............Director, Event Technology Keenan Coke, Kelcee Covert, Nicholas Renaud.............Scenic Design Assistants Maggi Quinn........Director Facilities Management Jennifer Gray, Shari Hansen, Joel Innes, Lighting Design Will Stowe....................Event Technology Specialist Noah Jungferman, Alia Kempton, Daniel Lindsey, Gustavo Márquez, Charles R. MacLeod..................Director of Lighting Tara Wenger............................................Facilities/Event Clayton Nickell, Zach Page, Gunnar Reinig, Lily Bradford.....................Lighting Design Assistant Services Business Manager Liz Sieroslawski, Brad Steinmeyer, Reid Tennis+............................. Production Electrician Dawn Williams....................Director, Event Services Andrew Sullivan, Tomas Waples, Cindy Yeast.................................................Ticket Agents Juan Loya, Carmen Molina, Blanca Primero, Judith Primero, Angeles Reyes Soto.....................................Custodians

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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG


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THE KING Madeline Trumble as Anna and Jose Llana as The King of Siam in Rodgers & Hammerstein’s The King and I. Photo by Jeremy Daniel.

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

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How unfamiliar can anyone possibly be with the plot, music and subject of The King and I? It’s only been around for 66 years and it has hardly stopped playing somewhere in the world since it was launched in 1951.

Little did this gutsy Victorian widow dream that, all these years later, this uncommon episode in her life would become the basis for one of America’s most beloved musicals. 24

At first, incredibly, composer Richard Rodgers and book-writer Oscar Hammerstein II resisted writing this musical, doubting there would be much of an audience for it. Yet the musical about to emerge from their serendipitous collaboration turned out to be their fourth gigantic Broadway-and-beyond success. It made Yul Brynner virtually a onerole star; he played The King 4,625 times over a 34-year span. At an uninterrupted clip, that’s 12 years, seven weeks and five days. But a stage musical is not an endurance test (although there is that), but the result of a creative impulse. And The King and I is that result, plus the triumphant survivor of changing theatrical fashions and wildly changing times.

It all began in 1873 when Anna Leonowens decided to write her two books of courtly memoirs, The English Governess at the Siamese Court and The Romance of the Harem. Little did this gutsy Victorian widow dream that, all these years later, this uncommon episode in her life would become the basis for one of America’s most beloved musicals. When the urbane English comedienne Gertrude Lawrence chanced on a Margaret Landon novel called Anna and the King of Siam, inspired by Leonowens’ five years at the Siamese court, the aging Lawrence recognized Anna as a potential comeback role for herself. After failing to cajole Cole Porter into writing a musical for her based on the Landon novel, she turned to Rodgers and Hammerstein II, who had just delivered three successive Broadway megahits: Oklahoma! (1943), Carousel (1945) and South Pacific (1949).

APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG


The two men had heard about the Landon novel from their wives, and the wives must have insisted, because eventually their husbands offered not only to write The King and I (a title Lawrence reportedly did not like), but also to produce it. Opening in March 1951 with Lawrence in the lead, it became the fourth Broadway megahit for its creators, winning five Tonys®, including Best Musical. (A fifth, The Sound of Music, would follow in 1959.) The production was an all-Broadwayroyalty affair. Aside from the glittering Gertie Lawrence, it had fabulous songs (“Getting to Know You,” “I Whistle a Happy Tune,” “Shall We Dance?”), Jerome Robbins’ charismatic choreography, opulent sets by Jo Mielziner, lavish Irene Sharaff costumes and, in the role of the King’s son — on Broadway and on tour, until his voice broke — a very young, very personable Sal Mineo. As for The King, after turndowns from Nöel Coward, Alfred Drake and Rex Harrison (who’d played The King in the 1946 nonmusical film with Irene Dunne), it went to that little-known Russian-born actor with a funny name who had been a circus acrobat in Europe, the one-of-a-kind Yul Brynner.

“Yul was remarkable,” she says of Brynner, who continued to draw worldwide admiration if, later in life, also a different set of whispered adjectives (try arrogant, demanding and imperious). Over time, Morison insists they became the best of friends. “Yul had broken every bone in his body when he was with the circus and had built himself up again,” she says. “He was wonderful with the children. Every Monday night he would hold acting classes for the actors and dancers. At Sal Mineo’s final performance he and Sal were both in tears.” Her biggest challenge? “Dealing with the 60-pound ball gown Anna wears in ‘Shall We Dance?’ It was quite a scramble to dance and leap around in those enormous crinolines.” The King and I features José Llana as The King at The Buell, a role he’s played twice in this 2015 Tony-winning Lincoln Center revival directed by Bartlett Sher. Madeline Trumble is his Anna. ­ Sylvie Drake is a former theatre critic and columnist for the Los Angeles Times, a translator, a contributor to culturalweekly.com and American Theatre magazine, and a former Director of Media Relations and Publications for the Denver Center for the Performing Arts.

Patricia Morison, who at the time had created her own Broadway sensation in Cole Porter’s Kiss Me Kate, was Rodgers’ first choice to replace Lawrence. But Morison was in London with Kate and had a year to go on her contract. She eventually joined Brynner in 1954, continuing the Broadway run of The King and I for another four months — the fourth longest of that decade — before going on the road with Brynner and the show for more than three years.

COMING UP FROM BROADWAY:

DISNEY’S ALADDIN Remember watching Aladdin for the first time? When the genie says you can’t wish for more wishes? Come on! That’s the whole point. But did you ever think you’d see it on a stage? I mean, how do you make a carpet fly? Really?! Maybe you wished you had a magic lamp. Well, the seats are close enough you can practically reach out and touch it, so first wish granted. Now you’re cautious. Perhaps you wished to discover 10 things you may not know about Aladdin. [Big flash of light and smoke, then suddenly…]

1 The show has 18 scenes. 2 There are more than 150 moving lights.

3 20 tons of scenery were constructed.

4 Each piece of clothing was made by hand by 350 people.

5 There are 337 costumes — based on 136 individual designs.

6 1,225 fabrics were selected and 712

different styles of beads were used.

7 There are 1,428 Swarovski

crystals on a pair of men’s pants in the finale.

8 There are more than 100

automated scenic effects.

9 161 pairs of custom shoes are used. 10 There are 108 costume changes taking place in less than one minute.

As for wish number three? Hold up, smarty pants. Careful. Don’t waste it. It’s already coming to Denver (Apr 7 – 28). You can buy a ticket online (but you better hurry because no genie can help you if it’s sold out).

RODGERS & HAMMERSTEIN’S THE KING AND I JAN 2 – 14 • BUELL THEATRE ASL, Audio-described and Open Captioned performance: Jan 14, 2pm

©Disney

Q Lim as Tuptim and Kavin Panmeechao as Lun Tha in Rodgers & Hammerstein’s The King and I. Photo by Jeremy Daniel.

So Lawrence got her wish, but while she created Anna on Broadway, she did not get to savor it for long. Developing cancer, she died in September 1952, after remaining with the show until the last possible minute. By then, Brynner was well on his way to making The King synonymous with himself, eventually wresting top billing and fulfilling the title’s promise, which placed The King before the I.

Still lucid and luminous at 102, Morison gladly shares memories of those heady days, recalling especially the joy of working and traveling with all the young children in the company and their mothers.


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ZOEY’S I

In this painfully protracted period of ideological divisiveness in the country, there is perhaps one (single) thing we can all agree on: America could use a laugh.

NOT-SO-PERFECT

WEDDING BY JOHN MOORE

But despite the preponderance of comedies high and low to be found on screens large and small, American playwrights have not been widely producing flat-out, laugh-out-loud comedies for generations. And that, says playwright Matthew Lopez, is a good thing. Because theatre can do better than that.

“Comedy has one of two functions: To make you think or to make you forget,” he said. “The best make you forget that you’re thinking. I hope we’re the latter.” Lopez is the author of the DCPA Theatre Company’s 2014 breakout hit The Legend of Georgia McBride, which went on to be performed Off-Broadway and at theatres across the country. He’s back with another world premiere comedy called Zoey’s Perfect Wedding, which is anything but. “I’m allergic to the notion that, in the face of trying times — or perhaps more accurately put: in the face of a full-scale national disaster — it’s preferable to simply check out,” Lopez said. “Checking out really isn’t an option in a democracy. One could argue that’s how we got into this in the first place. However, we don’t always need to think directly at the thing.” There’s nothing wrong with people spending two hours laughing and having fun at the theatre, Lopez believes. But the route to funny must pass through true understanding. Zoey’s Perfect Wedding presents a wedding where disaster after disaster follows the blushing bride down the aisle, from boozy and brutally honest speeches to obliviously self-absorbed supporting characters to a wildly incompetent wedding planner. Aren’t weddings fun? Lopez has been to enough to know that self-absorbed people often turn weddings into a referendum on their own lives. Put another way, he said: It’s shockingly easy to act like a narcissist at someone else’s wedding. “It was once said of Teddy Roosevelt that he was the bride at every wedding, and the corpse at every funeral,” Lopez said. “I think that applies to more people than anyone cares to admit.”

Illustration by Kyle Malone

It’s also true what they say about your misery being another person’s funny, because Zoey’s Perfect Wedding was inspired by a train wreck of a wedding Lopez was right in the middle of a few years after college.

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“It was the weekend after Thanksgiving,” Lopez said. “We had all just seen each other two days before, and here we were back again with nothing really more to talk about than what a fun night Thanksgiving was. Then one friend began to pick at a scab of something that bothered them from Thanksgiving and, before we knew it, we were all in a full-scale verbal brawl that eventually ended up ruining the night for most of us. “I’m certain that, had this been a dry wedding, we all would have had a much better time. And I am certain that is the first time those words have ever been uttered.” The characters and events in Lopez’s play are pure imagination. But the notion of friends showing up to a wedding and forgetting they’re at a wedding and acting like it’s just another night out at the bar? “That, I am ashamed to admit, is true,” he said. APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG


Comedy has one of two functions: To make you think or to make you forget.

COMING UP FROM THEATRE COMPANY:

THE WHO’S TOMMY In May 1969, four British rockers (Roger Daltrey, John Entwistle, Keith Moon and Pete Townshend) collectively known as The Who, premiered their rock opera Tommy at a London club. One month later, it hit the charts and, by August, the quartet performed Tommy at Woodstock.

— PLAYWRIGHT MATTHEW LOPEZ

“It’s a story about [how] the child is the star in the family in a way,” Townshend said at a 1992 press conference announcing the world premiere staging of Tommy at the La Jolla Playhouse. “And how, when we bring the children up and we make them the stars, we sometimes play a much more subtle and sometimes even more obvious part in their downfall than we care to really face up to.

But it was the underlying fuel propelling that booze-soaked fire that interested the writer in Lopez. “These characters wrestle with commitment, loyalty and honesty,” Lopez said. “They wrestle with the difference between our expectations and our reality — and those are things we all grapple with in one way or another every day.” Which is why it’s misleading to label his new play a simple comedy. Lopez would like for us to move beyond distinctions between comedy, tragedy and their many variations. The fact is, a great many plays are comedies…until they simply aren’t anymore.

“‘See me/Feel me/Touch me/Heal me’ is a line that echoes for many people today,” Townshend said, “but it has never left me….I am passionate about seeing Tommy grow.”

“Things aren’t funny if they aren’t true,” Lopez said. “Even sight gags require the laws of physics be obeyed in order to work. If and when a comedy veers unexpectedly into drama, perhaps the question one should ask is: ‘Is that true?’ Here’s an example: Is August: Osage County a comedy or a drama?”

And grow it did. Tommy inspired a ballet; the London Symphony Orchestra released an all-star symphonic recording; all-star staged-concert versions multiply; it was arranged for marching bands; it became a Broadway sensation, and Ken Russell directed Elton John, Eric Clapton, The Who, Oliver Reed, Ann-Margret and Jack Nicholson in the psychedelic ’70s movie.

The same can be said about a great joke in the middle of an unquestionably serious play. If the moment is rooted in character, then it is rooted in truth. “Humans are funny. Humans are sad. Humans are sometimes funny and then, the next second, tragic,” Lopez said. “Life does not fit neatly into categories and neither should our stories. At the end of the day, it all comes down to story. And if stories are not rooted in some kind of recognizable truth, they are worthless. “Lest we forget: There’s a fart joke in Waiting for Godot.”

Tommy had a visceral impact, shocked the airwaves, rocked across generations. Tommy. We can hear you.

Matthew Lopez is the author of two DCPA Theatre Company world premieres — Zoey’s Perfect Wedding and The Legend of Georgia McBride. In the 2014/15 season, Lopez also was named the company’s first Playwriting Fellow. In this role he served on the artistic team to give the playwright a voice in the production process, participated in season selection and was the Playwright Host of the Colorado New Play Summit.

ASL & Audio-described performance: Feb 25, 6:30pm

Portions of this text were taken from an article originally written by Constance Harvey, former publicist at the La Jolla Playhouse.

Illustration by Kyle Malone

ZOEY’S PERFECT WEDDING JAN 19 – FEB 25 • SPACE THEATRE

Make sure you hear The Who’s Tommy re-envisioned by DCPA Theatre Company in its season-closing musical production playing The Stage Theatre April 20 – May 27.


PROUD SPONSOR OF THE DENVER CENTER FOR THE PERFORMING ARTS

Together, the DCPA and CU enhance our community through theater  and the arts, making Colorado an exceptional place.

T

The University of Colorado is proud to support the Denver Center for the Performing Arts, which shares our commitment to excellence and our passion for the vibrant work of singers, playwrights, artists, dancers, musicians, designers and actors. Since 1876, CU has celebrated and supported the dynamic energy and creativity of artists in everything from vaudeville acts to classic dramas, from comedies to Broadway musicals. As Colorado’s higher education leader, CU fosters a community of students, scholars and artists who make the creative and collaborative processes the core of education. With focuses on dance performances, musical theater, choreography, theory, and sponsorship majors, CU provides students valuable experiences. Its accomplished faculty are committed to the growth and wonder that theater, music and the arts provide. CU’s longstanding commitment to the arts and arts education makes it a natural partner with DCPA, which has its own focus on preparing the next generation of artists through the DCPA Education program. CU offers highly regarded theater and arts programs at its campuses in Boulder, Colorado Springs and Denver, as well as a commitment to promoting and advancing the arts in communities large and small.

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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG

The cast of Julius Caesar • Photo by Jennifer M. Koskinen

Sam Gregory in Hamlet • Photo by Jennifer M. Koskinen

Together, the DCPA and CU enhance our community through theater and the arts, making Colorado an exceptional place.


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At Transamerica, we’ve been empowering people to feel better about their future for more than 100 years. But we believe our responsibility goes far beyond financial wellness. That’s why we are proud to support organizations such as the Denver Center for the Performing Arts (DCPA). In the spirit of inspiring others to live well and pursue their passions, Transamerica is in its second year supporting grants to aspiring young playwrights and their teachers taking part in the DCPA’s Regional High School Playwriting Workshop and Competition. While the competition focuses on creative literacy, Transamerica also enjoys promoting financial literacy. Through Junior Achievement-Rocky Mountain, Transamerica employees help middle and high school students develop good budgeting, spending, and savings habits to build a strong foundation for prosperous futures. And as some volunteers take to the classroom, others hammer nails to build actual foundations with Habitat for Humanity. In 2017, Transamerica employees helped construct two Habitat homes in Denver. “Having a safe, comfortable, and affordable place to live is a key component in overall well-being and long-term financial security,” said Marijn Smit, head of Transamerica Asset Management. “We call that the connection between wealth and health.” Transamerica continues to make overall wellness a central part of everything we do. After all, what good is wealth if you’re not healthy enough to enjoy it?

APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG


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Enjoy a meal with us before the show - when you show your tickets, receive OVEN-TOASTED a FREE cocktail, Social Beer or house SANDWICHES wine with entree purchase. Parking is SALADS & SOUPS just $7 when you use our valet parking. GLUTEN-FREE & VEGGIE OPTIONS ICE CREAM RECEIVE $2 OFF WHEN YOU BRING IN THIS AD

• Free Theatre Parking at Independence Plaza • $29.95 3-Course Dinner or 10% Off Your Bill • Located 2 Blocks from DCPA

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— DANIEL MCGAUGHEY, GENERAL MANAGER FOR CENTERPLATE AT THE ARTS COMPLEX

(l-r) Hazel Thompson and Molly Scotto each received a congratulatory pie from Centerplate when named to the role of Lulu in DCPA Broadway’s recent presentation of Waitress. Photo by Emily Lozow.

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Centerplate is pleased to serve as the preferred hospitality and catering partner at the Denver Performing Arts Complex, including providing DCPA Broadway guests exceptional service in the newly renovated mezzanine at The Buell Theatre. For the past three years Centerplate has been hosting post-show receptions following the opening night of Broadway subscription shows for the cast, crew, media and Best of Broadway Society members. These events provide a great opportunity for the cast to celebrate the start of their show in a new city and gives local enthusiasts a chance to mingle with the actors. This year Centerplate is customizing each menu to play on the themes of the shows. The Waitress cast party, for example, will be themed around pies due to the main character, Jenna’s affinity for them. The menu will feature chicken cordon bleu hand pie and pulled pork and sweet potato shepherd’s pie in addition to a variety of dessert pies. Centerplate looks forward to another great season as they strive to continually enhance the experience that patrons have come to enjoy. Centerplate’s highly trained and awardwinning culinary team is committed to making the live experience as memorable as possible, a passion that comes across in the form of superior

APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG

cuisine that is artfully blended with innovative presentation and style. “From a lavish reception for 10,000 guests to an all-day executive workshop, our team custom tailors a menu and program that perfectly fits the unique needs of that specific event,” said Daniel McGaughey, General Manager of Centerplate at the Arts Complex. “We think tirelessly about how to enhance the experience, so our guests have positive lasting memories from their time with us.”  Centerplate makes a conscious effort to practice sustainability in all of its processes, adhering to recycling and compost programs that save hundreds of thousands of pounds of waste on an annual basis. It sources products from various local Colorado vendors and farms, while also maintaining a proprietary onsite farm — The Blue Bear Farm — that harvests the fresh produce and herbs that get used on a daily basis. In addition, Centerplate partners with “We Don’t Waste,” which allows the company to minimize the waste of nutritious and wholesome foods by donating leftover items to local nonprofit organizations. Contact the team at Centerplate today to book your next catered event: Daniel.McGaughey@centerplate.com  or 303.520.0660.


The celebration of a lifetime begins here. From catering to calla lilies, your Dignity Memorial® provider can help you plan every detail of a truly memorable send-off. It’s what we’re known for.

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OUR SEASON IS IN FULL BLOOM

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APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG

MAY 29 – JUN 10 BUELL THEATRE

MAR 20 THE ELLIE


THEATRE COMPANY PLAYS to shift your perspective

APR 6 – MAY 6 SPACE THEATRE

APR 20 – MAY 27 STAGE THEATRE

MAY 18 – JUN 24 GARNER GALLERIA

OFF-CENTER EXPERIENCES to expand your horizons

MODERN ART MAR 22 – APR 15 THE JONES

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SPRING/SUMMER 2018 THE STREETS OF DENVER

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DENVERCENTER.ORG OFFICIAL TICKETS: 303.893.4100 BROADWAY SEASON SPONSORS

THEATRE COMPANY SEASON SPONSORS

ADDITIONAL SUPPORT


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

MAR 22 – APR 15

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

MODERN ART THE JONES

TICKETS START AT $25 STUDENTS $15

DENVERCENTER.ORG

TEST YOUR KNOWLEDGE OF THE WORLDS OF THE KING AND I, STOMP, AMERICAN MARIACHI, THE GREAT LEAP November 2017 AND ZOEY’S PERFECT WEDDING Test your knowledge of the worlds of our latest offerings: The King & I, Stomp, American Mariachi, The Great Leap and Zoey’s Perfect Wedding 1

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DOWN

APPLAUSE • JAN – MAR 2018 • 303.893.4100 • DENVERCENTER.ORG

American Mariachi playwright José Cruz González also wrote the DCPA’s premiere play Sunsets and _______

6 STOMP started as two miming British street artists performing a genre widely known as ______.

2 Matthew Lopez was named the DCPA’s first-ever _________ Fellow in 2014.

8 Zoey playwright Matthew Lopez also wrote The _________ Man. 10 Lyric: “Whenever I feel afraid, I hold my head erect and whistle a ____ tune.” 12 STOMP features eight performers who employ unconventional variations of this type of musical instruments. 13 Zoey playwright Matthew Lopez also wrote The Legend of Georgia _______.

18 In the 1970s, it was unheard of for this gender to be playing mariachi music. 20 Mariachi bands generally wear this kind of suit in performance.

20

CROSS

1 The most famous American to play professional basketball in China to date is Stephon _______.

17 The King and I is set in this city, which also has bloodlines to a famous song from Chess.

13

1 The most famous American to play professional basketball in China to date is Stephon _______ 2 Matthew Lopez was named the DCPA’s first-

DOWN

4 American Mariachi playwright José Cruz González also wrote the DCPA’s world premiere play Sunsets and _______.

14 A performance of STOMP contains none of these, because the creators believe everyone can fully understand it without them.

12

14

ACROSS

22 The idea behind STOMP is to try to find music within this, a word that usually describes unwanted sound.

3 Acclaimed baseball play about the first openly gay majorleague player: Take Me _______. 4 Doctors believe playing this can help reach a patient with dementia even as memory fails. 5 Last name of the actor who played King Mongkut in The King and I 4,625 times on stage. 7 The King and I is based on the novel Anna and the King of ____.” 9 The generally very organized wedding _____ is typically not the drunkest person at the party. Typically. 11 According to the playwright, this is the only Western sport that has never been banned in China. 13 The tradition of mariachi music is believed to have begun in this country 15 Song from The King and I: “Shall We ______?” 16 Howlingly well-received current Off-Broadway play about girls’ soccer: The _______ 19 Last name of basketball player who was famous for the accuracy of his underhanded free throws 21 Last (family) name of the Chinese center who played in eight NBA All-Star Games as a member of the Houston Rockets

For answers please visit denvercenter.org/news-center


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Applause Magazine, January 1-14, 2018  
Applause Magazine, January 1-14, 2018  

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

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