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Illustration by Kyle Malone






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G Kent Thompson


Greetings! Winter brings to our stages a Shakespearean tragedy, two favorite musicals (Mamma Mia! and Andrew Lloyd Webber’s Evita) and full productions of two brand new plays, along with the Colorado New Play Summit, our ninth annual festival of readings of new works. First up is the Denver Center Theatre Company production of the world premiere of The Legend of Georgia McBride by Matthew Lopez. A young Elvis impersonator with a pregnant wife is replaced by a drag queen show, and discovers he has a lot to learn about show business and himself. Georgia McBride is filled with music, bawdy humor and lots of heart and was the hit of last February’s New Play Summit. The next world premiere is black odyssey by Marcus Gardley—a wild, imaginative, magical adventure with music, hip hop, humor, epic drama and poetry all blended together to give a contemporary Kent Thompson African-American spin to Homer’s Producing Artistic Director Denver Center Theatre Company Odyssey.









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

For advertising information call The Publishing House 303.428.9529. 7380 Lowell Blvd., Westminster, CO 80030 Angie Flachman, Publisher

The Denver Center for the Performing Arts 1101 13th St., Denver, CO 80204 303.893.4000 •                     

The Denver Center for the Performing Arts is a not-for-profit organization serving the public through the performing arts. BOARD OF TRUSTEES Daniel L. Ritchie, Chairman and CEO Donald R. Seawell, Chairman Emeritus Randy Weeks, President William Dean Singleton, Secretary/Treasurer W. Leo Kiely III, First Vice Chair Robert Slosky, Second Vice Chair Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond Margot Gilbert Frank Thomas W. Honig Mary Pat Link Trish Nagel Robert C. Newman Richard M. Sapkin Martin Semple Jim Steinberg Peter Swinburn Ken Tuchman Tina Walls

This world premiere comedy by Matthew Lopez reminds us that love, laughter and heart can show up in the most unpredictable places. by Sylvie Drake







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Editor: Sylvie Drake Associate Editor: Suzanne Yoe Designers: Kim Conner, Brenda Elliott, Kyle Malone

With music, inventiveness and, yes, humor, playwright Marcus Gardley tracks the trials of an African American Ulysses returning from the war in Afghanistan. by Doug Langworthy






Who knew that ABBA spelled song, dance, fun and (ever)lasting success?


The third Theatre Company production is Hamlet, set in pre-World War I Denmark. In Shakespeare’s psychological masterpiece, Hamlet must find his way through grief, anger, ghostly spirits, treachery, revenge, murder and madness as he seeks redemption. ebruary 7-9 brings the Colorado New Play Summit to our stages. In addition to the premieres of Georgia McBride and black odyssey, we’re featuring five readings by some of America’s most exciting playwrights, including Eric Schmiedl and his adaptation of Benediction by Kent Haruf. For Haruf, Benediction completes his award-winning trilogy of novels set on the Eastern Plains of Colorado. For me, it completes a remarkable journey in the theatre—from Plainsong (2008) to Eventide (2010) to Benediction (2014). Please join us in experiencing the thrill of the New Play Summit, when leading theatre professionals from across the U.S., playwrights, and theatregoers come together for a high energy weekend to watch new American plays being created. In fact, join us for everything. n

Inspiration, smart choices and a chunk of luck went into the making of one of Andrew Lloyd Webber and Tim Rice’s most enduring collaborations. by Sylvie Drake

Lester L. Ward Dr. Reginald L. Washington Judi Wolf Sylvia Young _______________________ Carolyn Foster, Executive Assistant to Daniel L. Ritchie Kim Schouten, Executive Assistant to Daniel L. Ritchie HONORARY MEMBERS Jeannie Fuller Glenn R. Jones M. Ann Padilla Cleo Parker Robinson HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES Lester L. Ward, President Martin Semple, Vice President Judi Wolf, Sec’y/Treasurer Donald R. Seawell, President Emeritus


W. Leo Kiely III Daniel L. Ritchie William Dean Singleton Robert Slosky Jim Steinberg Dr. Reginald L. Washington SENIOR MANAGEMENT STAFF Randy Weeks, President and Executive Director, Denver Center Attractions Kent Thompson, Producing Artistic Director, Denver Center Theatre Company Dorothy Denny, Executive Vice President Vicky Miles, Chief Financial Officer Jennifer Nealson, Chief Marketing Officer Clay Courter, Director of Facilities Management


Of all of Shakespeare’s plays, this one is the most puzzling, lauded and imperfect. So why are its tragic events so mesmerizing? by Dan Sullivan

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World Premiere The Legend of Georgia McBride Now – Feb 23 Ricketson Theatre Evita Jan 15 – 26 Buell Theatre Girls Only Jan 16 – March 9 Garner Galleria Theatre World Premiere black odyssey Jan 17 – Feb 16 Space Theatre Hamlet Jan 24 – Feb 23 Stage Theatre

Alton Brown Live! Feb 3 Ellie Caulkins Opera House Colorado New Play Summit Feb 7 – 9 Helen Bonfils Theatre Complex Million Dollar Quartet Feb 25 – March 9 Buell Theatre Chicago March 18 – 23 Buell Theatre Shadowlands March 28 – April 27 Space Theatre

Animal Crackers April 4 – May 11 Stage Theatre Celtic Woman April 19 Buell Theatre Rock of Ages April 25 – 27 Buell Theatre once May 6 – 18 Buell Theatre American Idiot May 23 – 25 Buell Theatre ALL SHOWS ON SALE NOW!

Mamma Mia! Jan 28 – Feb 2 Buell Theatre



Performances at The Denver Center are made possible in part through the generous support of:

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Costume Collection Judi Wolf’s



idely regarded as one of the greatest plays ever written, the Denver Center Theatre Company production of Hamlet takes place just before the outbreak of World War I — and costume designer Beth Novak, brings to life the brooding atmosphere of this remarkable play through a mix of Edwardian and contemporary styles. Presenting a fusion of periods and styles creates a playground of opportunities to develop the characters and create unexpected visuals. While most of the action of this production will take place in a vaguely czarist, military setting, the costumes also will include modern pieces from the 20s to present. At the time, the women of the Russian court were objectified. When we first see them their dress is quite lavish. Novak took contemporary sheaths and added Fortuni pleated accessories and jewels so that the pieces look ornate and impractical. Hamlet, who finds himself on an extreme emotional rollercoaster, will be every bit the young man who just left the University, looking a bit rumpled and wearing a traditional pea coat. Today’s style of men’s suits lends itself to a very Edwardian sensibility with clean lines and narrow pant legs that will blur the line between modern and period dress. Or is it the other way around? Is it that today’s gauntlooking young Lotharios, sporting deliberate five o’clock shadows and a languid, melancholy mood are deliberately seeking to look every bit like, well… Hamlet? n

VIP Tour: Edinburgh Festivals You are cordially invited to join Chairman Daniel L. Ritchie…

for a VIP Tour of the Edinburgh Festivals next August 13-19, 2014. The tour includes superior accommodations at The George Hotel and tickets to the Edinburgh International and Fringe festivals. One of the highlights of the trip will be the renowned royal Edinburgh Military Tattoo which features music, dance and precision movement displayed with massed pipes and drums, the bands of Her Majesty’s Royal Marines, cultural troupes, singers and the poignant refrain of the Lone Piper against the stunning backdrop of the Edinburgh Castle. An optional tour of London’s West End, featuring deluxe Leicester Square hotel accommodations and tickets to four shows of your choice, may be added on August 19-24. A more detailed day-by-day itinerary and costs are available by visiting or by calling 303.446.4811. 6


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Beth Novak Hamlet costume designer

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The giving doesn’t only get better, it gets stronger and more satisfying

“We have experienced the excitement of attending theatre with our grandchildren, sometimes after they have read the book from which the play was adapted. It is an amazing way to learn why theatre must be a part of the growth and development of young minds.” — Carole and Bob Slosky

The Encore Society consists of members who have thoughtfully named the Denver Center as a beneficiary in their will or other estate plans. If you would like to learn more about The Encore Society and giving options, please visit or contact David Zupancic at 303.446.4811 or





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ore than 30 years ago Carole and Bob Slosky were introducing friends and colleagues to a newly created Denver Center for the Performing Arts (DCPA). Today they are still introducing theatre to friends— from a new generation. They met at Washington University in St. Louis—the first “blind date” for both of them. And the last. Bob was from Pueblo, Carole from Springfield, Illinois. After Bob graduated from law school at CU, Denver became their home. Together they raised two sons and are the proud grandparents of four children. The arts have always been a part of their journey, although Bob and Carole can’t quite put their finger on when and how that happened. From theatre at the original Elitch’s, to music, to art galleries and museums across the Southwest and the globe, they thrive on the experience and the friendships they have found along the way. Bob has served as a DCPA trustee for more than 25 years and Carole is a founding member of the Women’s Voices Fund. They were founding members of the Directors Society in the early 1980s and have helped this donor group grow to more than 200 people. In 2006 they had the foresight to provide startup funds for the Marquee Club, a similar group focused on young professionals. As part of the Producing Partner group supporting the Colorado New Play Summit, they enjoy the challenge of seeing works go from script to stage. Most recently, Bob and Carole have turned their attention to the future of theatre and the

next generation of audiences: “With the aging of audiences the need is paramount to compete for the attention of, not only today’s young people, but also the next generation. We are competing against the enormous attraction of unbelievable technology, never-ending sporting events, and so many other opportunities for people to spend their time and resources. “We can only compete by exposing future audiences to the joy and challenge of live theatre. We have experienced the excitement of attending theatre with our grandchildren, sometimes after they have read the book from which the play was adapted. It is an amazing way to learn why theatre must be a part of the growth and development of young minds.” s Bob and Carole thought about their giving, the creation of a fund that would survive them became an appealing possibility. Even more appealing was the idea that they could start to put money in the fund in their lifetime, encourage family members to participate, and leave a substantial sum as a bequest to ensure the future of the fund for a long time to come. “It doesn’t appear that arts education will ever escape the need for support from the private sector… it’s a need that is not going away. It is very important to us that we can identify how funds will be used, and that they will provide an opportunity for some unknown kids to have a hell of a good time!” The Robert and Carole Slosky Fund for Arts in Education will do just that. n


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e d a n o M e L

e Georgia McBrid of d en eg L e h T ’s Matthew Lopez rt can show up ea h d n a r te h g u love, la s reminds us that redictable place in the most unp



end of …Ultimately, The Leg ot a comedy Georgia McBride is n ay people or g , le p o e p g ra d t u o b a t everyone. u o b a ’s It . le p o e p t h straig ut love… o b a ’s It l. a iv rv u s t u o It’s ab 10


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When playwright Matthew Lopez was growing up in Panama City, Florida—not exactly the epicenter of the modern world—he had a couple of strikes against him right out of the gate. As he put it in a recent interview, “it was not the best place to be gay and, for me, not the best place to be gay and Puerto Rican.” Got it. But for writers, every kind of writer, the wallops life dishes out have a funny way of turning into fodder—rich stuff that simply begs to be mined. “I started going to the gay bars in Panama City around the age of 16 or 17,” Lopez said, “long before I was legally allowed to go in. The downtown had started to die; there was no reason to go to downtown. But this bar stayed open—for 40 years—and was long the only gay bar in town. If you wanted to get a drink within a 15-mile radius you had to go to The Fiesta. So it became a very welcoming place for everybody. And therein lies the beauty of the place. This is their turf and they love it. I had never been in a place that was

Matthew Lopez


so accepting of who I am. I was able to be safe and be myself, and I was taken under the wing of the drag queens there.” hat was the initial inspiration for The Legend of Georgia McBride. Yet what actually convinced Lopez to write this comedy that takes place in a bar that’s a lot like the old Fiesta, was a second-hand account of an artist’s experiment. “I heard about a woman whose straight boyfriend was dabbling in drag as an art form,” he explained, “a performance art project. They were putting together this persona for him. There was Tammy Wynette, Dolly Parton. All of these things together became Georgia McBride.” And that was the hook. Georgia McBride is about Casey, a heterosexual Elvis impersonator, who loses his job at a rinky-dink small town bar just as his beloved wife informs him that she’s pregnant with their first child. What’s a fella to do? Well, a set of unfore-



Mike Donahue


reading (as well as staged another uncommon play, Grace, or The Art of Climbing), was invited to come back and direct the full production. “Casey is a big, openhearted guy who means well and just never quite fully grew up,” he said. “He wanted to be an actor after high school football died away. He’s got a woman in his life that he’s head over heels in love with. He lives for her and lives for being an artist. “We get to be with Casey as he learns to grow up, as he finds a way to take care of his family, finds his true artistic voice, creates a persona he can fully inhabit and starts to elevate the work in the club. “There are two love stories in the play,” he emphasized. “There is the relationship between Casey and his wife, but also the relationship that develops between Casey and Tracy [his drag-queen mentor] that is so openhearted and rich.”

Costumes, of course, can’t help but be central to this show and costume designer Dane Laffrey has pulled from a broad swath of ideas, saying “The personas of these queens are very much things we wanted to develop with the actor.” And so he did. “It’s just meant to be fun.” Not to be outdone, set designer Donyale Werle has reserved a few surprises of her own. “We’ve come up with a space that is extremely mundane & highly theatrical at the same time,” she offered enigmatically. “Everything occurs on stage and backstage. There are tricks built in, but when you walk into the theatre it’s like you’re walking into The Ricketson as it normally is…but not really. We are very interested in exploring the illusion of backstage. Most importantly, this is a space that allows the multitude of the characters’ individual personas to shine.” The music? All pre-existing, canned music from America’s rich songbook and more, out of which a score was created. “This play is basically a book musical,” said Donahue,

Donyale Werle

Set designer

“even though they’re lip-synching.” he production also benefits from something entirely novel. Charlie Miller and Emily Tarquin, the curators of Off-Center, the Theatre Company’s brashest experiment with new theatre, were charged with curating Georgia McBride. They took what was happening on stage and figured out a way to extend the experience beyond—into the lobby. The goal was to broaden the experience, extend the enjoyment without, let’s say, inflicting it. The intent is to gently coax the audience into an immersive environment that is entirely safe. Since this issue of Applause went to press before our curators had the chance to fully develop their plan—and since the idea itself is so new—you’ll have to determine for yourself how well they’ve succeeded. For all of the fun that this imaginative and unlikely confluence of talent delivers, it’s important to keep in mind that, ultimately,

The Legend of Georgia McBride is not a comedy about drag people, gay people or straight people. It’s about everyone. It’s about survival. It’s about love—a love story filled with dramatic opportunity: The novelty, the music, the crazy, colorful costumes, the glitz (sometimes the shabby glitz?), the loyalties, the growth and maturation of not one but almost every character in it. It’s a chance to stretch minds, accentuate the positive, warm the heart, reach out with humor, acceptance and kindness. Especially kindness. opez wrote this play, he said, in part as a reaction to the hate and violence that have become so ubiquitous and prevalent in the society. “I wanted to emphasize that,” he said, “find the kindness we need.” Did he succeed? Did we? That, too, will be for you to decide. n


Dane Laffrey


seen circumstances provides the improbable answer, and a recalcitrant Casey stumbles into a way to survive, make the money he needs for his ballooning family, even help his former employer out of a jam and, as he soon discovers, he finds he can excel at something that he had never, not even in his wildest hallucinations, ever expected to be doing: become a straight drag queen. eorgia McBride received a reading at the 2013 Colorado New Play Summit and audiences gulped it up. So delicious! They were charmed and entertained by this offbeat, sassy, funny, highly eccentric comedy. But the main reason for the play’s appeal is its very big heart. This is a comedy with the rare ability to make you laugh a lot while you also gleefully empathize with just about everything that happens in it—and everyone it happens to. It had to be really easy for Producing Artistic Director Kent Thompson and his team to decide to give it a slot in the regular season. Mike Donahue, who directed last year’s

Costume designer


Jan 10 – Feb 23 • Ricketson Theatre Producing Partners: John & Jeannie Fuller, John Strohm & Mary Pat Link Sponsored by The Steinberg Charitable Trust This play is a recipient of an Edgerton Foundation New American Play Award ASL interpreted & Audio Described • Feb 2, 1:30pm Perspective on the play: Jan 10, 6pm, Jones Theatre* *Attend a FREE moderated discussion about the play with DCTC’s creative team. All are welcome.

Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • 303.893.4100



The Denver Center Theatre Company’s new play program is one of the top five in the nation. Plays as diverse as Love, Janis, Quilters, Inana, Plainsong, Lydia, The Whale and so many more have had their start in Denver and gone on to be produced in theatres across the country. The development of new plays and musicals involves risk and risk is always expensive. Our New Play Development Fund enables us to commission the most talented playwrights and to host the Colorado New Play Summit every year.




Sense & Sensibility The Musical

We hope that you will consider making a donation to the New Play Development Fund. We appreciate any contribution that you can make. JEREMIAH JAMES, MARY MICHAEL PATTERSON. PHOTO BY JENNIFER M. KOSKINEN


W E A R E P R O U D T O P L AY A R O L E In furthering American theatre, but… We can’t do it without you!

“NAME A SEAT” IN THE RICKETSON THEATRE In Honor of Ty Jurras from family & friends

Commemorate an occasion or honor a loved one when you name a seat for $1,000. Your gift is 100% tax deductible and it supports new plays. Quarterly or monthly payments are available. Here are a few examples:

“Theatre, Ty and I were a tight threesome from the time I met him, fell in love with him and married him. What better way to honor his memory and our 40 years together than by making sure we’d be sitting together at the theatre forever?” ~ Sylvie Drake Jurras, Editor, Applause Sylvie Drake Jurras …because I love sitting beside you

Danny Showers Entertainment

“As a musician and patron of the theatre, I am always looking for ways to support the arts. By putting my company’s name on seat plaques, I am reaching a target audience of people who hopefully love the theatre as much as I do. It’s a great marketing opportunity.” ~ Danny Showers, Danny Showers Entertainment

“Meredith and I were married last May and we were moved when we learned that a seat had been named in honor of this occasion. We love coming to the theatre, so this certainly was a unique way to celebrate our marriage.” ~ L. Roger Hutson

THREE EASY WAYS TO DONATE: BY MAIL: 1101 13th Street, Denver, CO 80204 ~ Attention: Development ONLINE: BY PHONE: 303.446.4802

In Celebration of L. Roger & Meredith Hutson 13-May-13


A legend in football. A legend in life.


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Mamma Mia! Who knew that success was spelled ABBA?




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this way. Usually, someone has a story to tell and someone else (or the same person) creates the songs to punctuate and illustrate that story. Taking a bunch of songs previously conceived as singles, and finding a unifying thread that cobbles them together into a musical, was as heretical as it sounds. Assuming it could be done at all, who could have imagined that it would turn into this huge, everlasting hit, with a proliferation of ongoing productions around the world over many, many years? It’s enough to give Waterloo a good name. Mamma Mia! received the sort of welcome on that first night in London that it has sustained ever since. Theatregoers appear to be ecstatic— reliving memories or discovering ABBA for the first time. But on that spring evening in London, Mamma Mia! was an unknown quantity. “We really had no idea how it was going to be received,” reflected producer Judy Craymer, whose initial concept it had been to use existing ABBA songs to construct an original musical. “The audience went wild,” she told a reporter. People “were literally out of their seats and singing and dancing in the aisles—and they still are. Every night.” oon they were doing so all over the globe. The reason is simple: Mamma Mia! is an entertainment phenomenon that hits you at gut level. More than 30 million people in the known world have fallen in love with the characters, the story, the music. Book writer Catherine Johnson’s tale unfolds on a Greek island. (How many people will visit a Greek island any other way?) On the eve of her wedding, a clever daughter, eager to know the identity of the father her mother has refused (or been unable) to divulge, manipulates three men from her mother’s past into returning to the island where they last saw her 20 years before. Phyllida Lloyd, Mamma Mia!’s original director, says she was offered the job only after “some wonderful person” (who must be very, very, very sorry now) dropped out. More than a year of workshops followed with book writer Johnson, ABBA’s Ulvaeus and Andersson, choreographer Anthony van Laast and designer Mark Thompson. A life-changing anecdote Lloyd likes to tell is that, if the show is such a hit today, it is thanks to the relative of a company member who sent an unsolicited letter telling her how to fix a problem she had been struggling to identify. This gentleman explained that the show’s first two scenes were, in his words, “the wrong way around.”

“I handed the letter to Anthony van Laast,” Lloyd said. “We looked at each other and knew we had to change it. The new opening was immediately right. It makes it clear that this is a domestic, intimate show. The moral of the story for me was ‘Don’t ever be too proud to take advice.’ ” ltimately, however, the success of Mamma Mia! rests in equal measure with all of its creators, whose tenacity and imagination persevered. In the process of personalizing a familiar repertoire of ABBA songs, they focused on a fresh approach that held on to the music’s pop integrity while advancing an affectionate and appealing story. And the show just keeps touring along. To quote Lloyd, as she coyly assured the actors in that original London cast: “Mamma Mia! is the musical Benny and Bjorn wrote years ago. They just decided to release the songs first.” n


Part of the information contained in this article is courtesy of the Mamma Mia! web site and related materials.




n Saturday April 6, 1974, in the English coastal town of Brighton, a group known only in their native Sweden won the Eurovision Song Contest with a song entitled “Waterloo.” For Napoleon, Waterloo was trouble. For this upstart singing group it was the start of something bigger than they could have anticipated. So begins the improbable saga of ABBA. The phenomenal success of the decade-long association of Agnetha Faltskog, Benny Andersson, Björn Ulvaeus and Anni-Frid Lyngstad (the initials of their first names were to form the name ABBA) is of mythical proportions. Over the next eight years, they would achieve countless hit singles, platinum albums, sell-out concert tours and even a movie. The group’s domination of the European charts was uncontested. Only the Rolling Stones, Elvis and the Beatles achieved longer runs of Top 10 singles. Across the Atlantic, the hits continued: ten ABBA songs made it to the Top 20 in the U.S., with “Waterloo,” “Take a Chance On Me” and “The Winner Takes It All” making it to the Top 10. “Dancing Queen,” the superhit at the heart of the musical Mamma Mia!, placed ABBA center stage at Number One. At last count, ABBA had sold more than 350 million records worldwide. Europe and North America were not alone in experiencing ABBAmania. There were consecutive Number One singles and/or albums in Australia, more records set—and broken— in New Zealand, Mexico, Japan, Zimbabwe (Zimbabwe?) where the group scored 13 Top 10 singles and no fewer than eight consecutive Number One albums. And by 1982… It was all over. Plans for another new album were abandoned and the album The Singles—The First Ten Years, released in its place. et despite the fact that ABBA ceased to record or tour, the music refused to die. ABBA’s innumerable hits are as popular today as they were when first released. The movies Muriel’s Wedding (1995) and Priscilla, Queen of The Desert (1994), as well as the delicious musical based on that movie, all feature ABBA music, amassing whole new generations of fans. It was on March 23, 1999 that Mamma Mia!—a show constructed from 22 of ABBA’s most memorable songs—was put in front of a paying audience in London’s West End. Let’s be clear: musicals are not supposed to be created


Jan 28 – Feb 2 • Buell Theatre Sponsored by AARP ASL interpreted, Audio Described and Open Captioned performance • Feb 1, 2pm

Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 •



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what’s past is present With his play black odyssey, Marcus Gardley has chosen an abiding Greek myth to enlighten us on the modern tribulations of an African American Ulysses BY DOUGLAS LANGWORTHY

Every element of Marcus Gardley’s plays are infused with his poetic voice. Be it his titles (the road weeps, the well runs dry), his heightened language or his stage directions (He guides the cane to a star. It burns like a comet), there is no mistaking the poet in the playwright. Gardley started his career writing poetry and has expanded his poetic style through his dramatic writing. In fact, all of his favorite playwrights are also poets. So what is a director supposed to do with a stage direction like the example given above? Marcus says he doesn’t mean these stage directions to be taken literally (phew), but are meant to express the emotional weight of a moment. The creative team is encouraged to interpret them with creativity and originality. “Theatre is collaborative,” Gardley states. “I want my stage directions to speak to the nature of making something together.” In black odyssey, the playwright focuses his imaginative powers on a mash-up of Greek myth and African American history. Applause recently caught up with Gardley to talk recipes, mythology and journeys of self-discovery.

What attracted you to Homer’s The Odyssey? I grew up reading a lot of books and had a particular fascination with the Greeks because I like adventure stories, history and myths. I like stories that wrestle with the notion of why we are here and why nature can be both terrifying and utterly beautiful. What drew me to The Odyssey in particular is the idea of the endless journey and being lost. I could not get rid of the image of soldiers returning home after war and embracing their children for the first time. I think the story of The Odyssey is universal. People can experience an internal odyssey as well, and I wanted to explore that.  16


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You’ve described your writing process as creating a dish from a recipe. Can you describe what ingredients went into this play? The ingredients for this play are: the original text, spirituals, hymns and melodies from West Africa, the culture and language of contemporary Harlem, African American history and African American folklore. When you mix the ingredients together my hope is that you feel the full tapestry of who we are as Americans and also taste the rich essence of history in both its tragic and celebratory moments. I also hope that the end result will give people hope for the future. 

What are the different styles of music you use in the story? Every major style of American music. The play is also a journey through American music history. I want audiences to feel the full musical breadth of our country. Does music play a central role in your other plays? Music plays a pivotal role in all of my plays. I find music to be a great soundscape for the worlds I write about. It sets mood, it is great for transitions and sometimes can be the most profound way to get to the heart of expressing something that dialogue just cannot.


“No man can know himself if he doesn’t know his history. This could be familial history, cultural history, even national history. All of these histories are a part of who we are.” — Marcus Gardley, playwright

Does African American culture have its own mythology?

Why is water such an important motif in the play?

For me, myths are sacred stories. So yes, African Americans have many sacred stories. African American history is shaped by stories that are passed down from generation to generation. These stories record the life of one time—and change to embrace another. I think sacred stories and the adaptation of these stories remind us that the great lessons of life are still being learned, that even though we are evolving, improving, moving bodily into the future, we still have so much to gain from the past.

Water is a silent character in the play. It is nature that moves the characters forward and allows them to crash into one another. Water is a symbol of fate.

In your play, Ulysses confronts his own lineage as an African American man. Is this something we all must do— discover where we came from—in order to discover who we are? I think that the journey into our past is vital for understanding who we are. It’s not just about learning one’s genealogy, although that is important. It is also necessary to learn about one’s cultural past. I find that a lot of African American history is still not taught in our schools. I wanted to give audiences a more thorough journey into that history. I wanted to celebrate and honor my culture with this play. What is Ulysses trying to find besides his home? Is there a larger significance to his journey? Ulysses is trying to find himself. That is his real journey. His pre-war existence was very hard and his life on active duty is equally hard. He has become lost—and given up on humanity. He must find his history and, to this end, himself. No man can know himself if he doesn’t know his history. This could be familial history, cultural history, even national history. All of these histories are a part of who we are. When we accept, learn from and celebrate who we are then we can move forward.

The gods in the play comport themselves at times like grown-ups and at times like children. Was this playful quality something you found in your reading of Greek mythology? Yes, indeed! The best thing about the gods in Greek mythology is their human characteristics. If they truly were infallible, the stories would not be half as interesting. Moreover, it is their struggle to be godly that inspires us. What I find most prominent in Greek mythology is that the gods are easily offended. I wanted the gods in this play to be more driven by principle and the need to protect their children. In this way, the gods are ancestors. They are a part of us. Perhaps, the better parts of us. Yet and still, they err, and they are most fascinated by our humanity. What happens when a god descends into the human world? Then godly laws are broken. For this to happen, there must be a great need among the mortals. When a god descends, a wrong must be made right and a god will risk her/his immortality to dwell among us. This is because gods sympathize more viscerally when they are among us—they lose their godliness. They relate and gain a deeper sense of compassion—they cannot help it. Gods are meant to judge, not sympathize—this is how they lose their power. It’s their ability to manipulate us that makes them powerful. When they are among us, our humanity is so strong that they become the manipulated. Only the bravest of gods come down to dwell among us.

The play is often so funny. Why was it so important for you to inject humor into the play? Humor helps audiences feel the full weight of tragedy. I don’t necessarily think that humor is required in a tragedy, but I think it can be useful to set up tragic elements. We laugh and cry with the same muscle. Most of my plays exercise this muscle. I am interested in using humor so that the muscle is already stretched. Then when tragedy arises, we are allowed to feel, to compare how delighted and how sorrowful life can be. Are you excited to be presenting your play in the round? Yes. It will give audiences a sense of the earth’s globe, the world. It will also allow them the freedom to see others while watching the play, which I always find intriguing. It makes the action feel Greek—it is in an arena. There are spectators who are a part of the live action. It feels Olympic. n Douglas Langworthy is the Literary Manager of the Denver Center Theatre Company

Jan 17 – Feb 16 • Space Theatre Producing Partners: Allison & Jim Shetter, Tina Walls, Jim Steinberg & Lori Watson ASL interpreted & Audio Described • Feb 16, 1:30pm Perspective on the play: Jan 17, 6pm, Jones Theatre* *Attend a FREE moderated discussion about the play with DCTC’s creative team. All are welcome.

Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • 303.893.4100




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olson Coors is proud to play its part in bringing us all together for this performance. For more than 350 years, Molson Coors Brewing Company has delighted the world’s beer drinkers while investing in local communities. Molson Coors’ Rocky Mountain heritage began in 1873 just up Clear Creek in Golden, Colorado. Today, we rank as a top-five global brewer, with business units in the US, Canada, the UK, Central Europe and Asia. From our founding families and executive leaders, to our brewers and sales teams, Molson Coors people share a deep passion for our brands and for the communities where we live and work. From the beginning, brewing and building brands the right way has gone well beyond the high quality of our products. At Molson Coors, we’re committed to environmental sustainability, alcohol responsibility and treating each other with dignity and respect. Not only do we hold ourselves up to aggressive targets for growth and profitability, but also for our environmental and social performance. Our people consistently rate us above high performing company norms, and we are recognized as a great place to work. In 2012 and 2013, Molson Coors was recognized as Global Beverage Sector Leader on the prestigious Dow Jones Sustainability Index (DJSI), based on an independent evaluation of our business practices and results. While our heritage companies in the US, Canada, UK and Central Europe have now grown into one enterprise with an expanding global reach, our roots and character remain local. Molson Coors is made up of dozens of local breweries and offices where employees and iconic brands are woven into the fabric of the community. That is why in our headquarters city of Denver, we support leadership development in our educational and business institutions, assist those in need through United Way and its agencies, as well as work with water users to preserve and protect our Clear Creek Watershed.  And that’s why we support The Denver Center for the Performing Arts, this world class venue that connects us through the magic of music and theatre. As we come together to share in the thrill of today’s performance, let’s celebrate the strength of this Denver community and our diverse and vibrant culture.  Cheers! n

Denver Center Theatre Company Resident Professional Theatre • Kent Thompson, Producing Artistic Director


William Shakespeare

WITH Anthony Bianco*, Benjamin Bonenfant, Stephanie Cozart*, Aubrey Deeker*, Shawn Fagan*, Sam Gregory*, Douglas Harmsen*, Peter Simon Hilton*, John Hutton*, Michael Keyloun*, Jacob H Knoll*, Rodney Lizcano*, Kathleen McCall*, James O’Hagan-Murphy, Mackenzie Paulsen, Amelia Pedlow*, Philip Pleasants*, Jeffrey Roark* SET DESIGN BY Robert N. Schmidt




DRAMATURGY BY Douglas Langworthy



SOUND DESIGN BY Craig Breitenbach


CASTING BY Elissa Myers Casting/ Paul Fouquet, CSA STAGE MANAGER Kurt Van Raden*


Kent Thompson Hamlet is part of Shakespeare for a New Generation, a national program of the National Endowment for the Arts in cooperation with Arts Midwest.


Katy Atkinson

Isabelle Clark

Alan & Katie Fox

Diana & Mike Kinsey

On Hamlet the Denver Center Theatre Company’s Production Staff is responsible for costumes, wigs, lighting, props, furniture, scenic construction, scenic painting, sound and special effects. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

THE STAGE THEATRE • JANUARY 24 – FEBRUARY 23, 2014 2013/14 Season Partners

CAST Hamlet, Prince of Denmark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AUBREY DEEKER* The Ghost, of the late King, Hamlet’s father . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN HUTTON* Claudius, King of Denmark, Hamlet’s Uncle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PETER SIMON HILTON* Gertrude, the Queen, Hamlet’s mother, now wife of Claudius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KATHLEEN MCCALL* Horatio, Hamlet’s friend & fellow student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHAWN FAGAN* Polonius, Chief Councilor of State . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM GREGORY* Laertes, Polonius’s son . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JACOB H KNOLL* Ophelia, Polonius’s daughter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AMELIA PEDLOW* Reynaldo, servant to Polonius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANTHONY BIANCO* HARMSEN* } Members of the King’s Guard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DOUGLAS JEFFREY ROARK* Voltemand Councilors, Ambassadors to Norway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PHILIP PLEASANTS* Cornelius } BENJAMIN BONENFANT Rosencrantz MICHAEL KEYLOUN* Courtiers, former schoolmates of Hamlet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Guildenstern } RODNEY LIZCANO*

Marcellus Barnardo

1st Player, leader of the troupe, plays the King . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOHN HUTTON* 2nd Player, plays the Queen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . STEPHANIE COZART* 3rd Player, plays Lucianus, nephew of the King . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFFREY ROARK* Other Players . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANTHONY BIANCO*, JAMES O’HAGAN-MURPHY Osric, an aristocratic Courtier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DOUGLAS HARMSEN* Sailors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANTHONY BIANCO*, JAMES O’HAGAN-MURPHY A Priest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RODNEY LIZCANO* A Gravedigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PHILIP PLEASANTS* Gravedigger’s Helper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANTHONY BIANCO* Fortinbras, Prince of Norway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BENJAMIN BONENFANT Captain, in Fortinbras’s army . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFFREY ROARK* Courtiers & Ladies of the Court, Military Officers & Soldiers, Attendants & Others . . . . . . . . . . . . . . . . . . . . . . ANTHONY BIANCO* BENJAMIN BONENFANT, STEPHANIE COZART*, DOUGLAS HARMSEN*, MICHAEL KEYLOUN*, RODNEY LIZCANO*, JAMES O’HAGAN-MURPHY, MACKENZIE PAULSEN, PHILIP PLEASANTS*, JEFFREY ROARK* There will be one 15-minute intermission. Production Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTOPHER C. EWING* Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KURT VAN RADEN* Assistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MATTHEW CAMPBELL* Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAN SCHULTZ Production Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BECKY FRYBERGER Fight Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANTHONY BIANCO* *Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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

BENAIAH ANDERSON (Reynaldo/Gravedigger’s Helper/Sailor/Rosencrantz/Ensemble), BENJAMIN BONENFANT (Hamlet), STEPHANIE COZART* (Gertrude/Ophelia), GEOFFREY KENT* (The Ghost/1st Player), KEVIN LOWRY (Marcellus/Osric/ Guildenstern/Priest/Barnardo/Player 3/Fort Captain/Ensemble), JAMES O’HAGAN-MURPHY (Horatio/Fortinbras/Laertes/Cornelius/ Gravedigger/Voltemand), MACKENZIE PAULSEN (Player 2/Ensemble), JEFFREY ROARK* (Claudius/Polonius)

EXECUTIVE STAFF KENT THOMPSON (Producing Artistic Director) is in his ninth season as Producing Artistic Director of the Denver Center Theatre Company. In Denver he directed productions of Just Like Us, Other Desert Cities, Irving Berlin’s White Christmas, The Taming of the Shrew, A Midsummer Night’s Dream, Plainsong, Eventide, Amadeus, The Liar and Measure for Measure, among others. Two of Kent’s major accomplishments since moving to Denver have been the Colorado New Play Summit, a premier national festival for new American plays, and the establishment of the Women’s Voices Fund, an endowment that supports the development of new plays by women. Prior to moving to Denver he was Producing Artistic Director of the Alabama Shakespeare Festival for 16 years. In 1991 Kent created the Southern Writers’ Project (SWP), designed to commission and develop new plays that presented 16 world premieres during his tenure. He served for eight years on the Board of Directors for Theatre Communications Group (TCG) and as its president for three years. He has served on peer review panels for the NEA (also chair), TCG, The Pew Charitable Trusts, The Fulbright Scholars Program, The Wallace Funds, The Doris Duke Foundation and The Andrew W. Mellon Foundation, among others.

production of 2 Pianos, 4 Hands has been seen at more than 20 theatres nationally, including DCTC’s successful 2003 production. CHARLES VARIN (Managing Director) and his team are responsible for administrative, financial and business operations related to producing DCTC’s season of productions and other artistic and educational initiatives. Prior to DCTC Charles was General Manager for Geva Theatre Center in Rochester, NY and also has worked at Glimmerglass Opera, Asolo Repertory Theatre and Florida Studio Theatre. Charles serves on the board of the Mile High Freedom Band and plays tuba with the organization.

Romeo & Juliet (Orlando Shakespeare Theatre); Carmen (Opera Colorado) Romeo & Juliet (Aspen/Sante Fe Ballet). Special/Awards: Former President, Society of American Fight Directors, 2011 Henry Award for Achievement in Fight Direction.

DOUGLAS LANGWORTHY (Dramaturg). At the Denver Center: Just Like Us, The Three Musketeers, When We Are Married, Sense & Sensibility The Musical. Other Theatres: The Oregon Shakespeare Festival produced his adaptation (with Linda Alper and Penny Metropulos) of Dumas’ The Three Musketeers, and his translation of Brecht’s The Good Person of Szechuan. Target Margin Theatre produced his translations/adaptations: Medea JEFF GIFFORD (Director of Production) by Hans Henny Jahnn, Goethe’s Faust, and oversees everything you see on stage except the the opera The Sandman with David Herskovits actors and is thrilled to be joining the Denver and Thomas Cabanis. Awards/Training: Elliot Center Theatre Company, leading such a fine Hayes Award for Dramaturgy; National Theatre group of artisans. Prior to DCTC, Jeff was Translation Fund Award; John Gassner Award the Production Manager at the Dallas Theater in Critical Writing. Yale School of Drama. Center and South Coast Repertory in Costa Mesa, CA. Guiding world premieres to their KATHRYN G. MAES Ph.D (Voice and first opening night is especially gratifying Dialect Coach). At the Denver Center: A and Jeff has worked on more than 35 of them. Christmas Carol, Jackie & Me, The Most Among his favorites are Dinner with Friends, Deserving, Just Like Us, Death of a Salesman, The Violet Hour, The Beard of Avon, Mr. When We Are Married, Fences, The Three Marmalade, and the new musical FLY. Jeff Musketeers, Heartbreak House, Great Wall holds an MFA from California Institute of the Story. Other Theatres: Royal Shakespeare Arts. Company, Royal National Theatre (Arthur Miller’s American Clock). Special/Training: Voice and Dialect Coach for numerous BRUCE K. SEVY (Associate Artistic Director ARTISTIC STAFF professional theatre companies in the United and Director of New Play Development) has directed such memorable Denver Center GREGG COFFIN (Composer). At the Denver States, Head of Voice at the Denver Center Theatre Company and the National Theatre productions as When We Are Married, Center: Composer – Heartbreak House, The Conservatory 1989 to 1992. Ph.D. in Theatre Heartbreak House, Mariela in the Desert, Taming of the Shrew, The Liar, A Midsummer The Voysey Inheritance, A Prayer for Owen Night’s Dream, Mariela in the Desert, Othello, Arts, University of Pittsburgh; Advanced Diploma in Voice Studies, Central School of Meany, Doubt, All My Sons, Master Class, A Prayer for Owen Meany, The Merry Wives Speech and Drama, London, England. Mrs. Warren’s Profession, A Christmas Carol, of Windsor, Pride and Prejudice, King Lear, Cat On a Hot Tin Roof, The Little Foxes, Molly Measure for Measure. Musical Director/ Sweeney, Amy’s View, Valley Song, Pierre, Orchestrator – Irving Berlin’s White Christmas, DAN SCHULTZ (Assistant Director). At the Denver Center: Debut. Other: Artistic Director Dinner With Friends, and The Cripple of A Funny Thing…Forum, A Christmas Carol. of the Okoboji Summer Theatre in Iowa, Inishmaan. Other Theatres: Stratford Festival of Canada, Assistant Professor of Theatre at Stephens As Director of New Play Development, CanStage, Tarragon Theatre, National Arts College in Columbia, MO, and cofounder he oversees both the artistic and practical Centre (Canada); Arena Stage, Alley Theatre, of New York City’s tax deductible theatre. components of DCTC’s successful Colorado Geva Theatre Center, Indiana Rep, PCPA Directing Credits: Okoboji Summer Theatre New Play Summit, including commissions TheatreFest, Shakespeare Santa Cruz and the (My Way, The Sunshine Boys, Don’t Dress from outstanding American playwrights. Oregon, Utah, California, Alabama, Great for Dinner), Stephens College (Circle Mirror He has directed for Arizona Theatre River and Georgia Shakespeare Festivals. Transformation, Picnic, Inspecting Carol, The Company, Cleveland Play House, Lark Play Laramie Project), The Dare Project. Acting Development Center, Kansas City Repertory GEOFFREY KENT (Fight Director). At Credits: Alabama Shakespeare Festival, Asolo Theatre, Virginia Stage Company, Alabama the Denver Center: Hamlet, Romeo & Juliet, Rep, The Public Theatre. TV/Film: “Law Shakespeare Festival, Northlight Theatre, Othello, Eventide, King Lear, Richard III and Order: SVU,” “Six Degrees,” Comedy San Jose Repertory Theatre, Eugene O’Neill and others. Other Theatres: Noises Off, Three Central. Training: MFA Acting, FSU/Asolo Theater Center, Pioneer Theatre Company, Musketeers, Macbeth, Treasure Island and Conservatory; BFA, Stephens College. A Contemporary Theatre, Seattle Repertory others (Colorado Shakespeare Festival); Theatre, Empty Space and Intiman Theatre Lieutenant of Inishmore (Curious Theatre KENT THOMPSON (Director). See bio in Seattle, the Kimo Theatre in Albuquerque, Company); Les Misérables, Twelfth Night and Utah Shakespearean Festival. His popular (Arvada Center); Titus Andronicus, Cymbeline, under Executive Staff.

ELISSA MYERS CASTING, Paul Fouquet, CSA. For PBS “Poisoner’s Handbook,” “Becoming Helen Keller,” and the mini-series “Mystery of Matter.” Other PBS projects include “The Abolitionists,” “Dolly Madison,” “Alexander Hamilton,” “John and Abigail Adams,” “Benjamin Franklin” (Emmy Award), “Liberty” (Peabody Award), “God in America,” “People vs. Leo Frank,” “Louisa May Alcott,” as well as PBS “Great Performances” (Artios Award in “Outstanding Achievement in Casting”). Additionally three “Movies of the Week,” as well as five pilots. Feature films include Hank and Asha (Audience Award at Slamdance 2013), and The Union. Theatre includes seven Broadway shows, including Tony nominated Having Our Say, as well as 26 Off-Broadway shows. Regional theatre casting in the past two years includes Denver Center, Geva Theatre, Cleveland Playhouse, Alabama Shakespeare Festival, Magic Theatre, Arena Stage, Alley Theatre, George Street Playhouse, and Arizona Theatre Company. The office has so far received 16 nominations and has won three Artios Awards for “Outstanding Achievement in Casting.”

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

museum projects including the Sony Metreon Sendak Playspace in San Francisco, Warner Bros. Movie World in Madrid, Le Centre de Loisirs in Morocco and the LEGO Racers 4D attraction in Germany, Denmark, England and the U.S.A. Education: California Institute for the Arts, Yale School of Drama. Teaching: Head of Lighting Design for Theatre, San Jose State University. ELIZABETH NOVAK (Costume Designer). At the Denver Center: Debut. Other Theatres: Resident Costume Designer for Alabama Shakespeare Festival for over twenty years; eleven seasons at Pioneer Theatre Company in Salt Lake City; eleven seasons at Utah Shakespearean Theatre. Other regional work includes Oregon Shakespeare Festival, the Cleveland Play House, Indiana Repertory Theatre, Cincinnati Play House in the Park, Huntingdon Theatre, St Louis Repertory Theatre. Formerly on the faculty of the University of Houston, University of Utah and the University of California at Irvine. ROBERT N. SCHMIDT (Set Designer). At the Denver Center: Passing Game, Loot, Medea. Other Theatres: Alabama Shakespeare Festival, Alley Theatre, Café Theatre (Copenhagen), Cleveland Play House, Colorado Shakespeare Festival, Great Lakes Theatre Festival, Hong Kong Repertory Theatre, Huntington Theatre. TV/Film: Danmarks Radio-TV, Kennedy’s Children. Special/Training: Designer of the US National Exhibit for the 2003 Prague Quadrennial Scenography Exhibition; Frank C. Erwin Professor Emeritus in Drama, University of Texas at Austin; Master of Fine Arts in Theatrical Design, University of Wisconsin at Madison.


WILLIAM SHAKESPEARE (Playwright) was born in late April 1564 in Stratford uponAvon. As a young actor, poet and playwright, he joined The Lord Chamberlain’s Men, one of the most successful acting troupes in London. YORK KENNEDY (Lighting Designer). In 1599, the troupe lost the lease of the theatre At the Denver Center: King Lear, Glengarry Glen Ross, Other Desert Cities. Other Theatres: where it performed and built its own theatre across the Thames, south of London, which it Mr. Kennedy’s designs have been seen in theatres across America and Europe including called The Globe. The new theatre opened in Berkeley Rep, American Conservatory Theatre, July of 1599 built from the timbers of the old The Old Globe Theatre, Seattle Rep, The Alley theatre. In 1603, when James I came to the Theatre, Dallas Theatre Center, Polish National throne, the new king designated the troupe as the King’s Company. Shakespeare entertained Opera, Sacramento Opera and Brooklyn the people of London at The Globe until June Academy of Music. Dance: Malashock 19, 1613, when a canon fired from the roof Dance, Brian Webb and Tracey Rhodes. Architecture: Numerous themed environment, of the theatre during a performance of Henry VIII set the thatch roof on fire and burned the theme park, residential, retail, restaurant and

theatre to the ground. Shakespeare retired from the stage but continued to write until his death in 1616 on his 52nd birthday. To this day, Shakespeare is the most widely admired and well-known poet and playwright in English literature.

STAGE MANAGEMENT KURT VAN RADEN* (Stage Manager). At the Denver Center: (30+ productions) Just Like Us, Romeo & Juliet, Irving Berlin’s White Christmas, The Three Musketeers, Ring of Fire: The Music of Johnny Cash, The Taming of the Shrew, A Christmas Carol, The Liar, Superior Donuts, The House of the Spirits, Othello, Eventide, A Raisin in the Sun, A Prayer for Owen Meany, Richard III, Noises Off, The Merry Wives of Windsor, Our House, Pride and Prejudice, Third, Mrs. Warren’s Profession, 1001, Season’s Greetings, Living Out, After Ashley. Other Theatres: 40 productions with The O’Neill Theatre Center (National Playwrights Conference, Cabaret and Performance Conference), The Great River Shakespeare Festival. MATTHEW CAMPBELL* (Assistant Stage Manager). At the Denver Center: Just Like Us, Other Desert Cities, Romeo & Juliet, When We Are Married, The Three Musketeers, Heartbreak House, The Taming of the Shrew, A Christmas Carol, To Kill a Mockingbird, A Midsummer Night’s Dream, Dracula. Other Theatres: Colorado Shakespeare Festival, Arvada Center, Cleveland Play House, Hope Summer Repertory Theatre in Holland, Michigan, Colorado Festival of World Theatre, Country Dinner Playhouse, Candlelight Dinner Playhouse, Omaha Symphony. Served as Assistant Professor of Technical Theater at Brooklyn College. Training: MFA, University of Iowa; BA, University of Northern Colorado.

ACTING COMPANY ANTHONY BIANCO* (Reynaldo/Player/Sailor/ Gravedigger’s Helper/ Ensemble). At the Denver Center: Jackie & Me, Death of a Salesman, Romeo & Juliet, When We Are Married, The Three Musketeers, Two Things You Don’t Talk About At Dinner, The Taming of The Shrew. Other Theatres: Twelfth Night (Arvada Center, Colorado Shakespeare); Richard III, Treasure Island (CSF); Bach at Leipzig (Boulder Ensemble Theatre Company); Much Ado About Nothing (Oak Park Festival Theatre); Hamlet,

Tuesdays with Morrie, Three Sisters, Metamorphoses (Krannert Center); The House of Yes (Equinox Theatre); The Chosen (Theatre Or); The Zoo Story (PTP). Training: MFA, University of Illinois at Urbana/Champaign, BFA, Southern Oregon University. BENJAMIN BONENFANT (Fortinbras/Cornelius/ Ensemble/Understudy). At the Denver Center: A Christmas Carol, When We Are Married. Other Theatres: Romeo and Juliet, The Inspector General, Comedy of Errors, Our Town, King Lear, Taming of the Shrew, Much Ado About Nothing, To Kill a Mockingbird (Colorado Shakespeare Festival); The Lion in Winter (Arvada Center); Red (Curious Theatre); Love’s Labors Lost, Salome, The Seagull, The Inspector General, The Bacchae, Our Town, Cyrano de Bergerac, Urinetown, Wit, The Grapes of Wrath, As You Like It (TheatreWorks); Elijah: an Adventure (Local Theatre); Ubu, Troilus and Cressida, Marisol, A Tempestuous Noise (THEATREdART). Awards: 2012 Best Supporting Actor in a Play (Red), Henry Award. STEPHANIE COZART* (2nd Player/Ensemble/ Understudy). At the Denver Center: 20 productions, including Sylvia, Arcadia, Plainsong, Amadeus, A Flea in Her Ear, The Skin of Our Teeth, King Lear, Macbeth, A Christmas Carol. Off-Broadway: Lost in Yonkers (TACT), Seven Rabbits on a Pole (Urban Stages). Regional: The Syringa Tree (Portland Stage, Repertory Theatre of St. Louis, Cincinnati Playhouse, Capital Rep, Lizard Head Theatre). Other theatres include: Actors Theatre of Louisville, Alabama Shakespeare Festival, Virginia Stage, Paper Mill Playhouse, Laguna Playhouse, Adirondack Theatre Festival. TV/Film: “The Good Wife,” “Law and Order: SVU,” “Reflection.” Training: MFA, National Theatre Conservatory. AUBREY DEEKER* (Hamlet). At the Denver Center: Debut. Thirteen productions as an affiliatedartist at the Tony Awardwinning Shakespeare Theatre in Washington, DC, including Mercutio in Romeo and Juliet, Stacy Keach’s King Lear, and

the world-premiere of The Liar by David Ives. Other Theatres: Love’s Labor’s Lost (Royal Shakespeare Company, UK), Prior Walter in Angels in America Parts 1 & 2 (Wilma Theatre, Barrymore nomination), The Walworth Farce (Studio Theatre, Helen Hayes nomination), Raskolnikov in Crime and Punishment (Round House), Boom (Woolly Mammoth, Helen Hayes nomination), and productions at The Kennedy Center, Signature Theatre, Folger Theatre, and Ford’s Theatre, among others. TV: “True Blood,” “The Wire,” “Crisis,” “NCIS.” Training: North Carolina School of the Arts.

DOUGLAS HARMSEN* (Marcellus/Osric/ Ensemble). At the Denver Center: Arcadia, Gross Indecency, The Pillowman, Amadeus, A Flea In Her Ear, Copenhagen, Macbeth, A Midsummer Night’s Dream, Racing Demon, Life With Father, Uncertainty, Season’s Greetings, Candida, Treasure Island, The Miser, The Elevation of Thieves, The Living, A Christmas Carol.

SHAWN FAGAN* (Horatio). At the Denver Center: The Voysey Inheritance. Other Theatres: Wife to James Whelan, Rutherford and Son, Milk-n-Honey, AJAX:100% Fun, Peninsula (Off-Broadway); Prince Hal/Henry V in The Making of a King (Playmakers Rep); The Whipping Man (Cleveland Play House); Intimations for Saxophone (Arena Stage); The Misanthrope (Dallas Theatre Center) Candida, King Lear (Utah Shakespeare Festival); The Playboy of the Western World, Romeo & Juliet (American Players Theatre). TV/Film: “Gossip Girl.” Awards: Backstage Memorable Performance, Wife to James Whelan.

PETER SIMON HILTON* (Claudius). At the Denver Center: Debut. Other Theatres: Much Ado About Nothing, Julius Caesar, Merry Wives, Henry VIII, 39 Steps (Alabama Shakespeare Festival), Frost/Nixon, Oklahoma!, Les Misérables (National Tours), My Fair Lady (MSMT); King Lear, Macbeth, Odyssey, Iliad, Comedy of Errors, Coriolanus, Agamemnon, Medea, Wasps, Birds (Aquila Theater Company). TV/Film: “Pan Am,” An Englishman in New York. Special/Awards: US Board member of Shakespeare’s Globe (London), Genie Award-wining playwright, and international drama consultant in global issues of diversity.

SAM GREGORY* (Polonius). At the Denver Center: (41 productions) World Premieres: The Most Deserving, Plainsong, Eventide, Two Things You Don’t Talk About At Dinner. Other Favorites: The 39 Steps, Doubt, The Voysey Inheritance, Ruined, A Midsummer Night’s Dream, Noises Off, A Flea in Her Ear, Hotel on Marvin Gardens, You Never Can Tell, Tartuffe. Other Theatres: Seattle Rep, Cincinnati Playhouse, Milwaukee Rep, Cleveland Play House, San Jose Rep, American Players Theater, Eureka Theater, George Street Playhouse, O’Neill Theater National Playwrights Conference, Alabama/California/Colorado Shakespeare Festivals, Boulder Ensemble Theater Company, Paragon. TV/Film: “NY Undercover,” “One Life to Live,” “As the World Turns.”

JOHN HUTTON* (The Ghost/1st Player). At the Denver Center: A Christmas Carol, Death of a Salesman, When We Are Married, To Kill a Mockingbird, Superior Donuts, A Midsummer Night’s Dream, House Of The Spirits, Othello, Miracle Worker, Trip To Bountiful, Plainsong, Diary Of Anne Frank, Measure for Measure, Dirty Story, The Merchant Of Venice, Copenhagen, Betrayal, Uncle Vanya, Side Man and Grace, or The Art of Climbing. Other Theatres: A.C.T., The Goodman, The Old Globe, Center Stage, Curious Theatre, The Colorado Shakespeare Festival. TV/Film: Juncture, Lincoln. MICHAEL KEYLOUN* (Rosencrantz/Ensemble). At the Denver Center: Jesus Hates Me, Noises Off. Regional: Merry Wives of Windsor (The Shakespeare Theatre), Bell, Book and Candle (Long Wharf and

Hartford Stage), Macbeth and The 39 Steps (St. Training: London Academy of Music and Dramatic Art. Louis Rep); The Producers and Is He Dead? (Pioneer); The Ladies’ Man (GeVa and Indiana Rep), The Underpants (Actors Theatre of JAMES O’HAGANLouisville), Boeing Boeing (St. Michael’s MURPHY (Player/Sailor/ Playhouse), as well as La Jolla Playhouse, Ensemble/Understudy). At Goodspeed, Cincinnati Playhouse, and Capital the Denver Center: Jackie & Rep, among others. Film: The Road from Erebus, Me, Just Like Us, Death of a The Tryout. TV: “As The World Turns.” Training: Salesman. Other Theatres: MFA, University of California, San Diego. RFK: A Portrait of Robert Kennedy, Angels in America (Vintage); The 39 Steps (Town Hall); Crime and JACOB H KNOLL* Punishment (Boulder Ensemble); A Lie of the (Laertes). At the Denver Center: Al Stevens in Great Mind (Paragon); Some Girl(s) (Edge), A Doll’s Wall Story. Other Theatres: House (Byers-Evans House). Awards: 2011 Denver Post Ovation nomination Best Year for Baltimore Centerstage, Shakespeare and Company, an Actor, 2012 Marlowe Best Actor (A Doll’s House), 2013 Henry nomination (RFK), 2013 Chester Theatre Festival. Westword Best Actor in a Drama (RFK). TV/Film: “Boardwalk Empire,” “Flight of the Conchords,” “Electric Company,” Birdman, How We Got Away With It, MACKENZIE PAULSEN The Day Lehman Died. MFA, Yale School of (Ensemble/Understudy). Drama. At the Denver Center: A Christmas Carol, Death of a Salesman, Romeo & Juliet, RODNEY LIZCANO* The Three Musketeers, (Guildenstern/A Priest/ DATE*. Other theatres: Ensemble). At the Denver NYC: The Wild Party (The Center: Just Like Us, American Night, Merchant Culture Project). Denver: The 39 Steps, Damn Yankees, Guys and Dolls (Town Hall Arts of Venice, Spinning Into Butter, Inna Beginning, The Center), Avenue Q (Vintage), Annie (PACE), A Tempest, Gross Indecency, Christmas Carol (Backstage). Tour: Missoula Children’s Theatre. NYU: Sister Mary Ignatius The Rivals, Kingdom, Picasso at the Lapine Agile, A Winter’s Tale, A Christmas Carol. Other Explains It All For You, Evita, Such Foolish Affected Ladies, The Crucible, Starmites. Theatres: Annie, How I Became a Pirate Training: BFA in Theatre from New York (Theatre Aspen); The Crucible, A Man For All University (Playwrights Horizons and CAP21). Seasons (Arvada Center); Twelfth Night, Macbeth (Dallas Shakespeare); The Lisbon Traviata (The Open Stage); Greater Tuna AMELIA PEDLOW* (JGP); Stories on Stage and Off-Broadway with (Ophelia). At the Denver Actors Ensemble Theater and DreamScape Center: The Liar. OffTheatre Company. TV/Film: Silver City directed Broadway: You Never Can by John Sayles and “Stage Struck” on the Bravo Tell (Pearl Theatre Network. Training: BFA, Southern Methodist Company). Off-Off University; MFA, National Theatre Broadway: The Notebook of Conservatory. Trigorin (The Flea); Billy Witch (Studio 42); Favorites (CINO Nights); KATHLEEN MCCALL* Much Ado About Nothing (Boomerang); True Art (Director’s Company). Regional: A (Gertrude) is in her ninth season at the Denver Center Midsummer Night’s Dream and The Merchant Theatre Company. She has of Venice (The Shakespeare Theatre); Legacy of Light (Cleveland Play House); The Diary of performed in over 40 productions of Shakespeare Anne Frank and The Tempest (Virginia Stage playing some of the Bard’s Company); The Glass Menagerie, Death of a Salesman, and Sick (Chautauqua Theatre greatest roles including: Lady Macbeth, Portia, Isabella, Rosalind, Kate, Company). TV: “The Good Wife,” “Blue Viola, Cressida, Titania, Beatrice, Elizabeth and Bloods.” Training: BFA, The Juilliard School. Hermione to name a few. Kathleen has been a professional actress for 25 years working on Broadway, Off-Broadway, national tours, regional theatres as well as television and film.

PHILIP PLEASANTS* (Voltemand/A Gravedigger/ Ensemble). At the Denver Center: Romeo & Juliet, The Giver, Heartbreak House, The Taming of the Shrew, To Kill a Mockingbird, Midsummer Night’s Dream, A Christmas Carol, Othello, Plainsong, The Voysey Inheritance, A Prayer for Owen Meany, Richard III, Noises Off, The Merry Wives of Windsor, The Diary of Anne Frank, Third, A Funny Thing…Forum, Pure Confidence, King Lear. Other Theatres: Alabama Shakespeare Festival (20 seasons), Amadeus (Broadway, national tour), Treason (Off-Broadway), Seattle Rep, Cincinnati Playhouse, Huntington, Pittsburgh Playhouse, Cleveland Play House. TV/Film: “Another World,” “All My Children,” “Judge Horton and the Scottsboro Boys.” JEFFREY ROARK* (Barnardo/3rd Player/ Captain/Ensemble/ Understudy). At the Denver Center: A Christmas Carol, To Kill A Mockingbird, Heartbreak House, The Trip to Bountiful, King Lear, White Christmas, Gross Indecency, A Winter’s Tale, The Tempest, Merry Wives of Windsor, Dracula. Other Theatres: The Crucible, Evita, Big River, Jekyll & Hyde, Cabaret, Legally Blonde and Curtains (Arvada Center); An Ideal Husband (Papermill Playhouse), My Fair Lady, HMS Pinafore (Berkshire Theatre Festival), Sorrows of Stephen (Blue Heron Theater-OffBroadway), Drood, Life is a Dream (Creede Repertory); The Doyle and Debbie Show, My Way (Denver Center Attractions). Training: BFA, Miami University; MFA, National Theatre Conservatory.

UNDERSTUDIES BENAIAH ANDERSON (Understudy). At the Denver Center: Romeo & Juliet, The Three Musketeers, Richard III. Other Theatres: Colorado Shakespeare Festival: Midsummer Night’s Dream (Philostrate), Richard III (Richmond), Romeo and Juliet (Tybalt), Macbeth (Donalbain and Young Siward), Two Gentlemen of Verona (Thurio), Hamlet (Osric), The Three Musketeers (Lubin and ensemble), Treasure Island (Black Dog and Israel Hands); The Arvada Center: The Lion in Winter (King Phillip, understudy);

Theatreworks: Cyrano de Bergerac (Valvert); Devil’s Thumb Productions: Talk Radio (Barry). Special/Training: Advanced Actor Combatant and Regional Representative of the Society of American Fight Directors. GEOFFREY KENT* (Understudy). See bio under Artistic Staff.

KEVIN LOWRY (Understudy). At the Denver Center: Debut. Other Theatres: Bengal Tiger at the Baghdad Zoo (The Edge); The 39 Steps, Out of Order (Backstage Theatre); Man for All Seasons (Arvada Center); Godspell (Aurora Fox); Macbeth, Twelfth Night (No Holds Bard); The Zoo Story (Permanent Transient); Greater Tuna (National Park Players). TV/Film: Paper Crane, Least Dangerous Game, In Courage. Awards: 2013 Broadway World nomination.


Dramaturgs: Alex Barron, Abigail Gonda, Allison Horsley, KENT THOMPSON PRODUCING DouglasARTISTIC Langworthy, Tanya Palmer, DIRECTOR David Saphier

Gabriel Koskinen-Sansone, Kyra Lindsay, Cajardo Rameer Lindsey, Ruth Livier, Rodney Lizcano, Eric Lockley, Kevin Lowry, Amy Luna, Miguel Martiman, Alma Martinez, Kathleen McCall, Timothy McCracken, Matt Music Director: McGrath, M. Scott McLean, Leigh Nichols Gregg Coffin Miller, Nick Mills, Amelia Modesitt, Sam EXECUTIVE Modesitt, Gabriel Morales-Gonzalez, Tricia Composers: Kent Thompson, Producing Artistic Director Gary Grundei, Jill BC Du Boff, Deborah Wicks Moreland, Leslie O’Carroll, James O’HaganMurphy, Jeremy Palmer, Yunuen Pardo, Bruce K. Sevy, Associate Artistic Director La Puma, Jaret Landon Mackenzie Paulsen, Jeanne Paulsen, Jonathan Charles Varin, Managing Director Earl Peck, Amelia Pedlow, Mercedes Perez, Jeff Gifford, Director of Production Casting: Philip Pleasants, Casey Predovic, Brenda Bruce K. Sevy, Emily Tarquin ARTISTIC Pressley, Max Raabe, Jeffrey Roark, Jada Roberts, Jamie Ann Romero, Christine Rowan, New York Casting: New Play Development: Thomas Russo, Erik Sandvold, Michael Santo, Elyssa Myers Casting/Paul Fouquet, CSA Bruce K. Sevy, Meredith Sczekan, Brian Shea, Lauren Shealy, Director of New Play Development Acting Company: Felix Solis, Kim Staunton, SuCh, Tony Todd, Douglas Langworthy, Kristen Adele, Colin Alexander, Leslie Jake Walker, Justin Walvoord, William Oliver Literary Manager/Dramaturg Alexander, Benaiah Anderson, Noah Anderson, Watkins, Allison Watrous, Christopher Wells, Chad Henry, Literary Associate Richard Azurdia, Mary Bacon, Leonard E. Ryan Wuestewald, Gabra Zackman Emily Tarquin, Artistic Associate/ Barrett Jr., Cynthia Bastidas, Anthony Bianco, New Play Coordinator Designers Craig Bockhorn, Benjamin Bonenfant, Sylvie Drake, Advisor Scenic Designers: Michael Bouchard, Jason Bowen, Kathleen Kevin Fulton, Intern David M. Barber, Myung Hee Cho, Lisa M. Brady, Nadja-Monet Brown, Courtney Capek, Gabriella Cavallero, Shamika Cotton, Orzolek, Kevin Rigdon, Robert N. Schmidt, Commissioned Playwrights: Vicki Smith, Donyale Werle Stephanie Cozart, Jeff Cribbs, Jenn Miller Marcus Gardley, Idris Goodwin, Kirsten Cribbs, Laurence Curry, Aaron M. Davidson, Greenidge, Theresa Rebeck, Tanya Saracho, Costume Designers: Aubrey Deeker, Cleavant Derricks, Diana Robert Schenkkan, Eric Schmiedl, James Still, Dresser, Adrian Egolf, Connor Nguyen Kevin Copenhaver, Meghan Anderson Doyle, Catherine Trieschmann, Karen Zacarías Dane Laffrey, David Kay Mickelsen, Elizabeth Erickson, Shawn Fagan, Liza Fernandez, Novak, Leah Piehl Michael Fitzpatrick, Eugene Fleming, Directors: Michael Gaessler, Tanner Gardner, Adriana Shelley Butler, Mike Donahue, Anthony Lighting Designers: Gaviria, Kate Gleason, Fidel Gomez, Sam Powell, Bruce K. Sevy, Kent Thompson, Don Darnutzer, York Kennedy, Charles R. Gregory, Douglas Harmsen, Edwin Harris, Stephen Weitz, Chay Yew MacLeod, Jane Spencer Mike Hartman, Judith Hawking, John Patrick Hayden, Peter Simon Hilton, Sequoiah Assistant Directors: Sound Designers: Bryce Russell Alexander, Joshua Chase Gold, Hippolyte, Rebecca Hirota, Ben Huber, Steven Craig Breitenbach, Jason Ducat, Tyler Nelson Cole Hughes, John Hutton, Isaiah Johnson, Jose Mercado, Alan Osburn, Dan Schultz, John M. Jurcheck, Michael Keyloun, Lauren Projection Designer: Emily Tarquin Klein, Jacob H Knoll, Charlie Korman, Charlie I. Miller


Coaches: Laurence Curry (Movement), Gabriella Cavallero (Dialect), Robert Davidson (Movement), Kathryn G. Maes Ph.D. (Vocal), Geoffrey Kent (Fight), Christine Rowan (Movement), Will Taylor (Movement)

Paint Shop Jana L. Mitchell, Charge Scenic Artist Melanie Rentschler, Lead Scenic Artist Brian Proud, Scenic Artist Paint Intern: Darcey James

Costume Shop PRODUCTION Janet S. MacLeod, Costume Director Costume Design Associate: Jeff Gifford, Director of Production Meghan Anderson Doyle Rick Noble, Assistant Production Manager Drapers: Stephanie Cooper, Carolyn Robert L. Orzolek, Interim Technical Director Plemitscher, Louise Powers, Jackie Scott, Christopher C. Ewing, Production Jane Nelson-Rudd Stage Manager First Hand: Cathie Gagnon, Belinda Haaland Julie Brou, Production and Artistic Tailor: Sheila P. Morris Office Manager Stitchers: Kelly Jones, Teresia Larsen, Zoe Pielsticker, Wanda Price, Jenny Milne, Scenic Design Barb Shively Lisa M. Orzolek, Director of Scenic Design Scenic Design Assistants: Lindsey Mayer, Costume Crafts Nicholas Renaud Kevin Copenhaver, Costume Crafts Director Costume Crafts Artisans: Judy Craigo, Lighting Design Karen King Charles R. MacLeod, Director of Lighting Lighting Design Assistant: Lily Bradford Wigs Diana Ben-Kiki, Wig Master Multimedia: Charlie I. Miller, Resident Multimedia House Crew Specialist Doug Taylor*, Supervising Stagehand Topher Blair, Multimedia Assistant/Operator Stagehands: Mariah Becerra*, Jennifer Guethlein*, Andrew Hamer, Stephen D. Sound Design Mazzeno*, Miles Stasica*, Matt Wagner*, John E. Pryor, Director of Sound Jim Berman* (*IATSE Local 7 Stagehands) Sound Designers: Craig Breitenbach, Jason Ducat, Tyler Nelson Wardrobe Brenda Lawson, Director Stage Management Wig Assistants: Jocelen Barnett, Christopher C. Ewing, Production Maria Y. Davis, Lisa Rokicki Stage Manager Dressers: Robin Appleton, Amber Donner, Stage Managers: Rachel Ducat, Amoreena Kissel, Kelly Jones, Tim Nelson, Kurt Van Raden, Lyle Raper, A. Phoebe Sacks Alan Richards, Brooke Vlasich, Lisa Parsons Assistant Stage Managers: Paul Behrhorst, Matthew Campbell ADMINISTRATION Production Assistant: D. Lynn Reiland Stage Management Interns: Becky Fryberger, Charles Varin, Managing Director Pearl Kerber, Kristen Littlepage Ryan Meisheid, Associate Managing Director Alyssa Stock, Company Manager Scene Shop Allison Taylor, Assistant Company Manager Josh Prues, Assistant Technical Director Cassie Brown, Business Administrator Lead Technicians: Albert “Stub” Allison, Diana Buirski, TCG Management Fellow Louis Fernandez III Scenic Technicians: Mike Hamer, MARKETING Justin Hicks, Brian “Marco” Markiewicz, Brianna Firestone, Director of Marketing Keli Sequoia, Ross Wick Alexandra Griesmer, PR & Promotions Prop Shop Manager Robin Lu Payne, Properties Director Jane McDonald, Marketing Coordinator Eileen Garcia, Assistant Properties Director Roo Huigen, Lead Props Artisan Props Artisans: Jamie Stewart Curl, Charles Dallas, David Hoth, Katie Webster

PLEASE BE ADVISED LATECOMERS are seated at designated breaks. PHOTOS & VIDEO RECORDING are prohibited. TURN OFF cell phones and alarm watches. CHILDREN UNDER 4 are not admitted. COUGH DROPS are available at Patrons Services.

The Directors and Choreographers are members of the Stage Directors and Choreographers Society, an independent national labor union. The actors and stage managers employed in these productions are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States. Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.) Scenic, Costume, Lighting and Sound designers in LORT theatres are represented by United Scenic Artists Local USA-829, IATSE

Member of the Colorado Theatre Guild

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


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The road to Evita was paved with patience, politics, perseverance and, when it came to making choices, a good deal of luck





of the


Of the musicals that they created together, the collaboration of Andrew LuPone who snagged the part on Broadway. (She later complained Lloyd Webber and Tim Rice has fashioned some highly enduring, bitterly and publicly that her experience with Evita was one of the most money-making shows. Jesus Christ Superstar, Joseph and the Amazing painful and difficult of her career; true or not, it made no difference to Technicolor Dreamcoat and Evita shine undiminished among them. the show’s success and it enhanced Lupone’s own developing career.) Almost everyone thinks of Evita, now in The Buell, as chiefly Lloyd ice had established the character of Che as the narrator and naviWebber’s creation, but in fact it was Rice who brought the kernel of the gator of the story, but in a stroke of pure dramatic license, Prince idea to his colleague—and Lloyd Webber who rejected it. insisted on modeling the character after Che Guevara. The real Rice developed the original fascination with Eva Perón after allegedly Guevara, an Argentine by birth, had no historical connection to Eva hearing a portion of a radio show about her that sparked his interest. Perón, and that emphasis was later minimized. He couldn’t let go of it; he remembered the image of Eva Perón from In a 1978 interview with this writer, Prince had loftily described Evita his boyhood stamp collection. He decided to do the research, even as “about the smallness of individuals against this enormous political traveled to Buenos Aires in pursuit of more information and knowledge. canvas. Che Guevara and Eva Perón are mythic characters. She was He found it, with some welcome assistance sleazy, yet emerges much larger than life. from Argentine film director Carlos Pasini It’s myth vs. reality. The arena dwarfs the Hansen who had produced a film about Perón people, but put them in front of a microtitled Queen of Hearts that Rice eventually phone and they become just as large, just as saw—as many as 20 times by his own count. unreal.” He even named his first daughter after the The Los Angeles Times review of the Argentine first lady. pre-Broadway try-out in that city, described “I was hooked,” he concedes. But Lloyd Evita as “not flawless, but possessed of Webber wasn’t—yet. He was busy pursuing three vital ingredients: tremendous scope, a remarkable score and the directorial genius a collaboration with playwright Alan Ayckof [Harold] Prince. There is a dark flash and bourn on a musical version of Jeeves, based vulgarity to its tone, protagonists who reflect on the legendary P.G. Wodehouse butler. It essence rather than externals and the preswas only after that project was completed ence of Che Guevara as a sardonic goad… and met with disappointing public reception Evita’s only bit of absolute fiction, but that is that he began to think of Rice’s proposal. Favorably this time. all it takes to free the work from the strait— Harold Prince, original director jacket of reality.” In 1976, score and script in hand, Rice and This permission to take liberties, explore Lloyd Webber approached director Harold Prince to stage their new musical Evita. and experiment, is what makes theatre thrive as art. Allowed to roam the infinite reaches of the imagination, theatre Prince (who later went on to direct Lloyd Webber’s most popular and profitable musical, The Phantom of the Opera) famously stated that a can zero in on truths that are more startling and accurate than strict musical that started with a funeral had to be interesting. But he also reality can provide. It is what myths are all about, including the myths born—as in the case of Evita—from political fact and a fair amount of told the composer and book-writer that, while he’d like to stage it, he could take on no new commitments for two years. Undeterred, the guys fiction. As a musical Evita is, indeed, “Brechtian, uncomfortable and subtly tainted by the garnishes of hypocrisy,” but it is on the mark when agreed to wait and used the time to refine the show. Following a pattern it comes to delivering the essence of theatrical invention and releasing it set with Jesus Christ Superstar, they proceeded to record Evita as a concept album with actress/singer Julie Covington in the title role. as a tool for illuminating human nature. n he album sold very well. Altogether, sales even exceeded those of Jesus Christ Superstar. That heightened interest in the promised musical. Thanks to its captivating music (even if the lyrics never made much sense), its signature song, “Don’t Cry for me Argentina” hit Number One on the British singles chart. While it didn’t quite set the U.S. on fire, such names as Karen Carpenter, Olivia Newton-John and Petula Clark all recorded their own versions of it. Rehearsals finally got underway in 1978 and the show opened at Jan 15 – 26 • Buell Theatre London’s Prince Edward Theatre on June 21 to mixed but mostly good reviews. The music was haunting, the mystique of Eva Perón was still Sponsored by The Westin Denver Downtown and HealthONE very much alive (she had died of cancer in 1952, at the young age of 33), ASL interpreted, Audio Described & Open Captioned • Jan 26, 2pm there was an aura of sexy romance and adventure around the Guevara character as well. By the time it closed in London 3,176 performances Tickets: 303.893.4100 later, the show had blossomed into a major hit. Toll-free: 800.641.1222 • TTY: 303.893.9582 It made a star of Elaine Page, who played Evita after Covington had turned down the role—and it did the same across the pond for Patti Groups (10+): 303.446.4829 •


“She was sleazy, yet emerges much larger than life. It’s myth vs. reality. The arena dwarfs the people, but put them in front of a microphone and they become just as large, just as unreal.”




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THE WESTIN DENVER DOWNTOWN HOTEL Sharing Denver’s Wealth With Others


“Donating leftovers shows a respect for food,” states The Westin’s Executive Chef Jean-Luc Voegele. “As a chef and as a gardener, I know that a bruised tomato or apple may not be usable in the hotel kitchen, but it still has nutritional value.” The Westin’s gift to We Don’t Waste provides unused food to agencies such as Allied Jewish Apartments, Denver Inner City Parish, Denver Rescue Mission, Denver’s Road Home, Father Woody’s Haven of Hope, Holy Ghost Church, Jewish Family Service of Colorado, the Samaritan House and The Gathering Place, to list just a few. Last but certainly not least, did you ever wonder what happens to that scrap of soap or half used shampoo you left in the hotel shower? The Westin Denver Downtown was the first Denver area Starwood hotel to commit to Clean the World, a program that collects partially used toiletries for donation to third world countries. Since the beginning of the partnership, The Westin has contributed more than 28,000 bars of soap to the needy. When planning your next event, remember The Westin Denver Downtown, located on the 16th Street Pedestrian Mall at 1672 Lawrence Street, and see for the guaranteed best rates. n —Submitted by Susan Stiff

“Donating leftovers shows a respect for food. As a chef and as a gardener, I know that a bruised tomato or apple may not be usable in the hotel kitchen, but it still has nutritional value.” — Jean-Luc Voegele, Executive, The Westin Downtown Denver

Proud sponsor of Evita and Saturday Night Alive



he Westin Denver Downtown Hotel is well known for its contribution to Denver’s performing and visual arts community. The hotel is a multi-year sponsor of Saturday Night Alive, the signature fundraiser for The Denver Center for the Performing Arts (DCPA). It provides gift certificates from sister properties in such locations as Venice, Vienna and Vietnam for the mega-auction event that raises well over $600,000 for youth arts education and outreach. The Westin also is the hotel sponsor for Evita at the DCPA and partners with the Denver Art Museum on packaging with blockbuster exhibits such as Passport to Paris, as well as partnering with Colorado Ballet, Central City Opera and Opera Colorado on weekend packages and promotions. The hotel also is becoming a popular destination in the meetings industry for its commitment to sustainability. The Westin Denver Downtown was the first in the city to implement on-site composting in partnership with the Tabor Center Office Tower and restaurant complex. It contributes unused banquet food to We Don’t Waste, a local organization that collects leftover food from events, caterers, restaurants and other major food providers and distributes it to charitable agencies serving Denver’s disadvantaged populations.

Denise and Ray Bellucci at The Westin Denver Downtown’s sponsored Saturday Night Alive Patron Party

Westin Denver Downtown’s Director of Housekeeping Kyle Spencer, Director of Human Resources Cammie Ellis with housekeepers Norma Chavez, Betty Ventura and Jocelyn DuPuis collecting soap for Clean the World.






Staying Young As We Get Older



e are looking to make a difference in communities across the state, to respond to Coloradans’ journey as they age, and to create easy access to fun and meaningful opportunities,” said Morie Smile, AARP Colorado’s State Director. At 50, Smile is leading AARP’s staff of eight in ensuring that AARP becomes a part of the fabric of the community. Recently, Angela Cortez, AARP’s Communication Associate State Director, had the opportunity to sit down with Smile and talk about today’s AARP.

“We know that entertainment and promoting cultural offerings are important to the well-being of our members.” — Morie Smile, Colorado State Director, AARP

Proud sponsor of Mamma Mia! and select Kids’ Nights on Broadway



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Isn’t AARP for retirees? While AARP’s membership starts at 50, much of our work impacts people of all ages. For example, if you look on our website,, you’ll see a great deal of resources for employees and job seekers. Colorado is a young state, and approximately half of our membership is under 65, which in this day and age means they are still working. The R and P stand for Real Possibilities, and that is what we hope to give all of our members: the chance to pursue their dreams.

Doesn’t AARP provide discounts? Absolutely! In addition to a huge menu of national offerings, Colorado has reached out to cultural partners such as The Denver Center for the Performing Arts to offer discounts to our members. Members who purchased tickets for Mamma Mia! received a substantial discount thanks to their membership. We also are providing deep discounts for black odyssey, Hamlet, Animal Crackers, Shadowlands and two other blockbuster shows yet to be announced. And we are encouraging our members and their friends to participate in Second Act at the Denver Center Theatre Academy. The Second Act Sample is a series of one-time educational events designed to spur theatrical curiosity in older theatregoers. In addition, we have relationships with the Denver Art Museum, Foothills Art Center, the Denver and Grand Junction Botanic Gardens just to name a few. We know that entertainment and promoting cultural offerings are important to the well-being of our members. n

Your comments are aspirational, what impact can AARP have on my life? The 50+ population is very diverse and incorporates different wants, needs and desires. For people looking at their “what’s next,” we have introduced Life Reimagined, which is a webbased program that helps participants realize their strongest skill sets and gives some tangible next steps in realizing their goals. Many of us are caregivers, often for a parent and a child. We are focusing heavily on providing resources to assist these caregiving providers. AARP also has an extremely effective and knowledgeable advocacy cadre. We have been able to save consumers millions of dollars over the years just in utility costs.

AARP staff a nd family pa rticipate ann ually in the Denver P ride Parade.

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Painted Bread

Explore the life of artist Frida Kahlo through a series of self portraits that come to life on stage, dramatically capturing her daring sense of humor, her love of Mexican ‘pop culture’ and her passion for the art a form.

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Of all of Shakespeare’s plays, none is more lauded or lends itself to more interpretations than Hamlet, an imperfect play. So why does this magic work? BY DAN SULLIVAN



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Season by season the theories keep coming and none of them proves out. Yet the experts continue to insist that it’s Shakespeare’s greatest play—everyone but T.S. Eliot who called it “an artistic failure.” Having reviewed a hundred or so Hamlets, I’m with the majority. I’ve never seen one that I didn’t get something out of, something that reminded me, for better or worse, of me. That includes the boring productions, of which there have been several, and one disaster: a San Francisco staging featuring, at the very end of her career, Dame Judith Anderson. Not as Gertrude, but as Hamlet. This sounds like a hallucination and it played like one, but I could show you the program. I also have been blown away by the play. About five years ago the Royal National Theatre of Great Britain brought it to Tucson. The performance brought the audience, including me, to its feet, but not right away.

What draws us to this story? Why is it constantly being revived, adapted, parodied, misquoted? What in Hamlet’s uncertain journey reminds us of our own episodic lives? For nearly a minute—A long time in the theatre—we just sat there in silence, absorbing the awful logic of that last scene. All those stupid deaths (“casual slaughters,” as Horatio calls them), because one thing suddenly led to another. Yes, we thought. That’s how badly things work out sometimes, even with good intentions. It can come down to that… Then we stood up. But the mountain had already been scaled. The silence was the prize. n preparing his Denver production, Thompson has tried to curb the temptation of every Shakespearean director to make this the absolute, ultimate, gamechanging last word on the play. Rather than “The” Hamlet, he’s aiming for “A” Hamlet: alive, human, comprehensive, not an assault on anybody else’s interpretation. Not that he doesn’t have his own ideas about the play. He described it at a production meeting as “a haunting.” Can you elaborate on that?



ell, obviously there’s a ghost in the play. And there’s something troubling in the air. Bad omens, as when Caesar was murdered. But in prying open my reaction to the story, I’d say that for two-thirds of it Hamlet seems preoccupied with memories of his childhood. “There’s an element of hero-worship for his father. Not that he was being raised to be that kind of soldier king. They—probably Gertrude—sent him to Wittenberg to become the philosopher king. But now some part of him is bent on punishment, on revenge.” What about his disappearance in the middle of the story, that strange business about his being captured by pirates? “It’s the pirates who save him! At a certain point in Shakespeare, psychology goes out the window and a fairy-tale device comes in. I think that when Hamlet is delivered back to Elsinore he’s accepted his fate, whatever it is, and knows what he’s got to do.” Which is why Thompson struggles with that graveyard scene. It’s very late in the play, Hamlet has shed his juvenile angst, he can even see himself as a kind of divine agent. Why does he start scuffling like a teenage hood in a 50s movie? “Maybe he’s surprised at his own behavior,” I said. “Or maybe he’s just realized how much he really did love Ophelia,” Thompson replied. And the debate goes on… n



Forget “To be or not to be.” As Producing Artistic Director Kent Thompson’s cast started rehearsing Hamlet for the Denver Center Theatre Company, they faced a more pressing question: “What’s going on here?” For American and British theatre folk, Hamlet is the Big One, the Everest that’s got to be scaled “because it’s there.” And scaling it once doesn’t mean you’ve conquered it— only that you survived the climb. Having staged Shakespeare’s übertragedy at the Alabama Shakespeare Festival some years back, Thompson has a working knowledge of the terrain, but he’s still scouting for handholds. (It’s a maiden climb for his Hamlet, Aubrey Deeker.) here’s something strange about this play. If Macbeth has a curse on it, as theatre people like to believe, Hamlet seems to carry the stamp of heaven, even in its imperfections, which are many. A well-made play it is not. The plot is pinned together like a muslin costume; the time sequences don’t jibe, the characterizations are inconsistent. Is Horatio a regular at Elsinore (Act I, Scene One) or did he just show up (Act I, Scene Two)? Why didn’t the person who provides Gertrude a close-up account of Ophelia’s drowning jump in and rescue the poor girl? As for Ophelia’s sad little funeral, it’s all very well for her hotheaded brother Laertes to leap into her grave to show his grief, but would Prince Hamlet really follow suit? It may be in the text, but in which version of the play? (There are at least three.) Again, does Hamlet lament his “too, too solid flesh” or his “too, too sullied flesh?” Thompson and his company will work out such issues by themselves. But his basic question (“What’s going on here?”) goes deeper and has been debated almost since Hamlet opened at the Globe Theatre—a date we don’t have (1603 maybe?). What draws us to this story? Why is it constantly being revived, adapted, parodied, misquoted? What in Hamlet’s uncertain journey reminds us of our own episodic lives? To begin with, what’s the theme? Macbeth is about ambition. Othello is about jealousy. Hamlet’s problem is—what? Depression? Not being able to make up his mind? Wanting to go to bed with his mother? Maybe he’s secretly glad that Claudius killed his father. Maybe he’s in love with Horatio. Maybe he doesn’t want to take the controls of a fascist state. (Taking a cue from “Denmark’s a prison,” two recent revivals were set in high-tech penitentiaries with digital alarm systems and HD screens. Great design, but it didn’t deepen the story.)

Dan Sullivan reviewed theatre for the Los Angeles Times, The New York Times and the Minneapolis Tribune. He now teaches at the University of Minnesota Journalism School.

Jan 24 – Feb 23 • Stage Theatre Producing Partners: Sheri & Lee Archer, Katy Atkinson, Isabelle Clark, Alan & Katie Fox, Diana & Mike Kinsey Sponsored by the National Endowment for the Arts/ Arts Midwest ASL interpreted & Audio Described • Feb 23, 1:30pm Perspective on the play: Jan 24, 6pm, Jones Theatre* *Attend a FREE moderated discussion about the play with DCTC’s creative team. All are welcome.

Tickets: 303.893.4100 Toll-free: 800.641.1222 • TTY: 303.893.9582 Groups (10+): 303.446.4829 • 303.893.4100





Thank You, NEA!




uilding the next generation of theatre audiences is an important part of The Denver Center’s mission. We are pleased to report that the Denver Center Theatre Company received its fifth National Endowment for the Arts Shakespeare for a New Generation grant to support a significant educational component with this season’s Hamlet. A dollar-fordollar matching grant, NEA funding is combined with a mix of donations from the corporate, foundation and private sectors to make this program possible. Eight high schools in the metro area have been selected to participate: Alameda, Hinkley, Emily Griffith, John F. Kennedy, Justice High School, Rangeview, South and Thomas Jefferson.

In addition, two rural community high schools will participate as well: Prairie View and Brighton. Just over 800 students and teachers are involved in this project which includes teacher training, a series of pre- and post-play activities for students (to help them connect more significantly with the play), in-depth online study guides and, of course, tickets for all participants to attend a special Student Matinee of Hamlet in The Stage Theatre. n

“Hamlet is caught between suspicion of his mother and of his uncle and grief over his father’s death. Many students will understand the pain, grief, confusion of losing a parent or the sudden collapse of a marriage.”


Special thanks to the following donors who helped us achieve our NEA match and who made additional gifts to make this project possible: The Anschutz Foundation The Belay Fund Colorado Creative Industries The Denver Foundation Alan and Katie Fox Allan and Margot Frank IMA Financial Group Impact Creativity/National Corporate Theatre Fund 26


Walter and Gene Koelbel Rev. Trust Robert and Judi Newman Walter S. Rosenberry, III Charitable Trust Ruth S. Silver Target June Travis U.S. Bank Xcel Energy Foundation

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Impact Creativity is an urgent call to action to save theatre education programs in 19 of our largest cities. Impact Creativity brings together theatres, arts education experts and individuals to help over 500,000 children and youth, most of them disadvantaged, succeed through the arts by sustaining the theatre arts education programs threatened by today’s fiscal climate. For more information on how “theatre education changes lives,” please visit: ($250,000 or more) The James S. and Lynne P. Turley Ernst & Young Fund for Impact Creativity Clear Channel Outdoor* CMT/ABC*

– Kent Thompson, Producing Artistic Director, Denver Center Theatre Company

The NEA has supported Shakespeare for a New Generation for the past four years, most recently featuring DCTC’s Romeo & Juliet (above) and The Taming of the Shrew (right) during the 2010/11 Season.

CURRENT CONTRIBUTORS List Complete August 2013

($100,000 or more) The Hearst Foundations ($50,000 or more) AOL* ($10,000 or more) Christopher Campbell/ Palace Production Center* Lisa Orberg Frank and Bonnie Orlowski The Ralph and Luci Schey Foundation The Schloss Family Foundation Southwest Airlines* James S. Turley John Thomopoulos Wells Fargo ($5,000 or more) Steven and Joy Bunson Paula Dominick Christ Economos Mariska Hargitay* Ogilvy & Mather* The Maurer Family Foundation ($1,000 or more) Nick Adamo Mitchell J. Auslander Ryan Dudley Bruce R. Ewing Jessica Farr Steve & Donna Gartner Glen Gillen Peter Hermann Janet and Howard Kagan John Major Jonathan Maurer and Gretchen Shugart George S. Smith, Jr. Florence Miller Memorial Fund Theodore Nixon Carol Ostrow RBC Wealth Management Isabelle Winkles *Includes In-kind support


colo rado new play summit 2014




By Eric Schmiedl Based upon the novel by Kent Haruf

THE COMPARABLES By Laura Schellhardt

VICTORY JONES AND THE INCREDIBLE ONE WOMAN BAND • 303.893.6030 Producing Partners: Joy S. Burns, Leo & Susan Kiely, Daniel L. Ritchie, Bob & Carole Slosky, Steinberg Charitable Trust

the second break beat play By Idris Goodwin


By Kirsten Greenidge

Yunuen Pardo, Adriana Gaviria, Ruth Livier, Sabina Zuniga Varela• Photo by Kyle Malone



Denver Center Theatre Company presents the 9th Annual

Animal Crackers Book by George S. Kaufman & Morrie Ryskind Music & Lyrics by Bert Kalmar & Harry Ruby Adapted by Henry Wishcamper Original Orchestrations by Doug Peck


Zinging one-liners and slapstick brilliance fill this interactive and boisterous musical comedy from the genius Marx Brothers.

APRIL 4 – MAY 11 • STAGE THEATRE Sponsored by:

Season Partners:

Producing Partners:

DENVERCENTER.ORG • 303.893.4100 TTY: 303.893.9582 • GROUPS (10+): 303.446.4829




North American Tour Cast. Photo by Paul Natkin.


Million Dollar Quartet




Toll-free: 800.641.1222 TTY: 303.893.9582 Groups: 303.446.4829

Feb 25 – March 9 Buell Theatre Great balls of fire! This electrifying musical is inspired by the true story of the one and only time rock’n’roll icons Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins came together for one of the greatest jam sessions of all time. This Tony® award-winning Broadway show features your favorite timeless hits. Rock’n’roll’s best kept secret... revealed! ASL interpreted, Audio Described and Open Captioned performance March 9 @ 2pm.



The #


March 18 – 23 Buell Theatre



This is the stunning musical that will not die—not after a hobbled start in 1975, not after a 20-year waiting period, and certainly not after the resounding success of its 1996 revival and 2002 Oscar-winning film. It joyfully returns to Denver for the fifth time.

in Broadway History!





Looking ahead…

Tickets: 303.893.4100

ASL interpreted, Audio Described and Open Captioned performance March 22 @ 2pm.

Shadowlands March 28 – April 27 Space Theatre


Professor/author C.S. Lewis was a bachelor into middle age, when friendship with an American fan, Joy Davidman, ignited a deep and unexpected romance. But a diagnosis of cancer for Joy brings on a crisis of faith for Lewis, straining his lifelong dedication to Christian theology. This true story reminds us that great loss does not exist without great love. ASL interpreted and Audio Described performance April 27 @ 1:30pm



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Spark a dialogue today by participating in our free CONNECT program. Designed to enhance your theatre experience, the CONNECT program offers a variety of opportunities, including moderated discussions with the cast and creative staff, educational resources, tours, and other special events. For more information visit

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Personalized Programs: Anti –Aging / Hormone, Thyroid & Adrenal Health / Aesthetic Dermatology Nutrition / Neurotransmitter Testing and Balancing Dr Katia Meier is Board Certified in Anti-Aging Medicine and is a naturopathic and Bio-identical Hormone trained MD.

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VECTRA BANK THINKING CRITICALLY AND CREATIVELY “Not only do arts provide those critical experiences that can open minds and hearts to an entirely different way of thinking, but they are part of our economy and a key component of why Colorado continues to be a great place to live and do business.”


— Bruce Alexander, Vectra Bank Colorado President and CEO

“We are honored to partner with organizations that give so generously to enable communities to flourish,” he continues. “We are privileged to be part of DCPA whose caliber is undeniable, from the performances it showcases to the experiences it delivers, to its educational outreach.” As part of Zions Bancorporation, Vectra, with 41 locations throughout the state, has the personal feel of community banks, and the reach and resources of larger institutions. Its bankers focus on all stages of life and cycles of a business, with a proactive approach to help advance clients’ financial goals. Whether the customer is the manager of a growing Colorado company, an individual consumer or someone looking for support in wealth management planning, all will find at Vectra Bank an innovative banking organization eager to surpass their expectations. n For information on Vectra Bank Colorado, visit

A proud sponsor of the Denver Center Attractions season PRESIDENT AND CEO BRUCE ALEXANDER



ur economy thrives on the generation of ideas, not just the manufacturing of goods and products,” says Vectra Bank Colorado President and CEO Bruce Alexander. “Learning to think both critically and creatively about solutions enables us to successfully navigate an increasingly complex world.” Established in 1988, Vectra has maintained its commitment to efforts and organizations that advance communities through revitalization, economic development, affordable housing—and the arts—around the state. Vectra employees volunteer for and support numerous arts institutions throughout Colorado as part of Vectra’s mission to support community, innovation and discussion. “One of Vectra’s goals is to be an active listener and observer of business and economic trends, and to share that information with our clients, so they can anticipate and plan for the future,” says Alexander. “Not only do arts provide those critical experiences that can open minds and hearts to an entirely different way of thinking, but they are part of our economy and a key component of why Colorado continues to be a great place to live and do business.


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JAN 16 – MAR 9

JAN 28 – FEB 2




North American Tour Cast. Photo by Paul Natkin.


FEB 25 – MAR 9







MAR 18 – 23






APR 25 – 27


MAY 6 – 18


the groundbreaking BROADWAY musical

MAY 23 – 25


303.893.4100 GROUPS: 303.446.4829 TTY: 303.893.9582




Fine Wines.

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DCPA patrons receive a free bottle of Canvas wine and a $10 hotel parking credit with the purchase of two dinner entrees.

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Open Daily 10 a.m. - 7 p.m. 2401 Fifteenth Street Located at 15th and Platte Streets

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Free Pot of Tea with Ad

Lunch • Traditional Afternoon Tea

Bridal Showers • Birthday Parties • Tea Tastings Catering Available for Special Events



Show your tickets and receive a free appetizer with your purchase of two entrées. Offer good at both locations!

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The Cheesecake Factory features an extensive and creative menu of more than 200 dishes made fresh from scratch, along with more than 50 low-calorie â&#x20AC;&#x153;SkinnyLiciousâ&#x201E;˘â&#x20AC;? dishes and 50 signature cheesecakes & desserts. Enjoy lunch, dinner, late night dining and Sunday Brunch.

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Downtown Denver’s premier wedding location is an easy commitment. Located in the heart of the Denver Theatre District, the Seawell Grand Ballroom is a venue like no other. Your very own event team will capture your imagination, transporting you and your guests into any scene. Marry this with stunning skyline and mountain views and you have the perfect stage to start the rest of your life. DENVERCENTEREVENTS.ORG

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Registr a for all-dtion sum ay programmer s starts Ja

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Gorgeous Photos - Studio JK, The Happy Couple - Josephine and Jason

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Vision is just imagination if you aren’t prepared to act. Potential can be well hidden in today’s economic environment, but it’s there for those with the vision and experience to see it. For investors without the confidence or readiness to act, however, potential is just lost opportunity. At BNY Mellon Wealth Management, we uncover investment potential and know how to capitalize on it. Most importantly, as one of the world’s top wealth managers and a leader in client satisfaction, our expertise gives investors the ability to move forward with confidence. Are you heading for success or pointed in the wrong direction? Contact us for a complimentary stress test of your current portfolio.

Tracy McCarthy (303) 209-9520 Follow us on Twitter @BNYMellonWealth

BNY Mellon Wealth Management conducts business through various operating subsidiaries of The Bank of New York Mellon Corporation. ©2013 The Bank of New York Mellon Corporation. All rights reserved.

Applause Magazine, Jan. 17-26, 2014  

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