Applause Magazine, Mar. 27-Apr. 26, 2015

APPLAUSE

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VOLUME XXVI | NUMBER 5 | MAR – APR 2015

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ONE NIGHT IN MIAMI…

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VO LU M E X XV I | N U M B E R 5 | M A R – A P R 2 0 1 5

EDITOR: Suzanne Yoe CREATIVE DIRECTOR: Rob Silk ASSOCIATE EDITOR: John Moore DESIGNERS: Kim Conner, Brenda Elliott, Kyle Malone CONTRIBUTOR: Elizabeth Jewitt

LETTER FROM THE CHAIRMAN

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Applause magazine is funded in part by

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

and football legend Jim Brown before announcing his alignment with the Nation of Islam (and his eventual name change to Muhammad Ali). It’s a powerful spring line up of big personalities and worldchanging ideas.

Looking ahead you’re in for some treats. Our Broadway highlights include the national tour launch of If/Then, Roald Dahl’s Matilda The Musical, the 2014 Tony award-winner A Gentleman’s Guide to Love & Murder and Beautiful — The Carole King Musical among many others. Our Theatre Company titles are nearly confirmed and are sure to match this season in quality, variety and appeal.

Thank you for joining us today. I hope this season and next become part of your plans for enjoying our beautiful Colorado. Have fun.

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

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BOARD OF TRUSTEES Daniel L. Ritchie, Chairman and CEO Donald R. Seawell, Chairman Emeritus William Dean Singleton, Secretary/Treasurer Robert Slosky, First Vice Chair Margot Gilbert Frank, Second Vice Chair Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond L. Roger Hutson W. Leo Kiely III Mary Pat Link Trish Nagel Robert C. Newman Hassan Salem Richard M. Sapkin Martin Semple Jim Steinberg Ken Tuchman Tina Walls Lester L. Ward Dr. Reginald L. Washington Judi Wolf Sylvia Young _______________________

HONORARY MEMBERS Jeannie Fuller Glenn R. Jones M. Ann Padilla Cleo Parker Robinson

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Do you consider yourself a revolutionary? Probably not.

Most of us aren’t and those who are might not see themselves that way. We’re all just people — until some of us manage to change the world.

In our world premiere Theatre Company production of The 12, the followers of Jesus Christ wrestle with their roles as revolutionaries without a leader.

Developed by Tony-winning playwright and lyricist Robert Schenkkan (All The Way) and award-winning composer Neil Berg, The 12 combines the music of revolution (rock and roll) with universal questions of identity and responsibility.

Whatever your beliefs, you’ll see some of yourself in this never-been-told story of people trying to find their places in a radically new world. Join us for this dramatic end to our Theatre Company season.

You can also keep the rock flame alive with the creative and percussive hit STOMP or meet a revolutionary humorist in Mark Twain Tonight!

Speaking of revolution, our Theatre Company’s production of One Night in Miami…. imagines the night Cassius Clay spent with activist Malcolm X, singer Sam Cooke

Applause is published seven times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved.

Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

Carolyn Foster, Executive Assistant to Daniel L. Ritchie Kim Schouten, Executive Assistant to Daniel L. Ritchie

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 Minumum Width .75” Maximum Width 2”

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SENIOR MANAGEMENT STAFF Clay Courter, Vice President, Facilities & Event Services John Ekeberg, Executive Director, Broadway Vicky Miles, Chief Financial Officer Jennifer Nealson, Chief Marketing Officer Kent Thompson, Producing Artistic Director, Theatre Company Charles Varin, Managing Director, Theatre Company David Zupancic, Interim Director of Development

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STOMP

COMING UP FROM BROADWAY:

AS LOUD AS YOU CAN

MOTOWN THE MUSICAL

STOMP photo by Steve McNicholas 2012

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STOMP is Baaaaaaack! Hooooooold on to your hubcaps! It’s been a while since you heard those clomping, clanging racket makers — racketeers? — right here in your own back yard. Yes, STOMP is back in Denver in all its explosive, syncopated glory with those incredible percussionists who treasure the old adage about one man’s trash…

The troupe still doesn’t look at everyday objects the way the rest of the world does. In their hands, brooms, garbage cans, Zippo lighters (we’re not sure about Grouchos and Harpos) and the general detritus of the 21st century takes on a life of its own. STOMP, created and directed by Luke Cresswell and Steve McNicholas, is an exploration of the outer limits of rhythmic invention. It’s a Pipe (read drain pipe) and Drum (read anything) Corps for our age.

And speaking of age, it has not withered STOMP’s clatter — or fun. STOMP, that concatenation of sound and skill, is back with its rhythms and drumbeats intact.

The same goes for its nonstop movement of bodies, objects, sound — even abstract ideas.

There’s no dialogue, speech or plot.

But music? Absolutely. Uncommon music, created in nontraditional ways — with every day objects ranging from matchbooks to every household item you can imagine. You’re bombarded by a caterwauling noise that under any

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other circumstances you would choose to shut out.

But not here.

Here all is syncopated and choreographed with the precision of an army bugle corps (minus the bugles) and by the fertile imagination of buskers or street performers from the streets of Brighton — the spot where STOMP’s creators hail from and where they dream up versions of this utterly inventive, unexpected, whackedout show.

So sit back, relax, tap your feet, clap your hands. There’s only fun to be had here — no political statements, no dialogue to misconstrue, nothing beyond the sheer, surprising sights and sounds of the moment, from the ringing of hollow pipes to clashing metal weaving its spell, and industrial strength dance routines involving a lot of supremely well coordinated bodies. Yep, better hold on fast to those hubcaps as you zip yourself downtown to swing along with STOMP!

STOMP MAR 10 – 15 BUELL THEATRE Tickets: 303.893.4100 denvercenter.org 800.641.1222 | TTY: 303.893.9582 Groups (10+): 303.446.4829

Motown the Musical (playing The Buell March 31 - April 19) tells the remarkable true story of Motown founder Berry Gordy, who launched the careers of Diana Ross, Michael Jackson, Smokey Robinson and many more. With the Vietnam War looming and the country at a cultural turning point, Gordy pushed on toward something bigger than he ever dreamed of, changing the world forever. Motown tells the thrilling tale of the man who broke barriers and fought against the odds to define the sound of a generation — complete with the ups and downs of the personal relationships, the professional struggles, and — of course — the music that made history. This exhilarating show captures the essence of the visionary Founder and the artists who joined the label and who fought against prejudice and racism to bring America together — breaking barriers, making us stronger, and keeping us moving to the same beat. Featuring songs such as “My Girl,” “Stop! In The Name Of Love” and “I Want You Back,” experience the story behind the music in the record-breaking smash hit Motown the Musical.

Patrice Covington as Martha Reeves (center) & Cast. Motown the Musical First National Tour. Photo by Joan Marcus, 2014.

Because there is more than one way to make a difference.

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GO ALL IN FOR YOUR BIG NIGHT OUT We’ve arranged hors d’oeuvres, pre-show cocktails, a threecourse catered dinner and, of course, prime orchestra seating.

Make your evening complete by adding an overnight stay at the Westin Denver Downtown for a special VIP rate. We’ll do all the planning. You enjoy the spotlight.

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UPGRADE YOUR EVENING, CONTACT

ccanales@dcpa.org or call 303.446.4815 denvercenter.org/vip

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: impactcreativity.org ($100,000 or more) CMT/ABC ♦ The Hearst Foundations ($50,000 or more) AOL♦ Schloss Family Foundation ($25,000 or more) Wells Fargo ($10,000 or more) Steven and Joy Bunson Lisa Orberg Southwest Airlines♦ ($5,000 or more) Frank and Bonnie Orlowski Edison Peres*

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Presenting Keynote Speaker Earvin “Magic” Johnson!

Thursday, May 7, 2015 • Doors open at 11:30 a.m.

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THE 12

A NEW ROCK MUSICAL FOR THE AGES

Illustration by Kyle Malone

BY JOHN MOORE

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They are perhaps the three most impactful days in the history of man, and remarkably little is known about them: the 72 hours between Jesus’ crucifixion and what Christians believe was his resurrection. It was the birth of what is now the world’s largest religion, with about 2.1 billion followers worldwide.

The DCPA Theatre Company’s new rock musical The 12 imagines what those three days must have been like for his closest followers in the immediate, dangerous aftermath of the death of Jesus.

“It’s useful to remember how young these people were,” Pulitzer Prizewinning writer Robert Schenkkan said of the disciples. “These are very bluecollar, gritty, uneducated men. Yet their passion and their ultimate commitment to this individual — and the ideas that he embodied — are so fierce that they all will ultimately give their lives for him. That’s a very powerful idea, and we take that responsibility very seriously.”

But The 12 is not a narrative play. Set against the backdrop of composer and co-lyricist Neil Berg’s classic rock ’n’ roll score, it is a big, loud, crank-it-up-to-10 musical.

“The culmination of this event in history was, of course, a world-changing revolution of the most potent kind,” said Berg. “Rock ’n’ roll is the anthem of revolution, so that entirely supports this kind of passionate musical expression in our show.”

What The 12 is not, both men said, is a treatise on religion. It is not a polemic. It does not take a stand on the certainty of the resurrection — although, Berg teases, “Everyone will have their own very clear idea of what happens at the end.”

The 12 is instead an imagined, human story, Berg said, based on a real historical event. It is set to original music inspired

by Berg’s love of classic rock bands like Led Zeppelin and The Who. In addition to being a trained writer of musical theatre, Berg has a long history as a touring musician with groups like the still-active Joe D’Urso & Stone Caravan. He has opened for Bruce Springsteen and The Doors, and has played at Red Rocks and McNichols Sports Arena.

The score he has produced for The 12, he said, is a perfect match for the angst, the tension and the drive of Schenkkan’s story. “It is going to be authentic rock ’n’ roll, I can tell you that,” Berg said.

The 12 has been described as picking up where Jesus Christ Superstar leaves off, and chronologically speaking, Berg said, that is accurate. However, Berg goes on to say that his original musical score “is really an open love letter to classic rock ’n’ roll.”

“The culmination of this event in history was, of course, a world-changing revolution of the most potent kind. Rock ’n’ roll is the anthem of revolution, so that entirely supports this kind of passionate musical expression in our show.”

— NEIL BERG The 12 will now join a genre of popular Biblical rock musicals of widely different tones, including Superstar, Godspell, Joseph and the Amazing Technicolor Dreamcoat (coming to The Buell Theatre April 22 – 26) and Children of Eden.

“I think The 12 is a different, great addition to that group,” Berg said.

“Because the characters are all trapped in one room this story is intense from the beginning. You’re in it. And the music reflects that.”

Schenkkan, who also wrote the 2014 Tony-winning best play All the Way, loves Superstar and Godspell, but those musicals are far more stylized than The 12, he said. “This is a more natural and thoughtful approach to the material,” he said. “Our approach is much less sensational. And, I think, more powerful because of it.”

It was Schenkkan’s decision not to use Jesus’ name in The 12, and he did it for two reasons. First, like so many details in the Jesus story, we can’t be sure about this but it is unlikely in Jewish society at that time that his followers would have addressed him using his name as that would have been considered disrespectful. More likely he would have been called an honorific like, “teacher” or “Rabbi.”

Second, it was done to remove a possible barrier between the story and its potential audience.

“The phrase ‘Jesus the Lord’ is so loaded in terms of what it will later come to mean,” Schenkkan said. “By taking the name out of the equation, it puts the focus back on the immediacy of this very human story.

“The tendency of the audience will be to look at this event with the weight of 2,000 years of bitterly contested doctrine, and everything that comes with that. We are trying to strip all of that away and say, ‘Wait a minute: What if you were one of these fishermen on the sea of Galilee, and this guy you might have heard something about comes up to you and says, ‘Follow me.’ And for reasons that are not clear even to you in that

moment, you do, because there is something about him that compels you. What does that mean? It is kind of unfathomable.” Berg adds, “When the head of this revolutionary group is suddenly killed, what makes these followers continue on?”

Still, Schenkkan understands why potential audiences may feel some trepidation about what is for now a theatrical unknown.

“Oftentimes, unfortunately, when writers have dealt with issues of faith, it’s hard not to feel that there is some condescension there. Some smugness.

Some superiority,” Schenkkan said.

“That’s unacceptable, quite honestly.

I think it’s prejudice.

“We have tried very seriously to get at this fundamental question of belief and commitment to something which cannot ultimately be proved in rational, scientific terms. And to me, that is a very exciting, dramatic proposition: How does one get there?

We have all experienced a dark night of the soul. A time where everything we have believed in whether it is a religious expression or an idea or a cause has failed us. And we have to find a way to go forward. To recover our faith and our belief. That’s at the heart of what we are trying to do here.

And it’s why I believe that all of our audience — including members of all various faith-based communities — will find this a story that is not only accessible and respectful, but also very compelling.”

Read John Moore’s expanded interviews with Neil Berg and Robert Schenkkan on our DCPA NewsCenter at denvercenter.org/news-center.

THE 12 MAR 27 – APR 26 STAGE THEATRE ASL interpreted, Audio described & Open captioned performance: Apr 26, 1:30pm Tickets: 303.893.4100 | denvercenter.org 800.641.1222 | TTY: 303.893.9582 Groups (10+): 303.446.4829

Ace Young as Joseph and Diana DeGarmo as Narrator in “Jacob & Sons” in Joseph and the Amazing Technicolor Dreamcoat. Photo by Daniel A. Swalec.

COMING UP FROM BROADWAY:

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT Described as one of the most enduring musicals of all time, Tim Rice and Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat (playing The Buell Theatre April 22 - 26) has gotten a facelift. The history of the show dates back to the first Broadway performance in 1982. The success of the show spurred the Broadway revival in 1993 and made its way into the homes and hearts of viewers with the movie version of Joseph starring Donny Osmond in 1999.

The revamped show starring newlyweds and “American Idol” veterans Ace Young (Grease, Hair) and Diana DeGarmo (Hairspray, Hair) features the same upbeat, feel-good vibe Joseph fans know and love, but with a modern twist. Director, choreographer and Tony-winner Andy Blankenbuehler paces the story with high-energy choreography and highflying footwork with a hip-hop feel sure to have the audience dancing along.

So put on your dance shoes and join us for one of musical theatre’s most enduring hits.

THANK YOU

On December 9, residents in Colorado joined together to support local nonprofits on Colorado Gives Day. Thanks to the generosity of these patrons and a matching gift from DaVita, the Denver Center for the Performing Arts (DCPA) received $61,000 in one day.

As a not-for-profit organization, the DCPA relies on this financial support to produce and present plays on its stages, develop new work for the theatre and reach more than 68,000 students each year. We couldn’t do it without you.

“Those donations help us provide matinee performances for students,” said Tiffany Grady, Associate Director of Development. “We recently had nearly 7,000 students attend our production of Lord of the Flies. Many of them were attending a live performance for the first time.

“We are so proud to be able to make such a significant impact on our local community,” continued Grady. “We couldn’t do it without our generous donors.”

To learn more about how you can support the DCPA, please visit denvercenter.org/support-us or call 303.446.4802.

SOME THEATRE LOVERS WILL NEVER LEAVE. NAME A SEAT IN THE RICKETSON THEATRE WITH A DONATION TO OUR NEW PLAY FUND. Celebrate a life, a business or just your love of new theatre by naming a seat in the home of many of our Theatre Company world premieres: The Ricketson Theatre.

Your $1,000 gift is 100% tax deductible and will directly support our New Play Fund, the Colorado New Play Summit and other efforts to move theatre arts forward and attract the next generation of theatre lovers. Monthly payment plans available.

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“ It’s gratifying to know our bank is enabling kids to share in the theatre experience. We thank the DCPA for providing these resources to schools and are honored to play a supporting role.”

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— BILL SULLIVAN, CSBT PRESIDENT AND CEO

A HISTORY OF PROVIDING FINANCIAL SERVICES TO DENVER AND THE ROCKY MOUNTAIN REGION

Colorado State Bank and Trust (CSBT) is proud to support the Denver Center for Performing Arts (DCPA) by sponsoring the Saturday Night Alive Silent Auction. “We’re very pleased with this association, especially because the money raised benefits the DCPA Arts in Education programs,” said Bill Sullivan, CSBT President and CEO. “It’s gratifying to know our bank is enabling kids to share in the theatre experience. We thank the DCPA for providing these resources to schools and are honored to play a supporting role.

“We appreciate the need for business and community institutions such as the DCPA to support each other,” said Sullivan. “Each provides something essential that enables our communities to thrive.”

CSBT offers a wide variety of financial products and services that enable Coloradans to: • Purchase homes, buy automobiles, and manage other personal financial matters through face-to-face, online and mobile banking; • Obtain financing in order to start and grow businesses and lease and purchase equipment; • Monitor and move cash efficiently; • Access expertise and capital needed to acquire, develop or reposition commercial real estate;

Colorado State Bank and Trust leadership (from left): Andy Aye, SVP, Commercial; Mike Burns, SVP, Private Bank; Aaron Azari, EVP, Wealth Management.

Seated: Bill Sullivan, President and CEO.

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• Benefit from a core competency of financial services available to all sectors of the regional energy industry.

The Bank also offers comprehensive wealth management services providing individuals and organizations access to: • Trust administration and personal trust services making it possible to build, preserve and distribute wealth; • Retirement plan services including tailored solutions to meet the retirement needs of individuals and organizations; • Asset management and investment advisory services; • Deposit, credit, cash management and mortgage services designed for affluent customers.

“Most banks offer similar products and services but each bank’s approach to the market is what makes the difference,” said Sullivan. “We’re a 100-year-old Denver bank owned by a 100-year old regional financial services company with a history of community commitment and financial stability.

“This unique set of circumstances is what sets us apart and enables us to offer the best of both worlds: nationally competitive products, services and resources with an emphasis on local leadership, local decision-making and face-to-face customer relationships.”

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ONE NIGHT IN MIAMI…

COMES OUT SWINGING

BY JOHN MOORE

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The morning after Cassius Clay shocked Sonny Liston — and the world — to win the world heavyweight boxing title in 1964, the brash 22-yearold announced he was changing his name to Muhammad Ali and pledging his allegiance to the Nation of Islam.

To understand the resulting shock in today’s terms: Just imagine if LeBron James, the most popular basketball player in the world, announced he was going off to fight for Al-Qaeda.

“It was that mind-bending, upending and sensational,” said Carl Cofield, director of the DCPA Theatre Company’s highly anticipated staging of Kemp Powers’ One Night in Miami….

The Nation of Islam was never a terrorist organization, but this was more a matter of public perception.

The Nation was thought to be a hate group. FBI Director J. Edgar Hoover had declared it Public Enemy No. 1.

The very name terrified Americans then, Cofield said, the way ISIS terrifies them today.

“I think it is an apt comparison,” added Powers, the playwright. “The Nation of Islam never burned crosses or murdered anyone like the Ku Klux Klan. But it was in Hoover’s best interest to get the perception out there that these were the kind of people who would come for your kids.”

Several weeks before the fight, which Sports Illustrated later named the fourth-greatest sports moment

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of the 20th century, the Miami Herald published an article quoting Cassius Clay Sr. saying his son had joined the Black Muslims four years earlier, back when he was 18. “Muslims tell my boys to hate white people; to hate women; to hate their mother,” Clay’s father told the newspaper. The ensuing uproar was so intense, fight promoters threatened to cancel the bout unless Clay publicly disavowed the Nation of Islam. He refused. The fight went on only after Malcolm X, Clay’s friend and incendiary spokesman, agreed to leave town (although he returned the night of the fight).

Immediately after Clay dispatched Liston in a mere seven rounds, the new champ bypassed the post-fight celebration and instead retreated to a Miami hotel room with Malcolm X, Jim Brown and Sam Cooke. All that’s known of what happened next between four of the most iconic figures of the 1960s is that they only had vanilla ice cream to eat.

“What we definitely know is that the next morning, Cassius Clay changed his name to Muhammad Ali,” said Cofield, the play’s director. Powers, a longtime journalist and first-time playwright, wrote One Night in Miami… two years ago to imagine what might have transpired in that room — a fictional flight of fancy with a very real historical context.

While One Night in Miami… is set five

decades ago to many African Americans, Powers said, “It feels a lot like 1964 right now.

“One of the things that inspired me to write the play is that some of the issues the characters are dealing with are, sadly, still very much contemporary issues,” Powers said. “As I was writing it, I realized that all of the characters have modern contemporaries. So I do want people to see the modern parallel.”

But Powers was not expecting One Night in Miami…, which had its premiere in Los Angeles last year, to become this timely: Trayvon Martin.

Ferguson. Eric Garner. Retaliatory cop shootings. At the cineplex, Selma graphically laid bare the atrocities that surrounded the conspiracy to deny African Americans the right to vote in 1964.

“The second week after the play opened in LA, the Trayvon MartinGeorge Zimmerman thing happened,” said Powers. When the play opened a few months ago in Baltimore, he added, “People assumed I wrote it in response to Ferguson.

“I hate to say it, but as far as race in America goes, it seems as if there has been a bit of a regression. I just think there are harder lines between different groups right now.”

One of the primary, and still red-hot issues in the play, he added, is the social responsibility of the black artist.

John Moore is DCPA’s Senior Arts Journalist.

ONE NIGHT IN MIAMI… MAR 20 – APR 19 SPACE THEATRE ASL interpreted & Audio described performance: Apr 19, 1:30pm

FOUR FIGHTERS What do cultural icons Muhammad Ali, Jim Brown, Sam Cooke and Malcolm X have in common? “All four are very much fighters, in their ways, but they have different styles,” said playwright Kemp Powers:

Muhammad Ali

The Dancer Quick on his feet, he often wore down opponents rather than just knock them out.

Jim Brown

The Pugilist He punished opponents with straight-on power, often requiring multiple defenders to bring him down.

Sam Cooke

The Bobber He would be a more finessed, defensive fighter, surviving by bobbing and weaving.

Malcolm X

The Bruiser He dazzles you with rhetoric before delivering the blindsiding knockout you never saw coming.

Judi Wolf ’s

COSTUME COLUMN

Stuart Sanks’ alter persona, Shirley Delta Blow, is no stranger to the Denver drag scene, and her colorful, big and over-the-top costumes are just as unforgettable.

Shirley will be featured in our upcoming cabaret production Drag Machine from March 12 – 29 in the Garner Galleria Theatre.

“I have this gorgeous prom dress — a strapless gown with a leopard print in the colors of the rainbow,” said Shirley. “It’s such a fun dress. I usually top it off with a gigantic pink foam wig and my favorite heels. Colorful sparkly accessories like a peacock bracelet and big crystal necklace complete this look.”

Shirley wore the same dress while performing in Club Denver as part of last year’s The Legend of Georgia McBride post-show experience. “I had to duck to fit through the doors,” she said. “Remember in drag, more is more!”

Stuart’s friend and Theatre Company Costume Design Associate Meghan AndersonDoyle makes most of Shirley’s outfits. When the duo goes out looking for fashion accessories and fabrics, they keep their intentions to themselves. “When asked about what we were making, we respond, ‘Pillows.’ The ladies at Jo-Ann think I have lots and lots of pillows!”

To read the complete interview with Shirly Delta Blow, visit denvercenter.org/news-center.

Illustrations by Kyle Malone

“Malcolm X thought Sam Cooke could have pushed the envelope to get people more fired up and agitated,” Powers said. “Malcolm X’s oratorical style was very much in-your-face and it propelled you to action; Sam’s style was more to let you discover the meaning of a song on your own, like an art piece.”

Just as Powers finished One Night in Miami…, singer Harry Belafonte instigated a public sparring match with the rapper Jay-Z. Belafonte claimed current pop superstars “have turned their back on social responsibility.”

He said that simply being a rich black man in the world is not enough.

“When I saw that, I was like, ‘Oh my God, that is quite literally the whole question of social versus business responsibility, and which one determines black success,’ ” Powers said.

“I knew this play was going to be contemporary. But I had no idea it was going to be this nail-on-the-head contemporary.”

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denvercenter.org

As the world’s leading airline, United does more than connect passengers through safe, convenient air travel; it forges strong relationships with the people and communities it serves.

United is pleased to serve as the official airline for the Denver Center for the Performing Arts (DCPA) and proudly supports its remarkable contributions to the performing arts community in Denver and beyond. Together with the DCPA, United celebrates the energy that artists, performers and dancers bring to Denver and the global stage.

“At United, we take our role as a community partner and corporate citizen seriously, and we are proud to support the DCPA. With more than 75 years of service to the Mile High City, we are also proud of our long-standing commitment to the Denver community that thousands of co-workers and customers call home,” said Michelle Baden, Managing Director of Corporate and Government Affairs.

In addition to the DCPA, United is honored to support several Colorado organizations including the Colorado Symphony Orchestra, Denver Botanic Gardens, Denver Public Schools Foundation, Latin American Educational Foundation, and Starlight Children’s Foundation of Colorado.

United co-workers also have donated more than 5,000 hours of service to various local partner initiatives, such as the Food Bank of the Rockies, and proceeds from its Pink Program have gone to the Denver Health Foundation Women’s Mobile Clinic to make cervical and breast cancer screens more readily available.

We, at United, sponsored more than 400 children at a student matinee performance of Lord of the Flies to share the thrill of a live theatrical performance — and we love bringing smiles to hundreds of local children undergoing medical treatment through the annual holiday “Fantasy Flights” trip to the North Pole and teddy bear deliveries to Rocky Mountain Hospital for Children and Children’s Hospital Colorado.

LOGO WITH SUBDIVISIONS

Kent Thompson, Producing Artistic Director a denver center world premiere

Book and lyrics by

Music and Lyrics by

Robert Schenkkan

Neil Berg

With Terence Archie, Mike Backes, Jordan Barbour, Jeannette Bayardelle, Anthony Fedorov, Colby Foytik, Colin Hanlon, Jordan Leigh, Andrew Mayer, Christina Sajous, Maximilian Sangerman, Heath Saunders, Brad Standley, Gregory Treco, Tony Vincent, Erin Willis SCENIC DESIGN BY John Iacovelli

COSTUME DESIGN BY Denitsa Bliznakova

ORCHESTRATIONS BY Neil Berg and Wendy Bobbitt Cavett

MUSIC SUPERVISOR AND ADDITIONAL ARRANGEMENTS Wendy Bobbitt Cavett

DRAMATURGY BY Douglas Langworthy CASTING BY Michael Cassara Casting, CSA / Michael Cassara Casting

LIGHTING DESIGN BY Lap Chi Chu

SOUND DESIGN BY Zach Williamson

MUSIC DIRECTION BY Michael Mancini

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

DIRECTOR OF PRODUCTION Jeff Gifford

STAGE MANAGER Christopher C. Ewing

CHOREOGRAPHY BY Connor Gallagher DIRECTED BY Richard Seyd Presented by special arrangement with Kathy & Joe Grano, Nora & Jim Orphanides, Thelma & Bud Negley, Leftfield Productions, Inc./Adam Friedson.

Special thanks to the Harold and Mimi Steinberg Charitable Trust for its continued support of new play development at the Denver Center for the Performing Arts.

Producing Partners: Singleton Family Foundation, Daniel L. Ritchie The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

THE STAGE THEATRE | MARCH 27–APRIL 26, 2015

The 12

Season Sponsors

The 12

Cast

(in order of appearance)

Tom................................................................................................................................................................................. TONY VINCENT James....................................................................................................................................................................JORDAN BARBOUR John...........................................................................................................................................................................TERENCE ARCHIE Andrew............................................................................................................................................................. ANTHONY FEDOROV Pete.................................................................................................................................................................................COLIN HANLON Phil...............................................................................................................................................................................BRAD STANDLEY Bart............................................................................................................................................................................. ANDREW MAYER Simon........................................................................................................................................................................ GREGORY TRECO Jimmy............................................................................................................................................................................. COLBY FOYTIK Matt..................................................................................................................................................................................JORDAN LEIGH Thad........................................................................................................................................................MAXIMILIAN SANGERMAN Mary Magdalene............................................................................................................................................. CHRISTINA SAJOUS Mother...................................................................................................................................................JEANNETTE BAYARDELLE

Swings:............................ MIKE BACKES, HEATH SAUNDERS, ERIN WILLIS Dance Captain:........................................................................... HEATH SAUNDERS Fight Captain:..................................................................................ANDREW MAYER

Associate Choreographer........................................... NANCY RENEE BRAUN Music Assistant.........................................................................BECKY FRYBERGER

Stage Manager..............................................................CHRISTOPHER C. EWING Assistant Stage Manager.............................................. MATTHEW CAMPBELL Production Intern...............................................................................ELIZA CAPLITZ

The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Place A room.

Jerusalem.

Time Late Afternoon.

Act I “Prologue/Mourner’s Kaddish”......................................................................................................Mother, Mary Magdalene “Walk Away”....................................................................................................................................................................Full Company “Anyone But Me”.............................................................................................................................All Men (Except Matt, Thad) “Do You Remember?”..................................................................................................................All Men (Except Matt, Thad) “Pick Up The Knife”..........................................................................................................................................................Simon, Pete “Three Times”......................................................................................................................................................................................Pete “Magdalene”..............................................................................................................................................Jimmy, Mary Magdalene “I Did”............................................................................................................................................................................ Mary Magdalene “Give Up”................................................................................................................................................................................................Tom “Rain”.................................................................................................................................................................................................Mother There will be one 15-minute intermission.

Act II “Sweet Dream”..........................................................................................................................................................................Bart, Phil “Empty” ...................................................................................................................................................................... Mary Magdalene “What If?” .................................................................................................................................................................. Mary Magdalene “I Am Not Alone” ................................................................................................................................ All Men, Mary Magdalene “Your Own Way” ...............................................................................................................................................................................Tom “Ordinary” ....................................................................................................................... Pete, Tom, All Men, Mary Magdalene “Why”....................................................................................................................................................................... Tom, Pete, All Men “Rise Up” ..................................................................................................................................................All Men, Mary Magdalene “Now I Lay Me Down to Sleep” ...................................................................................... Peter, All Men, Mary Magdalene “Our Love” ...............................................................................................................................................All Men, Mary Magdalene “Bows/Rise Up (Reprise)”.........................................................................................................................................Full Company

THE BAND Conductor/Keyboard I............................................................MICHAEL MANCINI Guitar...........................................................................................JUSTIN FRANCOEUR Bass.................................................................................................. BLAKE EBERHARD Drums........................................................................................................ TODD TALBOT Keyboard II................................................................................................MIKEY SMITH Music Contractor......................................................................................JIM HARVEY

Band musicians are represented by the Denver Musicians Association; AFM Local 20-623

The 12

MUSICAL NUMBERS

The 12

WHO’S WHO ACTING COMPANY TERENCE ARCHIE (John). At the Theatre Company: Debut.

Broadway: Ragtime, Rocky. International: Rocky Das Musical (Hamburg, Germany/ Operettenhaus).

Off-Broadway: The Elaborate Entrance of Chad Deity (Second Stage). Solo shows: Frederick Douglass Free, Peanut Prince, At The Pole. Regional highlights include: ...Chad Deity (Geffen), Two Gentleman of Verona (musical); Edward II, Tamburlaine the Great (Shakespeare Theatre Co.); Arabian Nights (Arena Stage/Berkeley Rep); A Year With Frog and Toad (Two River). TV Credits include: “Law and Order,” “One Life to Live,” “Manhattan Love Story,” “Teenage Mutant Ninja Turtles.” Terence is a Detroit native and graduate of the North Carolina School of the Arts.

MIKE BACKES (Swing). At the Theatre Company: Debut. National Tours: Footloose, Rock of Ages (first national tour starring Constantine Maroulis), and Grease (starring Frankie Avalon). Favorite Regional: Jersey Boys (original Las Vegas cast), Forever Plaid (Frankie at Theatre By The Sea), Rent (Roger at The John Engemen Theatre) and Next To Normal (Gabe at Florida Studio Theatre). NY Credits: Junk A Rock Opera in concert at The National Opera Center. Standby, Fringe. He has also toured the country and played numerous venues in NY as a proud member of The Broadway Boys.

TV/Film “Discovery ID,” “Orange Is The New Black.” Thanks to The Roster, Ashley and everyone involved with The 12.

JORDAN BARBOUR (James). At the Theatre Company: Debut. National and International Tours: The Suit, directed by Peter Brook (Kennedy Center, Seattle Rep, A.C.T); The Shipment

by Young Jean Lee (Festival d’Automne, Sydney Opera House). Off-Broadway/ New York: Langston in Harlem (Urban Stages); Harmonious Pimps of Harmony (Ars Nova); The Deepest Play Ever (New Ohio); Vertebrae (New York Theatre Workshop). Regional: Stormy Weather

(Pasadena Playhouse); Macbeth (Alabama Shakespeare Festival); The Who’s Tommy (Berkshire Theatre Festival); Rent (Syracuse Stage); Topdog/Underdog (Perseverance Theatre); three seasons at Williamstown Theatre Festival. TV/Film: “The Outs”; Hair: Let the Sun Shine In. Training: Columbia, Juilliard.

JEANNETTE BAYARDELLE (Mother). At the Theatre Company: Debut. Broadway: Hair (Dionne), The Color Purple (Celie). Off Broadway: Shida (All Characters), Best of Both Worlds (Serena). Tours (National/ International): The Color Purple (Celie), Deaf West’s Big River (Alice), Rent (Season Soloist), Sister Act (musical revue). Regional: Shida (All Characters), Best of Both Worlds (Serena). Film/TV: Disney’s Little Mermaid III. Awards: NAACP Theater Award (Best Lead Actress in a Musical) for the role of Celie in The Color Purple.

ANTHONY FEDOROV (Andrew). At the Theatre Company: Debut. Off-Broadway: Rent revival dir.

Michael Greif (Roger), The Fantasticks (Matt). Regional: Les Misérables (La Mirada Theatre, Enjolras), The Sound of Music (Papermill Playhouse, Rolf), Joseph...

(5th Avenue Theatre, Ordway Center, North Shore, Broadway Asia Tokyo), Cinderella (Nashville Symphony, Prince).

TV/Film: “American Idol” Season 4, 4th Finalist, “Katya” short, guest appearances on “Ellen,” “LIVE! with Kelly & Regis.” As a singer-songwriter (BMI) Anthony has released 2 albums.

Debut “Every Little Thing” album available on iTunes and www. auraganixmusic.com. Thank you to everyone at DGRW for your support.

For J.&J. COLBY FOYTIK (Jimmy). At the Theatre Company: Debut. Broadway: The Last Ship with Sting.

National Tours: Tommy DeVito in Jersey Boys, Perchik in Fiddler on the Roof with Topol, Harvey Fierstein and Theodore Bikel. Proud Ithaca College graduate. Proud member of Actors’ Equity.

COLIN HANLON (Pete). At the Theatre Company: Debut.

NYC/Broadway credits include Rent, Wicked, I Love You Because and Pirates of Penzance (Lortel nomination). Regional credits include: NYS&F, O’Neill Festival, George Street Playhouse, Arizona Theater Company, Ars Nova, Theaterworks Palo Alto, Westport Country Playhouse, Dallas Theater Center and more. Original cast of Edges

by Pasek & Paul. Recordings: I Love You Because & Next Things You Know. Colin plays Steven on ABC’s Emmy-winning “Modern Family.” He is the co-star (Tim Trull) and co-producer of the web series “Submissions Only.” www.SubmissionsOnly.com @colinhanlon JORDAN LEIGH (Matt). At the Theatre Company: Taming of the Shrew, White Christmas. At DCPA Cabaret: Forbidden Broadway, Doyle and Debbie Show, Five Course Love, and I Love You, You’re Perfect, Now Change.

Other Theatres: Incident at Vichy, Salome, Modigliani (Buffalo Nights Theatre Company, Los Angeles); Hollywood…Ukraine, Working (Pennsylvania); Gondoliers (New York); Floyd and Clea Under the Western Sky, Assassins (CSFAC); Moonlight and Magnolias, Of Mice and Men, A Place at Forest Lawn (Arvada Center). TV/Film: “My New Wild Life” (Animal Planet), Openings, Heat of Deeds. Awards: Carol Burnett Musical Comedy Award, Best Actor 2010/12 48 Hour Film Project.

Education: magna cum laude from UCLA School of Theatre.

ANDREW MAYER (Bart). At the Theatre Company: Debut. A native New Yorker, his recent theater includes: Dying For It (Atlantic Theater Company), Fiddler on the Roof (Barrington Stage & Westchester Broadway Theatre), Los Valientes (Core Ensemble), Fallujah (TPAC-NYC & Kennedy Center), In the Jungle of Cities (Huntington Theater). Recent film includes: Swing Blues (Culpepper & Williams Prod), III.1 - Romeo’s Turn (Lost Light Prod).

Additionally, Andrew is a stage combat professional and lead singer/violinist in

CHRISTINA SAJOUS (Mary Magdalene). At the Theatre Company: Debut. Broadway: Spider Man: Turn off the Dark (Arachne), American Idiot (Extraordinary Girl), Baby It’s You! (Shirley), Tupac Shakur: Holler If Ya Hear Me. Other credits include: AfroCuban adaptation of Carmen (Carmen), BAM/ New York City Opera’s Anna Nicole (Blossom), City Center Encores: I’m Getting My Act Together and Taking It on the Road (Alice), Forever Dusty (Claire). Film: Brazzaville Teenager directed by Michael Cera, Broadway Idiot. TV: “Alpha House”(Amazon Studios), “The 52nd Annual Grammy Awards” (CBS), “One Life to Live” (ABC). Training: New York University: Tisch School of the Arts.

MAXIMILIAN SANGERMAN (Thad).

At the Theatre Company: Debut. NY Theatre: Blue Man Group, The Lightning Thief (first national tour). Other Theatre: Café Variations with Anne Bogart and the SITI Company, The Shakespearean Jazz Show at ArtsEmerson, What To Listen For with Kathleen Tolan. Training: BFA Musical Theatre, Emerson College. Thanks to DGRW and my family for endless support.

HEATH SAUNDERS (Swing). At the Theatre Company: Debut. New York Credits: Lennon: Through a Glass Onion, I Am Harvey Milk (Avery Fisher Hall); Gentlemen Prefer Blondes (NYCC Encores!); Der Gelbe Stern (NYMF); Gods and Kings (The Other Mirror Theatre). Regional: Spamalot, Hairspray: In Concert, Pirates of Penzance, Saving Aimee, Rent (5th Avenue Theatre); Les Misérables, Avenue Q (Balagan Theatre); James and the Giant Peach (Seattle Children’s Theatre); Five and Eleven. Love and gratitude to the family, batch, and, as always, my class. www.heathcliffsaunders.com @feeltheheath

BRAD STANDLEY (Phil). At the Theatre Company: Debut.

Favorite roles: Claude in Hair (European Tour, dir. David Gilmore), Malcolm in The Full Monty (CLO South Bay), Lysander in A Midsummer Night’s Dream (Lake Tahoe Shakespeare Festival), and Thomas Weaver in The Story of My Life (West Coast Premiere). TV/Film: “Days of Our Lives,” “Body of Proof,” “Karaoke Man.” Lead Singer/Songwriter of the bands Come Home, GoldnBoy, Bear Dog, and The Foxflies. Training: BFA Musical Theatre, CSU Fullerton. Proud member of AEA/SAG/AFTRA.

ERIN WILLIS (Swing).

At the Theatre Company: A Christmas Carol. Other Credits: Ain’t Misbehavin’ (Milwaukee Repertory Theatre), My Fair Lady (Cameron Mackintosh first national tour), Ragtime (Cohoes Music Hall), Dreamgirls (Asbury Park), Memphis (Arvada Center). NY Workshops: Amazing Grace and My Heart is the Drum. TV: “Celebrity Ghost Stories”. Erin also provides vocals and keyboards for the Indie Rock Band Kenji Urada. Training: The Boston Conservatory. Thanks to Denver Center, family and friends, Radical, and John!

GREGORY TRECO (Simon). At the Theatre Company: Debut. Gregory is excited to be back home in Colorado at the DCPA where he grew up watching theater. NYC credits include Boy George’s Producer in Taboo on Broadway; Zanna Don’t, where he created the role of Zanna OffBroadway, and Maroto in Miracle Brothers at the Vineyard Theatre. TV: “Popstars 2” where he was a finalist and “Whoopi” (starring Whoopi Goldberg).

Gregory most recently choreographed the national tour of Broadway Rox, a rock extravaganza featuring Broadway’s best rockers. Training: BFA, Carnegie Mellon University.

PLAYWRIGHT/CO-LYRICIST

TONY VINCENT (Tom). At the Theatre Company: Debut.

Broadway: Rent, Jesus Christ Superstar (Judas), and Green Day’s American Idiot (St. Jimmy). He originated the role of Galileo Figaro in Queen’s We Will Rock You (London’s West End, Las Vegas) and he has fronted the rock band Queen on multiple occasions, including Queen Elizabeth’s Golden Jubilee and Party in the Park. In 2002 he was chosen as one of the first artists to bring the music of Andrew Lloyd Webber to Asia in Andrew Lloyd Webber: Masterpiece (Live From Beijing) and was a finalist on NBC’s “The Voice.” www.tonyvincent.com

ROBERT SCHENKKAN (Book and Lyrics). Author of 14 plays including the Pulitzer Prize-winning, The Kentucky Cycle. Last season, All The Way won the Tony, Drama Desk, Outer Critics, Drama League, Kennedy Prize, and the ATCA/Steinberg Awards for Best Play and broke two Broadway box office records. Its sequel, The Great Society, is headed to Broadway in 2016. Robert was nominated for two Emmys and won a WGA Award for the HBO miniseries, “The Pacific,” and is the co-author of the film, The Quiet American.

COMPOSER/CO-LYRICIST NEIL BERG (Music and Lyrics).

Composer/lyricist of the hit musical The Prince and the Pauper (Lambs Theater). Other: Never Grimm (upcoming Mark Gordon and Raymond Wu, Producers), Grumpy Old Men (Royal Manitoba Theater Center), Tim and Scrooge, voted “one of the best musicals” (NYMF, NYC), The Man Who Would Be King (NYMF, Village Theater), Heidi (Walden Family Playhouse), False Profits (Theater Off-Park, NYC), Percy Penguin (Penguin Playhouse). Graduate of BMI Musical Theatre Workshop, NYC. For Rita and Lucas. www.neilberg.com Director RICHARD SEYD (Director). At the Theatre Company: Debut. Directed A Reckoning with Jonathon Pryce at the Soho Theatre in London’s West End. He served as Associate Artistic Director of ACT where he directed The Pope And The Witch, Pygmalion, Mrs. Warren’s Profession, Oleanna, Rosencrantz and Guildenstern Are Dead, Othello, The Matchmaker and The Learned Ladies with Jean Stapleton. He has received Drama-Logue and Backstage West awards for his direction of Cloud Nine, About Face, Noises Off, King Lear, Oleanna, A View From The Bridge,

The 12

a premiere NYC wedding band.

Training: Boston University School of Theatre (BFA), LAMDA, Manhattan School of Music. AEA/SAG-AFTRA. www.andrewCmayer.com

The 12

Rosencrantz And Guildenstern Are Dead, and the official national 50th anniversary production of A Streetcar Named Desire. For Raina and Keria.

ARTISTIC STAFF DENITSA BLIZNAKOVA (Costume Designer). At the Theatre Company: Debut. Her work has been seen at venues such as San Diego Opera, Cleveland Play House, Old Globe Theatre, San Jose Rep, A Noise Within, The Falcon Theatre, New Repertory Theatre, Williamstown Theatre Festival, and others. Design and stylist credits for other media include music videos for various artists and films. Denitsa is a Professor and the Head of the M.F.A. Design and Technology program at SDSU, School of Theatre, TV and Film. www.Denitsa.com.

NANCY RENEE BRAUN (Associate Choreographer). Favorite associate choreographer credits include Disney’s Tangled, the Broadway tour of Elf, Robber Bridegroom (Roundabout Theatre Workshop), Fat Camp, and the 2014 Rainforest Fund Benefit at Carnegie Hall starring Sting, James Taylor, and Kevin Spacey. Her own credits include the Resident Director/Choreographer for Off-Broadway’s Berenstain Bears, and Off-Broadway’s Sex Tips for Straight Women from a Gay Man. Nancy performed on Broadway in Patti LuPone’s Gypsy. Training: Northwestern University.

MICHAEL CASSARA, CSA (Casting Director). At the Theatre Company: Debut. Off-Broadway: Forbidden Broadway, Nevermore, Fat Camp. Tours: I Love Lucy® Live On Stage, Barbie™ Live! Regional: Gulfshore Playhouse, Great Lakes Theater, Idaho Shakespeare Festival, Infinity Theatre Company, Artpark. Resident Casting Director: New York Musical Theatre Festival and the National Alliance for Musical Theatre.

Film: The Hyperglot (dir. Michael Urie, Artios nomination for excellence in casting), Contest, Grantham & Rose.

Member, Casting Society of America.

MichaelCassara.net @michaelcassara WENDY BOBBITT CAVETT (Music Supervisor). At the Theatre Company: Debut. Broadway: Mamma Mia! (current); The Scarlet Pimpernel, A Year with Frog and Toad, The Most Happy Fella, A Tale of Two Cities.

National/International: The Who’s Tommy, Mamma Mia! (Las Vegas and Buenos Aires). Other theatres include Williamstown Festival, Prince Music Theatre, St. Louis Rep, Minneapolis’ CTC, North Shore, Papermill Playhouse, and Goodspeed Opera. In development: Bloom, a modern fairy tale about fulfilling our destiny.

LAP CHI CHU (Lighting Designer). At the Theatre Company: Debut. Designs at The Public Theater, New York Theatre Workshop, Signature Theater, Mark Taper Forum, Geffen Playhouse, Oregon Shakespeare Festival, La Jolla Playhouse, The Old Globe, Goodman Theater, Shakespeare Theater, Huntington Theater, and McCarter Theatre. Awards have included the LA Drama Critic’s Circle Angstrom Award for Career Achievement in Lighting Design, multiple Bay Area Theatre Critics Circle Awards, a “Drammy” for best lighting, as well as a Lucille Lortel nomination for The Good Negro at The Public Theater. Lap is on the Lighting Faculty at CalArts. www.Lapchichu.com @lapchichu CONNOR GALLAGHER (Choreographer). At the Theatre Company: Debut. Recent credits include Elf National Tour (Kennedy Center), Tangled (Disney Creative), HIFA (Zimbabwe), Bunnicula (Off-Broadway/ national tour). Other notable work includes Perez Hilton... (Fringe, Encore, Joe’s Pub); Peter Pan and Chicago (Northern Stage); Spidermusical (The Mint); Fat Camp (dir. Alex Timbers); and work for Goodspeed Musicals, The York Theatre, Lincoln Center, NYU, Revision Theatre, Broadway Cares, and more. Associate: Into the Woods (Public Theatre/Central Park) and Disney’s Beauty and the Beast (20102015 National Tour). Upcoming projects: The Robber Bridegroom (Roundabout).

Training: CCM. JOHN IACOVELLI (Scenic Designer).

At the Theatre Company: A Midsummer Night’s Dream, Amadeus, Ring of Fire.

Broadway: Peter Pan, The Twilight of the Golds. National Tour: Camelot.

Regional: over 300 productions. Geffen Playhouse, South Coast Repertory, Berkeley Rep, Long Wharf, McCarter, American Conservatory Theatre, Mark Taper Forum and most major theatres across the US. Film: Production Designer on Ruby in Paradise starring Ashley Judd in her film debut. Art Director on Honey, I Shrunk the Kids!

TV: “Babylon 5,” “Resurrection Blvd,” Emmy Award for “Peter Pan Starring Cathy Rigby.” Website portfolio: www.iacovelli.com DOUGLAS LANGWORTHY (Dramaturg). At the Theatre Company: Appoggiatura, Lord of the Flies, The Unsinkable Molly Brown, Shadowlands, Hamlet, Just Like Us, Sense & Sensibility The Musical, The Three Musketeers, When We Are Married. Other Theatres: The Oregon Shakespeare Festival produced his adaptation (with Linda Alper and Penny Metropulos) of Dumas’ The Three Musketeers and his

translation of Brecht’s The Good Person of Szechuan. Target Margin Theatre produced his translations/adaptations: Medea by Hans Henny Jahnn, Goethe’s Faust, and the opera The Sandman with David Herskovits and Thomas Cabanis. Awards/Training: Elliot Hayes Award for Dramaturgy, National Theatre Translation Fund Award, John Gassner Award in Critical Writing. Yale School of Drama.

KATHRYN G. MAES Ph.D (Voice and Dialect Coach). At the Theatre Company: Benediction, Appoggiatura, Vanya and Sonia and Masha and Spike, Lord of the Flies, The Unsinkable Molly Brown, Animal Crackers, Shadowlands, Hamlet, black odyssey, A Christmas Carol, Jackie & Me, The Most Deserving, Just Like Us, Death of a Salesman, When We Are Married, Fences, The Three Musketeers, Heartbreak House, Great Wall Story. Other Theatres: Royal Shakespeare Company, Royal National Theatre (Arthur Miller’s American Clock). Special/Training: Voice and Dialect Coach for numerous professional theatre companies in the United States, Head of Voice at DCPA Theatre Company and the National Theatre Conservatory 1989 to 1992.

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

MICHAEL MANCINI (Music Director). At the Theatre Company: Debut. The 2014 Lucille Lortel Awards, New Jersey Hall of Fame Induction Ceremonies, Jack Morton Worldwide Productions, TBA Global Productions, AMC Networks, The Proscenium Group NYC, UNICEF Snowflake Lighting NYC, Sandy Hook Memorial Fund. Live Performances: Bruce Springsteen, Stevie Wonder, Eric Clapton, Jon Bon Jovi, B.B. King, Linda Eder, Phoebe Snow, Sheryl Crow, Mary J. Blige. Education/Training: William Paterson University, Mannes College of Music, Film Scoring/Orchestration with Deniz Hughes. Educator: Hackley School, Tarrytown, NY. ZACH WILLIAMSON (Sound Designer).

At the Theatre Company: Debut.

Zach is pleased to be working on this new musical. Broadway (Associate): Lysistrata Jones, The Ritz, and Pal Joey.

Off-Broadway credits: Irish Repertory Theater, 2nd Stage, American Records, among others. Regional credits: 5th Avenue Theater, Cincinnati Playhouse, Dallas Theater Center, Kansas City Rep, Baltimore Center Stage, The Ordway, Westport Country Playhouse, Clarence Brown, Long Wharf, St. Louis Rep, Two River, Syracuse Stage, Vermont Stage, St. Michael’s Playhouse, Virginia Stage, Pasadena Playhouse, Goodspeed and Asolo. He is currently an associate

KATHY & JOE GRANO, NORA & JIM ORPHANIDES, THELMA & BUD NEGLEY, LEFTFIELD PRODUCTIONS, INC./ADAM FRIEDSON (Enhancing Producers). Following their previously successful experience with Jersey Boys, the producers are delighted to be part of this production of The 12.

Stage management MATTHEW CAMPBELL (Assistant Stage Manager). At the Theatre Company: Lord of the Flies, Hamlet, Just Like Us, Other Desert Cities, Romeo & Juliet, When We Are Married, The Three Musketeers, Heartbreak House, The Taming of the Shrew, A Christmas Carol, To Kill a Mockingbird, A Midsummer Night’s Dream, Dracula.

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.

CHRISTOPHER C. EWING (Production Stage Manager). At the Theatre Company: (28 seasons) The Unsinkable Molly Brown, Animal Crackers, Death of a Salesman, Sense & Sensibility The Musical, When We Are Married, Fences, Ring of Fire: The Music of Johnny Cash, A Christmas Carol, To Kill a Mockingbird, Dracula, Mama Hated Diesels, Eventide, A Raisin in the Sun, Quilters, A Prayer for Owen Meany, Noises Off, Plainsong, Mrs. Warren’s Profession, A Funny Thing…Forum, The Clean House, Gem of the Ocean, A Flea in Her Ear, Crowns, Fire on the Mountain, John Brown’s Body, The Skin of Our Teeth, Almost Heaven and 2 Pianos, 4 Hands. Other Theatres: Colorado Ballet, DCPA Broadway, Bonfils Theatre. Training: BFA in Theatre Design/Technology from Loretto Heights College. executive staff KENT THOMPSON (Producing Artistic Director) is in his tenth season as Producing Artistic Director of the Theatre Company. In Denver he directed productions of Hamlet, Just Like Us, Other Desert Cities, Irving Berlin’s White Christmas, The Taming of the Shrew, A Midsummer Night’s Dream, Plainsong, Eventide, Benediction, Amadeus, The Liar and

Measure for Measure, among others.

Two of Kent’s major accomplishments since moving to Denver have been the establishment of the Colorado New Play Summit, a premier national festival for new American plays, and 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.

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

BRUCE K. SEVY (Associate Artistic Director and Director of New Play Development) has directed such memorable Theatre Company productions as Animal Crackers, When We Are Married, Heartbreak House, Mariela in the Desert, The Voysey Inheritance, A Prayer for Owen Meany, Doubt, All My Sons, Master Class, Mrs. Warren’s Profession, A Christmas Carol, Cat On a Hot Tin Roof, The Little Foxes, Molly Sweeney, Amy’s View, Valley Song, Pierre, Dinner With Friends and The Cripple of Inishmaan.

As Director of New Play Development, he oversees both the artistic and practical components of the Theatre Company’s successful Colorado New Play Summit, including commissions from outstanding American playwrights.

He has directed for Arizona Theatre Company, Cleveland Play House, Lark Play Development Center, Kansas City Repertory Theatre, Virginia Stage Company, Alabama Shakespeare Festival, Northlight Theatre, San Jose

Repertory Theatre, Eugene O’Neill Theater Center, Pioneer Theatre Company, A Contemporary Theatre, Seattle Repertory Theatre, Empty Space and Intiman Theatre in Seattle, the Kimo Theatre in Albuquerque, and Utah Shakespearean Festival.

His popular production of 2 Pianos, 4 Hands has been seen at more than 20 theatres nationally, including the Theatre Company’s successful 2003 production.

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

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

MATTHEW LOPEZ (Denver Center Playwriting Fellow) is the author of The Legend of Georgia McBride, which premiered last season at the Denver Center and The Whipping Man, also seen last season at Curious Theatre Company. Since its debut at Luna Stage Company and its New York premiere at Manhattan Theatre Club, The Whipping Man has become one of the most widely produced new American plays of the last several years, with productions in over 50 US cities and abroad. The Legend of Georgia McBride is set to have its OffBroadway premiere in August at the MCC Theater. His play Somewhere premiered at the Old Globe Theatre in San Diego and recently completed a successful run at Hartford Stage. His newest work, Reverberation premiered at Hartford Stage in March. Other plays include Zoey’s Perfect Wedding and The Sentinels, which premiered in London. Matthew currently holds new play commissions from Hartford Stage, Manhattan Theatre Company, Roundabout Theatre Company, and South Coast Rep. He was a staff writer on the HBO series “The Newsroom” and is currently adapting Javier Marias’ “Your Face Tomorrow” trilogy for Brad Pitt’s Plan B film company.

The 12

designer for the Broadway and two national tours of Wicked. Member USA-829.

The 12

STAFF

Prop Shop Eileen Garcia, Assistant Properties Director

LATECOMERS are seated at designated breaks.

EXECUTIVE

Props Artisans: Jamie Stewart Curl, Charles Dallas, Georgina Kayes, David Hoth, Katie Webster

PHOTOS & VIDEO RECORDING are prohibited.

Kent Thompson, Producing Artistic Director Charles Varin, Managing Director Bruce K. Sevy, Associate Artistic Director Jeff Gifford, Director of Production

ARTISTIC Kent Thompson, Producing Artistic Director Bruce K. Sevy, Director of New Play Development Douglas Langworthy, Literary Manager/ Dramaturg Chad Henry, Literary Associate Emily Tarquin, Artistic Associate/New Play Coordinator Grady Soapes, Artistic Coordinator Matthew Lopez, Denver Center Playwriting Fellow

PRODUCTION Jeff Gifford, Director of Production

Robin Lu Payne, Properties Director

Jana L. Mitchell, Charge Scenic Artist Scenic Artist: Brian Proud Paint Intern: Wren Nunns

Janet S. MacLeod, Costume Director/Costume Design Associate Meghan Anderson Doyle, Costume Design Associate Drapers: Stephanie Cooper, Carolyn Plemitscher, Louise Powers, Jackie Scott First Hand: Cathie Gagnon Tailor: Sheila P. Morris Stitchers: Kelly Jones, Teresia Larsen

Kevin Copenhaver, Costume Crafts Director Costume Crafts Artisans: Judy Craigo-Robb

Scenic Design

Wigs

Lisa M. Orzolek, Director of Scenic Design

Diana Ben-Kiki, Wig Master

Scenic Design Assistants: Matthew Plamp, Nicholas Renaud

House Crew Doug Taylor*, Supervising Stagehand

Multimedia: Charlie I. Miller, Resident Multimedia Specialist Multimedia Assistant/Operator: Topher Blair Sound Design John E. Pryor, Director of Sound Sound Designers: Craig Breitenbach, Tyler Nelson

Stagehands: Mariah Becerra*, Jim Berman*, Nina Bluewaters, Jennifer Guethlein*, Frank Haas, Andrew Hamer, Stephen D. Mazzeno*, Dana Nelson, Miles Stasica*, Tyler Stauffer, Matt Wagner* (*IATSE Local 7 Stagehands) Production Electrician: Reid Tennis Wardrobe Brenda Lawson, Director Wig Assistants: Jocelen Barnett, Maria Y. Davis Dressers: Robin Appleton, Amber Donner, Amoreena Kissel, Tim Nelson, Alan Richards, Brooke Vlasich

Sound Intern: Elizabeth Jamison

ADMINISTRATION Stage Management

Charles Varin, Managing Director

Christopher C. Ewing, Production Stage Manager

Ryan Meisheid, Associate Managing Director

Stage Managers: Paul Behrhorst, Matthew Campbell, Rachel Ducat, A. Phoebe Sacks, Kurt Van Raden

Allison Taylor, Assistant Company Manager

Alyssa Stock, Company Manager

Production Assistant: D. Lynn Reiland

MARKETING

Stage Management Interns: Eliza Caplitz, Natalie Kratochvil

Hope Grandon, PR & Events Manager

Brianna Firestone, Director of Marketing Emily Kent, Marketing Associate

Scene Shop Eric Rouse, Technical Director Robert L. Orzolek, Associate Technical Director Josh Prues, Assistant Technical Director Lead Technicians: Albert “Stub” Allison, Louis Fernandez III Scenic Technicians: Justin Hicks, Brian “Marco” Markiewicz, Keli Sequoia, Mike VanAartsen, Ross Wick

The Directors and Choreographers are members of the Stage Directors and Choreographers Society, an independent national labor union.

Costume Shop

Julie Brou, Production and Artistic Office Manager

Lighting Design Assistant: Lily Bradford

COUGH DROPS are available at Patrons Services.

Lead Scenic Artist: Melanie Rentschler

Costume Crafts

Charles R. MacLeod, Director of Lighting

TURN OFF cell phones and alarm watches.

CHILDREN 4+ are welcome in our theatres.

Paint Shop

Melissa Cashion, Associate Production Manager

Lighting Design

PLEASE BE ADVISED

Supporting Partners

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 Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from Arts & Venues Denver; the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals.

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

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

The Theatre Company is a constituent of Theatre Communications Group (TCG), the national organization for the American theatre.

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

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WILL THE REAL GREAT AMERICAN NOVELIST PLEASE STEP FORWARD?

MARK TWAIN, SAMUEL CLEMENS OR HAL HOLBROOK? B Y S Y LV I E D R A K E

“If I’d learned just to play myself I might have become some kind of movie star, but I thwarted that by taking on roles that allowed me to get at the heart of a character.”

— HAL HOLBROOK

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I

In a career that spans more than 70 years and ranges from regional theatre to TV and film, the world inevitably thinks of Hal Holbrook primarily as Mark Twain. This recognition is all thanks to his irrepressible solo performance in Mark Twain Tonight!.

To hear Holbrook tell it, this was all an accident. Born in Cleveland in 1925 where his first role in the theatre was in The Man Who Came to Dinner at Cleveland’s Cain Park Theatre, he grew up in Massachusetts and later graduated from Ohio’s Denison University.

By the time Holbrook left Denison, he was married and he and his first wife, Ruby Johnson, had developed a two-person show consisting of characters from Shakespeare to (yes) Mark Twain. They took it on the road, touring the 8am school assembly circuit in a freezing Southwest, doing 307 shows in 30 weeks, and racking up 30,000 miles on their station wagon, with costumes that often had to be defrosted before they could be worn.

The Twain characterization might have perished right there, but Holbrook was cast in a soap opera in New York and became sufficiently bored with it that he began to ex-

pand his repertoire of Twain material in sheer self-defense. When TV’s Ed Sullivan saw the polished one-man piece in a small New York theatre and offered Holbrook national exposure on his hugely popular variety show, there was no turning back.

The down side of that success was that young Hal was being offered mostly old-man roles. The up side, though he didn’t know it at the time, was that Mark Twain Tonight! would become the singular, solo creation that he’s played all over the country (including Broadway, where it earned him a 1966 Tony® Award).

This turn of events threatened, but was not allowed to impede a much richer and fuller career. On stage he tackled everything — from comedy to drama, musicals to Chekhov, Miller to Shakespeare, careening from Hotspur and Shylock to the vaulting King Lear, without flinching at the sheer magnitude and range of his undertakings.

“I was introduced to acting that way, playing everything,” he told this writer in 1996, when he came through Denver in the title role of Death of a Salesman.

“I dove into the theatre to get behind disguises,” he confessed.

“As a kid, I’d scare the neighborhood as the Hunchback of Notre Dame. If I’d learned just to play myself I might have become some kind of movie star, but I thwarted that by taking on roles that allowed me to get at the heart of a character.”

Yet the most amazing of those characters remains his portrayal of the pugnacious, cigar-chomping Mark Twain, a wit and writer Holbrook deeply admires and with whom he is on very intimate terms after 60 years of being him on stage. Not only does he find Twain’s perceptions brilliant, but also extremely modern.

When we met on a wintry Los Angeles afternoon in his home library, Holbrook was fired up. On cue, eyes, energy and indignation blazing, he expounded not only on the astonishing career he has made out of playing one of America’s greatest citizen-philosophers (a journey chronicled in his 2011 autobiography, Harold, the Boy Who Became Mark Twain), but also on his boundless admiration for what he sees as Twain’s prophetic vision of this country’s often rogue and difficult trajectory and uncertain future.

“He was the first tremendously successful author in this country,” he said. “In the 1870s, after the Civil War, his career took off, he came east, and the country took off. The Industrial Revolution began, fed by Mr. Lincoln saying go ahead, put down the transcontinental railroad. Mark Twain, still in his thirties, became the confidant of Andrew Carnegie, of Mr. Vanderbilt — he sailed on his yacht — of young John Rockefeller: [Jay] Gould, J.P. Morgan.

“In those days they all belonged to clubs — the Players Club, the Lotus Club. They all knew each other, had lunches, made fun of each other, had fun with each other. Twain watched them, looked at them, went home and wrote about them. He saw the great turn that had happened in this country, from an agrarian to an industrialized nation, which became, in a

period of 30 or 40 years, an industrial giant.”

Yet Twain saw an America that lost its way. To quote from the show, “It’s a civilization that has destroyed the simplicity and repose of life, its poetry, its soft romantic dreams and visions, and replaced them with a money fever, shorted ideals, vulgar ambitions and a sleep that does not refresh.”

No wonder Holbrook stands in awe.

“You could start the American Dream with Abraham Lincoln as the epitome of the Great American Story,” he said. “You go from Lincoln to Twain and the disintegration that he began to write about in The Gilded Age and other late works, and you know he was beginning to see the erosion of the purity of our values.

“If you think that Mark Twain was just becoming a road exercise for me, think again,” he added. “I can get out there and say something that means something to me and, I believe, to the American public that may not even understand the magnitude of what is going on. It’s become my sword.

We all need to think a little bit about what we are doing to ourselves, to our children and especially to our country.”

The words will be Twain’s. The passion? All Holbrook.

Sylvie Drake most recently served as Director of Publications for the Denver Center for the Performing Arts. She is a former theatre critic and columnist for the Los Angeles Times and a regular contributor to culturalweekly.com.

HAL HOLBROOK IN MARK TWAIN TONIGHT! MAR 21 | BUELL THEATRE Tickets: 303.893.4100 | denvercenter.org 800.641.1222 | TTY: 303.893.9582 Groups (10+): 303.446.4829

Gilgamesh Taggett as Oliver Warbucks and Issie Swickle as Annie in “I Don’t Need Anything But You” Photo by Joan Marcus.

COMING UP FROM BROADWAY:

ANNIE Think you’re an expert on the musical Annie?

Brush up on your trivia before heading to The Buell Theatre April 29 – May 10 for the Denver Center for the Performing Arts presentation.

1. Little Orphan Annie originally appeared as a ____________ in the 1920s. a. Children’s Book b. Comic strip c. Radio ad 2. Finish the lyric: “It’s a _________ _________ life, for us!” a. pretty easy b. tough knock c. hard knock 3. Which of the following musicians recorded the song “Tomorrow”? a. Barbra Streisand b. Jack Topping c. Idina Menzel d. All of the above 4. How many Tony Awards did the original 1977 production of Annie win? a. 7 b. 4 c. 5 5. How many times has Annie been made into a movie? a. 1 b. 2 c. 3 6. What is the name of the stray dog that Annie adopts? a. Sandy b. Max c. Rover 7. What US President is featured in the show (Hint: the show takes place in December 1933)? a. Harry S. Truman b. F.D.R. c. Woodrow Wilson 8. What does Annie wear that reminds her of her parents? a. a ring b. a locket c. her mother’s scarf

HAL HOLBROOK Answers: 1) Comic Strip, 2) hard knock, 3) all of the above, 4) 7, 5) 3, 6) Sandy, 7) F.D.R., 8) a locket

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DaVita believes in the importance of arts and culture in education and supports many Colorado organizations working to enrich those opportunities.

When DaVita teammates from across the country agreed on a mission “to be the provider, partner and employer of choice” more than 15 years ago, the company created a culture to support its patients, teammates and communities in innovative, creative and sustainable ways. Since then, DaVita HealthCare Partners has continued its journey “to become the greatest health care community the world has ever seen.”

As a community first and a company second, DaVita HealthCare Partners created a vision for corporate social responsibility called the Trilogy of Care: Caring for Our Patients, Caring for Each Other and Caring for Our World.

DaVita HealthCare Partners believes that if it creates a thriving, sustainable community for its teammates, they in turn will create a special clinical and caring community for patients and their families – and be inspired to help others. This trilogy is at the heart of the company’s industry-leading clinical outcomes, goodwill initiatives and environmental commitment.

As part of its commitment to the arts and bolstering education in Colorado, DaVita HealthCare Partners helped create a unique arts collaboration called the Creative Classroom Collaborative between the Denver Center for the Performing Arts (DCPA), the Colorado Symphony and Youth on Record, facilitated by the Public Education and Business Coalition. This collaboration resulted in a pilot program at Denver’s Venture Prep High School where students were taught by teaching artists from the respective groups to use the arts as a tool for improving core curriculum skills. The pilot culminated in a live performance by the students who showcased their creativity in various ways. DaVita HealthCare Partners believes in the importance of arts and culture in our education system and supports many Colorado organizations that are working to enrich those opportunities in local schools.

DaVita HealthCare Partners teammates also are committed to engaging their local community through volunteerism. Many teammates work together on community service projects – or Village Service Days – like serving in soup kitchens, cleaning up parks and working with underserved populations.

Since 2006, DaVita HealthCare Partners teammates and their families and friends across the country have volunteered nearly 79,000 hours through more than 14,000 Village Service Days.

DaVita HealthCare Partners is a proud sponsor of the DCPA and its commitment to sustaining the arts and educating the next generation of patrons in Colorado. DCPA’s dedication to helping students develop their own creative voice and gain the confidence to share that voice with the world is just one of the reasons why Colorado is such a great place to live and work.

LEFT: A DaVita teammate gives a new pair of shoes to a child at Greenlee Elementary in Denver as part of DaVita’s nationwide community service initiative “Shoes-a-palooza.”

For the second year in a row, DaVita partnered with Shoes That Fit and provided nearly 11,500 pairs of new shoes to children in need across the country.

RIGHT: DaVita teammates help harvest carrots at an urban garden maintained

by Re:Vision.

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The Aurora Fox Theatre Company presents ...

A father’s story. A son’s journey. An epic adventure.

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based on the Tim Burton film

music and lyrics by Andrew Lippa book by John August

Proud Partner of the Bringing Music to Life Instrument Drive

MARCH 16–28 Share the power of music with children.

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“Dream the Impossible Dream” with a Brave Knight this Summer...

Tony Award Winning Musical

by Leigh, Darion and Wasserman July 18 to August 9 Central City Opera House

La Traviata | Man of La Mancha | The Prodigal Son The Blind | Don Quixote and the Duchess

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COMING SOON

IN THE

STOMP Now – Mar 15

SPOTLIGHT

Drag Machine Mar 12 – 29 Kick-Off Cabaret Mar 13 One Night in Miami...

Mar 20 – Apr 19 Mark Twain Tonight!

Mar 21

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

The 12 Mar 27 – Apr 26 Motown The Musical Mar 31 – Apr 19 Perception Apr 10 – 25 Annaleigh Ashford — Lost in the Stars Apr 11 – 12 Joseph and the Amazing Technicolor Dreamcoat Apr 22 – 26

© Selah Photography

Defending the Caveman Apr 22 – Jun 28 Annie Apr 29 – May 10

2

Cult Following May 8 Wicked Jun 3 – Jul 5 The Book of Mormon Aug 11 – Sep 13

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Matilda The Musical Sep 9 – 20 If/Then Oct 13 – 25 Murder for Two Oct 27 – Feb 21, 2016 Disney’s The Lion King Nov 4 – 29

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1. EDUCATION: Adult students prepared for their Winter Master Class performance of Macbeth. 2. EVENT SERVICES hosts fantastic mixers such as the Greater Denver Venue Network Luncheon and our own VIP Evenings.

3. THEATRE COMPANY’s Fourth Wall young professionals enjoyed happy hour before Appoggiatura. 4. BROADWAY: The Grinch made an appearance at the DCPA’s Holiday Box Office in Cherry Creek to read How the Grinch Stole Christmas.

For complete photo coverage, visit the DCPA’s News Center at denvercenter.org/news-center.

A Christmas Story, The Musical Dec 16 – 27 Dirty Dancing — The Classic Story On Stage Jan 26 – 31, 2016 The Wizard of Oz Feb 7 – 13, 2016 A Gentleman’s Guide to Love & Murder Feb 16 – 28, 2016 Riverdance — The 20th Anniversary World Tour Mar 8 – 13, 2016 Disney’s Newsies Mar 23 – Apr 9, 2016 once May 24 – 29, 2016 Disney’s Beauty and the Beast Jun 7 – 12, 2016 The Sound of Music Jun 21 – 26, 2016 Beautiful — The Carole King Musical Jul 19 – 31, 2016

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Beauty from the inside out

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10TH ANNUAL

COLORADO

NEW PLAY

SUMMIT

Visitors to the 10th Colorado New Play Summit are calling the addition of a second week a real game-changer.

2 1

7

3

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1. Kelley Rae O’Donnell and Chris Murray in Holy Laughter. 2. Jessica Love, Kevin Berntson, Carly Street and Brian D. Coats in The Nest. 3. Eddie Martinez in FADE. 4. Melissa Recalde and Nick Mills in The There There. 5. James Newcomb, Darrie Lawrence and Jane Page. 6. DCPA Artistic Associate Emily Tarquin and Playwriting Faculty Steven Cole Hughes.

7. High School Playwriting Competition Finalists Kaytlin Camp, Jack Hansen and Catherine Novotny. 8. Actors Lenny Von Dohlen, William Oliver Watkins, Melissa Recalde, Rob Nagle, Nick Mills and Mehry Eslaminia. 9. Playwriting Fellow Matthew Lopez and Artistic Coordinator Grady Soapes. 10. Jason Gray Platt at the Playwrights’ Slam. 11. Paula Vogel leading her Playwriting workshop with Appoggiatura Director Risa Brainin. 12. Tanya Saracho at the Playwrights’ Slam.

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“Kent Thompson absolutely walks the walk,”

playwright Theresa Rebeck said of the DCPA’s Producing Artistic Director who founded the Colorado New Play Summit in 2006. This year’s Summit featured the readings of four works in development — three of which were commissioned by the Theatre Company.

With the expansion of the Summit, the four featured playwrights were given a week to rehearse with full creative teams followed by a sold-out weekend of public readings. Then, the playwrights had a second week to rewrite before readings for industry professionals and subscribers. The cumulative reaction from the writers was something akin to stunned euphoria: “Adding the second week was electrifying and extremely original,” said Rebeck. Added Jason Gray Platt: “I wouldn’t have been able to accomplish what I wanted to accomplish in just one week.”

While the focus at the Summit is on development, the playwrights are keenly aware of the statistics: Thompson has mounted 25 world premieres in 10 years. So far, 57 percent of all Summit readings have gone on to full stagings by the DCPA Theatre Company.

“This is what we do,” Thompson said. “We are committed to taking at least half of what we read at the Summit and [mounting it for a full production] on the stage — sometimes more.”

This year’s readings had often overlapping things to say about gender, ethnic identity, memory and community.

Platt’s The There There tested our presumptions of tolerance by presenting one couple’s love story over 60 years. The same script was read by two men the first weekend, and by a man and a woman the second.

Rebeck’s The Nest had pointed things to say about the different ways men and women see the world inside a story about a community of tavern regulars.

Catherine Trieschmann’s comedy Holy Laughter looks at a very different kind of community in conflict. Her community looks at a flawed young Episcopalian priest who struggles to keep her church — and the minds of her few remaining parishioners — open. Tanya Saracho’s FADE is a semi-autobiographical story about an inexperienced young Latina who is hired to write for a TV detective show in Hollywood.

The expanded Summit offered a plethora of new activities, including playwriting workshops led by Matthew Lopez and Paula Vogel, and two playwright “slams,” one curated by the local Rough Draught Playwrights.

Visitors also attended world premiere performances of Benediction and Appoggiatura.

Saracho left Denver saying, “I don’t know how to describe the essence of this place. Nurturing is not enough. I need a better word. Everyone here at this Summit is just trying to get your play born…so it’s like everyone is your midwife.”

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11 Photos by Adams Design + Photo, Kyle Malone and John Moore.

THANK YOU TO OUR SUMMIT SPONSORS Joy S. Burns, Leo & Susan Kiely, Bob & Carole Slosky, Daniel L. Ritchie and the Women’s Voices Fund.

10TH

ANNUAL

2015

Special thanks to the Harold & Mimi Steinberg Charitable Trust for its continued support of new play development at the Denver Center for the Performing Arts. Additional thanks to Molson Coors for supporting Summit receptions.

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WEAR A HAT THAT SPEAKS VOLUMES. Join our Women with Hattitude benefit for the Women’s Voices Fund at the Denver Center for the Performing Arts.

Enjoy a delicious lunch, a surprise musical performance and a colorful parade of the day’s best hats—all to help women playwrights and directors be heard.

THURSDAY, MAY 7 | Seawell Grand Ballroom | 11:30am

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Children and Teen Classes Help your children and teens find their voices and share their stories. Sign them up for a unique educational experience this spring and summer: acting, improv, musicals and more.

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Our main driving principles are collaboration and the power of art to support charitable endeavors as well as other artistic disciplines.

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Our main driving principles at Abend Gallery and Gallery 1261 are collaboration and the power of art to support charitable endeavors as well as other artistic disciplines. That’s why Abend Gallery partners with the Denver Center for the Performing Arts (DCPA) annually for Saturday Night Alive. Numerous works by gallery artists are donated to the Saturday Night Alive auction and valued at more than $20,000 a year.

There are many other ways in which this practice manifests in our galleries’ programs. In terms of collaboration, Abend has recently launched a series of guest-curated exhibitions. This past February, we partnered with curator Ivar Zeile and Plus Gallery by offering Ivar our main gallery space for a pop-up exhibition, paired with our in-house curated show. We used this platform to explore the possibilities of galleries working together in a shared context. Currently, Abend is featuring an exhibition by guest curator Mark Sink as part of his annual Month of Photography, a biennial celebration of fine art photography with hundreds of events throughout Denver and the region, taking place in March and April. The exhibit at Abend runs March 10 to April 17. Future guest curation and collaborative events at the gallery are planned for 2016.

We also partner with local charities, such as Project Angel Heart and the Central Visitation Program.

At Abend Gallery we host Art for

Artist and curator of Gallery 1261, presenting his donated work.

Painted live at Art for Life 2014

Life, a one-night auction featuring more than 100 artists donating over 100 works for auction that benefit Project Angel Heart, an outstanding charity dedicated to providing meals to individuals coping with life-threatening illness. Many of our artists from Abend and Gallery 1261 participate by donating works as well as performing live demonstrations during the event. In 2014, Art for Life raised more than $100,000 through auction and ticket sales to support Project Angel Heart’s home-delivered meals program. This year, Art for Life will be held on May 29. Visit projectangelheart.com for more information.

For more than 10 years, Gallery 1261 has hosted a silent auction benefit for the Central Visitation Program (CVP). The CVP is “a lowfee supervised visitation program that provides a safe and comfortable environment in which children and non-residential parents may visit.”

We donate our space each year as well as a portion of the proceeds from any art sale during the event.

The annual event at the gallery has typically provided more than 10% of CVP budget each year. This year the fundraiser will take place on November 6. Visit CVPDenver.org for more information.

We are proud of our continued partnership with the DCPA, support of local charities and promoting the arts community of Denver.

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