Applause Magazine, Feb. 25 - Mar. 9, 2014

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Volume XXV

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NUMber 6

The National Tour of Million Dollar Quartet • Photo by Jeremy Daniel

March – april 2014

ALSO PLAYING…

shadowlands chicago n

c e n t e r

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million dollar quartet

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LETTER From The chairman

G

Daniel L. Ritchie

Good news. You’ve been watching us and we’ve been listening to you.

Look around…you’ll notice new, interactive experiences in the Bonfils Lobby designed to make your Denver Center Theatre Company experience more memorable than ever.

You’ll be able to take your drink into the theatre and attend an afterparty. You can pose for photos, check your social media and watch videos to learn more about our shows. Look for special events with signature drinks, live music and opportunities to meet our actors and artisans. If you’ve only seen our Broadway shows in the Buell, we hope you’ll come see our Tony® Award-winning theatre in the Bonfils Complex just across the Galleria.

We will send you streamlined special offers to the things you like most—and we are re-inventing our website to serve you ever better. John Moore’s blog www.MyDenverCenter. org is your online stop for news, photo and video coverage of all that is going on at the DCPA and beyond. An entirely new online customer experience

index

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is in the works.

Whether you attend the DCPA as a subscriber, an individual, as part of a group or as part of a corporate partnership, our goal is to ensure your experience is everything it needs to be from beginning to end.

And speaking of experiences…

I invite you to join me for an adventure in Scotland August 13–19. We will see exciting new plays at the renowned Edinburgh International and Fringe Festivals. From the accommodations at The George Hotel to the pipes and drums of the Edinburgh Military Tattoo, and the refrain of the Lone Piper against the backdrop of Edinburgh Castle, this will be a trip to remember. An optional tour of London’s West End may be added August 19–24. It’s always a pleasure to get to know you, our theatre “family,” on these trips. For details on itinerary and cost, please visit www.denvercenter. org/travel or call David Zupancic at 303.446.4811.

Daniel L. Ritchie Chairman and CEO The Denver Center for the Performing Arts

MILLION DOLLAR QUARTET

This Tony® Award-winning musical recreates the one time Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins played together in one of the greatest jam sessions of all time.

And you get to be there with the music.

by Rob Weinert-Kendt

16

SHADOWLANDS

William Nicholson’s play based on the romance between Christian philosopher C.S. Lewis and Joy Davidman, the American writer who became his wife, is an inspiration to all who have experienced faith, love and loss. And that’s everyone.

by Sylvie Drake 4

APPLAUSE

d e n v er center. or g

APPLAUSE M

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VOLUME XXV

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NUMBER 6

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March – april 2014

Editor: Sylvie Drake Associate Editor: Suzanne Yoe Designers: Kim Conner, Brenda Elliott, Kyle Malone Applause is published seven times a year by The Denver Center for the Performing Arts in conjunction with The Publishing House. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

Applause magazine is funded in part by

For advertising information call The Publishing House 303.428.9529.

7380 Lowell Blvd., Westminster, CO 80030 Angie Flachman, Publisher

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

The Denver Center for the Performing Arts is a not-for-profit organization serving the public through the performing arts.

Board of TRUSTEES Daniel L. Ritchie, Chairman and CEO Donald R. Seawell, Chairman Emeritus Randy Weeks, President William Dean Singleton, Secretary/Treasurer W. Leo Kiely III, First Vice Chair Robert Slosky, Second Vice Chair Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond Margot Gilbert Frank Thomas W. Honig Mary Pat Link Trish Nagel Robert C. Newman Richard M. Sapkin Martin Semple Jim Steinberg Peter Swinburn Ken Tuchman Tina Walls

CHICAGO

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

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

22 28

Call it the comeback kid. This is the musical that will not die— and that you don’t want to miss.

by Genevieve Miller Holt

SUMMIT REPORT

Another year of thrills, spills and high notes at the ninth Colorado New Play Summit.

by Sylvie Drake

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COMING ATTRACTIONS

Girls Only Now – March 9 Garner Galleria Theatre

Shadowlands March 28 – April 27 Space Theatre

Rock of Ages April 25 – 27 Buell Theatre

Million Dollar Quartet Now – March 9 Buell Theatre

Animal Crackers April 4 – May 11 Stage Theatre

once May 6 – 18 Buell Theatre

Celtic Woman April 19 Buell Theatre

American Idiot May 23 – 25 Buell Theatre

Chicago March 18 – 23 Buell Theatre

Dixie’s Never Wear a Tube Top While Riding a Mechanical Bull...

April 24 – May 11 Garner Galleria Theatre

Dixie’s Tupperware Party March 26 – April 20 Garner Galleria Theatre

Dr. Seuss’ How the Grinch Stole Christmas!

The Musical Dec 17 – 28 Buell Theatre

Pippin Sept 6 – 20 Buell Theatre Kinky Boots Oct 29 – Nov 9 Buell Theatre Forbidden Broadway: Alive and Kicking Nov 15 – March 1, 2015 Garner Galleria Theatre

Rodgers + Hammerstein’s Cinderella Feb 3 – 15, 2015 Buell Theatre

Jersey Boys Dec 10 – 14 Buell Theatre

Motown The Musical March 31 – April 19, 2015 Buell Theatre

All shows On Sale Now!

Annie April 29 – May 10, 2015 Buell Theatre Wicked June 3 – July 5, 2015 Buell Theatre The Book of Mormon Aug 11 – Sept 13, 2015 The Ellie Now on sale to DCA 2014/15 subscribers ~ see page 14 for more information.

303.893.4100

TTY: 303.893.9582 • denvercenter.org Audio-description, ASL interpretation and Open Captioning available at select performances; check dates/times when ordering.

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

Denver Center Theatre Company 2013/14 Season Sponsors

Denver Center Attractions 2013/14 Season Sponsors

W

ith its production of Shadowlands, a play based on the true love story of author C.S. Lewis and his wife, Joy Davidman, the Denver Center Theatre Company transports you to Oxford, England. Costume designer Angela Balogh Calin took her inspiration from fashions of the 1940s and 50s.

As always, the colors and textures of the fabrics are crucial elements in defining character and mood. C.S. Lewis was part of a deeply tradition-bound academic world, requiring somber colors in the men’s attire, such as browns and other earth tones. The fabrics too are traditional English wools and some twills mixed with textures such as houndstooth, herringbone and windowpane.

Two very different characters are Joy and her son Douglas. They are the outsiders, the Americans who bring a breath of fresh air, light and color to Oxford. Hue and fabric choices for them will be brighter and contrast against the darker shades of British academic attire.

Although the Shadowlands production adheres strictly to its period, there are elements in it that will feel more modern, as current fashion trends seem to blur across all periods. When asked about this, Balogh Calin said, “It is interesting to see how the old fashion trends come back, time after time, giving younger generations the chance to discover and enjoy them.

“I remember as a teenager wearing my mother’s flats and Capri pants from the 50s.

I thought it was very cool to bring back history through clothes. And the 50s are so flattering, feminine and flirtatious that it’s easy to understand why young women keep being inspired by them. They will never go out of style.” n

Red PMS 200 Gold PMS 123

Media Sponsors

The Encore Society honors those who have remembered The Denver Center in their estate plans. These gifts help ensure excellent theatre productions for future generations.

For more information about joining the Encore Society, please contact David Zupancic at 303.446.4811 or davidz@dcpa.org.

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APPLAUSE

d e n ver center. or g

Shadowlands costume designs by Angela Balogh Calin

CELEB RA T

40 G IN

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Spring with the Children’s Chorale Saturday, April 12, 2014 • 2 pm Boettcher Concert Hall Tickets available at ChildrensChorale.org

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We will never tell you to use your “inside voice”!

Auditions for children currently in 1st - 4th grades will be scheduled in May and June.

Register now at ChildrensChorale.org or 303.892.5600

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Season Partners:

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Producing Partners:

denvercenter.org • 303.893.4100 TTY: 303.893.9582 • groups (10+): 303.446.4829

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APPLAUSE

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Written by Sandy Rustin Fleischer

Executive Artistic Director: Paige Price

Season opens June 24. Visit TheatreAspen.org for details & tickets.

million dollar quartet

CAPTURlNG ONE-AND-ONLY

ON STAGE

Million Dollar Quartet recreates the real-life jam session of budding rock’n’roll icons Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins.

Who knew this event would become landmark history?

S

Shows with even a shred of staged violence have a pre-performance ritual labeled “fight call,” in which the performers who will appear in any fight scenes gather, typically within the half hour before the theatre doors open, to go through their choreographed paces. No matter how long the show has been running or how many times the actors have done it, it’s a tradition that errs on the side of safety, since once each night’s performance starts, it can’t stop for a retake, and the performers onstage have only each other to rely on.

Though some palpable tension surfaces among the four rock legends who appear in the show Million Dollar Quartet, it never rises to the level of fisticuffs, let alone swordplay. But the lead actor/musicians in this historically inspired musical do gather

10

before each performance for a trust-building warm-up as crucial to the world of their show as a fight scrimmage is to Macbeth: it’s the nightly “guitar call.”

“Everyone goes out there 20 minutes before the show, gets out acoustic guitars, and jams,” says director Eric Schaeffer, who staged the show in its 2008 Chicago debut, its 2010 Broadway run, and all of its many subsequent productions—including in London’s West End and the current one at The Buell Theatre.

“It’s important to keep that band feeling.” ndeed, musical fellow-feeling is central to each night’s performance because the show recreates, in essence, a historic impromptu jam session among four musicians at or near the start of their hugely influential careers: Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins. The setting was Sun Records, the small Memphis studio where all four giants got their start under the tutelage of producer Sam Phillips. And the occasion was a 1956 recording session for Perkins, the rockabilly hit maker who wrote “Blue Suede Shoes” and “Matchbox.” Lewis— who was still a year away from his first chart hit, “Whole Lotta Shakin’ Going On”—was on hand as a session player on piano. Presley, who had left Sun the previous year for a major label and had made a hit record of Perkins’ “Blue Suede Shoes,” stopped by to listen in, then joined the band in the room.

And Cash, who’d had a country hit the same year with “I Walk the Line,” was—depending on whose account you believe—either hanging around the studio the whole time or present only briefly, possibly as a matter of Sun Records publicity.

I

b y R o b W e i n e rt- K e n d t

Indeed, Sun’s Phillips, who had an eye for a photo opportunity, glimpsed the history being made that day and quickly summoned a reporter from the Memphis Press-Scimitar. The next day’s paper printed a blackand-white photo of Lewis, Perkins and Cash gathered around Presley at the piano, and ran a story with the headline “Million Dollar Quartet.” That may have been the last anyone heard about this unlikely rock’n’roll summit, except that someone at the studio had the foresight to keep the tape running.

When the recordings surfaced decades later, they revealed a loosey-goosey mix of conversation, dish, and songs or parts of songs—some 46 tunes in all, more than half of them gospel songs, and two of them Christmas songs, as the session was held in early December.

For the stage rendition, co-written by Sun Records historian Colin Escott and writer/ director Floyd Mutrux, the song list has been tweaked; there are just two gospel songs remaining, “Peace in the Valley” and “Down by the Riverside,” and the history compressed for dramatic effect. For instance, Cash, depicted in the show as a sort of wise elder brother, is shown announcing his departure from Sun Records to go his own way—a break that wouldn’t happen for two more years. ut if the show is not a docudrama, it intends to capture the tight-knit feel of four colleagues feeling their way through familiar tunes together, as well as showcasing their songs for each other.

“I wanted the audience to be like a fly on the wall,” says Schaeffer. “I didn’t want the show to feel slick.” He credits music arranger/supervisor Chuck Mead, a country/ roots artist himself, with keeping the sound lean and mean. “None of the arrangements was souped up or sexed up,” says Schaef-

B

million dollar quartet

Photos L to R: Ben Goddard in The National Tour of Million Dollar Quartet, photo by Paul Natkin; The National Tour of Million Dollar Quartet, photo by Paul Natkin; Cody Slaughter & Kelly Lamont, photo by Jeremy Daniel.

fer. “It was just what those guys wrote and played.”

The show breaks its you-are-there realtime conceit a few times: for flashbacks to fill in the backstory of the leads, and for a final-stretch “fantasy concert” imagining the four icons playing their hits together.

But the key to acting verisimilitude as well as musical authenticity, Schaeffer says, has been finding the right talent. ’ve cast this show like no other show,” he says. “We’ve searched YouTube and looked at videos of people; I’ve gone to the Elvis competition in Baltimore. We’ve also auditioned the show in Nashville and Austin,” two music capitals teeming with young guitar-slingers and singers.

He also rehearsed the show like no other, he concedes.

“I’m used to rehearsing a show ten to six,” says Schaeffer, who’s directed the Broadway runs of Follies and Putting It Together, “but we forgot that musicians don’t get up until 11 o’clock. They’re not used to a clock at all; the attention span and focus is a lot different from a traditional musical. So our first day ran ten to six—and then we never did that again.”

The first order of business, Schaeffer recalls, was to “make the guys a band,” which involved music director Mead leading the performers through jam sessions of familiar tunes, calling out titles and keys, not unlike the original 1956 gathering. It’s an approach that makes sense for a show in which the actors also are the musicians, and vice versa; creating a sense of ensemble among performers is always crucial in a live medium like theatre. When the action of the show happens to involve a lot of live music-making, it helps if they really look

“I

But if the show is not a docudrama, it intends to capture the tight-knit feel of four colleagues feeling their way through familiar tunes together, as well as showcasing their songs for each other. like they’re playing off each other the way actual bands do.

“When they do their instrumental breaks, they do them a little differently every night, so they’re always listening to each other, checking out what new thing Carl [Perkins] is doing,” Schaeffer notes. n the other hand, Schaeffer wants to make clear, apart from the show’s final moments, Million Dollar Quartet is designed as a story-driven show, not a concert.

“I tell them they’re just living in that moment,” he says of his direction to the actors, “because the studio is so small, they’re all trapped in this room together. There’s nowhere to go. So when tension arises, it goes right into the music.”

Though the Million Dollar Quartet tour now frequently plays music halls as much as theatres, and now has a sit-down production in Las Vegas, for Schaeffer what’s important is that “the show never becomes a machine, like some big musicals can turn into.” To that end, he and Mead “go and check on every single company” around the

country to preserve the show’s balance of intimacy and flash.

And, of course, to make sure those guitar calls start on time. n Rob Weinert-Kendt is a senior editor at American Theatre and has written about theatre and the arts for The New York Times, The Los Angeles Times, Variety, The Guardian and The San Francisco Chronicle.

O

Feb 25 – Mar 9 • Buell Theatre Sponsored by U.S. Bank and Pioneer Natural Resources ASL Interpreted, Audio Described & Open Captioned March 9, 2pm

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

A P P L A US E

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JOINING WITH THE ARTS FOR A STRONGER COMMUNITY

“We take great pride in supporting Denver through building stronger partnerships such as [the one we have with] The Denver Center for the Performing Arts. Our support of the DCPA is a direct reflection of what we believe our role as a good corporate citizen should be both in Denver and across the country.”

— Hassan Salem, Market President of U.S. Bank in Denver

A proud sponsor of Million Dollar Quartet

Million Dollar Quartet 12

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“The Denver Center for the Performing Arts is a crown jewel of the Mile High City,” said Darren Markley, Managing Director of The Private Client Reserve of U.S. Bank in Colorado. “We are fortunate to have a world class artistic venue with high quality performances and experiences. The DCPA always delivers on creating memorable moments for our valued clients.”

U.S. Bank is honored to be associated with The Denver Center for the Performing Arts.

The U.S. Bank team in Denver believes a community that offers diverse cultural experiences is a great place for individuals and families to live, learn, play and thrive. n Investment products, including shares of mutual funds, are not deposits or obligations of, or guaranteed by U.S. Bank or any of its affiliates, nor are they insured by the Federal Deposit Insurance Corporation or any other government agency. An investment in such products involves risk, including possible loss of principal.

Deposit products offered by U.S. Bank National Association. Member FDIC.

Cody Slaughter as Elvis Presley in The National Tour of Million Dollar Quartet. Photo by Paul Natkin.

T

he arts inspire, move us and enhance our quality of life. The U.S. Bank team in Denver values the power of the arts and is committed to supporting the magnificent programs and spectacular performances that are a critical part of our community. The arts educate, promote understanding, broaden our perspectives, enable us to share rich cultural experiences and provide an escape when needed. We are fortunate that the Denver arts community is a strong resource and has produced some of the nation’s finest theatres, museums and artists.

“We are actively engaged in developing, strengthening and energizing our communities. Nowhere is this more important than in the communities where we live, play and work. We take great pride in supporting Denver through building stronger partnerships such as [the one we have with] The Denver Center for the Performing Arts [DCPA],” said Hassan Salem, Market President of U.S. Bank in Denver. “Our support of the DCPA is a direct reflection of what we believe our role as a good corporate citizen should be both in Denver and across the country.”

Employee community involvement and guidance from community leaders weaves U.S. Bank into the fabric of Denver’s neighborhoods. Employees are active with local nonprofits, and members of the U.S. Bank board in Denver provide regular feedback on the bank’s current activities that helps crystallize the bank’s vision for the future.

U.S. Bank is committed to providing consumers and businesses with a comprehensive range of financial tools and services to help meet their goals. For clients with more complex financial needs, U.S. Bank offers

Ben Goddard, James Barry, Cody Slaughter and David Elkins in The National Tour of Million Dollar Quartet.

Photo by Paul Natkin.

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THE SHOWS

announcing the Denver Center Attractions

HHHHH “

Daily News

Time Out NY

2013 TONY AWARD

®

WINNER! BEST MUSICAL REVIVAL

Sept 6–20, 2014

Oct 29–Nov 9, 2014

Nov 15–March 1, 2015

Feb 3–15, 2015

March 31–April 19, 2015

April 29–May 10, 2015

Buell Theatre

Buell Theatre

Buell Theatre

Buell Theatre

Garner Galleria Theatre

Buell Theatre

TM & © 1957, 2014 Dr. Seuss Enterprises, LP

added attractions:

Dec 10–14, 2014 Buell Theatre

Dec 17–28, 2014 Buell Theatre

June 3–July 5, 2015 Buell Theatre

with

303.893.4100

GROUPS: 303.446.4829 TTY: 303.893.9582 14

AP P L A U S E

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Aug 11–Sept 13, 2015 The Ellie

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denvercenter.org/ bwaysubs

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WINNER! BEST MUSICAL REVIVAL

one more show TBA soon!

Become a premium Denver Center Attractions subscriber with this specially customized season

All with concierge services Membership Benefits Include:

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Membership is $5,000 per person (a generous portion is tax deductible). To personally discuss your membership, please contact David Zupancic:

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A P P L A US E

15

shadowlands

“The pain, now, is part of the happiness, then. That’s the deal.”

—Shadowlands

OF FAITH, LOVE AND LOSS This knotty trifecta is at the heart of Shadowlands, William Nicholson’s play about the faith and love story of C.S. Lewis and Joy Davidman b y S y l v i e Dr a k e

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When all was said and done, C.S. Lewis could not really tell us where his faith took him after the death of his beloved wife Joy. His book, A Grief Observed, written after her death from cancer at 45, was a necessary release of terrible anguish for him, but he struggled with the faith issue. A Grief Observed is Lewis’ cri de coeur, his way of coping with that enormous loss. But it does not quite tell us where the broken pieces of the rest of him lay.

Neither can William Nicholson. He based his award-winning play, Shadowlands, on the unexpected and unlikely encounter of this Irish atheist turned ecumenical Christian philosopher—with Joy Davidman, an American writer and poet born Jewish, turned atheist and finally Christian, who looked Lewis up because she admired his writing. Their meeting led to a fascinating love story. It also does them poor service to describe these two remarkable human beings in such cursory fashion, so the description stops here. The deeper marvel is that they met at all, that they fell in love and that they married.

By the time this all happened, Lewis had been a confirmed bachelor into his early 50s and Davidman, 17 years his junior, was a divorced American trying to establish a foothold in England. Neither of them expected to become the central players in such a grand romance and Lewis never dreamed that anything could change his life as radically as loving this woman did. You couldn’t make this up. icholson didn’t have to. The twice Oscar-nominated screenwriter (once for the film based on his stage version of Shadowlands) didn’t have to do much more than transform this deeply moving true story into a teleplay, stage and screenplay, basing a lot of the writing on Lewis’ own disarmingly frank observations.

Lewis himself stated that he considered himself an entirely orthodox Anglican to the end of his life, and we can only accept his word for it. But books such as his A Grief Observed do leave some room for doubt—his and ours.

“The message that Nicholson shares with us is: when we open ourselves to great love, we open ourselves to great pain and therefore, open ourselves to the full measure of life’s experiences,” says Christy Montour-Larson who staged the Denver Center Theatre Company production of Shadowlands.

“Shadowlands is an unlikely love story about the magic of change. It asks the question: ‘How can Lewis reconcile his belief in a benevolent God’s Heaven with the pain and suffering he experiences on earth?’ ” From a theatrical viewpoint, the answer is and should be unreachable because it ultimately doesn’t matter. Conclusions will

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shadowlands

differ with every viewer according to how he or she receives the play based on personal experience or conviction. What matters is the humanity of the struggle. o me,” Montour-Larson continues, “plays that help us understand what it means to be a human being are the best kind of theatre.

My two favorite quotes from the play that lift up this message are Jack [C.S. Lewis] saying, ‘I pray because I can’t help myself.

I pray because I’m helpless. I pray because the need flows out of me all the time, waking and sleeping. It doesn’t change God. It changes me.’ And secondly: ‘Why love if losing hurts so much? I have no answers anymore, only the life I have lived…’ ” So yes, it’s complicated. Not only the issues, but also the influences that shape one’s response to them. No one comes to this subject naked, certainly not the playwright who has acknowledged a lifelong preoccupation with matters of faith, life and death.

Nicholson’s father, a Methodist doctor, and

and grief and the word this issue. I have heard Shadowlands seems feminine energy is about to encompass both of nurturing, receiving and these.” being, and masculine (Nicholson, who energy includes protecmost recently wrote tion, giving and doing. the screenplay for If we open ourselves up, we have the power to Mandela: Long Walk work with both energies, to Freedom, based but we can’t deny what on Nelson Mandela’s we bring to the table. I autobiography of the Christy Montour-Larson see both of these enersame name, has stated gies being important to that he does not beShadowlands. Our story begins in 1950s lieve in a life to come; yet, he adds, “I don’t Oxford with a foot in the 16th century. It is reject it as an impossibility, but I think it’s unlikely.”) a masculine world of civilized routine. And “Regarding Lewis,” contributes Montourthen enters Joy: feminine, modern, bold and Larson, “he wasn’t interested in converting adventurous…” anyone. He did not quote the Bible, nor final question: does being a person was he a fundamentalist. Yes, he was very of faith help to appreciate this play conservative in some ways, but he was also and its dilemmas? And if one is not, very open and genuine. He relied on comdoes it diminish the play’s impact or even mon sense, ethics and imagination as a path alter one’s interpretation? to Christianity and he saw Christianity as “I don’t think it matters either way,” says the director. “This play is about human beings experiencing love and loss. Everyone has a belief system, whether they believe in God or not, and that faith is a fundamental part of the human condition. It’s just a question of what we put our faith in and how good the choices we make in doing that are.

“Lewis conducted a series of BBC talks about Christian beliefs from 1943 to 1945.

According to a survey of listeners dating to the 1940s, more than 50% of them identified themselves as atheist. He had a special affinity for the arguments, sensibilities and perspectives of religious doubters and was even called ‘the apostle to the skeptics.’

Lewis’ life journey was to figure out the world and what faith meant.

“I think we are all trying to do that in our a hallway with many rooms. So, I think he own way.” n would approve of Shadowlands.”

Still, is the case being made in the play for the triumph of anything? If so, what? Faith?

Love? Both? Neither?

“I see Shadowlands as both a triumph of love and faith. In the beginning, Lewis lectures on the meaning of love and suffering—yet he does not truly understand the March 28 – April 27 • Space Theatre depths of what he is saying—until he meets Joy.” Producing Partners: Isabelle Clark and ince this is a play where nuances Martin & Jo Ann Semple matter, do you think a woman would ASL Interpreted & Audio Described • April 27, 1:30pm direct this play differently from a man?

Perspective on the play: March 28, 6pm, Jones Theatre* “Directing is a subtle and complex art. *Attend a FREE moderated discussion about the play There may be as many methods for directwith DCTC’s creative team. All are welcome. ing as there are individual artists,” Montour Larson offers. “I used to think that my being a woman should not make a difference in Tickets: 303.893.4100 how I bring a story clearly, emotionally, Toll-free: 800.641.1222 • TTY: 303.893.9582 evocatively to an audience.

Groups (10+): 303.446.4829 • denvercenter.org “However, my thinking is evolving on

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“Everyone has a belief system, whether they believe in God or not, and that faith is a fundamental part of the human condition. It’s just a question of what we put our faith in and how good the choices we make in doing that are.”

—Christy Montour-Larson, Director his mother, the daughter of a South African Jew, both converted to Roman Catholicism when Nicholson was seven. But his journey has differed from theirs.

“I still considered myself a practicing Catholic as I began my university career, as a scholar at Christ’s College, Cambridge,” Nicholson has stated, “but by the time I left, all that was left was the space in me that my faith had occupied for so long. Much as I wanted to go on believing, it became clear to me that it’s we humans who make God, in our great need. God, if he existed, would have no need of humanity. But as all my writing demonstrates, the need or the puzzle or the hunger has never left me.

“The title Shadowlands comes from C.S. Lewis himself, in one of the Narnia books where he says, ‘we are in the Shadowlands,’ ” he explained. “I liked the phrase, and of course the play is in part an exploration of fate and so that seemed to be a good one… because it’s also a play about pain

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303.893.4100

A P P L A US E

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ART PARTNERS

United Airlines 75 YEARS OF SERVICE TO DENVER AND COUNTING

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At United, we take our role as a community partner and corporate citizen seriously, and we are proud to support the DCPA. — Michelle Baden, Managing Director of Corporate and Government Affairs

s 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 Jackie & Me 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. n A proud sponsor of the Denver Center Attractions season

18

APPLAUSE

d e n ver center. or g

Denver Center Attractions

and

The Broadway division of The Denver Center for the Performing Arts

RELEVANT THEATRICALS, JOHN COSSETTE PRODUCTIONS, AMERICAN POP ANTHOLOGY, BROADWAY ACROSS AMERICA AND JAMES L. NEDERLANDER PRESENT

BOOK BY

COLIN ESCOTT & FLOYD MUTRUX FLOYD MUTRUX

ORIGINAL CONCEPT AND DIRECTION BY INSPIRED BY

ELVIS PRESLEY, JOHNNY CASH, JERRY LEE LEWIS AND CARL PERKINS FEATURING

JOHN COUNTRYMAN LEE FERRIS SCOTT MOREAU CODY RAY SLAUGHTER KATIE BARTON COREY KAISER KELLY LAMONT PATRICK MORROW AND

VINCE NAPPO SCENIC DESIGN

COSTUME DESIGN

DEREK MCLANE

LIGHTING DESIGN

JANE GREENWOOD

HAIR AND WIG DESIGN

HOWELL BINKLEY

CASTING

TOM WATSON

THE BOOKING GROUP

PRESS AND MARKETING

ANNE RIPPEY

MICHAEL KRUG

KAI HARADA

TOUR DIRECTION

TELSEY + COMPANY BETHANY KNOX, CSA

MARKETING DIRECTOR

PRODUCTION STAGE MANAGER

SOUND DESIGN

TYPE A MARKETING

PRODUCTION MANAGER

JUNIPER STREET PRODUCTIONS

GENERAL MANAGEMENT

FORESIGHT THEATRICAL ALLAN WILLIAMS LANE MARSH

MUSICAL ARRANGEMENTS AND SUPERVISION

CHUCK MEAD DIRECTED BY

ERIC SCHAEFFER DEVELOPED AND PRODUCED AT VILLAGE THEATRE, ISSAQUAH, WASHINGTON ROBB HUNT, PRODUCER - STEVE TOMKINS, ARTISTIC DIRECTOR ORIGINALLY PRESENTED BY SEASIDE MUSIC THEATER TIPPIN DAVIDSON, PRODUCER LESTER MALIZIA, ARTISTIC DIRECTOR

Sponsored in Denver by: PMS 5753 C

MILLION DOLLAR QUARTET

and Season Sponsors

MILLION DOLLAR QUARTET

THE COMPANY

John Countryman

Vince Nappo

Lee Ferris

Katie Barton

Andrew Frace

Sean McGibbon

Scott Moreau

Corey Kaiser

Robby Kipferl

David Sonneborn

Cody Ray Slaughter

Kelly Lamont

Stephanie Lynne Mason

H. Bradley Waters

Patrick Morrow

(in order of appearance)

Carl Perkins............................................................................................................. LEE FERRIS Johnny Cash...................................................................................................SCOTT MOREAU Jerry Lee Lewis.....................................................................................JOHN COUNTRYMAN Elvis Presley.................................................................................... CODY RAY SLAUGHTER Jay Perkins (Bass Player).................................................................................COREY KAISER Fluke (Drummer)..................................................................................... PATRICK MORROW Sam Phillips........................................................................................................VINCE NAPPO Dyanne (February 25-March 2).....................................................................KELLY LAMONT Dyanne (March 4-9)........................................................................................ KATIE BARTON UNDERSTUDIES Understudies never substitute for the listed players unless a specific announcement is made at the time of the performance.

For Jerry Lee Lewis: SEAN McGIBBON; For Dyanne: KATIE BARTON, STEPHANIE LYNNE MASON; For Johnny Cash, Sam Phillips: ANDREW FRACE; For Carl Perkins: H. BRADLEY WATERS; For Fluke, Jay Perkins: DAVID SONNEBORN; For Elvis Presley: ROBBY KIPFERL Time: December 4, 1956

Place: Sun Records, Memphis

Additional Arrangements by LEVI KREIS

A Tuesday night shortly before Christmas 1956. Four legends — Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley — gathered at the Sun Records studio in Memphis, Tennessee, where they’d launched their careers. Word soon leaked out of an impromptu jam session. A newspaper man who was there wrote, “This quartet could sell a million.”

Soon, they were dubbed the Million Dollar Quartet. This was their only performance, a cultural flashpoint that caught rock ‘n’ roll at the moment of creation. Sun Records owner Sam Phillips discovered and produced the Million Dollar Quartet. That’s why he, together with Presley and Lewis, were among the Rock ‘n’ Roll Hall of Fame’s charter inductees.

Perkins and Cash soon joined them. Unlike other producers at that time, Phillips took an active role in recording, encouraging and coaxing his young, untested artists to reach deep within themselves. He began by recording blues singers like B.B. King and Ike Turner. Later on, he was the first to sign Roy Orbison and Charlie Rich. In his rudimentary, one-room studio, Phillips looked for innovation, not imitation. The music he recorded transformed the cultural landscape of the twentieth century, and its reverberations are still felt today.

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

MILLION DOLLAR QUARTET

THE COMPANY

MILLION DOLLAR QUARTET

MUSICAL NUMBERS “Blue Suede Shoes”.................................................................................................................COMPANY “Real Wild Child”......................................................................................................JERRY LEE LEWIS “Matchbox”..................................................................................................................... CARL PERKINS “Who Do You Love?”..................................................................................................... CARL PERKINS “Folsom Prison Blues”..................................................................................................... JOHNNY CASH “Fever”........................................................................................................................................DYANNE “Memories Are Made of This”...................................................................................... ELVIS PRESLEY “That’s All Right”.......................................................................................................... ELVIS PRESLEY “Brown Eyed Handsome Man”................................................................................................COMPANY “Down By the Riverside”.........................................................................................................COMPANY “Sixteen Tons”................................................................................................................. JOHNNY CASH “My Babe”....................................................................................................................... CARL PERKINS “Long Tall Sally”........................................................................................................... ELVIS PRESLEY “Peace in the Valley”..................................................................................................... ELVIS PRESLEY “I Walk the Line”............................................................................................................. JOHNNY CASH “I Hear You Knocking”..............................................................................................................DYANNE “Party”.................................................................................................... CARL PERKINS & COMPANY “Great Balls of Fire”..................................................................................................JERRY LEE LEWIS “Down by the Riverside” (Reprise).........................................................................................COMPANY “Hound Dog”.................................................................................................................. ELVIS PRESLEY “Ring of Fire”................................................................................................................... JOHNNY CASH “See You Later Alligator”............................................................................................... CARL PERKINS “Whole Lotta Shakin’ Goin’ On”..............................................................................JERRY LEE LEWIS Million Dollar Quartet will be performed without an intermission.

THE TONY® AWARD-WINNING BROADWAY MUSICAL

INSPIRED BY THE ELECTRIFYING TRUE STORY

NDS – E I R F R U O TELL Y LLAR QUARTET O MILLION D KIN’ ACROSS IS ROC ICA! AMER

CHICAGO Apollo Theatre

LAS VEGAS

Harrah’s Showroom

US TOUR

Coming to a City Near You

MillionDollarQuartetLive.com

KATIE BARTON (Dyanne, March 4-9). Favorites include: Dracula at Actors Theatre of Louisville, 31st Annual Humana Festival’s Open Road Anthology, Hank Williams: Lost Highway at Stages Rep, Thoroughly Modern Millie and Children of Eden at Flat Rock Playhouse. Love to family, friends and Ben. JOHN COUNTRYMAN (Jerry Lee Lewis). John is thrilled to be joining the cast of Million Dollar Quartet. He would like to thank his Mom and family for all of their love and support. John would also like to thank his wife, Jennice, for being an inspiration in love and in life.

LEE FERRIS (Carl Perkins). Taking a break from his songwriting and film scoring career, Lee Ferris - original member of Million Dollar Quartet’s First National Tour, is grateful to once again portray one of the founding father’s of American Rock and Roll. www.leeferris.com ANDREW FRACE (u/s Johnny Cash, Sam Phillips). MDQ debut! Credits: Jersey Boys Vegas (Joey u/s Frankie, Bob, Tommy). Tours: Jersey Boys, The Lion King, Willy Wonka. Regional: Finding Nemo, How To Succeed, Ragtime. BFA Elon University. Thanks family & friends. www.andrewfrace.com COREY KAISER (Jay Perkins, Bass player). Million Dollar Quartet (Broadway, Off-Broadway, Regional).

Corey digs this gig. He’s appeared on NBC’s “Smash,” “Late Night with Jimmy Fallon,” “The Late Show with David Letterman,” “The Today Show” and “The Macy’s Parade.” Yup! Love to Jen! www.coreykaiser.com ROBBY KIPFERL (u/s Elvis Presley) is excited to be a part of the MDQ tour after performing in the Chicago production. Robby was born and raised in the Chicago area. His love of singing, dancing, and acting started in

middle school. Robby has performed and competed internationally in concert choirs, rock bands, and more.

KELLY LAMONT (Dyanne, February 25-March 2) originated the role of Dyanne in the Chicago production of MDQ in 2008. Since then, her role has taken her on many adventures throughout the U.S., Canada and Japan with the MDQ National Tour. Grateful to be back, Kelly dedicates all her performances to her mom, her angel in the lights. www.kellylamont.com STEPHANIE LYNNE MASON (u/s Dyanne) is thrilled to be a part of the MDQ tour after performing in the Vegas production. Off Broadway: inaugural season of new off-Broadway company, Marvell Rep. Regional: Hodel in Fiddler on the Roof, Maria in West Side Story, and Petra in Night Music. Special thanks to Nancy, Bob, Eric Schaeffer, Chuck Mead, Louanne Madorma, cast and family.

SEAN McGIBBON (u/s Jerry Lee Lewis) is overjoyed to join the MDQ cast. Other credits include: The Buddy Holly National Tour, Encores’ On Your Toes, The Great American Mousical (Dir. Julie Andrews). Thanks to his Texas State friends, and his wonderful family for their support!

SCOTT MOREAU (Johnny Cash) is from Maine and received a BFA in Music Theatre from Illinois Wesleyan University. He is a proud Cash fanatic and Equity member who thanks his parents for their love and support.

For more info, social media links and to buy his Cash tribute album visit: www.scottmoreau.com PATRICK MORROW (Fluke, Drummer). Patrick has drummed for Wanda Jackson, Dale Hawkins, Joe Clay, The Bellfuries, Eddie Clendening, Milwaukee Repertory Theater and toured with Little House on the Prairie: The Musical starring TV’s Melissa Gilbert.

He also founded Weil Street Records.

Love to Jenny.

VINCE NAPPO (Sam Phillips) is excited to be back with MDQ. He recently played Vincent on ABC’s drama “Red Widow.” Other credits: Friends With Kids, Killing Lincoln, Merchant of Venice, Boeing Boeing. For more info: www.vincenappo.com CODY RAY SLAUGHTER (Elvis Presley). Cody is a true Southern boy from Harrison, Arkansas. Named Elvis Presley Enterprises’ Ultimate Elvis Tribute Artist of 2011, Cody makes his theater debut in a role some say he was born to play, the King of Rock N Roll. www.CodyRaySlaughter.com DAVID SONNEBORN (u/s Fluke, Jay Perkins). Cincinnati native, longtime NYC musician, and a third year veteran of the MDQ National Tour. David currently plays drums or bass in “Western Caravan”, “The San AnTones”, “Savanah Sky”, “Li’l Mo Trio”, and “The Dime Store Romeos”. Toured nationally in Always, Patsy Cline. Love to Becky.

H. BRADLEY WATERS (u/s Carl Perkins) is from the very small town of Deer, Arkansas. He comes from a large musical family. Brad currently is combining his acting, guitar and vocal abilities to understudy the role of Rock and Roll pioneer Carl Perkins in the road tour of Million Dollar Quartet.

ERIC SCHAEFFER (Director) is the artistic director/co-founder of Signature Theatre, Washington DC, recipient of the 2009 Regional Theatre Tony Award and home to the American Musical Voices Project, the largest musical commission program in the country. Broadway: Follies, Million Dollar Quartet, Putting It Together, Glory Days. West End: The Witches of Eastwick, Million Dollar Quartet. Kennedy Center Artistic Director: Sondheim Celebration, Sunday in the Park With George, Passion; Mame, Follies.

MILLION DOLLAR QUARTET

WHO’S WHO in the CAST

MILLION DOLLAR QUARTET

WHO’S WHO in the CAST

COLIN ESCOTT (Co-Author). Born in England, Colin Escott lives near Nashville, Tennessee. He is the author of several books, including Good Rockin’ Tonight: Sun Records and the Birth of Rock ‘n’ Roll, the first in-depth account of the Sun Records story. He is a consultant to Time Life Music.

Broadway credits. Metropolitan Opera, Film and Dance. Awards: Irene Sharaff Lifetime Achievement award, Theatre Hall of Fame, 15 Tony nominations, Lucille Lortel Award, Helen Hayes Award. Professor Yale School of Drama.

Currently represented with All’s Well That Ends Well, Shakespeare in the Park.

FLOYD MUTRUX (Co-Author, original concept and direction) worked Second City, Chicago; NY attended Columbia University; in LA, conceived, wrote, directed or produced 50 films: American Hot Wax (Best Picture, Director), Scarecrow (Best Picture), Urban Cowboy, Untouchables, Up in Smoke, Dick Tracy, with his wife Birgitte, preparing new film Moon Over Memphis (a rock ‘n’ roll Field of Dreams).

KAI HARADA (Sound Design) attended Yale University before leaving to pursue a career in theatrical sound design.

Associate design credits to Tony Meola include A Christmas Carol; The Sound of Music; Disney’s Der Glöckner von Notre Dame; Kiss Me, Kate; The Man of La Mancha; and Wicked. Designs include Two Cities; Under the Bridge; Barbie Live in Fairytopia; She Loves Me (Oregon Shakespeare Festival); Million Dollar Quartet (Chicago, New York); Zorro (Moscow); Hinterm Horizont (Berlin); and Follies (Kennedy Center, Broadway). In his spare time, he supervises the sound for Wicked around the world.

DEREK McLANE (Scenic Design).

Anything Goes, How To Succeed..., Bengal Tiger..., Ragtime, 33 Variations, The Pajama Game, Grease, Threepenny Opera, I Am My Own Wife, The Women, Ruined, Lie of the Mind, The Voysey Inheritance, Hurlyburly, Abigail’s Party.

1997 and 2004 Obie Awards; 2004, 2005, 2007 Lucille Lortel Awards; 2011 Drama Desk Award; 2009 Tony Award.

HOWELL BINKLEY (Lighting Design). B’way works include: A Christmas Story, Jesus Christ Superstar, How To Succeed… starring Daniel Radcliffe (2011 Tony nomination), Memphis, West Side Story (2009 Tony nomination), Gypsy with Patti LuPone, In The Heights (2008 Tony nomination), Jersey Boys, Avenue Q, The Full Monty, Parade, How To Succeed... starring Matthew Broderick and Kiss of The Spider Woman. Proud co-founder of and lighting designer for Parsons Dance.

1993 Olivier Award and Canadian Dora Award for Kiss of The Spider Woman.

2006 Tony Award, Henry Hewes Design Award and Outer Critics Circle Award for Jersey Boys.

JANE GREENWOOD (Costume Design). Over 100 Broadway / Off

CHUCK MEAD (Musical Arrangements and Supervision). Singer/Songwriter/ Producer Chuck came to prominence as co-founder and front man of the three-time Grammy-nominated and CMA Award-winning country band BR-549. Chuck first crafted the music arrangements for MDQ during the original Daytona and Seattle workshop productions, supervised the musical performances for its 2008 Chicago opening, and created new music material for the show’s Broadway and West End productions.

TOM WATSON (Hair and Wig Design) is head of the wig and makeup department at the Metropolitan Opera and has designed wigs for more than 50 Broadway productions, including The Addams Family, How to Succeed…, and Wicked.

MICHAEL KRUG (Production Stage Manager) has toured through over 200 cities in the last ten years. “The world is

a book and those who do not travel read only one page.” Thanks to my parents, family and friends for their love and support.

JASON J. CARROLL (Stage Manager). Broadway: In My Life, Cabaret, Thou Shalt Not; National Tours: Les Miserables 25th Anniversary Production, The Phantom of the Opera, The Full Monty, The Producers, Jolson, Hamlet (Shakespeare’s Globe Theater of London); Regional: Goodspeed, Paper Mill, Tulsa Opera, and Santa Fe Opera.

B. F. A. University of Michigan.

TELSEY + COMPANY (Casting).

Broadway/Tours: If/Then, The Bridges of Madison County, All the Way, Motown, Kinky Boots, Newsies, Rock of Ages, Wicked, Evita, Porgy and Bess, Sister Act. Off-Broadway: Atlantic, MCC, Signature. Regional: A.R.T., Dallas Theater Center, Goodman, La Jolla, Paper Mill, Signature. Film: Into the Woods, The Last Five Years, The Odd Life of Timothy Green, Friends with Kids, Margin Call, Sex and the City 1 & 2.

TV: “Masters of Sex,” “The Sound of Music Live!,” “Smash,” “The Big C,” commercials. www.telseyandco.com FORESIGHT THEATRICAL (General Manager) is comprised of partners Alan Wasser, Allan Williams, Aaron Lustbader and Mark Shacket who oversee and supervise The Phantom of the Opera and Kinky Boots on Broadway, and Million Dollar Quartet on tour and in Chicago & Las Vegas. Upcoming productions include Les Miserables, The Velocity of Autumn and King Kong.

JUNIPER STREET PRODUCTIONS (Production Manager) - Hillary Blanken, Guy Kwan, Ana Rose Greene, Joseph DeLuise. Founded in 1998, the company has helped create over 30 Broadway productions, over 20 national tours, and numerous Las Vegas productions.

Highlights include: Spider-Man, Follies, How to Succeed…, Promises Promises, Memphis, Million Dollar Quartet, Gypsy,

STAFF FOR MILLION DOLLAR QUARTET

Bette Midler at Caesar’s Palace, Xanadu, Company, Grey Gardens, The Producers, All Shook Up, Blue Man Group Live at Luxor, Fosse as well as many family touring productions including Dora The Explorer, Blue’s Clues and Rugrats.

TYPE A MARKETING (Press and Marketing) is an independent, fullservice marketing company specializing in Broadway and national tours.

Founded in 2008 by Anne Rippey, who continues to provide strategic supervision, Type A is led by Elyce Henkin and John McCoy, who manage the campaigns for the current/upcoming roster, including Broadway’s The Phantom of the Opera, Kinky Boots, Les Miserables and Tuck Everlasting and the touring productions of The Addams Family, American Idiot, Anything Goes, Flashdance the Musical, Million Dollar Quartet, The Gershwins’ Porgy and Bess, and I Love Lucy: Live on Stage. www.typeamktg.com RELEVANT THEATRICALS (Producer), headed by Gigi Pritzker and Ted Rawlins, develops and produces new work for the stage. Current projects include: Snapshots, a new musical with book by David Stern and music and lyrics by Stephen Schwartz; The Great Gatsby, on course to open in London next year; and a new musical version of Dennis The Menace.

JOHN COSSETTE PRODUCTIONS (Producer) was founded by John Cossette whose 30 year career in the music industry as an innovative producer of large scale events was legendary.

John produced the Grammy’s, the BET awards, the 1996 Olympic Games in Atlanta and a star studded concert in Central Park. He was deeply involved with MusiCares and the EJ Jackson Foundation which helps to feed the homeless in Los Angeles. Under the direction of Rita Cossette the company will continue to develop and produce music related entertainment.

AMERICAN POP ANTHOLOGY (Producers: Floyd & Birgitte Mutrux).

An anthology series of Rock n’ Roll Bios about the people ‘who made the music that changed the culture of our country’. Floyd, along with Colin Escott and Birgitte (choreographer MDQ in Florida), have worked together on the Tony nominated Baby It’s You, workshopping Lonesome Town (with John Kaye) and Boy From NYC. BROADWAY ACROSS AMERICA (Producer), is part of the Key Brand Entertainment family of companies which includes Broadway.com and is operated by John Gore (Owner & CEO). BAA is the foremost presenter of first-class touring musicals and plays in North America, operating in 40 markets.

As a leading Broadway producer, BAA is dedicated to the development and production of new and diverse theatre.

Current/upcoming productions include Beautiful, Bullets Over Broadway, Million Dollar Quartet and Pippin. Past productions include Hairspray, How to Succeed in Business Without Really Trying, Memphis, Promises, Promises, The Producers and War Horse.

Broadway.com is the premier theater website for news, exclusive content and ticket sales. For more information please visit BroadwayAcrossAmerica. com and Broadway.com.

JAMES L. NEDERLANDER (Producer). President of Nederlander Organization, son of James M. Nederlander (Chairman), third generation of a family known for owning and operating theatres around the world as well as theatrical productions and popular musical attractions. Currently represented on Broadway with SpiderMan: Turn Off the Dark, and David Blaine’s upcoming show.

GENERAL MANAGEMENT

FORESIGHT THEATRICAL Alan Wasser Allan Williams Aaron Lustbader Mark Shacket Lane Marsh Mark Barna

COMPANY MANAGER MATTHEW SHERR

TOUR PRESS AND MARKETING REPRESENTATIVE

TYPE A MARKETING Elyce Henkin John McCoy Melissa Cohen

TOUR DIRECTION

THE BOOKING GROUP Meredith Blair Mollie Mann Brian Brooks Rich Rundle www.thebookinggroup.com

CASTING

TELSEY + COMPANY Bernie Telsey CSA, Will Cantler CSA, David Vaccari CSA, Bethany Knox CSA, Craig Burns CSA, Tiffany Little Canfield CSA, Rachel Hoffman CSA, Justin Huff CSA, Patrick Goodwin CSA, Abbie Brady-Dalton CSA, David Morris, Cesar A. Rocha, Andrew Femenella, Karyn Casl CSA, Kristina Bramhall, Conrad Woolfe Rachel Nadler, Rachel Minow, Sean Gannon, Scott Galina

PRODUCTION MANAGEMENT JUNIPER STREET PRODUCTIONS Hillary Blanken Ana Rose Greene Guy Kwan Joseph DeLuise

ASSOCIATE PRODUCERS FOR BROADWAY ACROSS AMERICA

Jennifer Costello

Erica Rotstein

Production Stage Manager........................... Michael Krug Stage Manager......................................... Jason J. Carroll Assistant Stage Manager............................Andrew Frace Associate Company Manager....................... Maia Sutton Associate Director.................................... Scott Weinstein Associate Music Director.............................. Ethan Deppe Associate Set Designer........................... Shoko Kambara Associate Costume Designer.......................Moria Clinton Associate Lighting Designer......................... Ryan O’Gara Assistant Lighting Designer........................Amanda Zeive Assistant Sound Designers......................Mackenzie Ellis, Jana Hoglund Production Carpenter....................................Scott Poitras Head Carpenter.........................................Jason McGrath Advance Carpenter................................... Danielle Taylor Production Electricians..... James Fedigan, Randy Zaibek Moving Light Programmer...........................Chris Herman Head Electrician...............................Domenica Boscardin Assistant Electrician....................................Nicole Laeger Advance Electrician........................................ Rob Virzera Production Properties............................. Matthew Hodges Head Properties............................................ Corey Kloos Production Sound Engineer..................... Patrick Pummill Head Sound Engineer................................ Brian Kallaher Assistant Sound Engineer........................... Phillip Mather Wardrobe Supervisor.................................. Susan Malone Production Assistant.....................................Sarah Howell Drums provided by................................... GMS Drum Co. Drum Heads provided by............... D’Addario & Company Makeup by.............................................M•A•C Cosmetics Legal Counsel..................... Levine Plotkin & Menin, LLP/ Loren H. Plotkin, Cris Criswell Loeb & Loeb LLP/ Douglas Mirell Accountant........................... Marks, Paneth & Shron LLP CPAs/Christopher Cacace, Marina Flom, Ruthie Skochil

MILLION DOLLAR QUARTET

WHO’S WHO in the CAST

MILLION DOLLAR QUARTET

Advertising & Interactive Marketing.................... 87AM/ Adam Cunningham, Alex BiskerJamil Larkins, Nichole Kuykendall Payroll Services..................... Castallana Services, Inc. Production Photography........................Jeremy Daniel, Joan Marcus, Paul Natkin General Management Office........................Rob Abud, Kaitlin Boland, Stefano Fuchs, Nina Greene, Jennifer O’Connor Banking..............Signature Bank, Barbara Von Borstel Margaret Monigan, Mary Ann Fanelli Insurance.............................. DeWitt Stern Group, Inc./ Peter Shoemaker, Cathy Dumancela Theatre Displays.....................................King Displays Merchandising............... Creative Goods Merchandise/ Pete Milano Licensing Agent.................. Creative Licensing Group/ John Edward Thomas, President; Danita Pagel-Thomas, Vice-President SPECIAL THANKS John R. Cash Revocable Trust. Johnny Cash is a registered trademark of John R. Cash Revocable Trust. Image and likeness of Johnny Cash used with permission.

Jerry Lee Lewis ™, The Killer ™ and the image and likeness of Jerry Lee Lewis are used with permission.

Courtesy Pont Neuf, Inc. Carl Perkins Enterprises. Image and likeness of Carl Perkins used with permission.

Elvis Presley Enterprises, Inc. Elvis Presley is a registered trademark of EPE, Inc. Image and likeness of Elvis Presley used with permission.

CREDITS Scenery Fabrication by Scenic Technologies, a division of Production Resource Group, LLC. Scenery painted by Scenic Art Studios. Costumes built by Eric Winterling, Inc. Lighting equipment provided by PRG Lighting. Sound equipment provided by PRG Audio.

Music license consulting by Jill Meyers. Hosiery and Undergarments provided by Bra*Tenders.

MUSIC COPYRIGHTS “Blue Suede Shoes” (Carl Perkins), ©MPL Music Publishing Inc. All rights reserved. Used by permission of Wren Music Co. o/b/o Carl Perkins Music Inc. “Real Wild Child” (John Greenan, John O’Keefe, David Owens), ©MPL Music Publishing Inc. All rights reserved. Used by permission of Wren Music Co. “Matchbox” (Carl Perkins), ©MPL Music Publishing Inc. All rights reserved. Used by permission of Wren Music Co. o/b/o Carl Perkins Music Inc. “Who Do You Love?” (Ellas McDaniel), ©ARC Music Corp. All rights reserved. Used by permission. “Folsom Prison Blues”written by John R. Cash. Published by House of Cash, Inc. Administered by Bug Music Inc. All rights reserved. Used by permission. “Fever” (John Davenport, Eddie Cooley), ©1955 Bug Music-Trio Music Company (BMI) Fort Knox Music, Inc. (BMI). All rights reserved. Used by permission. “Memories Are Made of This” (Richard Dehr, Terry Gilkyson, Frank Miller), ©EMI Blackwood Music, Inc. (BMI). All rights reserved. Used by permission. “That’s All Right” (Arthur Crudup), ©1947 (renewed). Unichappell Music Inc. (BMI) and Crudup Music (BMI). All rights administered

by Unichappell Music Inc. All rights reserved. Used by permission. “Brown Eyed Handsome Man” (Chuck Berry), ©Arc Music Corp. All rights reserved. Used by permission. “Down by the Riverside” (Traditional; arranged by Chuck Mead), ©Zoilink Music. All rights administered by Coburn Music. All rights reserved.

Used by permission. “Sixteen Tons” (Merle Travis), ©Merle’s Girls Music. All rights reserved. Used by permission. “My Babe” (Willie Dixon), ©Bug Music, Inc. o/b/o Hoochie Coochie Music (BMI). All rights reserved. Used by permission. “Long Tall Sally” (Robert Blackwell, Enotris Johnson, Richard Penniman), ©Sony/ATV Music Publishing LLC. All rights reserved.

Used by permission. “(There Will Be) Peace in the Valley for Me” (Thomas A. Dorsey), ©(renewed) 1939 Warner- Tamerlane Publishing Corp. (BMI). All rights

reserved. Used by permission. “I Walk the Line” written

by John R. Cash. Published by House of Cash, Inc. Administered by Bug Music Inc. All rights reserved.

Used by permission. “I Hear You Knocking” (Dave Bartholomew, Pearl King), ©EMI Unart Catalog Inc. All rights reserved. Used by permission. “Party” (Jessie Mae Robinson), ©MPL Music Publishing Inc. All rights reserved. Used by permission. “Great Balls of Fire” (Otis Blackwell, Jack Hammer), ©1957 (renewed), Unichappell Music Inc. (BMI), Mijac Music (BMI), Chappell & Co., Inc. (ASCAP) and Mystical Light Music (ASCAP). All rights reserved on behalf of itself and Mijac Music, administered by Unichappell Music Inc. All rights reserved on behalf of itself and Mystical Light Music, administered by Chappell & Co., Inc. All rights reserved. Used by permission. “Hound Dog” (Jerry Leiber and Mike Stoller). Published by Sony/ ATV Songs LLC. Copyright 1953 Sony/ATV Music Publishing LLC. All rights administered by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville TN 37203. All rights reserved. Used by permission.

“Ring of Fire” (June Carter and Merle Kilgore), © Painted Desert Music Corp. Used by permission of Painted Desert Music Corp. “See You Later Alligator” (Robert Guidry), © Arc Music Corp. All rights reserved.

Used by permission. “Whole Lotta Shakin’ Goin’ On” (Curly Williams), ©1997 N’Mani Entertainment Co. (ASCAP). All rights reserved. Used by permission.

To learn more about the production, please visit www.MillionDollarQuartetLive.com Find us on Facebook.

Follow us on Twitter @MillionDQuartet The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States.

Backstage employees are represented by the International Alliance of Theatrical Stage Employees (or I.A.T.S.E.).

The Musicians, Conductors, Music Preparation Personnel and Librarians employed in this production are members of the American Federation of Musicians of the United States and Canada.

The Press Agents and Company Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers.

The Director is a member of the Society of Stage

Directors and Choreographers, Inc., an independent national labor union.

United Scenic Artists represents designers and scenic artists for the American Theatre.

This production is produced by a member of The Broadway League in collaboration with our professional union-represented employees.

Denver Center Attractions gratefully acknowledges the following support in its 2013/14 season

The Denver Center for the Performing Arts DENVER CENTER ATTRACTIONS STAFF D. Randall Weeks. . . . . . . . . . . . . Executive Director/President Jeff Hovorka . . . . . . . . . . . . . Director of Media and Marketing John Ekeberg . . . . . . . Director of Programming & Operations Heidi Bosk . . . . . . . . . . . . . . . . . . . PR & Promotions Manager Alicia Giersch. . . . . . . . . . . . . . . . . . . . . . . . Business Manager Emily Lozow . . . . . . . . . . . . . . . . . . . . . Marketing Coordinator

DCPA MARKETING STAFF Jennifer Nealson . . . . . . . . . . . . . . . . Chief Marketing Officer Sylvie Drake. . . . . . . . . . . . . . . . . . . . . Director of Publications Brianna Firestone. . . . . . . . . . . . Director of Marketing, DCTC Janet Flesch. . . . . . . . . . . . . . . . . Director of Marketing, DCPA Suzanne Yoe . . . . . . . . . . . . . . . Director of Marketing Services Nick Brown. . . . . . . . . . . . . . . . . . . . . . Account Sales Manager Nathan Brunetti. . . . . . . . . . . . . . . . . . . . . . . . . . Email Designer Kim Conner. . . . . . . . . . . . . . . . . . . . . . . . . . . Graphic Designer FloraJane DiRienzo. . . . . . . . . . . . Business Relations Manager Anita Edwards. . . . . . . . . . . . . . . . . . . . . Web Services Manager Brenda Elliott. . . . . . . . . . . . . . . . . . . Senior Graphic Designer Simone Gordon. . . . . . . . . . . . . . . . . . . . Marketing Coordinator Alexandra Griesmer . . . . . . PR & Promotions Manager, DCTC Tristan Jungferman. . . . . . . . . . . . . . . . . . . Box Office Manager Jennifer Kemps. . . . . . . . . . Groups Sales Business Coordinator Laura Kirby. . . . . . . . . . . . . . . . . . . . . . . . . Box Office Manager Carol Krueger. . . . . . . . . . . . . . . . . . Theatre Services Manager Jennifer Lopez. . . Assoc. Director of Ticket Services/Operations Kyle Malone. . . . . . . . . . . . . . . . . . . . Senior Graphic Designer Jane McDonald. . . . . . . . . . . . . Marketing Coordinator, DCTC John Moore. . . . . . . . . . . . Assoc. Director of Content Strategy Mark Onderdonk. . . . . . . . . . . . . . . . . . . . . . Business Manager Kirk Petersen. . . . Assoc. Director of Ticket Services/Patron Relations Tina Risch. . . . . . . . . . . . . . . . . . Community Services Manager Anthoney Sandoval. . . . . . . . . . . . . . . . . . . Box Office Manager Jill Schwager. . . . . Student Matinee and Group Tours Associate David Smith . . . . . . . Assoc. Director of Subscription Services Emily Zeck. . . . . . . . . . . . . . . . . . . . . . . Subscription Manager

INFORMATION SERVICES Bruce Montgomery. . . . . . . . . . Director of Information Services Jim Hipp. . . . . . . . . . Associate Director of Information Services Bobby Jiminez . . . . . . . . . . . . . Senior Audience View Specialist

DEVELOPMENT DEPARTMENT Dorothy Denny. . . . . . . . . . . . . . . . . . . Executive Vice President Tiffany Grady . . . . . . . . . . . . . . . . . . . . . . . . . Associate Director Linda Mitchell . . . . . . . . . . . . . . . . . . . . . . . . Associate Director David Zupancic . . . . . . . . . . . . . . . . . . . . . . Associate Director Jeremy P. Anderson. . . . . . . . . . . . . . . . . . . . . Associate Director Mary Mosher. . . . . . Manager, Membership Groups/Major Gifts Megan Fevurly . . . . . . . . . . . . . . . . . . . . . . . . Business Manager Chelley Canales . . . . . . . . . . . . . . . . . . . Development Assistant

THE BUELL THEATRE

is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Arts and Venues.

CITY & COUNTY OF DENVER Michael Hancock, Mayor

ARTS AND VENUES Kent Rice, Director

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4 01

DENVER CENTER TRAVEL

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Please join us across the pond for…

Edinburgh International Festival

Every August, the Edinburgh International Festival transforms one of the world’s most beautiful cities, presenting the finest creators and performers from the world of the arts — for everyone. Edinburgh’s six major theatres and concert halls, a few smaller venues and often some unconventional ones, come alive with the best classical music, theatre, opera, dance and visual art from around the globe.

Fringe Festival

The Edinburgh Festival Fringe is the largest arts festival in the world. Every year thousands of performers take to a multitude of stages all over city to present shows for every taste. From big names in the world of entertainment to unknown artists looking to build their careers, the festival caters to everyone and includes theatre, comedy, dance, physical theatre, experimental theatre, musicals, operas, music, exhibitions and other events.

The Royal Edinburgh Military Tattoo

Music, dance and precision displayed with the Massed Pipes and Drums, the Bands of Her Majesty’s Royal Marines, cultural troupes, singers and the poignant refrain of the Lone Piper against the stunning backdrop of Edinburgh Castle. A singular and memorable event.

Optional London/West End Add-on, August 19-24

After Edinburgh, an optional tour of London’s West End is available. This add-on features deluxe Leicester Square hotel accommodations and tickets to four West End shows of your choice.

To view the complete daily itinerary and for pricing (a nominal portion benefits the DCPA), please visit www.denvercenter.org/travel or contact David Zupancic at 303.446.4811 or davidz@dcpa.org.

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And Chairman/CEO Daniel L. Ritchie

an

TRAVEL WITH THE DENVER CENTER

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FOLLOW THE REGION’S PERFORMING ARTS BEFORE, DURING AND AFTER THE PERFORMANCE

Colorado’s Family Law Team

Connect with Colorado’s Performing Arts Publications on Facebook, Twitter, Linkedin and YouTube.

Scan this code to learn more about Colorado’s Performing Arts Publications.

www.coloradoartspubs.com To learn about advertising in our arts publications, call Tod Cavey at 303-428-9529.

Innovation Inspires Performance CSU’s Department of Music, Theatre and Dance is helping prepare a new generation for greatness.

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chicago

THE AMAZING COMEBACK(S) OF A GREAT AMERICAN MUSICAL b y G e n e v i e v e M i l l e r H o lt

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F

of rehearsal. The cast worked through morning, broke for lunch and returned to the studio only to be told that Fosse had taken ill and had to be hospitalized.

“I went numb,” said Brown. “We all were in a state of disbelief.” Work on the show stopped as Fosse suffered two heart attacks and underwent bypass surgery. onths later, the Chicago team reassembled. Though still suffering from depression, a recovering Fosse began to construct his iconic musical.

“Every costume, every gesture, every bit of lighting, every word and moment were all woven together like fabric to

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Still considered one of Fosse’s towering undertakings and representative of his highly individual, cheeky, sly and sensual style, Chicago has toured the world. create the story,” said Brown, who played the role of June. Verdon played Roxie Hart while Chita Rivera, wildly popular since starring in West Side Story (1957), was Roxie’s jailbird cohort Velma.

Mounting the show, like any other new musical, was tedious and trying. “The creative team was working very hard to make it good,” Brown remembered, “but there were a lot of teeth gnashing and hair graying.”

Chicago opened on Broadway on June 3, 1975, to mildly positive reviews and enthusiastic audience response. Fosse considered it a compliment that some took offense at his cynical take on the American justice system and the cult of celebrity. “When people walked out,” said Brown, “Bob got tickled because he figured that in order to be offended, they must have ‘got it.’ ” But when the Tony Awards came around, the unconventional A Chorus Line won them all. Chicago came away with nothing. In his review of Chicago’s 1996 revival, New York Times critic

Ben Brantley reflected that the 1975 production of Chicago had been, “in a sense, the evil twin of its rival musical, as acerbic and cold-hearted as the other was sentimental and warm.” The fact is that it was a show before its time and it had run up against Michael Bennett’s unprecedented achievement. Chicago closed after 936 performances while A Chorus Line went on to become the longest-running American musical in Broadway history up to that time.

Timing is indeed everything, but Chicago would eventually get its due.

The 1996 revival was a resounding success, winning six Tonys and a Grammy (for best cast recording), while the smashing film version, gloriously directed by Rob Marshall, won the 2002 Academy Award for Best Picture and helped intensify the interest in the stage show. till considered one of Fosse’s towering undertakings and representative of his highly individual, cheeky, sly and sensual style, Chicago has toured the world. It has returned to Denver for a fifth time, and, amazingly, it continues its strong run on Broadway.

Who says you can’t go home again? n

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The 1975-76 season on Broadway was one for the history books. Meryl Streep earned her first Tony® nomination and Sondheim’s unique Pacific Overtures premiered on Broadway. But the most remarkable event that season was the nearly simultaneous creation of two of the theatre’s most enduring and innovative musicals.

In the preceding year, while visionary director and choreographer Michael Bennett was interviewing dancers and workshopping a new theatre piece that would become A Chorus Line, the equally visionary Bob Fosse and legendary Broadway dancer Gwen Verdon (his wife at the time) were approaching composer John Kander and lyricist Fred Ebb (of Cabaret fame) to join them in creating a new piece too: the musical version of a 1926 play about an infamous dame who’d killed her husband. osse was an established Broadway director and choreographer at this point, with Pippin and Sweet Charity to his credit and a corps of loyal dancers with whom he liked to work.

Broadway veteran and Denver resident Candy Brown was one of them, and she attested that Fosse adored his dancers and loved the actor’s craft. “He was very professional and detailed,” she said, “a taskmaster, but he asked no more of anyone than he asked of himself.”

In January 1974, while Brown was dancing nightly in Fosse’s Pippin on Broadway, she and 18 other dancers gathered for a late-night discussion about their lives and the challenges of being a Broadway gypsy. Those conversations were taped and eventually became the content of Michael Bennett’s landmark A Chorus Line. Bennett’s project was an unknown quantity at this stage, however, a series of loose workshops with only the glimmer of becoming something bigger; so some participants defected to more secure gigs. Again, Brown was among them, leaving Bennett to join Fosse’s Chicago, not knowing at the time that the switch would put her in the unique position of contributing to two of the most important musicals of the decade.

“I felt a loyalty to Bob,” she said, “as Chicago would be my third project with him... not to mention the fact that no one knew if the Michael Bennett workshop would even be a show.”

In January 1975, with Kander, Ebb and Fosse having completed a working version of Chicago, Brown and the rest of the cast arrived for the first day

S

Genevieve Miller Holt is the General Manager for Broadway Across America in Cincinnati. Formerly, she was Director of PR & Promotions at The Denver Center for the Performing Arts.

March 18 – 23 • Buell Theatre Sponsored by Comcast ASL Interpreted, Audio Described & Open Captioned March 22, 2pm

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

A P P L A US E

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Art PartnerS

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We know you’re busy in the mornings getting ready for work, putting plans in place for the day. When you want to know what to expect from news, traffic and weather, and where to go for fun when the workday is done, the place to turn to is CBS4 and www.cbsdenver.com.

Weekdays on CBS4 This Morning and CBS4 News at Noon you’ll find anchors Alan Gionet and Britt Moreno with the latest news and information alongside Joel Hillan with regular traffic updates and Lauren Whitney with a look at the day’s weather.

You’ll also hear about all of the fun things to do in Denver as we cover the local arts scene with the latest music, theatre and restaurant reviews. Any time you want more information, click on www.cbsdenver.com. It’s instant access day or night and includes extensive entertainment coverage and streaming video previews. n

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SPECIAL EVENTS

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Announcing VIP evenings for the coming season!

A great way to entertain clients, celebrate a special occasion or have fun with friends and family. All events include center orchestra seating, pre-show cocktails, hors d’oeuvres and catered dinner. A tax-deductible contribution is included with each ticket purchase. “

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Colorado new play summit

it’s All about

The process the Jones for the line up in front of Summit attendees lorado New Play Summit. ninth annual Co

The ninth Colorado New Play Summit may have started in a Denver Deep Freeze, but its sizzling energy melted snow, ice and cold

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guson, ie McBride, Lynnda Fer L to R: Michael Santo, Bill k rehearsing Benediction.

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he weather was not cooperating when the Denver Center Theatre Company launched its ninth Colorado New Play Summit on Feb. 7. But for the people who showed up—and they came from everywhere—that was never going to be a problem.

Avid consumers of new work, they arrived at this banquet to nourish both interest and curiosity. In addition to the five new plays that were read by actors at music stands, Denver Center stages delivered fully staged productions of two plays that emerged from last season’s Summit: Matthew Lopez’s giddy The Legend of Georgia McBride and Marcus Gardley’s probing makeover of Greek myth in black odyssey. (For an added treat, in a more classic vein, a handsome production of Hamlet also was on view.)

A brief rundown of the new plays read includes: • James Still’s Appoggiatura, an evershifting collage of a memorable first-time visit to Venice by three closely related people, each nursing a hunger and a hardto-heal wound. This nostalgic exercise is laced with music, humor and tender intimations of immortality.

• Wit marks Laura Schellhardt’s The Comparables, a smart, hard-shelled, high-heeled trip through the merciless machinations driving the rivalry in an all-female “boutique” real estate office.

Shades of The Devil Wears Prada meets Glengarry Glen Ross.

• Rap music is the link (and motivator) in Idris Goodwin’s Victory Jones and The Incredible One Woman Band as an aspiring musician tries to reconnect with her estranged and recalcitrant father; it’s an unsentimental riff that bears tortuous, engaging and unexpected results.

• Anyone who saw Eric Schmiedl’s adaptations of Kent Haruf’s Plainsong and Eventide in previous Denver Center seasons would have to look forward to his adaptation of the third book in this

trilogy. The Haruf/Schmiedl Benediction presented another slice of life in Haruf’s fictional small town of Holt, Colorado, with its denizens reminiscent of a quieter if not simpler time. (A Colorado Our Town?)

• And playwright Kirsten Greenidge jolts us with a trenchant awareness of the real lives behind the banality of those awful freeway accidents we hear about nightly on the local news. Her play Zenith reminds us of what it means to be human—pain, irrationality, messiness and all.

The Summit would not be the Summit without its late-night Playwrights’ Slam—that laidback shakedown by contributing dramatists and commissioned writers reading from works in progress, rapping their own doodles or opening a window into their private worlds.

This year’s casual event gave us Eric Schmiedl sweetly looking back at growing up with Granny; Kirsten Greenidge sharing an excerpt from a work in progress about Thomas Jefferson and Sally Hemings in Paris; James Still reading from “When Lydia Hinkley Gives a Bird the Bird,” his comic take on the Minerva Society of 1859 and an irritating excess of literary nightingales. Catherine Trieschmann and Marcus Gardley, replete with invented drag queen names, delivered more flippant takes of their own on a variety of subjects. Karen Zacarías chose a more serious piece about her immigration to the United States in the age of AIDS. Above all, the Summit provided animated mealtime conversation and lively networking among the large contingent of industry guests, theatre professionals, subscribers, trustees, playwrights, directors, foundation reps, members of the press and other enthusiasts, so many of whom hailed from other cities and states. The Summit remains a powerful highlight of the season and an energizing event for all lovers of theatre. n —Sylvie Drake

Colorado new play summit

colo rad o new play summit 2014

Actors at work

il Matthis and Bowen, Gabra Zackman, Apr L to R: Candy Brown, Jason ith.

Zen of g din rea Tony Todd in the

Photos by john moore & Suzanne Yoe

Cheyenne Casebier Actors Linda Gehringer and es. rehearsing The Comparabl

jad Idris Goodman and Brian Qui

Kent Thompson and Eric Schmiedl rehearsing Benediction.

at the Summit. ..

Julian Remulla addin g music to the reading of Appoggiat ura.

L to R, back row: Bru ce Sevy, Kent Thomps on, Idris Eric Schmiedl. Front row: Emily Tarquin, Ma Goodman, James Still, rcus Gardl Greenidge, Karen Za carías, Catherine Triesc ey, Kirsten hmann.

ction with Actor Tracy Shaffer of Benedi Still. es Jam t igh ywr pla ra Appoggiatu

a at the Playwrights’ Slam.

Bruce Sevy, Tricia Mo reland and Amelia Corrado at the Summ it meet and greet.

well Chairman Emeritus Don Sea Denver Center Founder and d.

Fun ces Voi of the Womens in front of current members

Sponsored by: Women’s Voices Fund • Producing Partners: Joy S. Burns, Leo & Susan Kiely, Daniel L. Ritchie, Bob & Carole Slosky Special thanks to the Harold & Mimi Steinberg Charitable Trust for continued support of New Play Development at The Denver Center for the Performing Arts 303.893.4100

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next up

Looking ahead…

Tickets: 303.893.4100 Toll-free: 800.641.1222 TTY: 303.893.9582 Groups: 303.446.4829

denvercenter.org

Rock of Ages

Illustration by Kyle malone

Animal Crackers April 4 – May 11

April 25 – 27

Stage Theatre

Buell Theatre

A boisterous, knockabout comedy that begins when a valuable painting goes missing at a society dinner party and chaos ensues. This Marx Brothers classic is chock-full of physical comedy and oneliners sure to have you rolling in the aisles.

The style trends were laughable, but the music of the 1980s was “nothing but a good time.”

This Tony-nominated musical about a small town girl named Sherrie (“Oh Sherrie”) who heads to LA to find adventure and stardom—and Drew, the aspiring rock star she meets on the way—is set to a soundtrack of chart-topping songs and power ballads of the 80s.

Think rock’n’roll, big hair and tight pants!

ASL interpreted, Audio Described and Open Captioned performance May 4 @ 1:30pm.

ASL interpreted, Audio Described and Open Captioned performance April 26 @ 2pm.

once May 6 – 18 Buell Theatre

Photo by Frank ockenFels | original broadway casT

This Tony® Awarded Best Musical tells the story of an Irish musician and a Czech immigrant drawn together by their love of music. Over one fateful week, their friendship and collaboration evolves into a complicated romance, heightened by the songs they create together.

ASL interpreted, Audio Described and Open Captioned performance May 18 @ 2pm.

American Idiot May 23 – 25 Buell Theatre

the groundbreaking BROADWAY musical

Based on Green Day’s Grammy® Award-winning multi-platinum album, this smash-hit musical tells the story of three lifelong friends, forced to choose between their dreams and the safety of suburbia—a quest for true meaning in a post-9/11 world that leads them on the most exhilarating theatrical journey of the season.

ASL interpreted, Audio Described and Open Captioned performance May 24 @ 2pm.

Spark a dialogue today by participating in our free CONNECT program. Designed to enhance your theatre experience, the CONNECT program offers a variety of opportunities, including moderated discussions with the cast and creative staff, educational resources, tours, and other special events. For more information visit www.denvercenter.org/CONNECT 30

APPLAUSE

d e nver center. or g

W

hile DaVita does dialysis, it is not just about dialysis. As a community first and a company second, DaVita is committed to improving the lives of patients, teammates (employees) and partners, and the communities in which it operates around the globe.

Known as the Trilogy of Care, this vision for corporate social responsibility plays out in three parts: Caring for Patients, Caring for Each Other and Caring for the World.

Caring for Patients Over the past 13 years, DaVita has been able to provide resources to help patients maintain a good quality of life through improved clinical outcomes. DaVita also aims to give people with chronic kidney disease the information they need to make healthy choices and slow the progression of their disease.

Caring for Each Other DaVita’s award-winning training programs provide teammates with the opportunity to learn and grow, whether they are frontline contributors or seasoned leaders. To help teammates manage change in their personal lives, DaVita also created a wide range of programs to support them emotionally and financially.

Caring for the World DaVita supports nonprofit groups that are dedicated to community development and sending forth ripples of citizen leadership.

Since 2006, approximately 28,000 DaVita volunteers have served more than 59,000 hours through more than 950 Village Service Days (community service projects) across the U.S. Since 2007, Tour DaVita—an annual 220mile bike ride—has continued to increase awareness about kidney disease and has raised more than $5 million in the fight against the disease.

DaVita teammates have also given nearly $3 million as part of the “DaVita Way of Giving,” the company’s locally focused giving initiative to help 501(c)3 nonprofit organizations across the U.S. grow and thrive.

Caring for Denver Since DaVita’s move to Denver in 2010, the company has been dedicated to engaging this unique community in ways that encourage innovation, creativity and service excellence in the areas of culture, education and health among others.

DaVita is proud to support The Denver Center for the Performing Arts (DCPA), which truly embodies the values of innovation and creativity—keeping the arts alive in distinctive ways to inspire a new generation of leaders. DCPA’s commitment to arts education is truly inspirational, and DaVita is grateful for its commitment to this community. n

Art Partner

DaVita: Committed to Community

As a community first and a company second, DaVita is committed to improving the lives of patients, teammates (employees) and partners, and the communities in which it operates around the globe.

A proud sponsor of the DCPA Arts in Education programs

To find out more about DaVita’s community engagement efforts, please visit www.DaVita.com/CommunityCare.

Left: DaVita teammates and vendors dig out equipment after flooding destroyed a local Colorado farm last fall.

Right: 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-apalooza.” Partnering with national charity Shoes That Fit, DaVita teammates provided nearly 13,000 pairs of shoes to children in 167 schools across the country.

303.893.4100

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Get into the ACT…

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denvercenter.org/ACT 303.446.4892

34

APPLAUSE

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