Applause Magazine, Mar. 8-13, 2016

APPLAUSE

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VOLUME XXVII | NUMBER 6 | MAR – MAY 2016

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The Cast of Riverdance — The 20th Anniversary World Tour.

Photographer: Rob McDogall.

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RIVERDANCE­

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THE 20TH ANNIVERSARY WORLD TOUR Also Playing: Sweeney Todd Disney’s Newsies

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SIGHTLINE

BY SCOTT SHILLER

REBEL, REBEL

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Since the start of this theatre season, I’ve been asking questions in this column. Are we welcoming enough to tech-savvy audience members? Where do you get your arts and entertainment news? What’s important to you in a cultural facility? As a recent transplant to Denver, I have my share of observations. And I definitely have opinions on the questions I’ve posed. But I want to know what you think. You are my partners and, together, we’re going to shake things up.

Now, you may not think of yourself as a rebel. Very few rebels do. The reality, though, is that simply by expecting a modern theatre-going experience, you’re shaking things up every time you attend a live event. Live theatre is an art form that has been around for over two thousand years. Over that time, it has continuously evolved and reconsidered its potential. There has never been a time like this, though. Personal (and professional) technology is upending everything about the theatrical experience, from your first search for tickets on your smart phone to the last selfie you post before heading home. There’s something new seemingly every day and the DCPA wants to lead the way.

That said, it’s not all new. We still have stages, actors, sets, props and wardrobe. We still have playwrights and directors and stage managers and crew. Mix well and you have theatre. But then again, now we have “immersive” theatre like our upcoming summer production called Sweet & Lucky that forgoes seats and stages for wandering through theatrical spaces. We have jukebox musicals, dance mash-ups, cirque and other forms traditionalists might not even recognize. Here at the DCPA, we’re even updating some of our theatres (currently The Space Theatre in the Bonfils Complex) to accommodate the new, high-tech, demands of modern theatre making. But here’s the big question — should live theatre stay the same or become something new?

As we move forward, what do you think the future of live theatre should be? What kind of programming should we embrace?

Should we stay rooted in the past with traditional stagings and scripts? Should we tear up the rulebook and see what happens?

If we do either, will you attend more or less? Because whatever we do, you complete it. You are the reason we’re here and we want to hear from you. The revolution will not be televised — but it may be staged.

Let us know your thoughts at denvercenter.org/sightline.

SCOTT SHILLER President and CEO

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LETTERS TO THE CEO In Applause No. 4, CEO Scott Shiller gave an overview of the City’s plans to reimagine the Arts Complex and asked you to offer ideas for this “Next Stage.” Excerpts from your responses follow. To read all of the comments, visit denvercenter.org/news-center.

With a dedicated Family Theatre, Denver Center could become an innovator in works specifically for children, creating pieces that teach young audiences important life lessons without talking down to them… [and] provide a safe and fun respite for families to enjoy an unforgettable experience together.

— Rebecca H. A Music Arts Complex…which would include an award winning venue(s) capable of accommodating performances and music festivals...talented local musicians as well as established bands…. [It] would include a trendy bar…, a coffee house…, a small performance area, practice spaces and possible local artisan co-op area. — Kirsten A. Totally rebuild the Buell Theatre audience area. Too many sound problems throughout the space. Grade the orchestra so that I can really see the stage even if a 6’ 5” man sits in front of me. Take out some of the seats.

— Barbara D. What a waste of money…. Put money, if you have it, into productions. — Bob Replace the current parking garage…with an open public park-like space…. This would allow for gathering and event space, as well as give unobstructed views of the beautiful Ellie Caulkins Opera House and facades of other theatres. — Erica A solution to the parking problem and some restaurants would be great improvements.

— Steve S. A coffee house sounds good to me!… And the idea of tearing down Boettcher and putting in an amphitheater sounds TERRIBLE! Who wants to deal with traffic noise and fumes while trying to hear a concert?

— Joellyn

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APPLAUSE

IN THE

SPOTLIGHT

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VO LU M E X XV I I | N U M B E R 6 | M A R – M AY 2 0 1 6

EDITOR: Suzanne Yoe CREATIVE DIRECTOR: Rob Silk ASSOCIATE EDITOR: John Moore SENIOR ART DIRECTOR: Adam Obendorf ART DIRECTOR: Kyle Malone DESIGNERS: Kim Conner, Brenda Elliott CONTRIBUTING WRITER: Carolyn Michaels

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

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.

Applause magazine is funded in part by

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

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Denver Center for the Performing Arts is a not-for-profit organization dedicated to creating unforgettable shared experiences through Broadway musicals, world-class plays, educational programs and inspired events.

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

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1. THEATRE COMPANY actor Adeoye participates in a video project to commemorate Black History Month. The cast of All the Way read the Civil Rights Act of 1964 for the project, which has received more than 64,000 views. Tune in at youtube/denvercenter. 2. DCPA supporter Phil Munishor is applauded by the cast of FADE for his recent gift from The Joan and Phill Berger Charitable Fund to support both the play and renovation of The Space Theatre. 3. DCPA EDUCATION welcomed a packed house of middle and high school students to its Student Matinee of As You Like It. 4. Westin Denver Downtown General Manager John

Everett and Executive Assistant Debbie Smith peruse auction items at the SATURDAY NIGHT ALIVE Patron Party hosted by their hotel.

5. BROADWAY guests gathered for the 2016/17 season announcement, featuring the pre-Broadway debut of Frozen. Photos by John Moore and Amanda Tipton Photography.

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HONORARY MEMBERS Jeannie Fuller M. Ann Padilla Cleo Parker Robinson

HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES Lester L. Ward, President Emeritus Martin Semple, President Judi Wolf, Sec’y/Treasurer Daniel L. Ritchie William Dean Singleton Robert Slosky Jim Steinberg Dr. Reginald L. Washington Minumum Width .75” Maximum Width 2”

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EXECUTIVE MANAGEMENT Scott Shiller, President & CEO 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, Director of Donor Relations

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2016/17 BROADWAY SEASON...

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With so many award-winning, crowd-pleasing choices at our fingertips, we’re able to bring the best of Broadway to Denver year after year. Start counting down the days to the spectacular shows we have in store and become a subscriber to see them all from the best seats at the best price — up to 25% off.

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AND YOUR FAVORITE NIGHTS OF THE YEAR.

JAN 10 – 22, 2017 THE ELLIE

MAR 8 – 19, 2017 BUELL THEATRE

MAY 30 – JUN 18, 2017 THE ELLIE

COMING SUMMER 2017 BUELL THEATRE

DARREN CRISS IN THE BROADWAY PRODUCTION OF HEDWIG AND THE ANGRY INCH. PHOTO: JOAN MARCUS

GET PRIORITY ACCESS TO THESE ADDED ATTRACTIONS WHEN YOU SUBSCRIBE

DEC 6 – 11, 2016 BUELL THEATRE

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MAR 21 – 26, 2017 BUELL THEATRE

Photo credits, L to R: Finding Neverland, Laura Michelle Kelly, photo by Carol Rosegg; Fun Home, Beth Malone, Sydney Lucas, Michael Cerveris, photo by Jenny Anderson; The Phantom Of The Opera, Chris Mann and Katie Travis, photo by Matthew Murphy; the 2016 national touring cast of Roundabout Theatre Company’s Cabaret, photo by Joan Marcus; the original Broadway cast of An American in Paris, photo by Matthew Murphy; The Curious Incident of the Dog in the Night-Time, Alex Sharp, photo by Joan Marcus.

BROADWAY 2016/17 SEASON SPONSORS

MAY 19 – 21, 2017 THE ELLIE

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“A BOLD, BREATHTAKING REMINDER of the power of courtesy.”

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“She gave her child FLAWLESS DIRECTION.”

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— THE GUY WITH THE BOW TIE

We won’t tell you how to behave. But everyone’s a critic.

Please remember, the theatre experience depends on all of us — not just the performers on stage.

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JFS EXECUTIVE LUNCHEON

AL PACI NO UP CLOSE AND PERSONAL

EXCLUSIVE 90-MINUTE PERFORMANCE Wednesday, April 13, 2016, Noon to 2:00 p.m.

Hyatt Regency Denver at Colorado Convention Center TICKETS Tickets are available for purchase on March 18 at www.jewishfamilyservice.org/luncheon.

For more information, contact Lisa Benoit at 720.248.4633 or lbenoit@jewishfamilyservice.org.

Generously Sponsored by:

DRINK, DINE AND DELIGHT

IN THE CULTURE OF DOWNTOWN DENVER There’s nothing quite like the excitement of a live performance — that is, until you enjoy the premium benefits of our Best of Broadway Society. Treat yourself to first-class service before, during and after the show with front-and-center orchestra seats, pre-theatre cocktails, dinner at Kevin Taylor’s at the Opera House and private intermission amenities for most shows.

The 2016/17 Best of Broadway Society includes tickets to eight productions:

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FINAL VERSION, (SENT HI-RES PDF & COLLECTED FILES VIA FTP, J

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A DELICIOUS TAKE ON THE BARBAROUS BARBER

BY JOHN MOORE

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Illustration by Kyle Malone

SWEENEY TODD:

It didn’t take long for Broadway star Robert Petkoff to learn the DCPA Theatre Company would be performing his favorite musical, Sweeney Todd, with Colorado gypsy punk band DeVotchKa adding its own sanguine flavoring to Stephen Sondheim’s classic orchestrations.

“DeVotchKa is my sister’s favorite band,” said Petkoff.

“When she found out, she wrote me right away and said, ‘Oh my God, I have to get out to Denver and see this.’”

Now Petkoff’s sister has two reasons come to Denver.

Her brother, an award-winning veteran of six Broadway productions, is playing the title role of the barbarous barber.

“But put DeVotchKa at the top of the list,” he said with a laugh. “I am reason No. 2.”

The Petkoff siblings are not the only ones excited to see what happens when Sweeney Todd bleeds DeVotchKa’s Latin and Slavic-infused aural amalgam into Sondheim’s perhaps most powerful (and unquestionably most homicidal) score.

“DeVotchKa will attract a completely different kind of audience,” Petkoff said. “And boy, anytime you can bring a whole new swath of people into the theatre who don’t normally come is a great, great thing.”

Petkoff and DeVotchKa frontman Nick Urata have their own affinities for Sweeney Todd dating back to their very different childhoods. Petkoff remembers hearing the vinyl cast recording in 1979 when he was in high school and the record was hot off the presses. “I was blown away, both by how complex the story is, and by how incredible the music is,” Petkoff said. “I just instantly fell in love. I knew I wanted to play that role one day.”

DeVotchKa has been blurring distinctions between art forms for more than 15 years, notably with its wildly popular annual concerts at Red Rocks with the Colorado Symphony Orchestra. Music fans have been spellbound by the band’s theatricality dating all the way back to its earliest appearances at small Boulder music clubs when Urata and bandmates Jeanie Schroder, Shawn King and Tom Hagerman would enter from the back of a darkened house guided only by the string of lights that line Schroder’s sousaphone.

“I can’t think of a more perfect platform for us than Sweeney Todd,” Urata said, “being that we like coming from a dark and twisted place, and this is the ultimate dark and twisted musical opera.”

Petkoff’s co-star is Linda Mugleston in the delicious role of Mrs. Lovett, maker of those curiously delicious meat pies.

Petkoff and Mugleston have theatrical bloodlines that crisscross Denver and run deep down into Broadway’s sidewalk cracks. Petkoff appeared in the DCPA’s Tantalus, a 10-play epic Trojan War cycle in 2000 — nothing less than the largest theatre project in the 2,500-year history of the theatre. He returned in 2012 for the world premiere of Sense & Sensibility, The Musical and in the Broadway tour of Spamalot in 2007. Mugleston’s Theatre Company credits include The Unsinkable Molly Brown, Quilters and A Christmas Carol.

When the Theatre Company forays into musicals, Mugleston said, they always have something in common with the company’s nationally-acclaimed world premiere plays: Even when telling a familiar story, there is something new about them.

“The Denver Center is always innovative, no matter what they are doing,” Mugleston said. “The creativity is always very high-end, and it never feels like run-of-the-mill, normal fare. It’s always exciting.”

The Sweeney Todd stars appeared together briefly in the 2011 Broadway revival of Anything Goes, during which they swear no throats were slashed. Surprisingly, neither has

ever before appeared in a production of Sweeney Todd.

Sondheim, now 86, has been uncommonly encouraging of young artists wanting to experiment with Sweeney Todd, which first shocked Broadway audiences under the direction of Hal Prince in 1979. It has since been presented in forms ranging from

This is how theatre breathes and grows and evolves.”

When you change the orchestrations, you are not changing the actual notes, Petkoff said, “you are changing how an audience hears them — the rhythm. The style.”

“I get why a playwright might say, ‘Listen, you need to say every word that I wrote.’ But with a musician, you understand that while he wrote every one of those notes, there are so many different ways to play them. And yet, you are still playing the song.”

Photos: Above – Linda Mugleston in The Unsinkable Molly Brown; Right – Robert Petkoff in Sense & Sensibility the Musical. Photos by Jennifer M. Koskinen.

“The Denver Center is always innovative, no matter what they are doing,” Mugleston said. “The creativity is always very highend, and it never feels like run-of-the-mill, normal fare. It’s always exciting.” opera to an intimate chamber piece.

The musical was revived on Broadway in 2004 with only 10 actors all playing their own instruments. In 2014, Sondheim gave his permission for the Landless Theatre Company to concoct a “prog-metal” version in Washington D.C. That’s a form that blends classical music and jazz while using metal to highlight some of the darker elements of the story. Permission to let DeVotchKa envelop Sondheim’s score with DeVotchKa’s signature horns, accordion, violin and percussion was handed down by the master himself.

Urata’s stated goal for the piece is “to make it loud and proud.” And if that sounds too experimental for theatre purists, Urata said, consider that West Side Story was once experimental theatre.

“If I know anything about Sondheim, it’s that he is very open-minded,” said Urata. “I think that’s why we all love him.” That’s because “first and foremost, Sondheim is an artist,” Mugleston said.

Anytime you tell a story, Petkoff added, “who is telling the story changes that story. So people who come to see this show may have an idea what should be in their heads based on what they have seen before. But we have this great opportunity in Denver to tell our own version of the story, and adding DeVotchKa will make it a really unique version of that story.

Imagine, he said, what Broadway audiences who grew up on Camelot and My Fair Lady thought when they first sat watching Jesus Christ Superstar in 1971. “They were outraged,” he said. “’That’s not a musical!’ they said. But there was an influx of younger people who came and became lifelong lovers of theatre. The same thing is happening with Hamilton on Broadway today.

There are people who have never been to a Broadway musical and they are standing and screaming in fits of ecstasy watching Hamilton. It’s wonderful for theatre because we need to change and we need new blood, and this is how you do it.”

SWEENEY TODD

APR 8 – MAY 15 • STAGE THEATRE ASL interpreted, Audio described & Open Captioned performance: May 1, 1:30pm Tickets: 303.893.4100 denvercenter.org Groups: 303.446.4829

DCPA Founder Don Seawell refused to wear one of Judi’s furs to a costume benefit. So to complete the look of the Viking Warrior, he tossed her bathroom rug over his shoulder.

COSTUME COLUMN DCPA Trustee Judi Wolf has been playing in costumes since she was six.

“I started in my mother’s ballgowns,” she said. “I would put them on and get completely lost in them.”

Wolf has been a staunch supporter of the DCPA since the first opening night in 1979, and openings continue to be a very big deal to Judi Wolf.

She wore a toga to the opening of the 10-hour epic Greek cycle Tantalus in 2000.

She arrived at The Little Mermaid in 2007 dressed as Ariel’s mother where she held fish-shaped balloons while her household manager blew bubbles in her wake.

There are method actors and there are method dressers. Imagine what the audience thought when Wolf arrived at The Man Who Came to Dinner in 1990 wearing a cocktail dress and riding in a wheelchair. Reminiscent of the play’s cranky protagonist Sheridan Whiteside who spends the play in a wheelchair, Wolf says she needed it. “I had tripped,” she said, “so I rode to the opening in an ambulance with ice on my knee and ankle.

It was opening night. I wasn’t going to miss it.”

Wolf is a Denver native with a master’s degree in international relations from the University of Denver. She taught Spanish at Graland Country Day School and was named as the Fine Arts Foundation Citizen of the Arts in 2012.

She has sponsored the Costume Corner column in Applause magazine for the past five years because she believes the costume arts must be championed.

“What is theatre without costumes?” she said. “It’s radio!”

We would like to give Judi Wolf a round of applause for her generous contributions toward our costumes and, of course, for her unflagging flair for the dramatic.

Celtic Tales of Love & War March 11-13

Newman Center for the Performing Arts Featuring Brass, Bagpipes, Fiddles, Irish Tenor, Irish & Scottish Dancers

Colorado Remembers May 28 - 2pm

The Ultimate Free American Concert at the Colorado Freedom Memorial!

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UPCOMING SHOWS Riverdance — The 20th Anniversary World Tour Now – Mar 13 How I Got Over: Journeys in Verse Mar 18, 19, 25 & 26 Disney’s Newsies Mar 23 – Apr 9 Dixie’s Never Wear a Tube Top While Riding a Mechanical Bull...

Mar 30 – Apr 24

SCFD: YOUR TAX DOLLARS

Sweeney Todd Apr 8 – May 15 Cult Following Apr 29 & 30, Jun 3 & 4

REFLECTED ON STAGE

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The Realish Housewives of Cherry Creek: A Parody May 3 – 22

In 1988, metro area voters approved a 1¢ on $10 sales tax to support arts and culture. The Scientific and Cultural Facilities District (SCFD) now distributes nearly $55 million to 275 organizations throughout our community. But how has this investment diversified as the community has evolved?

At the Denver Center for the Performing Arts, SCFD funds have enabled us to better reflect the diversity of our community through a number of programs. Here are some recent examples:

once May 24 – 29 NETworks presents Disney’s Beauty and the Beast Jun 7 – 12 The Sound of Music Jun 21 – 26 Beautiful — The Carole King Musical Jul 19 – 31

DIVERSE VOICES In addition to a commitment to colorblind casting (as evidenced in the Theatre Company’s recent production of As You Like It), the DCPA is excited to feature a regular mix of programming by, for and starring individuals from a variety of backgrounds. Titles such as Kinky Boots, Drag Machine, One Night in Miami…, Jackie and Me, FADE and Just Like Us among many, many others reflect the diversity within our community and our commitment to new voices on our stages.

But our biggest commitment to new voices is the Women’s Voices Fund — a first-of-its-kind endowment designed to foster the work of a clearly underrepresented voice in American theatre. This initiative has enabled our Theatre Company to commission 15 female playwrights, hire 17 female directors and contribute to 10 world premiere plays by women — all in the past decade.

AFFORDABILITY Our brand new DCPAccess program provides twice as many $10 tickets to each Theatre Company production plus significantly discounted tickets to select Broadway shows. Plus, our popular $10 student ticket program, military and senior rush tickets help eliminate barriers to attendance.

Finally our new Radvantage membership for guests ages 18-30 offers substantial discounts to a variety of programs all year round.

NEW AUDIENCES While performing arts are often viewed as having aging audiences, we’ve launched a variety of programs to attract a younger crowd. Kids Night on Broadway provides a minimum of 200 free tickets for youth to designated Broadway performances. In addition to extensive in-school and on-site school programs, we now host both a High School Playwriting Competition and a High School Musical Theatre Competition. And our newest focus on Millennial engagement is evidenced through our innovative Off-Center programming and our new off-site, immersive production scheduled for late Spring.

For more information on these programs and many more, please visit denvercenter.org.

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An Act of God Opens Fall 2016 The Glass Menagerie Sep 9 – Oct 16 Roundabout Theatre Company’s Cabaret Sep 27 – Oct 9 Frankenstein Sep 30 – Oct 30 A Christmas Carol Nov 25 – Dec 24 The SantaLand Diaries Nov 25 – Dec 24 Hedwig and the Angry Inch Dec 6 – 11 Photos L to R: by John Moore; Kyle Taylor Parker in Kinky Boots, Photo by Matthew Murphy.

ACCESSIBILITY Thanks in part to the SCFD, we have grown our accessibility services to include ASL interpretation, Audio description, Open Captioning, Braille and large print programs, and tactile tours. Improvements to seating, entry/exit routes and enhanced listening systems are planned as part of our Bonfils Theatre Complex renovation.

The Phantom of the Opera Aug 25 – Sep 11

Finding Neverland Dec 20 – Jan 1, 2017 Fun Home Jan 10 – 22, 2017 The Christians Jan 27 – Feb 26, 2017 Colorado New Play Summit Feb 11 – 12 & 17 – 18, 2017 Motown The Musical Feb 15 – 19, 2017 An American In Paris Mar 8 – 19, 2017 Kinky Boots Mar 21 – 26, 2017 Disgraced Mar 31 – May 7, 2017 The Secret Garden Apr 21 – May 28, 2017 The Illusionists May 19 – 21, 2017 The Curious Incident of the Dog in the Night-Time May 30 – Jun 18, 2017 Frozen Coming Summer 2017

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ANNOUNCING THE 2016/17

THEATRE COMPANY SEASON

POWERFUL PERFORMANCES. PASSIONATE ARTISTRY. STORIES THAT TRANSPORT AND TRANSFORM YOU.

SEP 9 – OCT 16

JAN 27 – FEB 26, 2017

SEP 30 – OCT 30

MAR 31 – MAY 7, 2017

NOV 25 – DEC 24

APR 21 – MAY 28, 2017

PLUS TWO WORLD PREMIERE PRODUCTIONS!

For the best seats, biggest savings, and most flexibility, become a subscriber today!

Renew or subscribe today at denvercenter.org/subscribe SEASON SPONSORS

Due to the nature of theatrical booking, all productions, prices and dates are subject to change.

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RIVERDANCE

AND SEASON SPONSORS

Abhann Productions Presents

Starring

PRINCIPAL DANCERS: Maggie Darlington, Ciara Sexton, Chloey Turner, James Greenan, Bobby Hodges, Jason O’Neill

The Riverdance Irish dance troupe, musicians and singers and featured International soloists.

Costume Designer

JOAN BERGIN

Set Designer ROBERT BALLAGH

Sound Designer

MICHAEL O’GORMAN

Projection Animation

LUIS POVEDA

Orchestrations by

NICK INGMAN and BILL WHELAN

Lighting Designer JOHN COMISKEY

Poetry Written by THEO DORGAN

Press Representative Polk & Co. Executive Producer JULIAN ERSKINE

COMPOSER BILL WHELAN

PRODUCCER MOYA DOHERTY

DIRECTOR JOHN McCOLGAN

RIVERDANCE

CAST The Riverdance Irish Dance Troupe Principals: Maggie Darlington, Ciara Sexton, Chloey Turner, James Greenan, Bobby Hodges, Jason O’Neill Troupe: Ellen Bonner, Stephen Brennan, William Bryant , Darren Casey, Brendan Dorris, Julia Gats, Katie Hands, Aoife Kennedy, Mia Leonelli, John Lonergan, Patrick O’Mahony, Andrew O’Reilly, Louise O’Sullivan, Gianna Petracic, Natasia Petracic, Lauren Smyth, Callum Spencer, Sarah Woods The Riverdance Band Pat Mangan Fiddle / Musical Director Mark Alfred Drums / Percussion / Bodhrán, Matt Bashford Uilleann Pipes / Low Whistle / Tin Whistle, Ken Edge Saxophone The Riverdance Singers and Drummers Members of the Company The Riverdance Baritone Soloist Rohan Pinnnock-Hamilton The Riverdance Flamenco Soloists Marita Martinez-Rey The Riverdance Russian Ensemble Rifat Gabdulkhakov, Natia Mangan, Katrina Meske, Alexander Safonov, Ana Turcan, Eugeniu Turcan The Riverdance Tappers Rohan Pinnnock-Hamilton Christopher Broughton Poetry Narrated by John Kavanagh ORINGAL PRINCIPAL IRISH DANCE CHOREOGRAPHY – MICHAEL FLATLEY ORGINAL CHOREOGRAPHY BY MAVIS ASCOTT, JEAN BUTLER, JOHN CAREY, BRENDAN DE GALLAI, COLIN DUNNE, CAROL LEAVY JOYCE, EILEEN MARTIN, PAULA NIC CIONNATH, MARIA PAGES, TARIK WINSTON At certain performances, alternative principal performers will dance the principal roles.

Cast and content may be subject to change without prior notice.

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited.

Please turn off all electronic devices such as cellular phones, beepers and watches. The use of cell phones in the theatre is prohibited.

ACT ONE

Reel Around the Sun............................................... The Riverdance Irish Dance Male Principal & Troupe The Heart’s Cry................................................................................................................... The Riverdance Singers The Countess Cathleen..........................................................The Riverdance Female Irish Dance Principal & Troupe and Russian Folk Dancers Caoineadh Chú Chulainn (Lament)........................................................................The Riverdance Irish Piper Thunderstorm............................................................ The Riverdance male Irish Dance Principal & Troupe.

Firedance.................................................................................................. Flamenco Soloist and the Riverdance Male Irish Dance Troupe Shivna ....................................................................... The Russian Folk Dancers and the Riverdance Singers Slip into Spring – The Harvest..................................................................................The Riverdance Musicians Riverdance...............................................................................................The Riverdance Irish Dance Principals & Troupe, Singers and Drummers

ACT TWO

American Wake....................................................................The Irish Dance Troupe and Riverdance Singer Heal their Hearts – Freedom.................................................................................................The Baritone Soloist Trading Taps................................................................................... The Riverdance Male Irish Dance Principal & Male Troupe and the American Tappers Macedonian Morning /The Russian Dervish........................................................The Riverdance Musicians & The Russian Folk Dance Troupe Andalucía.................................................................................................................................. The Flamenco Soloist Anna Livia...............................................................The Riverdance Female Irish Dance Principal & Troupe Slow Air & Tunes............................................................................................................The Riverdance Musicians Heartland ..............................................................................The Riverdance Irish Dance Principals & Troupe Finale ..........................................................................................................................................................The Company

RIVERDANCE

MUSICAL NUMBERS

RIVERDANCE

WHO’S WHO IN THE CAST BILL WHELAN Composer As a composer, Bill Whelan has written extensively for theatre, dance, film and the concert stage. His film work includes Dancing at Lughnasa starring Meryl Streep, Some Mother’s Son featuring Helen Mirren and Lamb with Liam Neeson. Music for television includes “The Seven Ages,” Sean Ó Mordha’s history of the Irish State. He was appointed composer to the W.B. Yeats International Theatre Festival at Dublin’s Abbey Theatre in 1989, writing original music for 15 Yeats’ plays. His adaptation of HMS Pinafore received a Laurence Olivier Award nomination.

The Seville Suite was commissioned for Ireland’s National Day at Expo ’92 and was performed at the Maestranza in Seville. It has since received performances around the world including La Coruna, Shanghai, Caracas and New York. The Spirit Of Mayo followed in 1993 and was performed by an 85-piece orchestra and chorus in Dublin’s National Concert Hall. He was honoured with the 1997 Grammy Award for ‘Best Musical Show Album’ for the lyrics and music of Riverdance.

The album is a certified Platinum record in the US, Ireland and Australia.

The Connemara Suite, a trilogy of pieces written for chamber orchestra, premiered in Carnegie Hall in March 2005.

Bill Whelan’s Symphonic Suite from Riverdance has received its first performance in 2013. Linen & Lace, a flute concerto for Sir James Galway, was commissioned by Lyric FM to mark the Limerick City of Culture in 2014.

A new musical, The Train, with lyrics

by Arthur Riordan and music by Bill Whelan was performed in Limerick and Dublin in October 2015.

Bill’s production and arranging credits include U2, Van Morrison, Kate Bush, Richard Harris, Planxty, The Dubliners and many traditional world musicians and performers. He is a member of the Boards of Berklee College of Music in Boston, The University of Limerick, Crash Ensemble and Music Generation, the newly established music education body for Ireland. He has completed a co-teaching course with Pulitzer Prize-winning poet, Paul Muldoon at Princeton University and was recently appointed adjunct Professor to Trinity College Dublin’s School of Drama, Film and Music. Bill Whelan is a Fellow of

the Royal College of Music and is the recipient of many International Awards including the Spirit of Ireland Award in New York.

MOYA DOHERTY Producer Moya Doherty’s career includes theatre, radio and television journalism and an award-winning track record in television production, both in Ireland and the UK. Moya was the Commissioning Producer and originator of Riverdance for the Eurovision Song Contest of 1994; she is a founding Director of Tyrone Productions, Ireland’s leading independent television production company, whose many credits include “Beckett on Film” and the Opening Ceremony of the Special Olympics World Summer Games (held in Dublin in June 2003), and drama credits including “Ros na Rún,” now in its 20th season, for TG4 and “Quirke,” a major co-production with the BBC, starring Gabriel Byrne.

Moya is Chair of RTÉ, Ireland’s national public broadcasting service. She is a writer and broadcaster and has co-presented a number of radio arts documentaries on George Bernard Shaw, John McCormack and Paddy Kavanagh, amongst others. She is a founding Director of Today FM radio station. She has sat on a number of artsrelated boards, including Chair of the Dublin International Theatre Festival for seven years, The Ark Children’s Theatre in Dublin, Business to Arts and the Board of the Abbey Theatre.

She is the Producer of the new music and dance stage spectacular Heartbeat of Home which had its world premiere in Dublin in October 2013 2013 and has toured extensively in North America and China. Awards and honours include: Veuve Clicquot Business Woman of the Year, Ernst & Young Entrepreneur of the Year, and honorary doctorates from the University of Ulster and the National University of Ireland in recognition of her success and her ongoing commitment to the arts in Ireland.

JOHN McCOLGAN Director John McColgan’s career as a multiaward-winning producer and director began in the mid-seventies at RTÉ Television where he went on to become Head of Entertainment. While in RTÉ he

produced and directed a wide range of programming from light entertainment to drama to documentary. He was awarded a Jacob’s Television Award in 1980 for ‘the consistently high quality of his entertainment programming’. He was also Head of Weekend Entertainment at TVAM – ITV’s breakfast television service.

He played a key role in the evolution of Riverdance from the original seven minute dance number and went on to direct the full stage-show spectacular.

John has been closely involved with the Abbey Theatre – he was on the Board of the theatre for five years, served as Chairman of the Abbey Centenary Committee and directed a critically-acclaimed production of Dion Boucicault’s 19th century melodrama The Shaughraun. In May 2011 he produced a major theatrical event marking the historic State visit of Queen Elizabeth II to Ireland. John is the director of the new music and dance stage spectacular Heartbeat of Home which had its world premiere in Dublin in October 2013 and has toured extensively to universal acclaim in North America and China.

John has received many awards during his career, including an Honorary Doctorate of Law from the National University of Ireland, in recognition of his services to the arts and entertainment industry.

RIVERDANCE CAST & BAND The Riverdance Irish Dance Troupe The Riverdance Irish Dance Troupe are world-class Irish dancers. They hail mostly from Ireland, but also from Britain, the United States, Canada and Australia. Between them the dancers can boast of hundreds of championships won in Ireland and abroad. Most started dancing at three or four years of age at local dance schools and progressed to world championship level before being chosen to perform in Riverdance. The dancers would have known and competed against each other at various competitions, including the World Championships. Riverdance has given them the opportunity to perform together for the first time in a non-competitive way. The grace and eloquence of their soft-shoe dance and the power and precision of their hard-shoe routines clearly display the endless hours of practice and their dedication to the art of Irish Dance.

Maggie Darlington Maggie began dancing with the Claddagh School of Irish Dance in California. She won four North American Championships, two All-Ireland Championships and in 2007 won the World Irish Dancing Championships. In 2010 Maggie performed the lead role in Busch Gardens’ production Celtic Fyre and originated the lead female role in Battle of the Dance. She joined the cast of Riverdance in 2011.

Ciara Sexton Ciara started dancing at the age of three under the instruction of Marion Turley in the West Midlands, UK. She has won numerous titles including five World and All-Ireland Championships.

Her professional dance career began with Lord of the Dance, in which she performed the lead role. Ciara choreographs regularly for dance company, Celtic Feet and has toured with the troupe in the production of Excalibur – A Celtic Rock Opera. In 2012, Ciara became involved in Heartbeat of Home and toured with the show internationally as a lead dancer.

Chloey Turner English-born, Chloey started Irish dancing with Jenny Flower (Matthews Academy) and has competed at national and international feiseanna, qualifying for the world championships every year. Chloey is a keen athlete and a qualified personal fitness trainer.

Chloey joined Riverdance in 2008, touring Europe, Japan and China and one of her highlights was performing at Radio City, New York.

James Greenan James lives in Co. Cavan and danced with Scoil Rince Mona Ni Rodaigh.

He won several prestigious World Championships, All Irelands, Great Britains, North Americans and Ulster titles in both solo and Céilí competitions. He toured with Gaelforce and Dancemasters and with Noctu in New York. His career with Riverdance began in 2011 and he has performed with the show in North America, China, Brazil, Argentina and at the Gaiety Theatre, Dublin.

Bobby Hodges Bobby was six when he started dancing in his hometown of Bristol. After an illustrious career as a competitive Irish dancer, winning ten world titles, he joined the cast of Lord of the Dance.

After just six weeks in the show, he was cast as the principal lead. In 2012 he joined the cast of Prodijig to help create their debut show Footstorm. Bobby went on to be cast as a lead dancer in Heartbeat of Home which has toured internationally and is now thrilled to be performing lead in Riverdance, the show that inspired him to pursue dance.

Jason O’Neill Jason started dancing at the age of five alongside his six sisters. Under the tuition of the Armstrong school in Belfast he developed a deep-rooted passion for rhythm. Jason has been a lead dancer with Prodijig’s Footstorm and with Heartbeat of Home and is truly honoured to attain lead role in three shows. As an avid traveller he has now performed in 200 cities worldwide. Jason is delighted to join Riverdance again for its remarkable 20th anniversary.

The Riverdance Band Pat Mangan Fiddle / Musical Director Two-time All-Ireland fiddle champion Patrick Mangan is from Brooklyn, New York, where he was introduced to traditional music at an early age. He grew up playing alongside legendary Irish musicians from both sides of the Atlantic. At aged sixteen, Patrick appeared in Riverdance On Broadway, becoming the youngest fiddler in the show’s history. Since then he has toured extensively, playing to enthralled audiences around the world. In addition to his love of the stage, Patrick is also an award-winning composer. His debut CD, Farewell to Ireland is available now at www.cdbaby.com/mangan.

Mark Alfred Drums / Percussion / Bodhrán A native of Monaghan, Mark began playing drums at the age of four. He studied at the Royal Irish Academy of Music in Dublin and then the Performing Arts College. He is now one of Europe’s most sought after, and highly regarded, drummers and is constantly in demand from a host of leading stellar international music acts.

His very individualistic and energetic style has seen him play with many international acts including Lionel Richie, Simply Red, Katie Melua, Josh Groban, The Corrs, The Divine Comedy, Lemar, Gary Moore, Mary Coughlan, Ronan Keating, Westlife, Girls Aloud, Donnie Osmond, and the late Christy Hennessy. Mark Alfred uses and

proudly endorses: Pearl Drums, Zildjian Cymbals, Evans Drumheads, Vater Drumsticks, Protection Racket Cases.

Ken Edge Saxophone Kenneth Edge began his career in music by winning RTÉ’s ‘Young Musician of the Future’ competition in 1983. Since then, Ken has performed with some of the greatest musicians and orchestras in the world. Composers such as Shaun Davey, Micheál Ó Súilleabháin and John Buckley have written new pieces especially for Ken. Aside from his performing career, Kenneth has held the posts of Music Director of Ireland’s CoisCéim Dance Theatre Company, for which he composed the scores for five of their productions, and Artist-inResidence at the University of Limerick.

The Riverdance Russian Ensemble The Riverdance Russian Ensemble combines elegance and grace with verve, dynamism and joyous physicality.

The company’s dancers come from a diverse mix of cultural backgrounds.

What they have in common is a dedication to dance and many years of training and performance in pursuit of perfection in their chosen art. Working as individual performers, they have come together for Riverdance, where they will share their individual talents and fuse the many elements that have gone into the development of their own unique style of dance.

The Riverdance Flamenco Soloist Marita Martinez-Rey Flamenco Marita was born in Úbeda, Jaén, Spain.

She graduated in Spanish Dance from the Royal Conservatory of Córdoba in 2001 and a year later in Classical Ballet with AraLeo Moyano. She also studied Flamencology, Cátedra de Flamencologia de Córdoba, as well as BA (Hons) in Music and History studies at the Universidad Complutense in Madrid. Her professional experience started in the opera El Cid with Placido Domingo which was performed in La Maestranza, Seville in 1999. She joined the Ballet Gallego Rey de Viana for a year in the production Vira ó Vento.

After that, she returned to Madrid, where she has worked with several companies. In 2005 she joined the Compañia Antonio Gades where she has worked in the productions Carmen, Bodas de sangre and Fuenteovejuna.

RIVERDANCE

The Riverdance Principal Dancers

RIVERDANCE

The Riverdance Tappers Rohan Pinnock-Hamilton Tapper/ Baritone Rohan began his training at the Audrey Spencer Dance Academy and at the Scala Performing Arts Academy. As a young actor Rohan was a series regular in Children’s Ward (Granada TV) and as a young dancer won the title of North England Tap Champion. He then went on to train at The Urdang Academy, London. Since graduating he has appeared in Mary Poppins, Somebody’s Son, Hairspray, Riverdance, Joseph and the Amazing Technicolor Dream Coat, Hair, Some Like It Hip-Hop and The Scottsboro Boys. He has also appeared as a backing dancer for recording artists such as Beverly Knight, Lemar and Kanye West. Rohan is delighted to be returning to Riverdance for this anniversary tour.

Christopher Broughton Born and raised in Los Angeles, CA, Christopher Broughton began dancing at the age of 12 and never looked back. Under the instruction of Paul and Arlene Kennedy at Universal Dance, he immediately became a member of the Kennedy Tap company. An an instructor, performer and choreographer, his art has taken him everywhere from St. Louis and Washington D.C. to Brazil, Finland, Cuba, Italy, Germany and beyond. Broughton has performed and toured the world with such greats as Jason Samuels Smith, Chloe Arnold, R&B singer MYA and Ted Levy. Company work has included national and international tours with Dorrance Dance, Magic of The Dance, and Rasta Thomas’ Tap Stars; as well as participating in The Cotton Club Parade at NY City Center. Christopher Broughton owes his sincerest gratitude to his sister Chantel Heath, who introduced him to the world of dance, Tonie Nicholas, son of the legendary Fayard Nicholas, and Paul and Arlene Kennedy; without whom, he wouldn’t be where he is today.

STAFF LISTING For Abhann Productions Limited Directors ............................................ Moya Doherty, John McColgan, David Orr Executive Manager .............................Paula Burke Riverdance Dublin Production Office Associate Director ....................... Padraic Moyles

The producer would like to give special acknowledgement to: RTÉ Commercial Enterprises Limited Paul McGuinness - Principle Management, Liam Miller, Maurice Cassidy, Tommy Higgins

Digital & Online Manager .........Mary O’Donnell

The Office of Public Works

Costume Shop Supervisor ........... Monica Ennis

The National Gallery of Ireland

Production Coordinator ..................Laura Griffin

Elements of the Ardagh Chalice and other artifacts by kind permission of the director of The National Museum of Ireland

Accountant .................................... Dominick Tighe Production Assistant ............... Niamh O’Connor Production Office Assistant ........ Alan Bradley Tapper casting / coaching ..............Richard Pitt Original Design Credits Lighting Design................................Rupert Murray Costumes for Riverdance Eurovision................Margaret Crosse

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

Costumes for Riverdance – The Show............................Jen Kelly

ARTS AND VENUES Kent Rice, Director

Projection Animation.................Benjamin Pearcy NORTH AMERICAN TOUR STAFF

For information call: 720.865.4220

North American Press Representative Polk and Co. Production Manager ....................... Marie Barrett Company Manager ............................ Jesse White Assistant Company Manager ......Alan Paramore Production Stage Manager ........Marc Anderson Technical Stage Manager ................Emma Doyle Irish Dance Captains.....................Brendan Dorris Andrew O’Reilly Russian Dance Captain..................Natia Mangan Production Carpenter ..................Jon Rodriguez

Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719 Linda Ackerschott AnnSue Gunter Carrie Breidenbach Judy Holabird Vonnie Clough Leslie Lambert Janel Clough Sharon Millikan-Hale Craig Cory Callie Morrow Cyndie Cory Yolanda Pollock Laura Cotugno Dave Poole Steve Davies Liz Spadi Anne Davis Amy Tepel Carolyn Dore Marybeth Tscherpel Deborah Guess Barb Wilson

Head Carpenter .............. Steven Todd Whitaker Production Electrician ........... Craig Caccamise

The musicians employed in this production are members of the American Federation of Musicians.

Head Electrician .............................Adam Lansing Assistant Electrician/Carpenter......Brandi Fucci

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

Assistant Electrician.........................Joel Bulthuis Advance Sound....Sean McKeown/Kevin McGing Head Sound/Monitors................. Isaac Sheppard Asst Sound /FOH Mixer..............Daragh Murphy

ATPAM

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

Wardrobe Supervisor...................... Brigid Brown Wardrobe Assistant ............................Katie Dean Medical Officer/ Physiotherapist ............... Fiona McCabe, MISCP

DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2015/16 BROADWAY SEASON

Massage Therapist................................ Keith Ward Merchandising........................ SEE Merchandising www.seemerch.com / www.riverdancestore.com International Representation................Second Symphony Ltd North American Representation.......... WME Entertainment LLC Credits and Acknowledgements

Fibre Optics & Starcloths......I. Weiss & Sons Inc. Show Scrim............................................... Rosebrand Lighting, Video, LED Screen...... High Res/ VER Sound Equipment................................ Clair Global Trucking Provided by............................Janco Ltd. www.riverdancestore.com www.riverdance.com facebook.com/riverdance twitter.com/riverdance youtube.com/riverdance instagram.com/riverdance_ official

Photography..........Deidre Buck, Barbara Corsico, Julian Erskine, Hugo Glendenning, Jack Hartin, Tom Lawlor, Joan Marcus, John McColgan, Rob McDougall, Sean Breithaupt & Yvette Monahan

Contracts Manager ...........................Sean O’Brien

Dance Flooring and Covering..........................American Harlequin

STAY IN TOUCH WITH RIVERDANCE

LED Projection Updates .................. Luis Poveda

Make-Up provided by....................................... MAC

PLEASE BE ADVISED

Please be advised that once the show begins: • LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

• PHOTOS, RECORDING & CELL PHONE USE are prohibited.

Drums provided by ......................................PEARL

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

Cymbals provided by.................................. Zildjian

• DRINKS are allowed in provided containers.

Drumheads provided by ..............................Evans

• ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you.

Drumsticks provided by ................................ Vater Protection provided by .................Racket Cases Digital Media......................... Situation Interactive

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

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Original Australian Company. Photo by Jeff Busby

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DENVER’S OWN “NEWSIES” HAD A COLORFUL PAST

BY JOHN MOORE

I

If not for the spunky street urchins who pedaled papers on Denver’s street corners in the early 20th century, Mile High Stadium might not be named after the Sports Authority retail giant today.

Nathan Gart, patriarch of the Gart Brothers sporting goods empire that has since morphed into Sports Authority, was an entrepreneurial Denver Post newsboy who owned the corner of 16th and Lawrence streets. He learned at age 12 how profitable it could be to buy watches and rings from his regular customers, mark them up and re-sell them. He opened his first store in 1928 selling fishing rods with $500 he saved from hawking one screaming headline at a time.

Gart is just one notable character in the colorful history of Denver’s newsboys, whose plight was positively Dickensian. In 1901, The Denver Times claimed that most newsboys, almost all of whom were orphans, cripples or runaways, made 10 to 15 cents a day selling papers they sold for a nickel. The newsies looked on one boy who made 40 cents a day as “a bloated aristocrat,” the paper reported.

America’s most famous champion of newsboys was Horatio Alger, whose stories presented newsboys as exploited young heroes who succeeded through a mixture of pluck and luck. That is until Disney released Newsies, the 1992 musical film that introduced Christian Bale. The story, inspired by the real-life New York newsboys strike of 1899, was made into a Broadway musical in 2012 with music by Alan Menken, lyrics by Jack Feldman and a book by Harvey Fierstein.

But if legend is to be believed, Denver’s newsboys were a much tougher lot than those striking, high-stepping New Yorkers.

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Benny Bee, a crackerjack Denver Post newsboy in his time, was arrested while visiting New York and charged with “disturbing the peace and tranquility of Manhattan,” according to Bill Hosokawa’s enthralling history of The Denver Post, Thunder in the Rockies. His crime?

“Demonstrating to New York newsboys how papers were sold in Denver.”

Benny Bee reportedly introduced the profitable practice of “bootjacking” to his Big Apple counterparts. That’s when newsboys would mix in outdated editions of the daily paper with those that were hot off the presses and sell them to unsuspecting customers as the latest news.

This was at a time when apocalyptic shouts of “Extra!

Extra!” were ubiquitous on Denver street corners. Extras were special mid-day updates to the daily newspaper that would trumpet breaking and often trumped-up news scoops. According to Hosokawa’s book, Denver’s five competing daily newspapers would issue an “extra” at the least provocation, sometimes several times a day. Burning oil fields, the bubonic plague or stolen babies were all handy tools to help newsboys sell more papers. But as soon as any new edition was printed, hundreds of now dated editions were relegated to the trash heap. Until bootjacking.

The decade after World War I was a time when newspapers were Americans’ only source of reasonably real information. TV was unknown and radio was still a novelty.

This was the golden era of yellow journalism, and Denver’s dailies were quick to embellish any story or stoke any flame to sell more papers. In the 1890s, The Denver Post’s downtown office became known as “The Bucket of Blood.”

It may have been a period of contemptible journalism, but it also was the best show in town. The Post, co-founded

Original company, North American Tour Joan of Disney’s Newsies. ©Disney.

The Tree of Life from The Lion King National Tour. ©Disney.

Photo Credit: Marcus.

Photo by Deen van Meer.

EXTRA! EXTRA!

“The public not only likes to be fooled — it insists upon it.”

— DENVER POST CO-FOUNDER, HARRY TAMMEN On October 14, 1925, Denver Mayor Benjamin Stapleton signed an ordinance making it illegal for newsboys to sell papers on the street.

Newsboys over age 12 — “and newsgirls over 21” — would be permitted to sell papers, but only with a free license. And the practice of calling out headlines was made a criminal offense.

In a 1959 retrospective, the Rocky Mountain News interviewed Edward J. Keating, presiding judge of Denver’s District Courts, about his days as a newspaperboy 35 years earlier. He claimed “the majority of judges in Denver and Colorado courts today earned their first dollars toward their educations by delivering newspapers.” Keating used his earnings to pay his tuition at Cathedral High School, which he parlayed into a college scholarship.

“The newspaperboy of today has raised his work to such a high level of respect,” he said, “it has become a mark of pride for every prominent businessman and civic leader who can link his early career with the profession.”

Sam Hartley as the Beast and Brooke Quintana as Belle in Disney’s Beauty and the Beast. Photo by Matthew Murphy.

Photo by Deen van Meer.

by Frederick Bonfils and Harry Tammen, once hired comedian Charley Murray to jump off its 12-story building. A crowd of 25,000 gathered to watch what turned out to be a dummy thrown off the roof. Tammen’s mantra: “The public not only likes to be fooled — it insists upon it.”

And newsboys were part of the show — literally. They regularly got together and staged corner minstrel shows for spare change.

Denver’s newsboy tradition dates back to 1870, when young carriers would deliver copies of the Rocky Mountain News on horseback to houses that were considered far out on the prairie in those days — we’re talking what is now 7th Avenue and Broadway. “More than once, herds of antelope sped out of my way as I rode out,” Theodore De Harport once said of his earliest newsboy days.

COMING UP FROM BROADWAY:

NETWORKS PRESENTS DISNEY’S BEAUTY AND THE BEAST After playing for more than 35 million people worldwide in 13 countries, it’s hard to imagine that the music from 1992’s Beauty and the Beast (returning to The Buell June 7 – 12) was never supposed to be written. Here are some little known facts about the beloved Disney soundtrack from animation historian and critic Charles Solomon.

• Artists began to submit storyboards for the film in 1983, which was originally slated to be non-musical. Husband and wife Richard and Jill Purdum were chosen to develop their idea, but after 10 weeks of storyboarding, it was deemed too dark.

• The Little Mermaid premiered in the middle of the process, and its success shifted the focus of the project. Walt Disney Studios head Jeffrey Katzenberg “envisioned the concept of a Broadway musical brought to animation by Howard Ashman and Alan Menken,” said writer Linda Woolverton.

A group of children, probably delivery boys and girls, pose outside of The Denver Post on 16th Street. A sign reads: “The Denver Post, Every Day in the Year.” By Harry H. Buckwalter (between 1890 and 1910).

A portrait of Tom Payne, a Denver Post newspaper delivery boy (between 1900-1920).

DISNEY’S NEWSIES MAR 23 – APR 9 • BUELL THEATRE ASL interpreted, Audio-described and Open Captioned performance: Apr 3, 2pm Tickets: 303.893.4100 • denvercenter.org • Groups: 303.446.4829

• The song “Human Again” was cut from the movie because it added 11 minutes to the length and created a strange time gap for the supporting characters.

• The title song “Beauty and The Beast” won the 1992 Oscar for Best Original Song. Producer Don Hahn recalls Angela Lansbury’s recording session: “She went into the booth and sang ‘Beauty and the Beast’ from beginning to end and just nailed it. We picked up a couple of lines here and there, but essentially that one take is what we used for the movie.”

And the rest, they say, is history.

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THU, MAY 5 • SEAWELL GRAND BALLROOM • 11:30AM

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Riverdance Line. Photographer: Jack Hartin

RIVERDANCE: THE THRILL THAT NEVER STOPS

BY GENEVIEVE MILLER

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It began as a one-time, seven-minute performance: the intermission entertainment at the music sensation Eurovision, a yearly contest that has launched the likes of Celine Dion and ABBA. The segment opened with the haunting sounds of the Celtic choir Anuna. Then a lone dancer came center stage in a simple black dress. Arms flush at her sides, she cavorted across the boards in an intricate pattern of steps and kicks, accompanied by a fast fiddle.

Next came a leaping Michael Flatley, his shoes keeping time with a corps of Irish drums. And out of the shadows emerged two dozen more Irish dancers, storming the stage in a lightning-quick precision of steps, heels tapping in percussive rhythm and giving a performance of Irish dance unlike anything anyone had ever seen.

Julian Erskine, senior executive producer of Riverdance, remembers that night. “It’s hard to describe just how enormous [the audience reaction] was. Not just in the Eurovision venue, where the entire audience let out a spontaneous roar and jumped to [its] feet, but also across all the Irish radio and TV stations and newspapers where it was the number one topic of discussion.”

Such a buzz was created that by the time the routine was repeated live on Irish national television the following Saturday, nearly the entire country was watching to see what the fuss was about.

Erskine and the rest of the creative team didn’t quite know what they had on their hands. With the instant popularity of the act, they planned to follow up the Eurovision performance with a full-length dance show to play Dublin. “The original hope,” he said, “was for a one-month run.”

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That was 1994. Twenty-two years later the worldwide phenomenon of Riverdance continues to play to enthusiastic audiences across the globe. To Americans today, the immense and immediate popularity of Riverdance in Ireland may seem odd. Why the fuss? Isn’t Irish dance ingrained in the culture? Not like this, said Erskine.

“It was a unique event, especially for Irish audiences.

We were not used to seeing Irish dancing as a form of entertainment, and never on such a big scale. Prior to Riverdance, Irish dancing was a low-key cultural pastime, reserved for competitive amateurs and now and then for small-scale tourist attractions…. This show was the first of a new kind of entertainment.”

Immediately upon opening the show in Dublin in February 1995, the creative team was invited to bring it to London. Soon, worldwide invitations began pouring in and, Erskine said, “it was clear that the show had a much wider appeal and was not limited to playing to Irish audiences.”

Celtic music and culture were already gaining fresh popularity in the US, so taking the show across the pond seemed like a natural step. Erskine: “Our first taste of the American reaction was in March 1996 when we came to Radio City Music Hall for St. Patrick’s week. It was fantastic! We were sold out before we arrived and the whole week was one long celebration.”

So just what is so fascinating about Riverdance? To start, there’s the music of composer Bill Whelan, which includes Irish Uilleann pipes and the Bodhran, a handheld drum covered with goat’s skin and played with a wooden stick. When joined with the fiddle, these instruments form

Sam Cieri and Mackenzie Lesser-Roy and the ONCE tour company. © Joan Marcus

the traditional Irish “seisiun” trio, but to quote Erskine, “Perhaps the least known instruments in the show are the dancers’ shoes. With their hard heels, soles and tips, the dancers are not only able to beat out a rhythm, but they can also make music by using their shoes to create bass and treble notes.” The steps, multiplied by 20 dancers all moving in time together, create music of their own.

Those dancers are the heart of the show — skilled athletes whose precise execution may be rivaled only by the Rockettes. When asked if that point-perfect unison is achieved by endless hours of rehearsal or great choreographic direction, Erskine assessed it as a bit of both.

“Mostly it’s down to the competitive background of Irish dance. All of our performers are championship-winning dancers and as such, perform with extreme precision and exceptional timing, usually under intense pressure.”

As most of the dancers have been competing since they were toddlers, this precision and style are deeply rooted. “What seems extraordinary to the audience seems ordinary to the dancers,” he said.

Riverdance, American Wake. Photographer: Rob McDogall

COMING UP FROM BROADWAY:

ONCE

Riverdance returns to Denver after a seven-year absence during which the show toured Asia. During its 2008 engagement, Erskine was uncertain about what lay ahead for the show, but given the enthusiastic embrace Americans have for the show he then said, ”I would never rule out Riverdance, in some form or other, returning to the US in the future.

We’re just happy that that future ended up including a stop in Denver during its 20th anniversary world tour.

Genevieve Miller previously served as the DCPA’s Director of Publicity & Promotions and is now General Manager at Broadway Across America in Cincinnati.

RIVERDANCE — THE 20TH ANNIVERSARY WORLD TOUR MAR 8 – 13 • BUELL THEATRE

Tickets: 303.893.4100 • denvercenter.org • 303.446.4829

The film once became a sleeper hit of 2007, winning over the hearts of critics and audiences alike with its intimate look into the unrequited romance of two musicians. The simple plot, shoestring budget and minimal acting credits gave the movie a sense of reality that most Hollywood affairs miss. Its award-winning soundtrack (Oscar for Best Original Song for “Falling Slowly”) was the magical thread that connected the plot and punctuated its most emotional moments.

After all of this, then, it might seem like it would feel out of place on the Broadway stage (returning to Denver May 24 – 29), not necessarily known for subtlety and intimacy. But like the movie, the magic lies in the music and in the people who are playing it. “once has a very huge fan base for the movie and these songs,” said Music Supervisor and Orchestrator Martin Lowe. “[It’s] a huge responsibility to me and to the cast, to deliver those songs to the audience as people remember them while still giving them something that’s new.”

The actors have gotten to bond as a band as well as a company. The excitement to perform as musicians is palpable in the show.

“The fact that we put all of our feeling and love into our instruments, you can sense it in the air,” said Cristin Milioti, who starred in the original Broadway production. “I have never been lifted so much by an action on stage as I have playing an instrument, making a sound.”

We invite you to be lifted with the cast on a journey into the passionate, magical story of once.

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A PROUD SPONSOR OF DCPA’S SATURDAY NIGHT ALIVE SILENT AUCTION

“ For five years, we’ve sponsored the [DCPA’s Saturday Night Alive] silent auction and helped raise thousands of dollars for Arts in Education programs.… We appreciate the opportunity to align our bank with this important access to the arts.”

— BILL SULLIVAN, CSBT PRESIDENT & CEO

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APPRECIATE OPPORTUNITY TO ALIGN WITH THE ARTS

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At Colorado State Bank and Trust (CSBT) we believe that people do business with people they like and respect. It’s about similar values.

“That’s why we are pleased to support the Denver Center for the Performing Arts and Saturday Night Alive,” said Bill Sullivan, CSBT President and CEO. “For five years, we’ve sponsored the silent auction and helped raise thousands of dollars for Arts in Education programs. The DCPA uses proceeds to take arts to the classroom, so in many cases, children are seeing a theatre performance for the first time. We appreciate the opportunity to align our bank with this important access to the arts.”

In 2003, CSBT joined forces with BOK Financial (BOKF), one of the top 25 U.S.–based banks. CSBT has served Colorado since 1908 and BOKF has also been in business for more than 100 years. This partnership enhances longheld mutual values.

Today, CSBT has the sophisticated products, services and lending capacity of a large bank combined with the ability to deliver those solutions in a one-on-one, high touch, community-focused manner.

“Clearly, we’re pleased to have this strength and flexibility,” said Bill. “We have the financial resources to support civic and community activities and the human resources to lend leadership and volunteer time to civic activities, nonprofit boards and community causes. It’s fair to say there’s strength in numbers. If the businesses that flourish here and the people who live and work here contribute as we can, we believe it’s time and money well spent.”

“Colorado’s Family Law Team”

The Harris Law Firm Plays a Different Tune

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The Harris Law Firm Offices located in Downtown Denver, Englewood, Evergreen and Fort Collins

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For killer pie, minus the haircut, swing in to Humble Pie. “Sweeney Todd Approved”

EVENT SERIES

LORI LAITMAN MAY 7|10|13|15 2016 The 2015-2016 Season is sponsored by: Ken & Donna Barrow. The Scarlet Letter is sponsored by Kenneth and Donna Barrow, Dave and Pam Duke, Noël and Thomas Congdon, Jeremy and Susan Shamos, Joy Dinsdale and Daniel L. Ritchie.

Through literary discussion, poetry, music and more – Opera Colorado will explore the themes of The Scarlet Letter.

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THINK DRINK EAT LOCAL

Show your tickets and receive a free appetizer with your purchase of two entrées.

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show your tickets, get 10% off your meal or take advantage of our 3-Course Theatre Dinner for $29.

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DINNER: Daily 5:00 pm – 10:00 pm BRUNCH: Fri – Sun 9:00 am – 2:30 pm SOCIAL HOUR: Mon – Thu 4:00 pm – 6:00 pm Fri – Sun 2:30 – 6:00 pm Baur’s Restaurant & Listening Lounge 1512 Curtis Street Denver, CO 303.615.4000

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Happy Hour, Walking Distance to DCPA, Valet Parking, Complementary Glass of Wine, Beer or Free Dessert with Ticket Stub. Free Valet Parking with 2 Large Entrees and Ticket Stub!

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SERIOUSLY FUN TRAINING FOR CHILDREN & TEENS Improv | On-Camera | Acting | Playwriting | Performance

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SPRING & SUMMER REGISTRATION IS OPEN

303.446.4892 denvercenter.org/education denvercenter.org

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all things garden - home decor/gifts • fairies • local foods • classes • family events

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A PROUD SPONSOR OF DENVER CENTER FOR THE PERFORMING ARTS

WONDERING ABOUT THE WEATHER? CBS4 HAS YOU COVERED!

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Wondering what to wear to work tomorrow or how next week’s snowstorm will affect your weekend plans? The CBS4 weather team has you covered! When you want to know where to go, what to do and what weather to expect, the place to turn to is CBS4 and www.cbsdenver.com.

On CBS4 you’ll find the CBS4 weather team of Ed Greene, Justin McHeffey, Lauren Whitney, Dave Aguilera and Chris Spears giving you the latest updates every day, on air and online. You’ll also hear about all of the fun things to do in Denver as we cover local arts and entertainment with the latest music, movie, event and restaurant reviews.

And as a proud supporter of the Denver Center for the Performing Arts, CBS4 continues to bring you the latest theatre coverage each season.

Anytime you want more information, just click on www.cbsdenver.com.

It’s instant access to fun day or night.

Watch for the CBS4 Chevy Mobile Weather Lab, Colorado’s most technologically sophisticated moving weather station. The mobile weather lab travels everywhere and broadcasts live weather data instantly from even very remote locations so you can have the most up-to-date and accurate reports.

(r-l) CBS4 Weather Team of Chris Spears. Justin McHeffey, Dave Aguilera, Ed Greene and Lauren Whitney

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CO N S E R V I N G

NEW NAME, NEW LOCATION,

CO LO R A D O

NEW WEEKEND! 1966 -2016

Same Nationally Ranked Arts Festival

THANK YOU

For the last 50 years, The Nature Conservancy in Colorado has protected one million acres & improved 1,000 river miles across the state.

With your support, we will continue to protect & restore Colorado’s lands, forests & waters for future generations. nature.org/colorado

JUNE 18 - 19 | 2O16 Conservatory Green at Stapleton Northfield DenverArtsFestival.com

HOST SPONSOR

ŠSophia Floyd

re cordially invited to You a

D OGTON A BBEY for

GEISSBUHLER

Come Sing With Us! Young Voices of Colorado

Programs for children 3-18!

saturday

May 21, 2016 Seawell Grand Ballroom at the Denver Center for Performing Arts

Auditions for 2nd-12th graders

May 17 and June 7, 2016 No audition for children ages 3-6 - just sign up! www.petaidcolorado.org/mutts-models

303.797.SING www.youngvoices.org

11TH ANNUAL

COLORADO NEW PLAY SUMMIT

BY JOHN MOORE

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At a time when the national theatre conversation is at last fixed on the sadly unchanging topic of gender disparity in American playwriting, the Denver Center’s 11th and largest annual Colorado New Play Summit turned into a veritable celebration of the woman’s voice.

The two fully-produced world premiere plays that were presented for local and national audiences were written by women. Two of the four playwrights whose developing works were selected to be featured at this year’s Summit are women. The second-ever Local Playwrights’ Slam was curated by a company dedicated to supporting artistic contributions by women, and thus featured an allfemale playwriting lineup. And the three teen playwrights whose works were chosen from a field of 212 statewide submissions to be presented in the third annual Regional

High School Playwriting Workshop and Competition are all Colorado female high-school students.

“All of that gives me hope,” said Angela Astle, Executive Director of the Athena Project and host of the Local Playwrights’ Slam held in The Jones on February 13. “We’ve got a movement started that recognizes women are truly underrepresented in the American theatre.

“Only 20 percent of all plays produced in this country are written by women, and we need to change that.”

The 2016 Colorado New Play Summit, which last year expanded to two weeks to add additional development time and a second round of public readings, drew more local audiences and national industry leaders than ever before, with attendees coming from 25 states. Visitors represented companies ranging from The Roundabout

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PHOTOS: 1. Members of the cast of Midwinter by Mat Smart 2. Guadalupe Zarate, Daniel Valdez, Cynthia Reifler Flores, and Vaneza Calderon rehearse American Mariachi by José Cruz González. 3. Tom Pearson and Zach Morris, Co-Artistic Directors of Third Rail Projects, and DCPA Playwriting Fellow Matthew Lopez at the Devised Work Panel 4. The cast and creative team of Two Degrees

by Tira Palmquist 5. Commissioned Playwright Kemp Powers and actor Jason Delane. 6. Candy Brown, Josh Hartwell, and Jeffrey Neuman at the Regional New Play Development Panel. 7. Meet and Greet at the Summit 8. Colorado Playwright Rebecca Gorman O’Neill performs at the Local Playwrights’ Slam, curated and hosted by the Athena Project. Photos by John Moore.

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Theatre Company in New York, the Alley Theatre in Houston, the Arena Stage in Washington D.C., the Oregon Shakespeare Festival and, closer to home, the Creede Repertory Theatre, Su Teatro and Arvada Center.

They were treated to fully staged performances of Theresa Rebeck’s The Nest, Tanya Saracho’s FADE, the four featured Summit readings, several panel discussions hosted by DCPA Theatre Company Playwright in Residence Matthew Lopez (The Legend of Georgia McBride) and a thrilling demonstration of the DCPA’s newest commission — Third Rail Projects’ upcoming immersive, experiential new work slated for May. The four featured Summit readings took audiences from 1616 England to present-day South Pole. Here’s a brief look at each: • José Cruz González’s American Mariachi is a new piece inspired by women who overcame great obstacles to form their own mariachi groups in Los Angeles during the male-dominated 1970s.

• Lauren Gunderson’s The Book of Will tackles the history right after Shakespeare died by telling how his friends and fellow actors valiantly managed to publish the first folio of The Bard’s great works.

• T ira Palmquist describes her Two Degrees as “a cheery story about climate change.” Her main character is a female climate scientist but her play is really about grief, she said. “Grief for the planet, grief at large, grief on a more personal scale.”

• Mat Smart’s Midwinter was inspired by his time working at a research center on Antarctica. “One thing that’s interesting about the station is that the

people there fall in and out of love and have these epic relationships for, like, two weeks — and it’s very genuine,” said Smart, who calls his story a riff on A Midsummer Night’s Dream.

DCPA Theatre Company Producing Artistic Director (and Summit founder) Kent Thompson’s burgeoning commission program was on full display at the Summit as well. Commissioned playwrights are those who have been contracted by the Denver Center to write a new play for Thompson’s first right of refusal. Among those commissioned playwrights in attended included several handpicked to participate in the secondweekend Playwrights’ Slam. They included some of the biggest names in American playwriting, including Robert Schenkkan (All the Way, The 12), Kemp Powers (One Night in Miami…), Regina Taylor (Crowns), Rogelio Martinez (When Tang Met Laika), Anne Garcia-Romero, Lauren Yee and Andrew Hinderacker.

The 2016 Summit also will go down in history as the first time an event held at the DCPA was livestreamed on HowlRoundTV, a peer-produced online network.

Audiences around the world watched three Summit panel conversations on their computers. One featured Third Rail Projects founder Zach Morris (a Colorado native) and co-Artistic Director Tom Pearson talking about the company’s upcoming partnership with the DCPA. HowlRoundTV also broadcast a dialogue hosted

by Lopez about the playwriting process, as well as the Playwrights’ Slam on February 19.

The Colorado New Play Summit has grown into one of the nation’s premier showcases of new plays. In its first decade, 44 new plays were introduced at the Summit, and more than half have returned as fully staged Theatre Company productions.

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THANK YOU TO OUR SUMMIT SPONSORS: Joy S. Burns, Clos du Bois Winery, Terry & Noel Hefty, Karolynn Lestrud, Robert & Carole Slosky and Daniel L. Ritchie. 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.

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DCPA TEAM DCPA Scott Shiller..............................................................President/CEO Eve Gordon...........................Executive Assistant to the CEO

BROADWAY & CABARET John Ekeberg........................... Executive Director Broadway Alicia Giersch..................................................... General Manager Alyssa Chacon............. Operations Business Administrator Abel Becerra.................................. Technical Director, Cabaret

DEVELOPMENT David Zupancic.................................Director of Development Shawn Bayer.................................................... Associate Director Chelley Canales...................................Development Associate Megan Fevurly.....................................Development Associate Melissa Olson........................................Development Assistant Marc Ravenhill................................................. Associate Director Valerie Taron.................................................... Associate Director

EDUCATION Allison Watrous........................................Director of Education Jessica Austgen................................................ Teaching Artist & Shakespeare Coordinator Stuart Barr.................................. Education Technical Director Claudia Carson.........................................Bobby G Coordinator Leslie Channell............................................. Education Registrar Patrick Elkins-Zeglarski................................................Education Curriculum Manager Linda Eller..............................................................................Librarian Tim McCracken..................................................... Head of Acting Jannett Matusiak............................................ Business Manager Michelle Patrick...................Corporate Training Coordinator David Saphier..............School Coordinator/Teaching Artist Rachel Taylor......... .At-Risk Coordinator & Teaching Artist Chloe McCleod, Justin Walvoord, Robyn Yamada.................................................... Teaching Artists

FACILITIES & EVENT SERVICES Clay Courter.....Vice President, Facilities & Event Services James Babcock, Dwight Barela, Clint Flinchpaugh, Michael Kimbrough................ Engineers Quentin Crump...............................................Security Specialist Tom Duffin.....................................Manager, Event Technology Caitlin Glasgo................................................ Events Coordinator Stori Heleen.................................Event Technology Specialist Jaymes Kimbrough..................Event Technology Specialist Clint King.........................................................Security Supervisor Terry Koch........................... Director, Facilities Management John Lower.............................................................. Chief Engineer Brian McClain............................................. Custodial Supervisor Tara Miller, Danielle Porter, Brittany Schoede............................................. Events Managers Brook Nichols................................Director, Event Technology Alyssa Stock....................................Assistant Project Manager Will Stowe.....................................Event Technology Specialist Tara Wenger....Facilities/Event Services Business Manager Dawn Williams.....................................Director, Event Services Juan Loya, Carmen Molina, Blanca Primero, Judith Primero, Angeles Reyes Soto, Francisco Trujillo............................................................Custodians

MARKETING & SALES Jennifer Nealson..................................Chief Marketing Officer Heidi Bosk......................... Senior PR & Promotions Manager Nathan Brunetti...................................................Digital Manager Kim Conner.........................................................Graphic Designer Flora Jane DiRienzo...............Director of Strategic Projects Brenda Elliott......................................Senior Graphic Designer Brianna Firestone....................................Director of Marketing Simone Gordon...................................................Project Manager Hope Grandon..........................................PR & Events Manager Jeff Hovorka............................. Director of Sales & Marketing Jennifer Kemps........................................Group Sales Manager Emily Kent...................................................... Marketing Manager David Lenk............................................................. Video Producer Emily Lozow........................................... Marketing Coordinator Adam Lundeen..................................... Website Administrator

Kyle Malone.................................................................... Art Director Carolyn Michaels...........................................................Copywriter John Moore................................................Senior Arts Journalist Adam Obendorf........................................... Senior Art Director Beth Osolin......................Group Sales Business Coordinator Allison Barber Pasternak..... Executive Assistant to the CMO Donna Rossi............................Customer Experience Director Joseph Schurwonn......................................... Financial Analyst Jill Schwager...............Education Group Sales Coordinator Rob Silk................................................................. Creative Director Suzanne Yoe...........................Director of Marketing Services & Cultural Affairs THEATRE SERVICES Carol Krueger.................................. Theatre Services Manager Adam Alberti, Ethan Aumann, Nora Caley, Hadley Kamminga-Peck, LeiLani Lynch, Gregory Melton, Douglas Murphey, Joyce Murphey, Margaret Ohlander, Dylan Phibbs, Valerie Schaefer, Mica Ward..................... Theatre Company House Managers TICKETING SERVICES Jennifer Lopez.........................Director of Ticketing Services Kirk Petersen...........................................Assoc. Dir. of Ticketing Services – Patron Relations David Smith.............................................Assoc. Dir. of Ticketing Services – Subscription Services Jessica Bergin, Katie Clow-Pollard, Tristan Jungferman, Laura Kirby.......Box Office Managers William Dutton III..................................VIP Ticketing Manager Micah White..............................................Subscription Manager Malcolm Brown, Kevin Dykstra, Edmund Gurule, Elisabeth Link, Molly McDonough......................Show Leads Kirsten Anderson, Ashley Brown, Scott Lix, Gregory Swan........................Subscription Agents Maggie Blumer, Rena Bugg, D.J. Dennis, Nicole Giordano, Jennifer Gray, Roger Haak, Rebecca Hibbert, Joel Innes, Alex Jannen, Noah Jungferman, Megan Kelly, Alia Kempton, Michael Lang, Daniel Lindsey, Brett Martinez, Shane Rodriguez, Hayley Solano, Ereece Thomas, J.P. Velez, Tomas Waples..................................... Ticket Agents

SHARED SERVICES Vicky Miles................................................ Chief Financial Officer Jennifer Jeffrey...................................Senior Financial Analyst ACCOUNTING Jennifer Siemers...................................Director of Accounting Sara Brandenburg, Michaele Davidson.....................................Senior Accountants Georgette Maddox...........................................Payroll Specialist Kim Stewart........................................................ Staff Accountant HUMAN RESOURCES Regina Matthews......................... Director Human Resources Brian Carter...................................Human Resources Manager Donald Gabenski.............................................................Reception Jamie Hawkins...................................................... HR Coordinator Monica Robles............................................Mailroom Supervisor INFORMATION TECHNOLOGY Chris Calenzo...................................................Help Desk Analyst Jayson Cowley......................................Network Administrator Jim Hipp................................................. Associate Director of IT Christopher Hoge.......................VoIP/System Administrator Bobby Jiminez......................... Senior Audienceview Analyst John H. Voorheis............................ Manager of Infrastructure

THEATRE COMPANY Kent Thompson........................... Producing Artistic Director ADMINISTRATION Charles Varin...................................................Managing Director Ryan Meisheid...........................Associate Managing Director Allison Taylor..................................................Company Manager Kerri Mirtsching.................................... Business Administrator Alie Quistberg...........................Assistant Company Manager ARTISTIC 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 Eli Carpenter, Matthew Lause......................... Artistic Interns PRODUCTION Jeff Gifford...............................................Director of Production Melissa Cashion....................Associate Production Manager Julie Brou...................Production & Artistic Office Manager Scenic Design Lisa M. Orzolek................................ Director of Scenic Design Matthew Plamp, Nicholas Renaud..............................Scenic Design Assistants Lighting Design Charles R. MacLeod...................................Director of Lighting Lily Bradford.....................................Lighting Design Assistant Reid Tennis............................................... Production Electrician Multimedia Charlie I. Miller...................... Resident Multimedia Specialist Topher Blair............................Multimedia Assistant/Operator Sound Design Craig Breitenbach...........................................Director of Sound Tyler Nelson.......................................................... Sound Designer Alex Billman, Frank Haas..............................Sound Operators Stage Management Christopher C. Ewing................ Production Stage Manager Matthew Campbell, Rachel Ducat, Aja M. Jackson, Kurt Van Raden.................Stage Managers D. Lynn Reiland......................................... Production Assistant Corin Ferris, Lexi Holtzer, Kristen Littlepage........... Stage Management Apprentices Scene Shop Eric Rouse.......................................................... Technical Director Robert L. Orzolek..................... Associate Technical Director Josh Prues.................................... Assistant Technical Director Albert “Stub” Allison, Louis Fernandez III.......................................... Lead Technicians Justin Hicks, Brian “Marco” Markiewicz, Keli Sequoia, Mike Van Aartsen, Ross Wick.........................................................Scenic Technicians Prop Shop Robin Lu Payne.............................................Properties Director Eileen S. Garcia......................... Assistant Properties Director Jamie Stewart Curl, Charles Dallas, David Hoth, Georgina Kayes, Katie Webster......................Props Artisans Paint Shop Jana L. Mitchell...........................................Charge Scenic Artist Melanie Rentschler........................................Lead Scenic Artist Rachael Gibson.............................................................Paint Intern Costume Shop Janet S. MacLeod..........................................Costume Director/ Costume Design Associate Meghan Anderson Doyle........ Costume Design Associate Carolyn Plemitscher, Louise Powers, Jacki Armit, Jackie Scott..................................................Drapers Cathie Gagnon.................................................................First Hand Sheila P. Morris........................................................................... Tailor Kelly Jones, Ingrid Ludeke, Jenny Milne-Wright............................................................. Stitchers Costume Crafts Kevin Copenhaver............................Costume Crafts Director Shirleen DiFonzo.............................Costume Crafts Assistant Wigs Diana Ben-Kiki............................................................... Wig Master House Crew Doug Taylor*..........................................Supervising Stagehand Mariah Becerra*, Jim Berman*, Jennifer Guethlein*, Stephen D. Mazzeno*, Miles Stasica*, Tyler Stauffer, Matt Wagner* (*IATSE Local 7 Stagehands)................................ Stagehands Wardrobe Brenda Lawson........................................Director of Wardrobe Maria Y. Davis, Taylor Malott............................Wig Assistants Robin Appleton, Amber Donner, Kelly Jones, Anthony Mattivi, Tim Nelson, Lisa Parsons, Alan Richards....................................................................... Dressers

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A NEW PUZZLE: READ ALL ABOUT IT! Newsies, Sweeney Todd and Riverdance trivia

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n Broadway, Newsies won Tony Awards for O two categories: Score and ____

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