Applause Magazine, May 18-June 24, 2018

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SIGHTLINE

BY JANICE SINDEN

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Thank you for joining us at today’s performance. Whether you are attending the final world premiere this season at our Theatre Company’s production of Human Error, performing your best air guitar to the film-turned-musical School of Rock, or enjoying our fourth engagement of The Book of Mormon, your patronage of the Denver Center for the Performing Arts makes an impact.

You may have purchased your first ticket or completed your 39th season — that makes you part of our family. Your presence and your gifts help us create an all new generation of theatre lovers.

As I write this letter, we are taking Shakespeare in the Parking Lot to high schools statewide. Our actors perform an adaptation of Romeo and Juliet or A Midsummer Night’s Dream for 15,000 students. Then they go into classrooms and apply these 400-year-old stories to situations that teens face every day — peer pressure, drug use, gangs and suicide.

It is important work that equips students with tools to have meaningful, open dialogue.

The DCPA just hosted the 34th annual DPS Shakespeare Festival (see page 18) and just around the corner is the Bobby G High School Musical Theatre Awards. Between the two programs, we will have provided more than 125 in-school workshops for 4,600 students. These separate initiatives each culminate in performances at the Arts Complex; nearly 7,000 students, teachers and avid fans fill our spaces with enthusiasm, energy and love of theatre.

The exuberance these students feel, as well as the artistry and talent before you today, is thanks to you.

If you bought your ticket tonight, thank you. If you added a contribution above and beyond your ticket price, thank you.

If you subscribe, donate, attend our fundraisers or sponsor a show, thank you for your generosity.

As we reach the end of our season and look forward to our 40th anniversary, we invite you to deepen your investment to the DCPA with a gift that supports the work on our stages, in our classrooms and throughout the community.

To learn more or make a donation, please visit denvercenter.org/donate or call 303.572.4593. Thank you so much for your commitment to making world-class theatre available to everyone.

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

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APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

EDITOR: Suzanne Yoe CREATIVE DIRECTOR: Rob Silk ASSOCIATE EDITOR: John Moore SENIOR ART DIRECTOR: Adam Obendorf ART DIRECTOR: Kyle Malone SENIOR DESIGNERS: Casey Eickhoff, Brenda Elliott CONTRIBUTING WRITERS: Sylvie Drake, Hope Grandon, Rob Weinert-Kendt 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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BOARD OF TRUSTEES Martin Semple, Chairman Daniel L. Ritchie, Immediate Past Chairman William Dean Singleton, Secretary/Treasurer Robert Slosky, Vice Chairman Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond L. Roger Hutson Robert C. Newman Alan Salazar Hassan Salem Richard M. Sapkin June Travis Ken Tuchman Tina Walls Dr. Reginald L. Washington Judi Wolf Sylvia Young

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(Photo) Jesmille Darbouze, Alex Finke and Stephanie Martignetti in The Unsinkable Molly Brown; Photo by Jennifer M. Koskinen Illustrations by Kyle Malone

VIETGONE

CONSTANT

HUMAN TO LAUGH IS DIVINE

BY JOHN MOORE

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In the new comedy Human Error, a young couple goes to what they think is a routine appointment at a fertility clinic only to discover that their fertilized embryo has been mistakenly implanted into somebody else.

So, obviously…it’s a comedy.

“You know: Another one of your standard-issue switched-fertilized-embryo farces,” jocular Midwestern playwright Eric Pfeffinger says with a laugh.

It’s a funny premise…but you haven’t even gotten to the punchline yet.

“So one couple are blue-state, latte-sipping, NPRlistening liberals,” Pfeffinger said. “And the other are NRAcardholding, pickup-truck-driving, red-state conservatives.”

That’s the punchline: Two couples who, under normal circumstances, would never choose to be in the same room with each other, now will have to spend nine months building some kind of a family — and hopefully not killing each other along the way.

As they say in comedy, your pain is another guy’s pleasure.

“Human Error is a comedy about the state of the nation currently and the political polarization we are all grappling with,” Pfeffinger said of his play, which was featured at the Denver Center’s 2017 Colorado New Play Summit only a month after Donald Trump’s inauguration. And, well, there’s been a bit more rancor since then.

“If anything, Americans’ inclination to isolate ourselves within comfortable ideological silos has only increased,” Pfeffinger said back on an April day when the national

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headlines were dominated by the Cambridge Analytica scandal and Mark Zuckerberg testifying before Congress.

The bad news is: Political, social and cultural polarization is just a given in America right now.

“But the good news is: The worse things get, the better it is for my play,” Pfeffinger said with a smile. “So…yay?”

Geography, technology and social status have made it easy for Americans to isolate themselves from anyone who doesn’t already think the same way they do, Pfeffinger said. That means we are only rarely confronted with contradictory or challenging points of view. But Pfeffinger has the power of the playwright in his fingers: He can put any two people he wants face-to-face on a stage. Or, in this case, he can put any two couples he wants face-to-face in the same bumbling fertility doctor’s office.

“None of the people in my play know anybody else like the other couple,” Pfeffinger said. “They don’t have to confront the reality of someone who thinks differently until they are thrown together by this clerical mix-up at the clinic.” The play is not so much about the ethics of fertility technology, Pfeffinger says — as dramatic as that can be.

“It’s more about the echo chambers we Americans often find ourselves in, and the defense mechanisms we adopt when we are forced to step outside our comfort zones and acknowledge that there are other people in the world who are not just like us.”

But remember, Pfeffinger said his play is not a Lifetime movie event. He said it was funny. And not nasty, David Mamet kind of funny. “It’s BIG funny,” he said. “When I first

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

Illustration by Kyle Malone

TO ERR IS

heard about this kind of thing actually happening at fertility clinics, my first response was, ‘Oh that sounds like an episode of Three’s Company: “Wait, that’s not your embryo — that’s my embryo!” And…cut to commercial.’

“Human Error draws explicit connections to various kinds of classic comedy, particularly the TV sitcom, which is what I grew up mainlining.”

So really, Pfeffinger had no choice but to take a comic approach to the subject. It’s all he knows.

“Everything I write is a comedy. That’s how I function,” said Pfeffinger, who has past lives as both an improv comedian and a newspaper cartoonist. “Let’s take this thing that does not seem particularly funny to the people it is happening to and find the humor in it.”

And after all that prolonged division and unrest in the country, he said, now might be a really good time for us to laugh.

“A lot of people embrace comedy as an opportunity to escape from what is stressful about the world,” Pfeffinger said. “I happen to believe that comedy is one of the best ways to confront difficult ideas and to examine and articulate those ideas. Comedy lowers your defenses by making you laugh.”

COSTUME COLUMN In DCPA Theatre Company’s Human Error, Madelyn and Keenan are NPR-listening, latte-sipping, blue-state liberals, while Heather and Jim are NRA-cardholding, truckdriving, red-state conservatives.

After a mix-up by their fertility doctor, Heather becomes pregnant with the wrong family’s embryo.

Through a progression of growing “baby bumps,” the audience moves along with the couples on their ninemonth odyssey of clashing values and unlikely friendships.

“We use a couple sizes of silicone bellies and bust pads that we switch out as the pregnancy progresses,” said Costume Designer Sara Ryung Clement. “Several of the scenes involve the characters doing yoga, so we want to fill out Heather’s pregnancy in a way that really adds weight as well as bulk. [Plus] there’s a reason that SNL’s ‘Activewear’ skit is so hilarious.”

Clement also had great fun with the stereotypes. “I think there’s definitely humor in the ways that we both fulfill and thwart expectations and assumptions through what we wear,” said Clement. “I also find it helpful to think about the things that the characters love and fear, and how that’s expressed in their clothing choices.” See if you can identify what each character fears — apart from raising a baby — at Human Error playing through June 24 in the Garner Galleria Theatre.

“I happen to believe that comedy is one of the best ways to confront difficult ideas and to examine and articulate those ideas. Comedy lowers your defenses by making you laugh.”

— ERIC PFEFFINGER, Playwright of Human Error

HUMAN ERROR MAY 18 - JUN 24 • GARNER GALLERIA THEATRE ASL & Audio-described performance: Jun 3, 1:30pm

Costume designs by Sara Ryung Clement

Pfeffinger has continued to hone the play in the 15 months since the Colorado New Play Summit, in close consultation with director Shelley Butler and dramaturg Sarah Lunnie. But not with the intent of either making the play more overtly funny or politically relevant.

“Tonally, structurally and thematically, the play is pretty much the same now as it was at the Summit,” he said. “It’s more a matter of helping the play to become more of what it’s already wanting to be.

That includes making the funny stuff funnier and the human stuff, uh, human-er.”

Human Error will become the first Theatre Company season offering ever staged in the Garner Galleria Theatre, which will provide an intimate, cabaret-like atmosphere that will be new for many Theatre Company audiences.

“This is a play where the comedy comes from the audience connecting with these very different, very recognizable people,” Pfeffinger said. “I think where the audience and the performers are palpably sharing the same space and breathing the same air, that’s where comedy thrives.”

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A ll people are equal M oments are shared D ifferences are valued D iscussion is encouraged We respect that everyone experiences our stories differently.

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SCHOOL OF ROCK

RETURNS ANDREW LLOYD WEBBER TO HIS ROOTS

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It’s sometimes easy to forget how Andrew Lloyd Webber got his start. After all, with a string of West End/ Broadway hits including The Phantom of the Opera, Cats, Evita and Sunset Boulevard among many, many others, rock and roll seems…well…a bit out of sync.

Yet this knighted composer — yes, he does bear the somewhat lofty title of “Sir” — is also considered the father of the rock musical. He actually got his start with Joseph and the Amazing Technicolor Dreamcoat followed closely by Jesus Christ Superstar.

Fitting, then, that School of Rock, the Paramount Pictures film starring then little-known actor Jack Black, caught his attention.

When down-on-his-luck rocker Dewey Finn can’t pay the rent, he poses as a substitute teacher at an elite private school. Not exactly the teacher type (and in need of a quick infusion of cash), he transforms these prepschool preteens into confidence-commanding rock stars who compete for $20,000 in the local Battle of the Bands competition.

The plot of the musical actually hearkens back to Lloyd Webber’s professional beginnings. “I started with Joseph and the Amazing Technicolor Dreamcoat, which was a piece written for a school, performed first in a school.

And it’s taking me back to something that I really care

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The cast of The School of Rock Tour. © Matthew Murphy.

BY S U Z A N N E YO E

very deeply about, which is the importance of music in schools and education.

“It’s really about how music changes the life of the kids in the show, and also changes the life of the leading man, because he finds himself, in a way, through the children and the music that they’re making.”

But despite the fact that the movie is about music performed by schoolchildren, there is really very little music in the film itself, which intrigued Lloyd Webber.

“Originally, the idea was first mooted to me by my wife, Madeleine, who got the rights to the whole thing. I thought maybe it was something that we would flesh out with existing rock songs, because there were a few in the original movie. But when I got into it…there was only the song we all called ‘Teacher’s Pet’ and then ‘The Legend of the Rent.’ So, I thought that it really did need a score.”

In order to fully flesh out the story for the stage, Lloyd Webber realized he needed a dramatist with a major career. Lloyd Webber tapped Julian Fellowes whose career has spanned television (“Downton Abbey”), film (The Tourist) and theatre (Mary Poppins).

Moving from what, to some, might seem more classical works into the world of rock, wasn’t an obvious transition.

“It’s always good to do something that’s completely outside your kind of tame territory,” said Fellowes. “I was

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

thrilled when Andrew asked me if I’d do it.…Sometimes you have to talk yourself into things, or at least research them, to see if you want to do it.

But I knew I wanted to do it straight away.

“I think my job was to give a kind of emotional imperative, a kind of emotional path, for all of the different characters, which is either suggested or pretty clearly delineated,” continued Fellowes. “And to add that to the central comedy of the situation. But I hope we’ve been very faithful to the film too. I want people who adored the film to have a really good evening in the theater.”

Lloyd Webber rounded out the team with Broadway lyricist Glenn Slater (The Little Mermaid) and director Laurence Connor (Les Misérables) both of whose credits also might not scream “rock and roll.”

“It’s really about how music changes the life of the kids in the show, and also changes the life of the leading man, because he finds himself, in a way, through the children and the music that they’re making.”

— ANDREW LLOYD WEBBER, Composer

And while the creative might seem anything but typical, what’s even more surprising is that, ultimately, the show’s success relies almost entirely on the talents of nine to 13 year olds. The 12 children on stage who literally steal the show are required to be a quadruple threat — act, sing, dance and play an instrument. More than 22,000 children responded to the original Broadway casting call.

“We watched some incredible kids playing instruments,” said Connor, “but what we didn’t know was whether they would be cohesive as a band.

So, in the end, we brought about 24 children into a room, and we set up some amps and plugged in some guitars and set up a drum kit and they just played. And the first band we put together just rocked! And it was emotional. I mean, I think we all had little tears in our eyes. I think it really goes down as my favorite audition of all time.”

Lloyd Webber continues, “You know, they really can play. It’s extraordinary for their age, just how great they are and how together they play. I mean, you could close your eyes and say ‘Oh gosh, this is a band that’s played together for years.’ You wouldn’t really think that it’s 10 and 11 year olds!”

Despite the old adage from W.C. Fields who remarked, “Never work with children or animals,” Lloyd Webber can say (albeit a bit tongue in cheek) that he’s done both and come out unscathed. First, launching his decades-long career with Joseph and the Amazing Technicolor Dreamcoat, performed by 8 to 12-year-old boys. Then, debuting Cats, which remains the fourth longest-running show in Broadway history. And now, bringing audiences around the country the inspiring, fist pumping, heartwarming story in School of Rock — The Musical.

SCHOOL OF ROCK — THE MUSICAL MAY 29 - JUN 10 • BUELL THEATRE ASL, Audio-described & Open-captioned performance: Jun 10, 2pm

COMING UP FROM BROADWAY:

ON YOUR FEET! COSTUME COLUMN

If the “rhythm is gonna get you” and you “can’t control yourself any longer,” then hop into the conga line and shake your way right into The Buell Theatre for On Your Feet!, the musical about Emilio and Gloria Estefan.

When “Conga” debuted in 1985, Gloria Estefan became an international celebrity. The music of the Miami Sound Machine dominated the charts for three decades. She and her musicproducer husband, Emilio, have collectively won 26 Grammy Awards and opened the door for future Latin performers in mainstream pop music.

But their music is only half of the story. On Your Feet! is, first and foremost, a love story that recounts their 40-year romance full of love, triumph, adversity, family and internationally beloved, exhilarating music.

The musical is packed with all of your favorites — “Rhythm is Gonna Get You,” “Conga,” “Get on Your Feet” and “Turn the Beat Around” among dozens more.

Make sure to strap on your dancing shoes and feel the rhythm when this rags-to-riches story that epitomizes the American Dream heats up the Buell August 8-19.

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Photo by Adams VisCom

Photos by John Moore

T

There is nothing quite like seeing 5,000 children marching down Curtis Street dressed in Shakespearean attire and proudly raising their school banners high for all to see. They fill the entire block — shoulder to shoulder — overflowing onto the sidewalks and literally stopping traffic.

Not your typical school day, but then, there’s nothing typical about the annual DPS Shakespeare Festival.

First, it’s the oldest youth Shakespeare Festival in the country at 34 years running. Second, it’s the largest youth Shakespeare Festival in the country. And third, it is presented by three partners who even The King’s Men would envy — Denver Public Schools, Denver Public Schools Foundation and the Denver Center for the Performing Arts.

The DCPA’s full partnership is still relatively new, though it has offered in-school support for decades.

DCPA Education provides workshops to each participating school, provides feedback for all entries, presents its own Shakespeare in the Parking Lot performance during the festival, and is onsite throughout the event, serving as adjudicators, staff support and ambassadors. Additionally, working with the Arts Complex, the DCPA opens its doors to host a variety of scenes, songs and sword fights (with pool noodles, no less).

Last year’s student essay winner, Vincent Haney from Denver North High School, summed up the importance of the day: “Theatre is the voice of our people,” Haney said. “And today, our message is as strong as ever. Today, we keep the arts alive. Today we triumph over hatred, over grief and over despair. Today we sing, today we dance, today we act.”

To see a full recap of the DPS Shakespeare Festival, visit denvercenter.org/news-center.

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ANNOUNCING OUR BROADWAY

2018/ 19 SEASON DEAR EVAN HANSEN SEP 25 – OCT 13, 2018 BUELL THEATRE

XANADU NOV 3, 2018 - APR 28, 2019 GARNER GALLERIA THEATRE

COME FROM AWAY NOV 13 – 25, 2018 BUELL THEATRE

A BRONX TALE JAN 8 – 20, 2019 BUELL THEATRE

THE PLAY THAT GOES WRONG MAR 5 – 17, 2019 BUELL THEATRE

HELLO, DOLLY! MAR 27 – APR 7, 2019 BUELL THEATRE

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ANASTASIA AUG 7 - 18, 2019 BUELL THEATRE

2018/19 SUBSCRIBERS GET PRIORITY ACCESS TO THESE ADDITIONAL SHOWS

LOVE NEVER DIES OCT 23 – 28, 2018 BUELL THEATRE

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FIDDLER ON THE ROOF JUN 11 – 16, 2019 BUELL THEATRE

SUBSCRIBE TODAY FOR AS LOW AS 8 PAYMENTS OF $55.13 Due to the nature of live theatrical bookings, all productions, prices and dates are subject to change. 4- and 8-payment plans include a $10 per package payment plan fee.

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2018/19 SEASON SPONSORS

LOGO WITH SUBDIVISIONS

HUMAN ERROR

HUMAN

ERROR BY

Eric Pfeffinger

With Larry Bates*, Joe Coots*, Kimberly Gilbert*, Wayne Kennedy, Marissa McGowan*

SCENIC DESIGN BY Lisa M. Orzolek

COSTUME DESIGN BY Sara Ryung Clement

LIGHTING DESIGN BY Charles R. Macleod

SOUND DESIGN BY Jason Ducat

DRAMATURGY BY Sarah Lunnie

CASTING BY Elisa Myers Cating / Paul Foquet, CSA

DIRECTOR OF PRODUCTION Jeff Gifford

STAGE MANAGER Christopher C. Ewing*

DIRECTED BY

Shelley Butler

The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

Human Error was developed in the Lark Playwrights’ Week, New York City, and with support of Playpenn, Paul Meshejian, Artistic Director, and the DCPA’s 2017 Colorado New Play Summit.

THE GARNER GALLERIA THEATRE • MAY 18 – JUNE 24, 2018 SEASON SPONSORS

HUMAN ERROR

CAST Madelyn ......................................................................................................................................................... KIMBERLY GILBERT* Keenan ........................................................................................................................................................................ LARRY BATES* Jim ..................................................................................................................................................................................... JOE COOTS* Heather ....................................................................................................................................................... MARISSA McGOWAN* Dr. Hoskins............................................................................................................................................................WAYNE KENNEDY Assistant to the Director....................................................................................................................................... SOPHIA KOOP Stage Manager..................................................................................................................................CHRISTOPHER C. EWING* Assistant Stage Manager.............................................................................................................................D. LYNN REILAND* *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SETTING The doctor’s office and elsewhere Sylvania, Ohio Nowish

WHO’S WHO ACTING COMPANY LARRY BATES (Keenan). At the Theatre Company: Debut. Other Theatres: Ah, Wilderness! (The Goodman Theatre); All the Way, Death of a Salesman, The Motherf**ker with the Hat, Topdog/Underdog (South Coast Repertory); Jitney (South Coast Repertory, Pasadena Playhouse). Other Regional Credits include: The Mountaintop at San Diego Rep, The Matrix Theatre, and The Hattiloo Theatre as a part of the National Civil Rights Museum’s MLK50 commemoration. Awards/ Training: NAACP Theatre Award for Best Featured Actor in Jitney, Los Angeles Drama Critics Circle Award for Best Featured Actor. Bates is a Lunt-Fontanne Fellow and a graduate of The Theatre School, DePaul University.

JOE COOTS (Jim).

At the Theatre Company: Debut.

Broadway Tours: Kinky Boots (first national tour), The Full Monty. TV/Film: “Longmire,” “Person of Interest,” “Inside Amy Schumer,” “Bones,” “Castle,” “Blue Bloods,” “Nurse Jackie,” “Royal Pains,” “30 Rock,” “White Collar,” “Rescue Me,” Damsels in Distress, Somebody’s Hero, Friends and Strangers, Mother’s Day Massacre, Inside Man. From Winnebago, IL. For Mom! KIMBERLY GILBERT (Madelyn). At the Theatre Company: Debut. Other Theatres: The Winter’s Tale (Folger Theatre), Jefferson’s Garden (Ford’s Theatre), The Book Of Will (Round House Theatre), The Arsonists (Woolly Mammoth Theatre, Company Member). She has been in over 30 productions, mainly in Washington, DC. Awards/Training: Helen Hayes Award Lead Actress Resident Play 2015, MFA Academy for Classical Acting.

WAYNE KENNEDY (Dr. Hoskins). At the Theatre Company: Debut. At DCPA Off-Center: The Wild Party. Other Theatres: Jesus Christ Superstar, Cabaret, Les Misérables (Arvada Center). A 27-year company veteran at BDT Stage.

Award-winning roles in Fiddler on the Roof, Ragtime, The Unsinkable Molly Brown, My Fair Lady and Chess.

MARISSA McGOWAN (Heather). At the Theatre Company: Debut. Broadway: A Little Night Music (original Broadway cast recording), Bonnie and Clyde (original Broadway cast recording); Les Misérables.

Regional Theatres: Robber Bridegroom (Roundabout Theatre); Chess (Kennedy Center); Roman Holiday (San Francisco Golden Gate); The Nutty Professor directed by Jerry Lewis (Tennessee Performing Arts Center); Camelot (Goodspeed Opera House); Show Boat (Asolo Rep); A Little Night Music (American Conservatory Theater); Guys & Dolls (Weston Playhouse); The Sound of

PLAYWRIGHT ERIC PFEFFINGER’s (Playwright) work has been seen at Actors Theatre of Louisville’s Humana Festival, Geva Theatre Center, Phoenix Theatre, InterAct Theatre Company, Imagination Stage, Childsplay, Source Festival, City Theatre of Miami, Bloomington Playwrights Project. Developed new work with: DCPA Colorado New Play Summit, Playpenn, Page 73, the Lark Playwrights Week, Chicago Dramatists. Other: Member, Dramatists Guild, Writers Guild of America East.

DIRECTOR SHELLEY BUTLER (Director). At the Theatre Company: The Most Deserving, The Constant Wife (next season). Recent productions include the world premiere of Lucas Hnath’s A Doll’s House, Part 2 at South Coast Repertory and the Japanese premiere of Beautiful: The Carole King Musical in Tokyo. She has developed over two dozen new plays and musicals at companies including Ars Nova, Primary Stages, E.S.T., WP Theater, Hartford Stage, South Coast Repertory, Geva, St. Louis Repertory, New York Stage and Film, Cherry Lane Theater, Playpenn, the Lark and New Dramatists.

ARTISTIC TEAM SARA RYUNG CLEMENT (Costume Designer). At the Theatre Company: Sunsets and Margaritas. OffBroadway: Second Stage Uptown.

Regional: Oregon Shakespeare Festival, South Coast Repertory, Geffen Playhouse, Pasadena Playhouse, Seattle Repertory, TheatreWorks, Center Stage– Baltimore, Theatre@Boston Court, Mixed Blood, Perseverance Theatre, East West Players, Cornerstone Theater Company, A Noise Within, Yale Repertory, Native Voices, and others. Other credits: Set design faculty at UCLA School of Theater.

Education: MFA Yale School of Drama, AB Princeton University. www.sararyungclement.com

JASON DUCAT (Sound Designer) At the DCPA: Designed over 20 shows including The Snowy Day and Other Stories by Ezra Jack Keats, Two Degrees, When Tang Met Laika, The House of the Spirits, Lord of the Flies, Shadowlands, Jackie & Me, Othello.

Other Theatres: Bus Stop, The Drowning Girls, Waiting for Godot (The Arvada Center); The Luckiest People, The Flick, Venus in Fur, Good People, The Brothers Size, 9 Circles, Astronomical Sunset (Curious Theatre Company); Hamlet, Troilus and Cressida, Henry V, Henry IV, The Tempest, Macbeth (Colorado Shakespeare Festival); Constellations, Antony and Cleopatra, Born Yesterday (THEATREWORKS); Peter Pan and The Little Mermaid (Chicago Shakespeare Theatre).

SARAH LUNNIE (Dramaturg) is the literary director at Playwrights Horizons. Dramaturgy includes: Lucas Hnath’s A Doll’s House, Part 2 (Broadway); The Christians (Humana, Playwrights); nightnight, Death Tax (Humana Festival); The Mad Ones’ Miles for Mary (Bushwick Starr, Playwrights); The Essential Straight & Narrow (New Ohio); Samuel & Alasdair...(The Brick, Ars Nova, New Ohio); Heidi Schreck’s What The Constitution Means to Me (Clubbed Thumb); Humana premieres of plays

by Mallery Avidon, Mona Mansour, Charles L. Mee/SITI Co., Anne Washburn, and others. She was previously the literary manager at Actors Theatre of Louisville.

CHARLES R. MACLEOD (Lighting Designer). At the Theatre Company: (300+ productions/35 seasons).

Native Gardens, Two Degrees, As You Like It, One Night in Miami…, Appoggiatura, Shadowlands, black odyssey, Jackie & Me, Death of a Salesman, The 39 Steps, Reckless, When Tang Met Laika, The Diary of Anne Frank, Lydia, The Merry Wives of Windsor, 1001, Gem of the Ocean, All My Sons, A Christmas Carol, Lost Highway: The Music and Legend of Hank Williams, My Way, Forbidden Broadway, Always…Patsy Cline; Love, Janis and Girls Only, The Secret Comedy of Women.

ELISSA MYERS CASTING, Paul Fouquet CSA (Casting.) Three Emmy nominations and one win, and one Peabody Award for Outstanding Contribution to Television. More than fifteen films for PBS. Theatre includes seven Broadway shows and 26 OffBroadway shows. Current regional casting includes Denver Center,

Geva Theatre, Cleveland Play House, Alabama Shakespeare Festival, Magic Theatre, Arena Stage, and Arizona Theatre Company. The office has so far received 16 nominations and has won three Artios Awards for “Outstanding Achievement in Casting.”

LISA M. ORZOLEK (Scenic Designer) At the Theatre Company: (200+ productions/25 seasons) Native Gardens, Disgraced, The Nest, Tribes, One Night in Miami…, Benediction, Vanya and Sonia and Masha and Spike, Shadowlands, Jackie & Me, Death of a Salesman, The Liar, Superior Donuts, Othello, Well, The Voysey Inheritance, The Trip to Bountiful, Gee’s Bend, The Pillowman, Living Out, After Ashley, A Lovely Sunday for Creve Coeur, Boston Marriage, Visiting Mr. Green and more. Other Theatres: A Midsummer Night’s Dream, Macbeth, Complete Works of Shakespeare (Abridged), Richard II (Colorado Shakespeare Festival); Love...Perfect...

Change, An Act of God, Forbidden Broadway, Girls Only, The Taffetas (DCPA Cabaret). Training: BFA in Scenic Design, Boston University.

STAGE MANAGEMENT CHRISTOPHER C. EWING (Stage Manager) At the Theatre Company: (32 seasons) The Glass Menagerie, Animal Crackers, Death of a Salesman, Sense & Sensibility The Musical, Fences, Ring of Fire: The Music of Johnny Cash, A Christmas Carol, To Kill a Mockingbird, Dracula, Mama Hated Diesels, Eventide, A Raisin in the Sun, Quilters, A Prayer for Owen Meany, Noises Off, Plainsong, A Funny Thing... Forum, The Clean House, Gem of the Ocean, A Flea in Her Ear, Crowns, Fire on the Mountain, John Brown’s Body, The Immigrant, Almost Heaven and 2 Pianos, 4 Hands. At the DCPA Cabaret: First Date, Lady Day at Emerson’s Bar and Grill, Forever Plaid, Always Patsy Cline. Other Theatres: Colorado Ballet, DCPA Broadway, Bonfils Theatre. Training: BFA Theatre Design/ Technology, Loretto Heights College.

D. LYNN REILAND (Assistant Stage Manager) At the Theatre Company: (15 seasons) The Great Leap, Macbeth, A Christmas Carol, The Nest, Tribes, Appoggiatura, Vanya and Sonya and Masha and Spike, The Legend of Georgia McBride, The Most Deserving. DCPA Off-Center: Sweet & Lucky, Perception. Other Theatres: Curious Theatre Company, Phamaly Theatre Company and Seven Devils Playwrights Conference.

HUMAN ERROR

Music (Lyric Theatre). Television: “Major Crimes” (TNT), “Odd Mom Out” (BRAVO). Numerous symphonic concert work. Awards/Training: Outstanding Performance by a Female Actor for A Little Night Music, Theatre Bay Area Award. BFA Syracuse University. Instagram: Marissa15. www.marissamcgowan.com

HUMAN ERROR

THEATRE COMPANY LEADERSHIP CHRIS COLEMAN (Artistic Director) Before coming to Denver, Chris was the Artistic Director of Portland Center Stage at The Armory for 17 years. In Portland, his favorite directing credits included Astoria: Parts One and Two (which he also adapted), Fun Home, Ain’t Misbehavin’, Threesome (which he also directed Off-Broadway at 59E59 Theaters), Shakespeare’s Amazing Cymbeline (which he also adapted), Fiddler on the Roof, Clybourne Park, Crazy Enough, King Lear and The Devils. While in Portland, he had the honor of serving as the board president for the Cultural Advocacy Coalition and the director of the Oregon Leadership Summit. Chris originally hails from Atlanta, where he was the Artistic Director for Actor’s Express, a company he co-founded in the basement of an old church in 1988. He returned to Atlanta in 2015 to direct the world premiere of Edward Foote at Alliance Theatre (Suzi Bass Award for Best Direction, Best Production and Best World Premiere). Chris has directed at theaters across the country, including Actor’s Theater of Louisville, Oregon Shakespeare Festival, ACT Theatre (Seattle), The Alliance, Dallas Theatre Center, Pittsburgh Public Theatre, New York Theatre Workshop and Center Stage (Baltimore). He holds a B.F.A. from Baylor University and an M.F.A. from Carnegie Mellon. Chris and his husband, Rodney Hicks, who recently appeared on Broadway in the musical Come From Away, are the proud parents of an 18-lb Jack Russell/Lab mix and a 110-lb English Blockhead Yellow Lab. NATAKI GARRETT (Associate Artistic Director) At the Theatre Company: Smart People. Featured in the November 2016 edition of American Theatre magazine’s “One to Watch,” Nataki Garrett is the former Associate Artistic Director of CalArts Center for New Performance.

Garrett is a Company Member at Woolly Mammoth Theatre Company a recipient of the NEA/TCG Career Development Program for Directors, a NAACP Award nominee and a member of SDC. Recent regional credits include: BLKS (Steppenwolf), Jefferson’s Garden (Ford’s Theatre), Hurt Village (Ubuntu Theater Project), An Octaroon (Woolly Mammoth and Mixed Blood), Pussy Valley (Mixed Blood), Neighbors (Mixed Blood, Matrix), Bullrusher

(Skylight Theater Company), Hoodoo Love (Moòlelo Performing Arts Company), Smoke Lilies and Jade (CalArts Center for New Performance). Radio credits include Biloxi Blues, Tape, 16 Wounded, The Living Room. Opera credits: Wet and Sucktion.

JEFF GIFFORD (Director of Production) is in his fifth season at the DCPA and oversees everything you see on stage except the actors.

Guiding this amazing and talented staff of 75 artists and artisans who create all these wonderful shows is a joy. Working on world premieres is especially exciting and Jeff has worked on more than 40 of them.

Top of the list is The Book of Will, Dinner with Friends, The Violet Hour, and Jeffrey Sellers musical Fly. CHARLIE MILLER (Associate Artistic Director) oversees new and innovative programming at the Denver Center including Off-Center, audience engagement projects, and other strategic initiatives. As co-founder and Curator of OffCenter, Charlie has led its growth from a small theatrical testing center to one of the DCPA’s signature lines of programming. Before joining the Artistic Team full time, Charlie divided his time between OffCenter and the Theatre Company’s Multimedia Department. As DCPA’s award-wining Resident Video Designer, Charlie designed and created projection/video content for 35 productions in nine seasons.

Charlie is a Harvard graduate and a sixth generation Denverite.

CHARLES VARIN (Managing Director) and his team are responsible for the administrative, financial and business operations for Theatre Company and Off-Center productions and other artistic initiatives. Since joining the Theatre Company in 2006, he has played a major role in executing the artistic vision of the organization and facilitating the production of shows such as Sweet & Lucky, The Unsinkable Molly Brown, Sense & Sensibility The Musical, The 12, Sweeney Todd with DeVotchKa and many more. Charles is passionate about artistic innovation and firmly believes in DCPA’s long-standing commitment to new plays and new voices.

SPECIAL THANKS Olivia Kvitne

The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.

The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States.

Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.) The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.

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 during the performance.

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

• DRINKS are allowed in provided containers.

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

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

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals.The Theatre Company is a division of the Denver Center for the Performing Arts, a not-for-profit organization serving the public through the performing arts.

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

The Theatre Company is constituent of Theatre Communications Group (TCG), the national organization for not-for-profit resident theatre companies.

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

In addition to DCPA staff, the following crew worked on this production: Sharron Millikan Hale, Amoreena Knabb, Tony Nguyen, Dusty Sloan, Jeni Tolifson

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INNOVATION PIONEERING

INNOVATIVE LEGAL SERVICES IN STEP WITH YOUR NEEDS

We applaud the DCPA for 40 years of excellence in the performing arts Liz Sharrer, Chair, 303.295.8000, lsharrer@hollandhart.com 555 17th Street, Suite 3200, Denver, Colorado 80202 | www.hollandhart.com

Proud Supporter of the Arts

PROUD SPONSOR OF THE BOOK OF MORMON

T

“One of the key attributes of the growth in Denver is the rich investment in arts and culture made over many years.” ­ HASSAN SALEM, — President of U.S. Bank in Colorado

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The arts are a significant part of making Denver an amazing place to live and work. U.S. Bank believes in the power of play, which includes the arts. Play brings joy, helps problem-solving skills, creativity and relationships, and builds social and emotional learning. That’s why U.S. Bank is a long-time supporter of the magnificent programs and spectacular performances at the Denver Center for the Performing Arts (DCPA).

The arts educate, promote understanding, broaden our perspectives and enable communities to share rich cultural experiences. Denver is fortunate to have a thriving arts community, which is home to some of the nation’s finest theatres, museums and artists.

“At U.S. Bank, our commitment to corporate social responsibility comes to life through Community Possible, our corporate giving and engagement platform that closes the gap between people and possibility in the areas of Work, Home and Play,” said Hassan Salem, President of U.S. Bank in Colorado and DCPA Trustee. “The DCPA is an organization that is dedicated to bringing play to everyone in our community. DCPA is an outstanding organization, providing amazing performances, programs and outstanding arts education.”

In 2017, U.S. Bank contributed more than $58.4 million to nonprofit organizations through Community Possible, with an emphasis on community development, diversity and inclusion, financial education and the environment. Additionally, its employees volunteered more than 188,000 hours, demonstrating that employee engagement is a major component of its community success.

U.S. Bank also is committed to providing consumers and businesses with a comprehensive range of financial tools and services to help them work toward their goals. For clients with more complex financial needs, U.S. Bank offers wealth management strategies and services. From investment management services to trust and estate administration, U.S. Bank offers clients sophisticated plans, sound advice, and customized service.

“One of the key attributes of the growth in Denver is the rich investment in arts and culture made over many years,” said Salem.

“The DCPA is a perfect example of what a first-class theatre that draws some of Broadway’s biggest hits has added to our community. We are privileged to host a variety of client events at DCPA and we always leave feeling very proud of our arts and culture community in Denver. Let’s all continue to celebrate DCPA, which is a shining example of why Denver is a leader in providing arts and culture opportunities.”

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

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The Book of Mormon Company © Julieta Cervantes 2017

IT’S NOT RELIGION,

S

Songwriter Robert Lopez doesn’t mind that The Book of Mormon, the Broadway juggernaut he co-authored with Matt Stone and Trey Parker, is popularly thought of as the “South Park” musical because of Stone and Parker’s involvement. He knows full well, having co-authored the puppet sensation Avenue Q, what it’s like to introduce a form-breaking original show that’s not a jukebox musical or an adaptation of a movie.

“When we did Avenue Q, it was really hard to convey to people what it was supposed to be, and why people should go see it,” said Lopez. “So I understand why the producers used the ‘South Park’ hook to promote this show. I can’t imagine anyone wanting to see a show called The Book of Mormon if it wasn’t by them.”

But Lopez isn’t shy about setting the record straight.

“It was a show that was my idea,” he said, adding crucially, “and when we met I discovered they happened to have the same idea.”

Indeed, the initial Lopez/Stone/Parker summit is by now the stuff of musical theatre legend. When Stone and Parker went to see Avenue Q on Broadway in 2003, they were flattered, if a little puzzled, to see themselves thanked in Lopez’s Playbill bio, since they didn’t know him. That in turn led to an informal post-show meeting and eventually to a collaboration around their shared fascination with Mormonism.

24

B Y R O B W E I N E R T- K E N D T

The Playbill tribute was there, Lopez recalled, because Parker and Stone’s 1999 musical film—South Park: Bigger, Longer, and Uncut—had been an inspiration for Lopez and his Avenue Q co-writer, Jeff Marx.

“Well, it was a pretty barren 10 years,” Lopez joked, before explaining his own admiration for the film. “It shows an understanding not only of how musicals are structured and how they work but of the meaning of the form.” It’s important, Lopez continued, that a musical not be simply a play with songs as garnish; form and content should harmonize.

“When you’re writing one of these shows, you have to figure out what the music means to the story,” said Lopez. With Book of Mormon it’s a) the naïveté of the missionaries, and b) their beliefs. And music embodies those feelings.”

The Mormon-missionaries-abroad premise that gives the musical its shape wasn’t among the initial ideas of any of the authors, said Lopez. “My idea was to read the Book of Mormon and find the epic story that, in telling it, would make fun of itself,” said Lopez. “Their idea was to do the story of Joseph Smith as a musical. Then they suggested we all do it together, which I thought was a great idea.”

But in October of that year, that notion seemed to be moot when “South Park” aired the episode “All About Mormons,” which irreverently recounted the story of

- JUL APPLAUSE • MAY – JUL 2018 2018 •• 303.893.4100 303.893.4100 •• DENVERCENTER.ORG DENVERCENTER.ORG

“…any kind of art that tells a story is a form of religious experience—it’s a consciousness-changing endeavor.”

— ROBERT LOPEZ, Songwriter for The Book of Mormon “In college I sang in choirs and I started to see the mechanics behind the Mass,” he said. “There is quite literally a backstage, and the Mass is quite literally stagecraft. Where I went they had incense, and there was an organ that had something called a zimbalstern—a wheel that tinkles when you push the key and makes it feel like there are angels in the church. There are stories, there’s a throughline, there’s a snack. It’s everything that theatre does; it’s basically a proto-musical.”

He even recalled one priest saying to another, with a knowing sigh worthy of a Broadway hoofer, “Two shows today.” For a while, like many freshly minted non-believers, Lopez said, his attitude was, “Forget about that stuff. It wasn’t until later that I started to think: What is real about it? Science is a kind of religion itself; we don’t all check out every experiment for ourselves. We take a lot on faith.”

Though he now stops short of fully re-upping on his childhood faith, Lopez clearly feels, as The Book of Mormon demonstrates, that religion is a part of human experience and that, on balance, it may be a net good.

“God, whether he does or doesn’t actually exist, does exist as part of the human experience,” said Lopez. “That’s undeniable.”

And if his glimpses behind the curtain of the Catholic Mass first made him question the objective truth of the narrative behind the ritual, Lopez harbors no doubts about the value of stage storytelling.

“Any kind of literature, any kind of art that tells a story is a form of religious experience—it’s a consciousness-changing endeavor,” said Lopez.

“It transmits spirit through it. In musical theatre, we’re lifting people up, giving them stories and arming them for experiences they encounter in life.”

He almost makes it sound like a mission.

Rob Weinert-Kendt is Editor-in-Chief at American Theatre.

THE BOOK OF MORMON JUN 13 – JUL 7 • THE ELLIE ASL, Audio-described and Open Captioned performance: Jun 24, 2pm

The Book of Mormon Company © Julieta Cervantes 2017

COMING UP FROM BROADWAY:

LES MISÉRABLES In anticipation of the return engagement of Les Misérables (Jul 25 - Aug 5), Applause wants to test your knowledge of the 33-year old musical.

1 The title of this musical is correctly pronounced: A Lay Miz-Ah-Rob B Less Miserabels C Lace Miserah-blays 2 Jean Valjean attempts to elude Inspector Javert by disappearing: A Across the lake below the Paris Opera B Into the sewers of Paris C Into the tavern run by the Thénardiers 3 What is the significance of the number 24601?

A It is the street address of the ABC Café where Marius and his fellow students hang out B It is Fantine’s employee number at the factory C It is Jean Valjean’s prisoner identity number 4 True or False – Les Misérables is sung completely in French.

A True B False 5 True or False – Les Misérables has been seen by over 70 million people worldwide A True B False 6 Finish the lyrics… “I dreamed a dream in time _______” A That were mine B Gone by C And days 7 What does Thénardier steal from Marius in the sewers of Paris?

A Gold tooth B Wallet C Ring 8 Including the present engagement, how many times has Les Misérables toured through Denver?

A 4 B 7 C 11 Answers: 1 – A, 2 – B, 3 – C, 4 – B, 5 – A, 6 – B, 7 – C, 8 - C

Smith, Mormonism’s founding prophet. Lopez wasn’t crestfallen, exactly, but he figured that Parker and Stone had taken the idea and run with it. So he and Marx were pleasantly surprised to get an email from the “South Park” provocateurs, revisiting the idea of their collaboration. “We were like, ‘Oh, we thought you had done that idea already,’” Lopez said.

The writers found that not only was there much more to say about Mormons than could be conveyed in a 22-minute TV episode, but that the story of this relatively new religion was an ideal way to treat larger satirical themes.

“We discovered that we all had the same feelings about religion and God—that God doesn’t exist and yet somehow he does,” said Lopez. “And that even though the stories are made up, the leap of faith that people make makes them better people.”

While Lopez’s interest in Mormonism was secondhand, his own interest in religion is more personal.

“I went through my own crisis of faith,” he said. “I went to church; I grew up Catholic-ish. I did believe when I was young.” His beliefs faded in college though not quite for the usual reasons. In fact, it was up-close exposure to religious practice that soured Lopez.

PROUD SPONSOR OF SATURDAY NIGHT ALIVE AND THE RANDY WEEKS MEMORIAL GOLF TOURNAMENT

C “Comcast Spotlight is honored to support Denver Center for the Performing Arts as a sponsor and as a business partner that finds DCPA audiences with TV and online advertising.”

“Comcast Spotlight is honored to support the Denver Center for the Performing Arts,” said Rick Stanley, Senior Vice President, “as both a sponsor and a business partner that finds DCPA audiences with TV and online advertising.”

Technology is a powerful driver of innovation and economic growth. That’s why Comcast invests resources in ways that help communities realize the transformative potential of media and technology to solve problems, improve lives and to create opportunity. Comcast is committed to increasing access to technology, providing skills that help individuals fully participate in the digital economy, and empowering innovators, entrepreneurs, Comcast employees and businesses to use media and technology for good.

At the center of media and entertainment, Comcast Spotlight combines the power of traditional television and premium digital video advertising to reach audiences through high-quality content at any time, on any device — and the company is ready to prove its impact on your business. Comcast Spotlight has the insight, analytics and tools businesses need to find audiences and opportunities. Let them help you achieve your marketing and advertising goals.

ComcastSpotlight.com | 888.877.9799

— RICK STANLEY, Senior Vice President of Comcast Spotlight

Comcast Cares Day is the perfect opportunity to do good in your community, and have fun spending time with your coworkers, families, and friends while helping those in need. To date, we’ve contributed more than 5 million service hours to improve communities at 8,800 projects in the U.S. and around the world.

This year, we’re excited to achieve another incredible milestone in this journey of service — our 1 millionth volunteer.

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APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

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PROUD SPONSOR OF THE DCPA’S WOMEN WITH HATTITUDE

M By supporting the DCPA, Macy’s enables creative women to share their individual talent and perspective.

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Macy’s is dedicated to “Making Life Shine Brighter” through service to its customers, colleagues and communities. Its colleagues come from all walks of life and represent the full spectrum of the American experience.

Having served American families for 160 years, it also can be said that Macy’s is deeply engaged in the lives and traditions of many. It helps create memories.

Creating and celebrating community is part of the Macy’s DNA. The company celebrates together during special occasions and shows up during times of need.

Its employees create and share joy during the holidays.

Macy’s is proud to be an integral part of the local communities it serves as an employer, as a hub for both connection and commerce, and as a responsible corporate citizen. Macy’s commits to giving back.

Macy’s is proud to support the Denver Center for the Performing Arts (DCPA), a place where learning is encouraged, creativity shines and memories are made. By supporting the Women’s Voices Fund, Macy’s enables creative women to share their individual talent and perspective, as well as their experience with the community.

Macy’s is America’s Department Store. The company has a history of re-invention and always looking forward.

It believes in taking care of its colleagues, who help care for communities across the nation. Macy’s is proud to be a member of the Denver community and to support the Denver Center for the Performing Arts.

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

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CASA VALENTINA

Announcing the

2018 2019

Town Hall Arts Center Main Stage Season

Music by Green Day Lyrics by Billie Joe Armstrong Book by Billie Joe Armstrong and Michael Mayer

September 7 – October 7, 2018

November 9 – December 23, 2018

January 11 – February 3, 2019

February 15 – March 17, 2019

March 29 – April 28, 2019

May 17 – June 16, 2019

2450 West Main Street Littleton TownHallArtsCenter.org 303.794.2787

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

UPCOMING

SHOWS Human Error Now – Jun 24 Remote Denver May 22 – Jul 1 School of Rock May 29 – Jun 10 The Book of Mormon Jun 13 – Jul 7 Mixed Taste Jul 11 – Aug 22 Sex Tips for Straight Women from a Gay Man Jul 12 – Aug 5

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Les Misérables Jul 25 – Aug 5 On Your Feet!

Aug 8 – 19 Vietgone Aug 24 – Sep 30 Beautiful - The Carole King Musical Sep 4 – 9

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Oklahoma!

Sep 7 – Oct 14 The Improvised Shakespeare Company Sep 13 – 30 The Constant Wife Sep 21 – Oct 21 Dear Evan Hansen Sep 25 – Oct 13 Corduroy Oct 5 – Dec 9 Love Never Dies Oct 23 – 28

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Bite-Size: An Evening of Micro Theatre Oct 23 - Nov 18 Breakin’ Convention Nov 3 - 4 Xanadu Nov 3, 2018 – Apr 28, 2019 Come From Away Nov 13 – 25

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1 DCPA STAFF took part in a two-day session on equity, diversity and inclusion facilitated by artEquity. 2 EDUCATION launched its spring session of Shakespeare in the Parking Lot and visited Strive Prep on Shakespeare’s birthday. 3 & 4 SEAWELL GRAND BALLROOM hosted the sold-out CBCA Business for the Arts Awards Luncheon at which OFF-CENTER’s This Is Modern Art cast performed and its partner, The Stanley Marketplace, was recognized. (l-r CBCA Chair Mark Davidson, Bryant Palmer of Stanley, Mark Shaker of Stanley, CBCA Executive Director Christin Crampton-Day) 5 THEATRE COMPANY hosted a Subscriber Open House at which incoming Artistic Director Chris Coleman revealed the 40th anniversary season. 6 BROADWAY was congratulated by Governor John Hickenlooper for the success of Frozen at Visit Denver’s Tourism Hall of Fame induction ceremony held in the SEAWELL GRAND BALLROOM. (l-r Heidi Bosk, Emily Lozow, Alicia Bruce, Jeff Hovorka, Janice Sinden, Governor John Hickenlooper, John Ekeberg, Ashley Brown, Austin Walker, Lisa Mallory) 7 THEATRE COMPANY actress Lulu Fall of The Who’s Tommy wowed the audience at a recent fundraiser to benefit the Denver Actors Fund.

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APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

A Christmas Carol Nov 21 – Dec 24 The SantaLand Diaries Nov 23 – Dec 24 Irving Berlin’s White Christmas Dec 5 – 15 Cirque Eloize - Hotel Dec 19 – 23 A Bronx Tale Jan 8 – 20, 2019 Last Night and the Night Before Jan 18 – Feb 24, 2019

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

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TICKETS 1-888-306-DRUM (3786) DrumsAlongTheRockies.com Group sale specials available.

JULY 12–AUGUST 5 VISIT www.phamaly.org CALL DCPA Box Office 303.893.4100

SPACE THEATRE

AT THE DENVER CENTER FOR THE PERFORMING ARTS

INTO THE WOODS IS PRESENTED THROUGH SPECIAL ARRANGEMENT WITH MUSIC THEATRE INTERNATIONAL (MTI). ALL AUTHORIZED PERFORMANCE MATERIALS ARE ALSO SUPPLIED BY MTI. WWW.MTISHOWS.COM

DCPA CORPORATE MEMBER AND PROUD SPONSOR OF SATURDAY NIGHT ALIVE

“Pinnacle Entertainment supports organizations that share a genuine compassion, concern and respect for the communities they call home.”

— SEAN DEMEULE, General Manager of Ameristar

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I

In its pursuit of becoming the best entertainment company in the world, Pinnacle Entertainment — the parent company of Ameristar Casino Resort & Spa in Black Hawk — is dedicated to making a difference in numerous ways from altruistic contributions and monetary donations to humanitarian and environmental efforts. Through its community outreach program, Pinnacle Cares, each of the company’s properties and team members help those who need it most by volunteering their time to important causes and making financial contributions.

“Pinnacle Entertainment supports organizations that share a genuine compassion, concern and respect for the communities they call home,” said Sean Demeule, General Manager of Ameristar. “One such organization is the Denver Center for the Performing Arts (DCPA). From bringing Broadway shows to Denver and presenting world-class plays to providing educational programs that fuel the passion and creativity of 84,000 youth every year, the DCPA is truly a remarkable organization that cares.”

It’s this similar level of dedication to not only entertain audiences, but also positively impact their community that inspired Pinnacle Entertainment to become a proud charitable supporter — a stance that will help the DCPA continue to create memorable and magical experiences through the performing arts and support Pinnacle Entertainment’s fundamental mission: to help others live their best lives.

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

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DCPA TEAM

DCPA

Will Stowe........... Event Technology Specialist Dawn Williams................................Director, Event Janice Sinden..............................President & CEO Sales & Marketing Maggie Lamb........................Executive Assistant Juan Loya, Carmen Molina, Blanca to the CEO Primero, Judith Primero, Angeles Reyes Soto.................................................Custodians BROADWAY & CABARET MARKETING, SALES & PATRON John Ekeberg.........................Executive Director, SERVICES Broadway Alicia Bruce................................. General Manager Lisa Mallory.......................................Vice President, Marketing & Sales Ashley Brown...........................Business Manager Abel Becerra.........Technical Director, Cabaret Eric Boone...........................Front End Developer Heidi Bosk....................Associate Director, PR & Integrated Marketing DEVELOPMENT Jonalyn Bradshaw.....................Education Sales Shawn Bayer..........................Director, Corporate Coordinator Partnerships Nathan Brunetti.....Email Marketing Manager Megan Fevurly.......................Associate Director, Flora Jane DiRienzo..............Director, Strategic Individual Philanthropy Partnerships Melissa Olson..............Development Associate Casey Eickhoff..........Senior Graphic Designer Marc Ravenhill....................Director, Individual & Brenda Elliott.............Senior Graphic Designer Institutional Philanthropy Brianna Firestone.................Director, Customer Experience & Loyalty David Zupancic............Director, Directed Gifts Hope Grandon................PR & Events Manager EDUCATION Brittany Gutierrez.................... Communications Coordinator Allison Watrous.....................Executive Director, Donna Hendricks..........Executive Assistant to Education Marketing & Broadway Patrick Elkins-Zeglarski.....Associate Director, Jeff Hovorka......... Director, Sales & Marketing Education and Curriculum Management Jennifer Kemps...............Group Sales Manager Stuart Barr.........Education Technical Director Emily Kent................................Director, Marketing Claudia Carson...........................Teaching Artist & David Lenk.......................................Video Producer Education Program Coordinator - Emily Lozow......Marketing & Digital Manager Playwriting & Bobby G Adam Lundeen...........Marketing Technologist Leslie Channell........................Business Manager Kyle Malone.............................................Art Director Melissa Sumner.. Office Manager & Registrar Carolyn Michaels....................................Copywriter Linda Eller........................................................Librarian Cheyenne Michaels.. Marketing Coordinator Tim McCracken...................................Head, Acting John Moore....................... Senior Arts Journalist Andre Rodriguez......................Teaching Artist & Adam Obendorf..................Senior Art Director Education Program Julie Rada......................Audience Development Coordinator - Shakespeare Associate David Saphier....Teaching Artist & Education Joseph Schurwonn.................Financial Analyst Program Coordinator - Andrew Sanders........................Project Manager In School Programming Rob Silk......................Director, Creative Services Elizabeth Schmit...................Assistant Registrar Austin Walker....................... Marketing Assistant Rachel Taylor......Teaching Artist & Education Suzanne Yoe...........Director, Communications & Cultural Affairs Program Coordinator Literacy Engagement and Resiliency Programming THEATRE SERVICES Justin Walvoord........................Teaching Artist & Education Program Coordinator - Carol Krueger........Theatre Services Manager Teacher Professional Development Ethan Aumann, Nora Caley, Samantha Egle, Jahnice Jones, Chloe McCleod, Joelle Montoya, Maggy Stacy, Robyn Yamada.............Teaching Artists Hadley Kamminga-Peck, LeiLani Lynch, Aaron McMullen, Gregory Melton, Joyce Murphey, Margaret Ohlander, FACILITIES & EVENT SERVICES Dylan Phibbs, Valerie Schaefer, Lauren Clay Courter......................................Vice President, Veselak, Mica Ward..............Theatre Company Facilities & Event Services House Managers Dwight Barela, Zachary Brent, Clint Flinchpaugh, TICKETING SERVICES Michael Kimbrough................................ Engineers Quentin Crump .....................Security Specialist Jennifer Lopez.............................................. Director, Ticketing Services Jane Deegan............................Facilities & Events Office Manager Kirk Petersen.......................Assoc. Dir., Ticketing Services – Patron Relations Tom Duffin...........Manager, Event Technology Colin Dieck.......... Event Technology Specialist Micah White.........................Assoc. Dir., Ticketing Services – Subscription Services Stori Heleen........ Event Technology Specialist Jaymes Kimbrough..............Event Technology Katie Clow.........................Subscription Manager Specialist Jessica Bergin, Vincent Bridgers, Clint King.................................Security Supervisor Tristan Jungferman.......Box Office Managers Billy Dutton............Senior Box Office Manager Savanna Campbell, Matt Leaver.................................Events Managers Amanda Gomez...........VIP Ticketing Manager Brian McClain.....................Custodial Supervisor Román Anaya, D.J. Dennis, Tara Miller................Sr Manager Event Services Edmund Gurule, Noah McDermott, Brook Nichols......Director, Event Technology Hayley Solano.......................................Show Leads Maggi Quinn................................................... Director, Kirsten Anderson, Roger Haak, Facilities Management Rebecca Hibbert, Scott Lix,

36

Gregory Swan.....................Subscription Agents Ally Beacom, Malcolm Brown, Rena Bugg, Keenan Coke, Kelcee Covert, Jennifer Gray, Shari Hansen, Joel Innes, Noah Jungferman, Alia Kempton, Daniel Lindsey, Gustavo Márquez, Clayton Nickell, Zach Page, Gunnar Reinig, Liz Sieroslawski, Brad Steinmeyer, Andrew Sullivan, Tomas Waples, Cindy Yeast......................Ticket Agents SHARED SERVICES Vicky Miles..............................Chief Financial,ficer Jennifer Jeffrey........................Director, Financial Planning & Analysis Julie Schumaker..................Executive Assistant to the CFO & Board Liaison ACCOUNTING Jennifer Siemers...............Director, Accounting Michaele Davidson..............Senior Accountant Linda Erickson........................Senior Accountant Juliette Hidahl............................Accounting Clerk Kim Stewart................................Staff Accountant HUMAN RESOURCES Shaunda Van Wert.......................Vice President, Human Resources Brian Carter..........Director, Human Resources Jamie Hawkins..............................HR Coordinator Karen Jewell.........Director, Human Resources Monica Robles...................Mailroom Supervisor INFORMATION TECHNOLOGY Yovani Pina........................................Vice President, Information Technology Rick Bennett..............................................Director, IT Simone Gordon................Program Manager, IT Christopher Hoge...............................................VoIP/ System Administrator Paul Howell..................................................Help Desk Jacob Parker........................Software Developer David Tschan.............................................Director, IT John H. Voorheis..........Manager, Infrastructure THEATRE COMPANY ADMINISTRATION Charles Varin...........................Managing Director Ryan Meisheid.....Associate Managing Director Allison Taylor Brinkhoff.....Company Manager Katie Grayson...Assistant Company Manager ARTISTIC Chris Coleman.............................. Artistic Director Nataki Garrett........Associate Artistic Director Charlie Miller.........Associate Artistic Director/ Off-Center Curator Douglas Langworthy............Literary Director/ Director, New Play Development Melissa Cashion.........................Artistic Producer Grady Soapes.....................Associate Producer/ Director, Casting Chad Henry............................... Literary Associate PRODUCTION Jeff Gifford............................Director, Production Kate Coltun..........................Production Manager Matthew Campbell.........Assistant Production Manager Julie Brou..............................Production & Artistic Office Manager Scenic Design Lisa M. Orzolek.............Director, Scenic Design Kevin Nelson, Nicholas Renaud..........................Scenic Design Assistants

APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG

Lighting Design Charles R. MacLeod...............Director, Lighting Lily Bradford............Lighting Design Assistant Reid Tennis+.....................Production Electrician Multimedia Gregory W. Towle..........Projection Supervisor Topher Blair........................Multimedia Specialist Sound Design Craig Breitenbach.......................Director, Sound Alex Billman+, Frank Haas+, Tyler Nelson+...........................Sound Technicians Stage Management Kurt Van Raden..Production Stage Manager Christoper C. Ewing....Senior Stage Manager Kailey Buttrick, Rachel Ducat, Heidi Echtenkamp, Corin Ferris, Rick Mireles, Kristen O’Connor, D. Lynn Reiland...........................Stage Managers Scene Shop Eric J. Moore..............................Technical Director Robert L. Orzolek...............Associate Technical Director Albert “Stub” Allison.........Assistant Technical Director Louis Fernandez III....................Lead Technician Tyler Clark, Brian “Marco” Markiewicz, Wynn Pastor, Kyle Scoggins, Kyle Simpson Mara Zimmerman................Scenic Technicians Prop Shop Robin Lu Payne....................Properties Director Eileen S. Garcia...................Assistant Properties Director Jamie Stewart Curl, David Hoth, Georgina Kayes, Katie Webster..................Props Artisans Paint Shop Jana L. Mitchell...................Charge Scenic Artist Melanie Rentschler...............Lead Scenic Artist Kristin Hamer MacFarlane............Scenic Artist Costume Shop Janet S. MacLeod.................Costume Director/ Costume Design Associate Meghan Anderson Doyle......................Costume Design Associate Carolyn Plemitscher, Jackie Scott..... Drapers Cathie Gagnon..........................................First Hand Sheila P. Morris..................................................... Tailor Costume Crafts Kevin Copenhaver.... Costume Crafts Director Chris Campbell.......Costume Crafts Assistant Wigs Diana Ben-Kiki........................................Wig Master House Crew Doug Taylor+.................Supervising Stagehand Jim Berman+, Jennifer Guethlein+, Stephen D. Mazzeno+, Miles Stasica+, Tyler Stauffer+, Matt Wagner+.....Stagehands Kyle Moore+.........................Assistant Stagehand Wardrobe Brenda Lawson.....................Director, Wardrobe Taylor Malott^, Jessica A. Rayburn^....................Wig Assistants Robin Appleton^, Amber Donner^, Anthony Mattivi^, Tim Nelson^, Lisa Parsons Wagner^, Alan Richards^..............................................Dressers + Member, I.A.T.S.E. Local 7 ^Member, I.A.T.S.E. Local 719

As of 4/23/18

ANNUAL LUNCHEON Featuring a live interview with icon and activist Billie Jean King

OCTOBER 10, 2018 11:30 A.M. COLOR ADO CONVENTION CENTER, DENVER

Purchase tickets, tables, and sponsorships at

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Participants in Remote. Photo by Craig Schwartz.

Off-Center

JUL

NOW– 1 MEET UP.

PUT ON HEADPHONES. HAVE YOUR PERSPECTIVE OF THE MILE HIGH CITY CHANGED FOREVER.

FUN FACTS ABOUT SCHOOL OF ROCK — THE MUSICAL, THE BOOK OF MORMON April 2018 puzzle AND HUMAN ERROR

ACROSS

Fun facts about The School of Rock, The Book of Mormon and Human Error 1 2

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ACROSS

2 Fleetwood frontwoman Stevie ______ has a song in School of Rock 4 The band Dewey Finn is kicked out of is called No __________ 6 He first said, “To err is human” 10 School of Rock was the first Andrew Lloyd Webber musical since Jesus Christ ________ to debut on Broadway rather than the West End 13 School of Rock book writer Julian Fellowes is the mastermind behind “______ Abbey” 14 The idea for Avenue Q came to The Book of Mormon’s Bobby Lopez a week after he saw the film South Park: Bigger, ____ and Uncut 15 The artistic job Human Error playwright Eric Pfeffinger once held at a newspaper 17 Parker and Stone’s student film was originally titled Alfred ____: The Musical

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2 38 Fleetwood frontwoman Stevie ______ 1 Trey Parker was born in this Colorado town APPLAUSE • MAY - JUL 2018 • 303.893.4100 • DENVERCENTER.ORG has a song in The School of Rock 3 Trey Parker and Matt Stone met at the 4 The band Dewey Finn is kicked out of is University of _______ called No __________ 5 Title of the very first song written for The 6 He first said, “To err is human” Book of Mormon

1 Trey Parker was born in this Colorado town 3 Trey Parker and Matt Stone met at the University of _______ 5 Title of the very first song written for The Book of Mormon 7 The grade the School of Rock students are in 8 Musical that inspired The Book of Mormon song “Making Things Up Again”: Sunday in the Park with _____ 9 School of Rock source film was made by Richard _______ 10 Dewey Finn pretends to be a _______ teacher in School of Rock 11 An unborn offspring in the process of development is called an ________ 12 The tubes you hope aren’t blocked if you want to get pregnant 16 Dewey and his students sing a song that says what school subject “is a wonderful thing”?

For answers please visit denvercenter.org/news-center

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