Applause Magazine, Nov. 25-Dec. 24 , 2016

APPLAUSE

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VOLUME XXVIII • NUMBER 4 • NOV 2016 – JAN 2017

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A CHRISTMAS CAROL

Also Playing: Finding Neverland Hedwig and the Angry Inch The Hip Hop Nutcracker Jersey Boys Rudolph the Red-Nosed Reindeer: The Musical

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APPLAUSE

SIGHTLINE

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BY JANICE SINDEN

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VO LU M E X XV I I I • N U M B E R 4 • N OV 2 0 1 6 – JA N 2 0 1 7

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 WRITERS: Hope Grandon 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.

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Greetings and welcome to one of eight shows this holiday season. As the new President & CEO of the Denver Center for the Performing Arts, I am excited to join the DCPA as it comes off its most successful season ever — 1.2 million guests; 25,000 subscribers; 85,000 students, and a $600 million economic impact over the past five years.

Wow! Plus we’re actively gearing up for our 12th annual Colorado New Play Summit, two world premiere plays, the pre-Broadway debut of Frozen and a coveted stop on the Hamilton tour.

What an amazing time to join the DCPA as only the third President & CEO in its nearly 40-year history. It is, indeed, an honor and a privilege to have been asked to lead the nation’s largest non-profit theatre organization. Mayor Hancock called the DCPA the cultural gem of the City and I could not agree more.

But that recognition is not possible without your active interest and engagement. So thank you for being here today, for sharing your experience with your friends, and for helping us to attract top talent, launch world premieres and become one of the top theatre markets in the nation. In fact, the National Endowment for the Arts recently ranked Colorado third in the nation for per capita attendance at theatre, music and dance performances.

Your active participation is worthy of a standing ovation.

As CEO, I look forward to working alongside our artists, administrators, educators and patrons to do more together than we can separately. We want to broaden access, diversify our audience, engage with new people in new ways and, ultimately, be as vital to our community as the mountains are to Colorado.

Thank you for joining us here today — whether it’s for one of our holiday shows, a returning favorite or Broadway’s newest tour. We hope that you enjoy every moment of your experience and make it a tradition for years to come.

I look forward to meeting each and every one of you in the coming season.

JANICE SINDEN President & CEO Denver Center for the Performing Arts

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APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

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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

HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES Martin Semple, President Jim Steinberg, Vice President Judi Wolf, Sec’y/Treasurer Lester L. Ward, President Emeritus David Miller Robert C. Newman Daniel L. Ritchie William Dean Singleton Robert Slosky Dr. Reginald L. Washington

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PAINTING WOULD NEVER BE THE SAME

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Titian, Madonna and Child with Saints Catherine of Alexandria and Dominic, and a Donor, (detail) about 1513. Oil on canvas; 53 7/8 Ă— 72 1/2 in. Fondazione Magnani Rocca, Mamiano di Traversetolo (Parma). Courtesy of Fondazione Magnani Rocca, Mamiano di Traversetolo (Parma). Glory of Venice: Masterworks of the Renaissance is organized by the Denver Art Museum in collaboration with the North Carolina Museum of Art, Raleigh. It is presented with generous support from Samuel H. Kress Foundation, Robert Lehman Foundation, The Gladys Krieble Delmas Foundation, John Brooks Incorporated, the donors to the Annual Fund Leadership Campaign and the citizens who support the Scientific and Cultural Facilities District (SCFD). This exhibition is supported by an indemnity from the Federal Council on the Arts and Humanities. Promotional support is provided by 5280 Magazine, CBS4, Comcast Spotlight, and The Denver Post.

IN THE

UPCOMING SHOWS

SPOTLIGHT

An Act of God Now – Mar 12, 2017 Jersey Boys Now – Nov 13 The Hip Hop Nutcracker Nov 20

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

A Christmas Carol Nov 25 – Dec 24 The SantaLand Diaries Nov 25 – Dec 24 Hedwig and the Angry Inch Dec 6 – 11 Rudolph the Red-Nosed Reindeer: The Musical Dec 16 – 18 Finding Neverland Dec 20, 2016 – Jan 1 Fun Home Jan 10 – 22 The Book of Will Jan 13 – Feb 26

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The Christians Jan 27 – Feb 26 Two Degrees Feb 3 – Mar 12 Cult Following Feb 10 – 11 Apr 28 – 29 • May 12 – 13 Colorado New Play Summit Feb 18 – 19 & 24 – 26

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Photos: Emily Lozow, McKenzie Kielman, John Moore

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Motown The Musical Feb 15 – 19

1. DCPA welcomes Janice Sinden who joined the nearly 40-year-old organization as its third President & CEO on September 12. Sinden comes to the DCPA from her post as Denver Mayor Hancock’s Chief of Staff. 2. DEVELOPMENT’s inaugural Inside Actors’ Alley was a smashing success with donors and longtime subscribers. Guests enjoyed a scavenger hunt in a hidden hallway adjacent to The Buell Theatre, which features hand-painted show art signed by all touring casts.

3. BROADWAY welcomed the all-new engagement of The Phantom of the Opera back to the Buell where it made its Denver debut 25 years ago. Despite updates to the production, the “infamous chandelier” still made a grand appearance.

4. THE SPACE THEATRE is taking a break from its regularly scheduled programming to undergo a facelift. Funded by a generous $10 million grant from the Better Denver Bond Program, the Space will reopen next fall with increased restrooms, improved technical enhancements and its familiar in-the-round staging. 5. THEATRE COMPANY’s Set Design Team participated with more than 10,000 entrepreneurs in Denver StartUp Week — one of the nation’s largest such events. The team’s “Maker’s Wall,” a modular display that anchored registration at Basecamp, exhibited new innovations in products and design.

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APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

Circus 1903 — The Golden Age of Circus Feb 21 – 26 Rain — A Tribute to the Beatles Mar 2 & 3 An American In Paris Mar 8 – 19 Travis Wall's

Shaping Sound: After the Curtain Mar 18 & 19 Kinky Boots Mar 21 – 26 Disgraced Mar 31 – May 7 Hal Holbrook: Mark Twain Tonight!

Apr 1 MAMMA MIA! Apr 11 – 16 The Secret Garden Apr 21 – May 28 The Illusionists — Live from Broadway May 19 – 21 The Curious Incident of the Dog in the Night-Time May 30 – Jun 18 DragOn Jun 1 – 25, 2017 Frozen Begins August 2017

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FINDING YOUR NERVE IN

FINDING NEVERLAND

BY JOHN MOORE

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Acclaimed Director Diane Paulus was hooked on Finding Neverland by a line the nefarious Captain Hook says to the story’s author himself, J.M. Barrie: “You can go back to being what everyone expects you to be,” the iron-wristed pirate says. “Or you can find the courage to write your own story.”

That taunting dare resonated deeply within Paulus as a director, mother and artist. “Because that could mean literally, ‘write your own story,’” she said. “Or it could mean, ‘Write the story of your life.’”

Barrie stared that question down the snout of the crocodile 105 years ago when he found the courage to write the story of Peter Pan and, in doing so, essentially encrypt the spirit of the Lost Boy into the DNA of a century of children to follow.

“J.M. Barrie was a visionary,” said Finding Neverland co-composer Gary Barlow. “Even in 1904, his mind was 100 years ahead of his time.”

The story of Peter Pan, Paulus said, is a clarion call to anyone of any age to ask themselves: When do we wake up and live the life that we know we need to live — not the life we think we should be living?

And that is the story Finding Neverland ultimately tells.

The innovative Broadway musical is based on the 2004 Oscar-winning film of the same name. It follows Barrie as he summons the courage to become the writer — and the man — he yearns to be. Barrie finds the inspiration

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he’s been missing when he meets a widow and her four young sons who inspire him to conjure the magical world of Neverland.

It was surprisingly risky for Barrie to present his original play to high-society London theatergoers, a twist that provides much of the dramatic spine of the musical.

“At the time J.M. Barrie wrote the play in London, it was incredibly radical and actually quite dangerous,” said British book writer James Graham. “This was a postVictorian society that was very rigid. By putting children and the dog on the stage, J.M. Barrie flipped the power dynamics of the London theatre. It was quite shocking to the theatre establishment.”

Paulus also loved how Finding Neverland takes the audience backstage with Barrie and his theatre company.

“Finding Neverland is a complete love letter to theatre,” said Paulus, who was included in Time magazine’s annual list of the 100 most influential people in the world. Paulus also helmed the launch of the national touring production of Pippin in Denver in 2014.

“I love stories that take us backstage, that take us through all the trials and tribulations and the fear that go into making art,” Paulus said. “All sorts of people who have seen Finding Neverland have then said to themselves, ‘Oh my goodness — what am I doing with my life? I’ve got to wake up, do what I love and take a risk. That’s where the riches of life will lie.’”

APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

All sorts of people who have seen Finding Neverland have then said to themselves, “Oh my goodness — what am I doing with my life? I’ve got to wake up, do what I love and take a risk. That’s where the riches of life will lie.”

— DIANE PAULUS, DIRECTOR

And that’s exactly why they all worked so well together, Michaels added.

“Diane is not afraid of anything,” she said. “She likes to surround herself with really creative people and then this very powerful life force happens between them.”

Kennedy and Barlow couldn’t quite believe it when they were approached by Paulus and big-shot producer Harvey Weinstein about scoring Finding Neverland.

“We said to Diane, ‘Look, we’re not musical theatre writers — we’re pop-tarts,” Kennedy said with a laugh. But Paulus has worked with unconventional artists since she began writing her own theatrical story in the New York fringe scene two decades ago — and she had a gut instinct about the music she wanted for Finding Neverland. “I knew we had to explode the imagination of J.M. Barrie on that stage,” Paulus said. “And that really led me to understand how a pop score by Gary and Eliot could function in that story.”

Still, when the “pop-tarts” brought their initial song ideas to Paulus, “there was only one song we thought she’d really love, because it really sounded like a musical theatre song,” Kennedy said. “But she hated it. She told us, ‘Guys, don’t think about this too much. Just do what you do.’ And so that’s what we did.”

And that is why, Kennedy added, Paulus is a genius.

“I think that’s probably an overused word,” he said. “But she is. She is a genius, and not in the way that those dudes in an Apple shop are geniuses.

She is a visionary.”

For expanded interviews with Diane Paulus and other members of the Finding Neverland creative team, go to the DCPA NewsCenter at www.denvercenter.org/news-center.

FINDING NEVERLAND

DEC 20 – JAN 1 • BUELL THEATRE ASL, Audio-Described & Open Captioned performance: Dec 30, 2pm

Robert Petkoff as 'Bruce' and Kate Shindle as Alison' in Fun Home. Photo by Joan Marcus.

Laura Michelle Kelly (center). Finding Neverland original Broadway cast. Photo © Carol Rosegg.

To tell Barrie’s unconventional story on Broadway, Paulus gathered a decidedly unconventional (and trans-Atlantic) creative team. American Choreographer Mia Michaels is a three-time Emmy winner for her work on TV’s “So You Think You Can Dance.” Barlow is the architect of the enduring British pop band Take That, which has produced 28 top-40 singles since 1989. He recently was voted the greatest British songwriter of all time — a field that includes the likes of Paul McCartney, Elton John and Andrew Lloyd Webber. “Gary is furiously well-known and well-liked here in England,” said co-composer Eliot Kennedy, who has had No. 1 hits with the Spice Girls, Celine Dion, Bryan Adams, Aretha Franklin and more. Graham (Privacy) is known in Britain not for writing fanciful musicals but rather plays about urgent social and political issues such as how technology is eroding our privacy and sense of self. Putting them all together, Graham said, shows how Paulus has a “forensic knowledge for how to build a musical.”

COMING UP FROM BROADWAY:

FUN HOME

Robert Petkoff, who recently headlined the DCPA Theatre Company’s DeVotchKa-infused Sweeney Todd, will return to Denver in the national tour of Fun Home (Jan 10-22). Petkoff, also celebrated for his performances in Broadway’s Ragtime, All The Way and Anything Goes, will play the troubled patriarch, Bruce.

“I was aware of the possibility of doing Fun Home when I was finishing the run of Sweeney Todd at the Denver Center and was quite pleased with the prospect of returning to Denver,” Petkoff said. “I really love the city and have had such great theatrical experiences there at the DCPA.” Robert will be joined by Susan Moniz (Broadway’s Grease) as Helen and Kate Shindle (Broadway’s Legally Blonde, Cabaret and Miss America 1998) as Alison.

Based on Alison Bechdel’s best-selling graphic memoir, Fun Home introduces audiences to Alison at three different ages as she explores and unravels the many mysteries of her childhood that connect with her in surprising new ways. The show won raves from critics and audiences alike, winning five 2015 Tony Awards including Best Musical, and was a finalist for the Pulitzer Prize.

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THE RE-BIRTH OF A TIMELESS CLASSIC:

A CHRISTMAS CAROL

BY JOHN MOORE

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Illustration by Kyle Malone

Charles Dickens’ A Christmas Carol is the world’s most beloved story of seasonal spiritual reawakening. And now in its 24th staging at the Denver Center, the production itself is undergoing its own kind of renewal.

The beloved holiday tradition has a new director and star this year: Denver newcomer Melissa Rain Anderson and longtime company favorite Sam Gregory playing Scrooge.

“I think there is something addictive about the journey of A Christmas Carol every year,” said Anderson. “That sense of joy and wonder and getting re-birthed every year is pretty special.”

And if the Theatre Company’s most popular annual offering is not getting fully re-birthed, it is certainly getting a re-boot.

Audiences again will be treated to the familiar adaptation by Richard Hellesen with music by David de Berry, and many of the DCPA’s homegrown scenic, costume and technical elements will be unchanged.

“Absolutely we want to pay homage to what has come before, because obviously it’s been a huge success,” said Anderson, who thinks of this production as one she is adopting, not reinventing.

Still, the newness of this staging will be as evident as the man barking out the old man’s unhappy humbuggery.

Gregory, who has more than 40 Theatre Company credits to his name, will become only the eighth actor to play Scrooge since the Denver Center’s nearly annual tradition began in 1990. Gregory’s task is merely to replace a fellow actor he himself calls irreplaceable: Philip Pleasants.

“Taking over Scrooge from somebody like Phil is a monumental task that I would never wish on anyone because he was such a master at it,” Gregory said. “What I so very much appreciated in his performance was how

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APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

“ I think there is something addictive about the journey of A Christmas Carol every year. That sense of joy and wonder and getting re-birthed every year is pretty special.”

— MELISSA RAIN ANDERSON, DIRECTOR Anderson sees in Gregory the opportunity for this A Christmas Carol to make an even greater emotional impact on audiences, simply given the actuarial differences between Pleasants, who is 79, and Gregory, who is 53. Gregory initially worried he might actually be too young for the role until his research turned up that while Dickens never specifies the old man’s age, he plants clues that suggest Scrooge is only 54 years old.

“Sam is really the perfect age to be playing Scrooge because he has a significant amount of time left,” Anderson said. “His Scrooge lives through this beautiful redemption — and then how wonderful it will be for us to consider that this Scrooge still has 20 or more years left to give all his money away. And what a gift for Scrooge to gain his family back into his life and to open his arms to Bob Cratchit again while he still has so much time to do good? This Scrooge will change lives for many years after our story ends.”

Anderson and Gregory both have deep bloodlines with the Hellesen adaptation of A Christmas Carol. As an actor, Anderson has performed in it four times around the country. Gregory has previously played Bob Cratchit and six other roles. Anderson thinks it’s probably better for her that the actor playing Scrooge is changing at the same time she is becoming the first new director of this annual production in Denver since 2004.

“I think it’s great that we are shaking everything up at the same time rather than in bits and pieces,” she said.

For his part, Gregory isn’t aiming to simply give audiences a younger version of Pleasants’ Scrooge. How could he? “I can’t roll my R’s the way Phil can,” he joked.

“I think we want to focus more on the fact that this is really an incredible play about redemption and that is the reason it stands the test of time,” he said. “This play is about how anyone can be redeemed and can change and can become a better human being.”

But getting there won’t be easy. And shouldn’t be.

“The Scrooge we meet is hardened and calcified,” Gregory said. “He doesn’t turn on the heat because he has no heat inside of him. That’s why poor Bob is freezing. Scrooge isn’t cold because he has ice-water in his veins. I’d like to try it so that we see him thaw — and we see him come to life.”

A CHRISTMAS CAROL

NOV 25 – DEC 24 • STAGE THEATRE ASL Interpreted & Audio-Described Performance: Dec 11, 1:30pm

The company of A Christmas Carol. Photo by Adams Visual Communications

within 10 minutes you could hear little children in the audience giggling away at the stuff he was doing. Phil was able to present this mean old curmudgeon and yet, right away, the children could spot his good heart.”

Gregory said following Pleasants feels a little like Trevor Siemien following Peyton Manning. But Anderson and Producing Artistic Director Kent Thompson both say he’s up to the task.

“Sam is a masterfully comic actor who can also turn scary and scared at any moment,” Thompson said. “He has a gift for the language and dialects of England — whether it’s Dickens or Shakespeare. Besides that, Sam brings great heart to his acting, making him a beloved actor in the Denver theatre scene. I’m excited to see his Scrooge.”

COSTUME COLUMN Charles Dickens’ A Christmas Carol (playing The Stage Theatre Nov 25 – Dec 24) was first published on December 19, 1843. Now, 173 years and 24 DCPA Theatre Company productions later, audiences continue to fill the theatre, making it our most popular and most produced show.

The Theatre Company has produced A Christmas Carol since 1990 (with a few gap years). The current musical version has been a Denver staple since 2005.

This year marks Kevin Copenhaver’s 12th time designing costumes for the beloved holiday tradition.

A Christmas Carol features more than 100 Dickensian costumes — some old, some new but always a few finishing touches to make it sparkle anew each year.

This year Copenhaver gets to outfit a brand new Scrooge (Sam Gregory). “I’m really looking forward to collaborating with Sam to bring his version of Scrooge to life,” said Copenhaver.

Director Melissa Rain Anderson, who is making her DCPA directorial debut with A Christmas Carol, and Copenhaver also have been discussing a new take on two of the spirits Scrooge encounters.

Upon first meeting the Ghost of Christmas Past, Scrooge asks, “Good Heaven. Please madam, could you dim your glow?”

Past designs for the Ghost of Christmas Past have relied on Don Darnutzer’s lighting design for that illuminating moment. This year, Copenhaver is exploring what it would look like if the spirit’s costume had the ability to be a self-contained light source. You also may see The Ghost of Christmas Yet To Come rising a little higher above you. According to Copenhaver, the team is “looking into the possibility of that other-worldly spectre coming in on stilts this year.”

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HEDWIG:

TWO HALVES OF A WHOLE

BY JOHN MOORE

H “ There really wasn’t much space in the rock world for gay people…

But it turned out there were a lot of people who wanted it.”

Photo by Bruce Glikas

— STEPHEN TRASK, COMPOSER

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Hedwig and the Angry Inch is a 90-minute rock narrative that tells the transgender and transcontinental story of an East Berlin boy who dreams of finding his other half.

But while the biographical details of this extraordinary tale are shockingly unique — the desperate boy submits to a brutal (and botched) sex-change operation to marry a soldier who takes her to Kansas and abandons her there — this underdog and largely underground phenomenon has made a profound impact on a generation of audiences seeking their own varying kinds of wholeness. For Hedwig, it was the dream of connecting with her believed soulmate, a pimply boy named Tommy Gnosis who instead grows up to steal her music — and her fame.

“The most common positive effect I hear from people about our story is that it creates a space in their lives for them to find themselves,” said writer John Cameron Mitchell. “Everybody is fighting a battle. Everyone is a misfit and a loser.

Or has felt that way. Hedwig’s road is particularly hard, but she laughs at it. And that’s what makes her story a communal thing.”

Speaking of two sides of a whole, the fictional Hedwig is very much the two halves of her two creators — Mitchell and composer Stephen Trask.

“The person looking for their other half is John,” said Trask. “And the internationally ignored song stylist is me. We just mashed her together into one.”

Hedwig — both the character and the theatrical rock concert — were born after New York was gripped by AIDS, but not yet by terror. Trask was the bandleader at a new gay nightclub called Squeezebox, which fully embraced punk, newwave and glam-rock at a time when, he said, “There really wasn’t much space in the rock world for gay people, and there really wasn’t a space for rock music in the gay world. But it turned out there were a lot of people who wanted it.”

Squeezebox was a hit from the moment it opened its doors. Gone were the days of drag queens lip-syncing to Streisand. In their place was a full-throated Hedwig and her band.

Mitchell and Trask first began working on a show about a rock-star character loosely based on Mitchell — the now unseen Tommy Gnosis. “Frankly, and no offense to John,” Trask said, “but he really wasn’t that interesting.” So they focused instead on inventing a female character Mitchell could play. Hedwig was inspired by a babysitter Mitchell remembered having.

Trask said to Mitchell: “Why don’t we take her and make her into a failed singer who used to have a relationship with our rock-star character? Now he’s famous, and she’s singing in dives, is bitter about it and is telling us about it.”

Hedwig went from the club to the theatrical stage in 1998 with an off-Broadway run that led to a cult-favorite 2001 independent film. But another dozen years would pass before the theatrical gods aligned and Hedwig finally bowed on Broadway — sort of.

In the film, Hedwig performs in a bowling alley, among other places. Around the country, the musical is typically presented in seedy nightclubs. A classy Broadway theatre was no place for Hedwig’s act, so this would require an anachronistic wink. When Hedwig opened on Broadway, the gag was that the host Belasco Theatre had just housed a disastrous run of The Hurt Locker, the Musical, which closed after one performance. Hedwig and Company are now essentially squatting in the abandoned theatre as Tommy performs on a legit stage across the alley.

APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

— JOHN CAMERON MITCHELL, WRITER

Yes, after rave reviews and nearly a year on Broadway, Mitchell decided to step back into Hedwig’s heels and bring his personal journey full circle.

“It was just like the old days, but somehow better because there was less at stake,” said Mitchell, who said he took on the challenge as a way to shake him from the complacency he felt stuck in following the deaths of his longtime partner, Hedwig band member Jack Steeb, and father, Army Major General John H. Mitchell. The general was in charge of all U.S. military forces in West Germany in 1987 and stood behind Ronald Reagan when the president famously implored, “Mr. Gorbachev, tear down this wall!” Mitchell’s father, who retired to Colorado Springs and died in 2013, profoundly influenced his son’s writing of Hedwig.

From Broadway, Mitchell learned he was not too old to play Hedwig — nor will he ever be.

“This is a story that can be told at any time, and a role you can do at any age,” Mitchell said. “The character can age. I am sure I will do it one more time when I am in my 70s, sitting in a chair. But I’m just sure the keys will be very low.”

To read John Moore’s expanded interviews with John Cameron Mitchell and Stephen Trask, go to www.denvercenter.org/news-center

Photo by Nick Vogelson

“ The most common positive effect I hear from people about our story is that it creates a space in their lives for them to find themselves.”

The Hip Hop Nutcracker company. Photo by United Palace of Cultural Arts.

“The whole idea of a Broadway musical based on The Hurt Locker is just so wrong, and that’s why it’s so much fun,” Trask said. “There is no end to how much you can tell that joke.”

But the joke doesn’t work on the road, so the team has adopted a slight alteration for its first national tour: When Hedwig plays road houses such as Denver’s Buell Theatre, it’s a disastrous pre-Broadway run of The Hurt Locker that just tanked.

It took Hedwig so long to make it to Broadway, Mitchell believes, because Broadway wasn’t ready for Hedwig. “We didn’t change. The world changed,” said Mitchell. “The idea of rock ’n’ roll on the stage, the idea of drag, the idea of this unusual story — they all became less frightening. It was just time. And we wanted to make sure we had the right person to play Hedwig.”

And at age 51, the right person was no longer Mitchell, who instead happily handed the wig over to the man he calls “America’s sweetheart,” Neil Patrick Harris. He was followed by a steady stream of bankable stars including Michael C. Hall, Darren Criss, Taye Diggs, Andrew Rannells and, for three months, John Cameron Mitchell.

A HIP NEW LOOK AT A HOLIDAY CLASSIC What do you get when you infuse one part electric violin, one part on-stage DJ and one part pumped-up hip-hop dancers into Tchaikovsky’s beloved classic? The Hip Hop Nutcracker, a fresh, original take on the timeless tale of young Clara’s Christmas Eve dream of her Nutcracker Prince and his fierce battle with the Mouse King.

This raw, urban re-imagination is infused with humor, exhilarating breakdance and a graffiti-accented set, creating an all-new way to experience one of the most beloved Christmas traditions.

Reinvent your family holiday with this fresh, bold new twist that is sure to have you doing the Dougie, the Helicopter, a body pop and even the Nae Nae.

THE HIP HOP NUTCRACKER HEDWIG AND THE ANGRY INCH

NOV 20 • BUELL THEATRE

DEC 6 – 11 • BUELL THEATRE ASL, Audio-described & Open Captioned Performance: Dec 10, 2pm

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BROADWAY SEASON SPONSORS

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“ Only through art can we navigate the complex terrain between intellect and feeling.”

— MURRAY BMW OF DENVER

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Murray BMW of Denver is proud to once again sponsor Denver Center for the Performing Arts’ Broadway. We believe in the power of arts and performance. We’re excited to see what the 2016/17 season holds and what further opportunities this partnership will offer to the Denver community.

Murray BMW of Denver has been a solid community supporter since we opened our doors in 1975. This year is no exception, marking the second year in a row we have sponsored the Denver Center for the Performing Arts’ Broadway Season.

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APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

LOGO WITH SUBDIVISIONS

presents

Charles Dickens ADAPTED BY Richard Hellesen MUSIC BY David de Berry BY

With Daniel Berryman*, Latoya Cameron*, Kevin Curtis*, Allen Dorsey, Napoleon M. Douglas, Jack Eller, Michael Fitzpatrick*, Sam Gregory*, Kyra Lindsay, Brody Lineaweaver, Lars Lundberg, Chloe McLeod, Timothy McCracken*, M. Scott McLean*, Chris Mixon*, Grace Morgan*, Leslie O’Carroll*, Jim Poulos*, Wayne W. Pretlow*, Max Raabe, Augie Reichert, Helen Reichert, Jeffrey Roark*, Christine Rowan*, Shannan Steele*, Olivia Sullivent, Jackie Vanderbeck*, Brian Vaughn*, Owen Zitek

SET DESIGN BY Vicki Smith

COSTUME DESIGN BY Kevin Copenhaver

MUSIC DIRECTION & ORCHESTRATIONS BY Gregg Coffin

LIGHTING DESIGN BY Don Darnutzer

CHOREOGRAPHY BY Christine Rowan

DIRECTOR OF PRODUCTION Jeff Gifford

SOUND DESIGN BY Craig Breitenbach

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

STAGE MANAGER Christopher C. Ewing*

DIRECTED BY Melissa Rain Anderson

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

THE STAGE THEATRE | NOVEMBER 25–DECEMBER 24, 2016 PRESENTING SPONSOR

PRODUCING PARTNERS

L. Roger & Meredith Hutson, Singleton Family Foundation

SHOW SPONSOR

SEASON SPONSORS

A CHRISTMAS CAROL

Kent Thompson, Producing Artistic Director

A CHRISTMAS CAROL

CAST

(In Order of Appearance) Ebenezer Scrooge.....................................................................................................................................................SAM GREGORY*.

Bob Cratchit...............................................................................................................................................................BRIAN VAUGHN* Fred, Scrooge’s Nephew.............................................................................................................................................JIM POULOS*.

Subscription Gentlemen..................................................................WAYNE W. PRETLOW*, MICHAEL FITZPATRICK* A Beggar Child...........................................................................................................................................BRODY LINEAWEAVER Ghost of Jacob Marley........................................................................................................................................JEFFREY ROARK*.

Ghost of Christmas Past.............................................................................................................................. LATOYA CAMERON* Schoolmaster.................................................................................................................................................................. CHRIS MIXON*.

Schoolboys.......................................... BRODY LINEAWEAVER, LARS LUNDBERG, MAX RAABE, OWEN ZITEK Their Parents..... DANIEL BERRYMAN*, NAPOLEON M. DOUGLAS, KYRA LINDSAY, WAYNE W. PRETLOW*, CHRISTINE ROWAN*, SHANNAN STEELE*, JACKIE VANDERBECK* Ebenezer the Child........................................................................................................................................................... JACK ELLER. Fan, Scrooge’s Sister........................................................................................................................................ OLIVIA SULLIVENT Ebenezer the Young Man............................................................................................................................................JIM POULOS*.

Dick Wilkins....................................................................................................................................................................KEVIN CURTIS*.

Fezziwig....................................................................................................................................................... MICHAEL FITZPATRICK* Mrs. Fezziwig......................................................................................................................................................LESLIE O’CARROLL* Fezziwig Daughters.................................................... KYRA LINDSAY, CHRISTINE ROWAN*, SHANNAN STEELE*, Their Suitors........................................... DANIEL BERRYMAN*, NAPOLEON M. DOUGLAS, M. SCOTT MCLEAN* A Fiddler...................................................................................................................................................................BRIAN VAUGHAN*.

Belle............................................................................................................................................................................. GRACE MORGAN* Belle’s Husband............................................................................................................................................................. CHRIS MIXON* Older Belle..........................................................................................................................................................CHRISTINE ROWAN* Ghost of Christmas Present.................................................................................................................. WAYNE W. PRETLOW* Mrs. Cratchit....................................................................................................................................................... LATOYA CAMERON*.

Martha.............................................................................................................................................................................. KYRA LINDSAY Peter...................................................................................................................................................................................KEVIN CURTIS* Belinda........................................................................................................................................................................ HELEN REICHERT Edward...................................................................................................................................................................................OWEN ZITEK Tiny Tim....................................................................................................................................................................... AUGIE REICHERT Fred’s Wife............................................................................................................................................................... GRACE MORGAN* Topper.................................................................................................................................................................. DANIEL BERRYMAN*.

The Wife’s Sister...............................................................................................................................................CHRISTINE ROWAN* Fred’s Party Guests.............................................................................................. LESLIE O’CARROLL*, JEFFREY ROARK*.

Ghost of Christmas Yet To Come.................................................................................................NAPOLEON M. DOUGLAS Want.......................................................................................................................................................................... OLIVIA SULLIVENT Ignorance.......................................................................................................................................................BRODY LINEAWEAVER Old Joe............................................................................................................................................................................... CHRIS MIXON*.

The Undertaker’s Man...................................................................................................................................................JIM POULOS* The Laundress....................................................................................................................................................LESLIE O’CARROLL*.

The Charwoman......................................................................................................................................... JACKIE VANDERBECK*.

Merchants from the Exchange.......................DANIEL BERRYMAN*, JEFFREY ROARK*, M. SCOTT MCLEAN* Street Singer......................................................................................................................................................CHRISTINE ROWAN* Boy in the Street................................................................................................................................................................MAX RAABE

ENSEMBLE Londoners, Carolers, Fezziwig Party Guests and Phantoms DANIEL BERRYMAN*, LATOYA CAMERON*, KEVIN CURTIS*, NAPOLEON M. DOUGLAS, JACK ELLER, MICHAEL FITZPATRICK*, KYRA LINDSAY, BRODY LINEAWEAVER, LARS LUNDBERG, M. SCOTT MCLEAN*, CHRIS MIXON*, GRACE MORGAN*, LESLIE O’CARROLL*, JIM POULOS*, WAYNE W. PRETLOW*, MAX RAABE, AUGIE REICHERT, HELEN REICHERT, JEFFREY ROARK*, CHRISTINE ROWAN*, SHANNAN STEELE*, OLIVIA SULLIVENT, JACKIE VANDERBECK*, BRIAN VAUGHN*, OWEN ZITEK UNDERSTUDIES Understudies never substitute for the listed players unless a specific announcement for the appearance is made at the time of the performance.

DANIEL BERRYMAN* (Bob Cratchit), ALLEN DORSEY (Swing), BRODY LINEAWEAVER (Tiny Tim), CHLOE MCLEOD (Swing), TIMOTHY MCCRACKEN* (Ebenezer Scrooge), M. SCOTT MCLEAN* (Fred, Old Joe), CHRIS MIXON* (Ghost of Jacob Marley, Mr. Fezziwig), MAX RAABE (Ebenezer the Child), AUGIE REICHERT (Ignorance), HELEN REICHERT (Fan, Want), SHANNAN STEELE* (Ghost of Christmas Past, Mrs. Fezziwig, Older Belle, Mrs. Cratchit), JACKIE VANDERBECK* (Belle, Martha Cratchit, Fred’s Wife, Street Singer), NAPOLEON M. DOUGLAS (Peter Cratchit), OLIVIA SULLIVENT (Belinda Cratchit), JACK ELLER (Edward Cratchit).

Dance Captain...................................................................................................................................................CHRISTINE ROWAN* Production Stage Manager............................................................................................................CHRISTOPHER C. EWING* Assistant Stage Managers..........................................................................................CHRIS LUEBKE, D. LYNN REILAND* Stage Management Apprentices......................................................KAILEY BUTTRICK, LUCAS BAREIS-GOLUMB Children’s Supervisor.........................................................................................................................................LAUREN LACASSE *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

ACTING COMPANY DANIEL BERRYMAN (Topper/Ensemble).

At the Theatre Company: Sweeney Todd. Other Theatres: OffBroadway:The Fantasticks (Theatre Center). Regional credits include West Side Story (Finger Lakes MY Festival); Hello, Dolly! (MUNY); The Most Happy Fella (Goodspeed); Les Misérables, You’re A Good Man, Charlie Brown (Theatre Aspen); A Little Night Music (Indiana Repertory Theatre), and Rent (The 5th Ave Theatre). Training: BFA, Michigan. Thanks to Cast/Crew. Love to Grace. Jesus is Lord.

LATOYA CAMERON (Ghost of Christmas Past/Mrs. Cratchit/ Ensemble). At the Theatre Company: Debut. Other Theatres: Henry V, Much Ado About Nothing, Mary Poppins, Fiddler on the Roof (Utah Shakespeare Festival); Rocky Horror (Concert), Elf: The Musical, The Music Man, Rent (Pioneer Theatre Company); Stupid F-king Bird, R+J: Star Cross’d Death Match, Climbing with Tigers (Salt Lake Acting Company); Hedwig and the Angry Inch, A/Version of Events (Plan-B Theatre Company); The Color Purple (Wasatch Theater).

KEVIN CURTIS (Peter Cratchit/Dick Wilkins/Ensemble).

At the Theatre Company: Sweeney Todd. National Tour: A Chorus Line. Off Broadway: Invisible Thread (Second Stage); Daniella Uses Dirty Words (Abingdon Theatre Company).

Regional: Hairspray (Arvada Center); Witness Uganda (ART); A Chorus Line (TUTS Houston); A Chorus Line, Hairspray, The Student Prince (Pittsburgh CLO); Hairspray, High

School Musical (North Shore Music Theatre). TV/Film: “Take Care,” “Newlyweeds,” “Live from Lincoln Center: Tribute to Marvin Hamlisch.”

Training: AMDA NY and The Baltimore School for the Arts.

ALLEN DORSEY (Swing). At the Theatre Company: A Christmas Carol, The Lord of the Flies.

Other credits include: Into The Woods (Jack), Spamalot (Historian/Not Dead Fred), White Christmas (Mike Nulty), The Little Mermaid (Scuttle).

NAPOLEON M. DOUGLAS (Ghost of Christmas Yet To Come/Ensemble).

At the Theatre Company: A Christmas Carol.

At DCPA Education: Romeo and Juliet (Shakespeare in the Parking Lot).

Regional: Sister Act at the Arvada Center (T.J.); Oklahoma (Jud Fry/ Dream Jud); Memphis, Sweeney Todd (Beadle Bamford); White Christmas (Mike), Miss Saigon (u/s John); Hairspray! (Seaweed Stubbs).

Training: MBA, SNHU. BA Theatre, Drake University.

JACK ELLER (Ebenezer the Child/ Ensemble). At the Theatre Company: Debut. Other Theatres: Jack has performed in school theatre productions.

Prince Dauntless (Once Upon a Mattress), March Hare (Alice in Wonderland), Jim Hawkins (Treasure Island). Jack is in the 8th grade at Woodrow Wilson Academy and enjoys skiing, video production and learning to play the Ukelele.

MICHAEL FITZPATRICK (Fezziwig/ Ensemble). At the Theatre Company: A Christmas Carol, Animal Crackers.

Other Theatres: 42nd Street (national tour); Beauty and the Beast (Atlanta TOTS); Gross Indecency (OffBroadway and Theatre in the Square in S.F.); Richard III, Romeo & Juliet, Twelfth Night (Great River Shakespeare); Comedy of Errors (Repertory Theatre of St. Louis); A Christmas Carol (Geva); Two Gentlemen of Verona, The Tempest, Forever Plaid, The Compleat Wks of Wm Shkspr (Utah Shakespeare Festival); Rosencrantz and Guildenstern are Dead (Willamette Rep); Tommy, The Lion in Winter, Henry II (PCPA). TV/Film: “Nash Bridges,” “Six Degrees,” Pearl, Violin Case, Remission. Training: Pacific Conservatory of the Performing Arts, American Conservatory Theatre Masters Program.

SAM GREGORY (Ebenezer Scrooge).

At the Theatre Company: Over 45 productions. New York: The Actor’s Company Theatre and the Directors Company. Regional: Seattle Rep, Milwaukee Rep, San Jose Rep, Cleveland Play House, Cincinnati Playhouse, American Players Theatre, Eureka Theatre Company, George Street Playhouse, Eugene O’Neill Theatre Center, Chautauqua Theatre Company, TheatreWorks, Two River Theatre Company, Northern Stage Company and multiple seasons for the Colorado, California, and Alabama Shakespeare Festivals. Locally: Ensemble member of the Arvada Center Black Box Theatre Company, Curious Theatre, Boulder Ensemble Theatre Company and Paragon. TV/ Film: “NY Undercover,” “One Life To Live.”

A CHRISTMAS CAROL

WHO’S WHO

A CHRISTMAS CAROL

KYRA LINDSAY (Martha Cratchit/ Ensemble). At the Theatre Company: Death of a Salesman, A Christmas Carol, Shadowlands. Other Theatres: She Kills Monsters (Aurora Fox); The Drowsy Chaperone, Harry the Great (Creede Repertory Theatre); Charlotte’s Web, Junie B. Jones (Arvada Center); White Christmas (Starkey Theatrix); Annie Warbucks (Candlelight Dinner Playhouse); Nunsense, Baby (Southern Colorado Repertory Theatre); The Unsinkable Molly Brown (Town Hall Arts Center); Taming of the Shrew, Love, Sex and the I.R.S., Little Shop of Horrors (Shuler Theatre); The Tempest, The Merry Wives of Windsor (Colorado Shakespeare Festival).

BRODY LINEAWEAVER (Beggar Child/ Ignorance/ Ensemble). At the Theatre Company: A Christmas Carol.

Other Theatres: Breckenridge Backstage Theatre: The Jungle Book (Mowgli), Seussical Jr. (JoJo), A Christmas Story (Randy), Shrek the Musical, Beauty and the Beast. Rocky Mountain Repertory: The Addam’s Family (Pugsley), Les Misérables (Gavroche). I Am Alive Denver and LA (Young Kourken). Breck’s Got Talent 2015-1st Place.

LARS LUNDBERG (Ensemble). At the Theatre Company: As You Like It. Other Theatres: Together The Musical (Lakewood Cultural Events Center); The Man Who Came to Dinner (Townhall Arts Center), A Christmas Carol (Envision Theater Company); Shrek The Musical, The Sound of Music (Englewood Drama).

Vocal Training: Roberta HamiltonGriggs. Lars is a seventh grader at STEM Academy in Highlands Ranch who loves to scuba dive, snowboard, and travel.

CHLOE MCLEOD (Swing). At the Theatre Company: Debut. Other Theatres: Romeo and Juliet (Shakespeare in the Parking Lot, DCPA Education); Wait Until Dark (Avenue Theater); Biloxi Blues (Miners Alley Playhouse); Little Women (Aurora Fox); Steel Magnolias, Enchanted April (Spotlight Theatre); Madeline and the Bad Hat (Artspower National Touring Theatre). Training: American Musical and Dramatic Academy.

TIMOTHY MCCRACKEN (Understudy, Ebenezer Scrooge).

At the Theatre Company: A Christmas Carol, Jackie and Me, The Giver and others.

New York: The Dining Room (Keen Company), Troilus and Cressida (NY Shakespeare Fest), The Sea and The Triangle Factory Fire Project (TACT) and many others. Regional: Repertory Theatre of St. Louis, Alabama Shakespeare Festival, GeVa Theatre, and Capital Rep and many others. In Colorado: CSF, Arvada Theatre Center, Curious Theatre, BETC, Local Theatre, Stories on Stage. TV/Film: “Small, Beautifully Moving Parts,” “Fishing Naked,” “Law and Order,” “Delocated.” Awards/Training: Drama Desk Award, MFA: National Theatre Conservatory.

M. SCOTT MCLEAN (Suitor/Ensemble).

At the Theatre Company: As You Like It, Death of a Salesman, A Christmas Carol, Dracula, When Tang Met Laika, A Prayer for Owen Meany, and Grace, or The Art of Climbing. Other Theatres: Sense and Sensibility (TheaterWorks), The Unexpected Guest (Arts Center of Coastal Carolina), The Rover (New York Classical Theatre). Training: Graduate of the American Academy of Dramatic Arts and the National Theatre Conservatory.

CHRIS MIXON (Old Joe/Belle’s Husband/ Schoolmaster/ Ensemble) At the Theatre Company: Absurd Person Singular, Irving Berlin’s White Christmas, A Christmas Carol.

National Tours: How To Succeed in Business Without Really Trying.

Other Theatres: The Cincinnati Playhouse, Philadelphia Theater Company, George Street Theatre ,Repertory Theatre of St. Louis, Utah, Alabama, Nebraska, Hudson Valley, and Great River Shakespeare Festivals. Resident company member with the Pearl Theatre Company in New York City.

GRACE MORGAN (Belle/Fred’s Wife/ Ensemble). At the Theatre Company: Debut. Broadway National Tour: u/s Christine Daae in The Phantom of the Opera. Other Theatres: Anne in A Little Night Music (Indiana Repertory Theater), Sandy in Grease (Forestburgh Playhouse). She also can be heard on many of MTI’s Broadway Jr. Recordings. Training: BFA, University of Michigan. Thanks to Melissa Rain Anderson, Greg Coffin, Christine Rowan, DCPA, and Daniel. To God be the Glory!

LESLIE O’CARROLL (Mrs. Fezziwig/ Laundress/ Ensemble). At the Theatre Company: 20 seasons, including Benediction, When We Are Married, Reckless, Eventide, Plainsong, The Diary of Anne Frank, All My Sons.

Other Theatres: The Odd Couple (Senior Housing Options); Good People (Curious Theatre); Tartuffe, Mrs. Mannerly, Blithe Spirit, The Crucible (Arvada Center); Noises Off, Twelfth Night, Romeo and Juliet (Colorado Shakespeare Festival); Grapes of Wrath, Our Town (Theatreworks). Regionally: Northern Stage, Arizona Theatre Company, San Diego Rep, Missouri Rep. TV/

JIM POULOS (Fred/ Young Scrooge/ Undertaker’s Man/ Ensemble). At the Theatre Company: Debut. Broadway: Mark Cohen in Rent, Huck Finn in The Adventures of Tom Sawyer. National Tours: Seymour in Little Shop of Horrors, The Graduate, South Pacific. Off-Broadway/London: Playwright’s Horizons, Prospect Theater, The York, Menier Chocolate Factory (London). Regional: Arvada Center, Geva Theatre Center, Cleveland Play House, Repertory Theatre of St. Louis, Philadelphia Theatre Company, Utah Shakespeare Festival, Alabama Shakespeare Festival, Great River Shakespeare Festival. Awards: DayTony Award (Best Actor Musical), Barrymore Award Nomination, Kevin Kline Award Nomination. Training: Pacific Conservatory for the Performing Arts.

WAYNE W. PRETLOW (Ghost of Christmas Present/Ensemble).

At the Theatre Company: Debut.

Other Theatres: City Center Encores (1776, Cabin in the Sky, The Most Happy Fella, St. Louis Women, Golden Boy, House of Flowers), Center Stage Baltimore (Sweeney Todd, The Wiz), Arena Stage/North Shore Music Theater (Guys & Dolls). Film/TV: “House of Cards,” “Luke Cage,” “Unbreakable Kimmy Schmidt,” “Nurse Jackie,” “Person of Interest,” “The Good Wife,” “The Sopranos,” “Law & Order,” “Law & Order SVU,” Next Stop Wonderland, Like Sunday Like Rain, In Retrospect. Award/ Nominations: 2013 Boston IRNE award; 2000 Helen Hayes.

MAX RAABE (Ensemble). At the Theatre Company: A Christmas Carol (4th season), Shadowlands (Douglas understudy).

Other Theatres: Michael Banks in Mary Poppins (BDT Stage), Tiny Tim in A Christmas Carol (Colorado Shakespeare Festival), Oliver in Oliver! (Rocky Mountain Conservatory Theatre), Charlie Bucket in Willy Wonka Jr. (Wolf Theatre Academy). Theater, voice and piano training: DCPA Education.

Max is in the 6th grade at the Denver School of the Arts; he enjoys lacrosse, baseball and the beach.

AUGIE REICHERT (Tiny Tim/ Ensemble). At the Theatre Company: A Christmas Carol (three seasons).

Other Theatres: Youth theatre productions of Robin Hood and Seussical. Training: DCPA Education, Breckenridge Backstage Theatre (improv) and piano (Mallory Bernstein). Augie is a third grader at University Park Elementary who enjoys lacrosse, soccer and skiing.

HELEN REICHERT (Belinda Cratchit/ Ensemble). At the Theatre Company: A Christmas Carol.

Other Theatres: Youth theatre productions of Les Misérables, Peter Pan, Aladdin, The Aristocats and Snow White. Training: DCPA Education, Rocky Mountain Conservatory Theatre, Rocky Mountain Theatre for Kids, acting (Jessica Austgen), piano (Mallory Bernstein), vocal (Camille Jasensky).

Helen is in the fifth grade at University Park Elementary and loves gymnastics, skiing and playing the trumpet.

JEFFREY ROARK (Jacob Marley/ Ensemble). At the Theatre Company: Sweeney Todd, All the Way, To Kill A Mockingbird, A Christmas Carol, Trip to Bountiful, King Lear, White Christmas, Gross Indecency, Hamlet, The Tempest, Dracula. Other Theatres: The Crucible, Evita, Harvey, Man of No Importance (Arvada Center); An Ideal Husband (Papermill); My Fair Lady, HMS Pinafore (Berkshire); Sorrows of Stephen (Blue Heron); Drood, Life is a Dream (Creede); My Way, The Doyle and Debbie Show (DCPA Cabaret); The Last Five Years (Modern Muse). TV/Film: “Rainman,” “Little Man Tate.” Training: BFA, Miami University; MFA, National Theatre Conservatory.

CHRISTINE ROWAN (Street Singer/Older Belle/Ensemble).

At the Theatre Company: Sweeney Todd, Animal Crackers, Quilters, Christmas Carol, Irving Berlin’s White Christmas, You Can’t Take It With You; A Funny Thing Happened… Forum.

Other Theatres: Reluctant Pilgrim–the Lesser Known Songs of Stephen Schwartz (New York Musical Theater Festival), FLOPZ (Joe’s Pub), Embrace! (Westside Theatre), Interborough Repertory Theatre, The Duplex, Don’t Tell Mama, Sacramento Music Circus, Alabama Shakespeare Festival, Barter Theatre, Sierra Rep, Seaside Music Theatre, Theatre by the Sea, Ryman Auditorium, toured nationally. Training: New York University. Awards: 2014 Henry Award Recipient for Best Supporting Actress in a Musical for Animal Crackers.

SHANNAN STEELE (Ensemble). At the Theatre Company: Sweeney Todd, A Christmas Carol (Fred’s Wife), Animal Crackers (Understudy). At DCPA Cabaret: I Love You, You’re Perfect, Now

A CHRISTMAS CAROL

Film: “Breaking Bad”, “Longmire”, “Footloose”. Awards/Training: Best of Westword, Denver Post Ovation Award; MFA, NTC.

A CHRISTMAS CAROL

Change (Colorado Theater Guild Henry Award nomination), The Last Five Years, My Way. Other Theatres: Over 20 productions with the Arvada Center including Kala in Tarzan (True West Award), Ginger Brooks in The 1940s Radio Hour (CTG Henry Award nomination), Pam in Baby the Musical (True West Award nomination) at Cherry Creek Theater, Church (Theaterworks), Reunion 85 (Lone Tree Arts Center), Roxie Hart in Chicago (Breckenridge Backstage Theatre), and most recently: Sara in Murder Ballad (The Edge Theatre Company). Film: Ink. OLIVIA SULLIVENT (Fan/Ensemble).

At the Theatre Company: A Christmas Carol (three seasons).

Other Theatres: The Producers, Oliver!

(DSA Mainstage); Annie (Colorado Children’s Theatre); Oliver! (The Avenue Theatre); Shrek the Musical (CCA Theatre); The Hobbit, Once Upon a Mattress (Su Teatro Theatre); Narnia (King PAC); The Little Mermaid (Colorado Heights Theatre); The Jungle Book (DU Byron Theatre). TV/Film: Penguin Flu, Time Heals, The Flamingo Lounge, The Perfect Lemonade, Princess. Training/ Awards: DPS Shakespeare Festival Spirit Award. Olivia is a Theatre Major at Denver School of the Arts and also studies voice and dance.

JACKIE VANDERBECK (Charwoman/ Ensemble). At the Theatre Company: A Christmas Carol.

Other Theatres: Oklahoma!, The Music Man (PCPA Theaterfest!), The Belle of Amherst, It’s A Wonderful Life, Dial ‘M’ For Murder, Cyrano de Bergerac, A Christmas Carol (Sacramento Theatre Co); Passion (New Helvetia Theatre); You’re a Good Man Charlie Brown, Hello Dolly, A Chorus Line (Hot Summer Nights); Guys & Dolls (Shawnee Playhouse); Beauty and the Beast in Concert, The Music of Alan Menken (The Tokyo Philharmonic). Training: BFA, The University of Cincinnati – College Conservatory of Music. Founder and

Producing Artistic Director of Sing For Your Seniors.

BRIAN VAUGHN (Bob Cratchit/ Ensemble) At the Theatre Company: Debut. Regional: Artistic Director at The Utah Shakespeare Festival. Over 50 productions including title roles in Hamlet, Henry V, Cyrano de Bergerac, Into the Woods (The Baker), Les Misérables (Javert), The Music Man (Harold Hill), and many others. 13 seasons as a resident company member at The Milwaukee Repertory Theatre, Arizona Theatre Company, Chicago Shakespeare Theatre, Orlando Shakespeare Theatre, Nevada Conservatory Theatre, Northlight Theatre, PCPA Theatrefest, Skylight Music Theatre. Directing Credits include: Henry IV pt. 1 & 2, Henry V, Othello, The Merry Wives of Windsor, Dial M for Murder, and the regional premiere of Peter and the Starcatcher.

OWEN ZITEK (Edward Cratchit/ Ensemble). At the Theatre Company: A Christmas Carol.

Other Theatres: The Hobbit at Aurora Fox Theatre, Alice in Wonderland at Classic Acts, Neverland with the Colorado School of Acting, school plays. Training: DCPA Education and Colorado School of Acting. Owen is a fifth grader at the Cherry Creek Challenge School who enjoys swimming, reading, running and climbing 14ers (10 so far).

PLAYWRIGHT RICHARD HELLESEN (Playwright/ Adaptor). Richard Hellesen is pleased to be returning to the DCPA Theatre Company, where his play Kingdom premiered in 1999. His other plays include Moonshadow, Once in Arden, the book for David de Berry’s musical A Cappella, and two recent works for Ford’s Theatre in Washington, One Destiny and The Road From Appomattox. Among his two dozen shorter plays are five finalists in Actors Theatre of Louisville’s Ten-

Minute Play Contest; his one-act Dos Corazones appears in the collection of Best Ten-Minute Plays for Two Actors

by Smith & Kraus. His work for young audiences includes adaptations of The Emperor’s New Clothes and the novel Johnny Tremain, both for B Street Theatre in Sacramento, and (with composer Michael Silversher) musical versions of The Wind in the Willows and Lois Lowry’s young adult novel Gathering Blue, as well as 11 school tour productions, for South Coast Repertory in Southern California.

Nationally, his work has been seen at such theatres as the Alabama Shakespeare Festival, Geva Theatre, Dallas Theater Center, Sundance Children’s Theatre, City Theatre in Miami, Sacramento Theatre Company, and HERE in New York City, as well as The Shakespeare Company in Calgary, Canada. A member of the Dramatists Guild, Richard has received awards from the National Theatre Conference and PEN USA-West.

DIRECTOR MELISSA RAIN ANDERSON (Director). At the Theatre Company: Debut. Other Theatres: Off Broadway: The Secret Theatre (John and Jen). Regional: Utah Shakespeare Festival (The Cocoanuts); Geva Theater (Spamalot, Spelling Bee, A Funny Thing Happened...Forum); Arkansas Repertory Theatre (The Little Mermaid, Spamalot); Great River Shakespeare Festival (The Complete Works of William Shakespeare (abridged) and The Fantasticks); PCPA Theatrefest (Always, Patsy Cline), Stages Repertory Theater (Next to Normal, Five Course Love and The Marvelous Wonderettes series including the world premiere of Wonderettes: Dream On!).

ARTISTIC STAFF CRAIG BREITENBACH (Sound Designer). At the Theatre Company: The Unsinkable Molly Brown, Just Like Us, Sense & Sensibility The Musical, Irving Berlin’s White Christmas, Ring of Fire: The Music of Johnny Cash, A Christmas Carol, To Kill a Mockingbird, A Midsummer Night’s Dream, Mama Hated Diesels, Eventide, A Raisin in the Sun, Quilters, A Prayer for Owen Meany, Noises Off, Third, A Funny Thing…Forum, King

GREGG COFFIN (Music Director and Orchestrator). At the Theatre Company: Composer – Heartbreak House, The Taming of the Shrew, The Liar, A Midsummer Night’s Dream, Mariela in the Desert, Othello, A Prayer for Owen Meany, The Merry Wives of Windsor, Pride and Prejudice, King Lear, Measure for Measure. Musical Director/ Orchestrator – Sweeney Todd, Irving Berlin’s White Christmas, A Funny Thing…Forum, A Christmas Carol.

Other Theatres: Stratford Festival of Canada, CanStage, Tarragon Theatre, National Arts Centre (Canada); Arena Stage, Alley Theatre, Geva Theatre Center, Indiana Rep, PCPA TheatreFest, Shakespeare Santa Cruz and the Utah, California, Alabama, Great River and Georgia Shakespeare Festivals.

KEVIN COPENHAVER (Costume Designer). At the Theatre Company: (25 seasons) Frankenstein, Sweeney Todd, Just Like Us, Ring of Fire: The Music of Johnny Cash, The Whale, Dracula, Mama Hated Diesels, A Christmas Carol, Noises Off, A Funny Thing…Forum, Living Out, Crowns, Fire on the Mountain, Boston Marriage, Oedipus Rex, Dirty Story, Blithe Spirit, Lobby Hero, Blue/ Orange, Almost Heaven, Scapin, The Miser, Jesus Hates Me, Bernice/ Butterfly, Pierre, Inna Beginning, Elevation of Thieves, Servant of Two Masters, Tantalus. Other Theatres: Smokey Joe’s Café; Hedwig and the Angry Inch, Dream a Little Dream; Love, Janis; regional premiere Peter and the Starcatcher (USF). Training: BA in Theatre Design, University of Cincinnati College Conservatory of Music, Centro Maschere e Strutture Gestuali, Padua, Italy.

DON DARNUTZER (Lighting Designer). At the Theatre Company: When We Are Married, Heartbreak House, Mariela in the Desert, Fences,

Mama Hated Diesels, Eventide, Quilters, Richard III, The Trip to Bountiful, Plainsong, Dracula, You Can’t Take It With You, A Funny Thing…Forum, A Christmas Carol and 40 others. Other Theatres: Broadway: It Ain’t Nothin’ But The Blues. Off-Broadway: Hank Williams: Lost Highway, The Immigrant, Almost Heaven: John Denver’s America. Lighting designs for: Portland Opera, Guthrie Theatre, Arizona Theatre Company, Seattle Repertory Theatre, American Conservatory Theatre, Oregon Shakespeare Festival, Actors Theatre of Louisville, The Alley Theater, Cleveland Play House, Kennedy Center for the Performing Arts.

DAVID DE BERRY (Composer/ Lyricist). At the Theatre Company: A Christmas Carol. Other Theatres: Composer/lyricist – A Cappella, Sisters: A Legend, original scores for Twelfth Night, The Good Person of Setzuan, All My Sons, The Tempest, The Taming of the Shrew, ’Night Mother, The Time of Your Life (Sacramento Theatre Company).

Composer: The Merry Wives of Windsor, The Comedy of Errors, The Glass Menagerie, King Lear, Betrayal, Our Country’s Good, The Recruiting Officer, Terra Nova, The Miser (Oregon Shakespeare Festival); Romeo and Juliet (San Francisco Shakespeare Festival); M. Butterfly (Arizona Theatre Company). Actor: Oregon Shakespeare Festival, Arizona Theatre Company, PCPA, Pennsylvania State Theatre, Charles Playhouse, Sacramento Theatre Company.

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

1989 to 1992. Ph.D. in Theatre Arts, University of Pittsburgh; Advanced Diploma in Voice Studies, Central School of Speech and Drama, London, England.

CHRISTINE ROWAN (Choreographer). See bio under Acting Company.

VICKI SMITH (Set Designer). At the Theatre Company: When We Are Married, Fences, Heartbreak House, Adventures of Tom Sawyer, Dracula, Mariela in the Desert, Mama Hated Diesels, Eventide, Plainsong, Christmas Carol, 29 others. Other Theatres: Children’s Theatre Company, Arizona Theatre Company, Indiana Repertory Theatre, Cincinnati Playhouse, Penumbra Theatre Company, Kansas City Repertory Theatre, Cleveland Play House, Seattle Repertory Theatre, Actors Theatre Louisville, Repertory Theatre St. Louis, Geva Theatre Center, Milwaukee Repertory Theatre, Oregon Shakespeare Festival, and others. Awards: Bay Area Critics Awards – Kite Runner, Execution of Justice; Dramalogue Award – Cyrano; Colorado Theatre Guild Award – Mariela in the Desert; Ovation Awards – Pierre, I’m Not Rappaport; Prague Exposition 2007.

STAGE MANAGEMENT CHRISTOPHER C. EWING (Production Stage Manager). At the Theatre Company: (32 seasons) The Glass Menagerie, Animal Crackers, Death of a Salesman, Sense & Sensibility The Musical, When We Are Married, Fences, Ring of Fire: The Music of Johnny Cash, A Christmas Carol, To Kill a Mockingbird, Dracula, Mama Hated Diesels, Eventide, A Raisin in the Sun, Quilters, A Prayer for Owen Meany, Noises Off, Plainsong, Mrs. Warren’s Profession, A Funny Thing…Forum, The Clean House, Gem of the Ocean, A Flea in Her Ear, Crowns, Fire on the Mountain, John Brown’s Body, The Skin of Our Teeth, Almost Heaven and 2 Pianos, 4 Hands.

Other Theatres: Colorado Ballet, DCPA Broadway, Bonfils Theatre.

Training: BFA Theatre Design/ Technology, Loretto Heights College.

CHRIS LUEBKE (Assistant Stage Manager). At the Theatre Company: A Christmas Carol. Other Theatres: 8

A CHRISTMAS CAROL

Lear, Amadeus, Crowns, The Clean House, Measure for Measure, A Flea in Her Ear, Fire on the Mountain, The Misanthrope, The Three Sisters, Love’s Labor’s Lost, The Skin of Our Teeth, Betrayal, Spinning Into Butter, Dinner With Friends, Gross Indecency: The Three Trials of Oscar Wilde, The Laramie Project, The Little Foxes.

Awards: 2008 Henry Award for Plainsong.

A CHRISTMAS CAROL

years with Cirque du Soleil on tour and in Las Vegas (Zumanity, KOOZA, “O”, KA), Walt Disney Company, Colorado Shakespeare Festival, New York Stage & Film, Full Circle, and Circus Couture. Training: University of Denver.

D. LYNN REILAND (Assistant Stage Manager). At the Theatre Company: (14 seasons) The Nest, Tribes, Appoggiatura, Vanya and Sonya and Masha and Spike, The Legend of Georgia McBride, The Most Deserving. At Off-Center: Sweet & Lucky, Perception. Other theatres: Curious Theatre Company, Phamaly Theatre Company, and Seven Devils Playwrights Conference.

EXECUTIVE STAFF KENT THOMPSON (Producing Artistic Director) is in his 12th season leading the Theatre Company. In Denver he directed productions of Sweeney Todd, Hamlet, Just Like Us, Other Desert Cities, Irving Berlin’s White Christmas, The Taming of the Shrew, A Midsummer Night’s Dream, Plainsong, Eventide, Benediction, Amadeus, The Liar and Measure for Measure, among others.

Three of Kent’s major accomplishments since coming to Denver have been the creation of Off-Center (innovative theatrical experiences aimed at millennial audiences), the Colorado New Play Summit (a premier national festival for new American plays), and the Women’s Voices Fund (an endowment that supports the commissioning and development of new plays by women).

Prior to moving to Denver he was Producing Artistic Director of the Alabama Shakespeare Festival for 16 seasons. Kent created the Southern Writers’ Project which commissioned and produced 16 world premieres during his tenure.

He served eight years on the Board of Directors for Theatre Communications Group (TCG) and as president for three years. He has served on peer review panels for the NEA (also chair), TCG, The Pew Charitable Trusts, The Fulbright Scholars Program, The Wallace Funds, The Doris Duke Foundation and The Andrew W. Mellon Foundation, among others.

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

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

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

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. Member of the Colorado Theatre Guild

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.

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 Arts & Venues Denver; the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals.

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

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

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

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“ With more than 75 years of service to the Mile High City, we also are proud of our long-standing commitment to the Denver community that thousands of employees and customers call home.”

— SUZI CABO, DIRECTOR OF CORPORATE AND COMMUNITY AFFAIRS

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United is pleased to serve as the official airline of the Denver Center for the Performing Arts (DCPA) and proudly supports its remarkable contributions to the performing arts community in Denver and beyond.

Together with the DCPA, United celebrates the energy that artists and dancers bring to Denver and the global stage.

But United does more than connect passengers through safe and convenient air travel, it forges strong relationships with the people and communities it serves.

United employees also have donated thousands of hours of service to various local partner initiatives, such as Food Bank of the Rockies.

Employees have conducted school supply drives, food drives, fundraisers for the March of Dimes and breast cancer organizations, and spent a day working with Habitat for Humanity. United’s Volunteer Impact Grants program offers employees the opportunity to apply for cash grants for area nonprofits where they volunteer frequently and has provided thousands of dollars to local organizations since the program began.

United employees especially love bringing smiles to hundreds of local children undergoing medical treatments through the annual holiday “Fantasy Flights” trip to the North Pole and teddy bear deliveries to hospitalized children. Ben Flyin, the United Adventure Bear, brings his own passport full of travel fun and games to share with everyone he meets.

For the past five years United has sponsored special matinee performances at DCPA for hundreds of local students. United enjoys the privilege of sharing the thrill of a live theatrical performance accompanied by an educational talkback with these students to expand their view of themselves and the world.

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

In addition to the DCPA, United is honored to support several other Colorado organizations including the Colorado Symphony, Denver Botanic Gardens, Denver Public Schools Foundation, Latin American Education Foundation, and Wings Over the Rockies Air & Space Museum.

APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

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FINDING THE COLORADO IN

JERSEY BOYS

BY JOHN MOORE

T

There always has been plenty of Jersey in Colorado. The towering 14,110-foot Pikes Peak, for example, is named after a New Jerseyan named Zebulon Pike. Had to be a Jersey Boy who got to the summit first, said local public relations maven and Garden State transplant Wendy Aiello. “Who else is going to be that pushy?”

Other well-known Denverites from Jersey include Nuggets strongman Kenneth Faried, top chef Frank Bonnano, CBS4 General Manager Walt DeHaven and anchor Kathy Walsh. But when the show for all seasons that is about the Four Seasons returns to Denver for a fourth time, there will be plenty of Colorado in Jersey Boys, too.

Jersey Boys tells the story of the band that combined doo-wop with astounding harmonies to make enduring No. 1 hits like “Oh What a Night,” “Sherry” and “Walk Like a Man.” The current national touring cast visiting Denver includes Arapahoe High School graduate Matthew Dailey, who plays Tommy DeVito, and Pomona High School graduate Andrew Russell, who plays short-lived band member Hank Majewski while also covering for musical mastermind Bob Gaudio. Both actors saw their very first professional theatrical performances at The Buell Theatre when they were kids. For Dailey: Beauty and the Beast in 1997. For Russell: Rent, starring Anthony Rapp, in 2001.

“The Buell is where I would go and see all of these people living out the dream that I hoped to achieve one day,” said Dailey. For Russell, “The Buell was my Broadway,” he said.

“That was my ticket to becoming what I wanted to be in my life.”

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They both call performing at The Buell for the first time now a dream come true.

“It’s really going to be meaningful to hopefully bring that same feeling to a new generation of kids in the audience who will be wanting to be up on that Buell Theatre stage someday, too,” said Dailey.

The Four Seasons were the most popular band in the world before the Beatles, charting 50 hit singles and selling an estimated 100 million records worldwide. While there have been 36 members of the band, which still performs into its sixth decade, the core during the 1962-67 heyday were lead singer Frankie Valli, Gaudio on keyboards, DeVito on lead guitar and Nick Massi on electric bass. The band was inducted into the Rock & Roll Hall of Fame in 1990.

All of which was news to Russell when he was a student at Pomona High School — more than 40 years after “Sherry” was the No. 1 song in America. It was 2005 when the Jersey Boys Broadway soundtrack was released and found its way to Arvada.

“My friends and I would be singing along down the halls of Pomona High School,” Russell said. “I had never heard these songs before. I didn’t know who the Four Seasons were. So me being able to pick up these songs at my age and really attach to them is very much attributable to Bob Gaudio’s genius in writing these iconic songs. They are just so memorable that kids generations later can snap along just as much as their parents did.”

Jersey Boys is preparing to end its 11-year New York run in January after having played 4,642 shows, attracting 13 million people and winning the Tony Award for Best

APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

The Temptations. Motown The Musical First National Tour. (c) Joan Marcus, 2014

There is great music, a great story, great musicians, good-looking girls, good-looking guys and flashy costumes.

It’s got something for everybody.

COMING UP FROM BROADWAY:

MOTOWN THE MUSICAL

— ACTOR MATTHEW DAILEY (TOMMY DEVITO) Colorado’s Jersey Boys are where they are today, they believe, because of strong family and educational support growing up in Denver. Dailey’s mother is award-winning local Music Director Mary Dailey. Matthew has dedicated his Jersey Boys performance to his late father, Phil Gottlieb, who died in 2009. Dailey’s training began at age eight at an afterschool theatre school run by Paul Dwyer and Alann Estes Worley, whose wee students also included future TV star Melissa Benoist (“Supergirl”), Tonywinning actor Annaleigh Ashford (Kinky Boots) and Broadway actor Jesse JP Johnson (Wicked).

Russell’s theatrical mentor is Gavin Mayer, his director at both Pomona High School (Footloose) and, later, at the Arvada Center (Legally Blonde).

“I was this very shy, awkward kid in high school, and I didn’t know what I wanted to do with my life,” Russell said of his freshman-year alter ego.

“Gavin was the person who inspired me to join theatre. He cast me in my first production of anything, and later he cast me in my first professional production, at the Arvada Center.”

Those who come to see these local actors fulfill their childhood dreams in Jersey Boys will be treated, Dailey says, to a night like no other.

“There is great music, a great story, great musicians, good-looking girls, good-looking guys and flashy costumes.

It’s got something for everybody.”

Including plenty of Denver Boys who don’t normally go to the theatre.

“The theatre stereotype is that women have to drag their husbands and boyfriends to the theatre,” Dailey said. “For this show, it’s the other way around. This is the show that boyfriends and husbands drag their girlfriends and wives to. It’s like a Hollywood blockbuster — only it’s live.”

JERSEY BOYS

NOV 9 – 13 • BUELL THEATRE ASL interpreted, Audio-described & Open Captioned performance: Nov 12, 2pm

Kristen Paulicelli and Aaron De Jesus. Photo Jeremy Daniel.

(l to r) Cory Jeacoma, Matthew Dailey, Aaron De Jesus and Keith Hines. Photo Jeremy Daniel.

Musical. It will end as the 12th-longest-running show in Broadway history.

Not bad for a band that rose up from the gutter all the way to the street corner.

“Our scrappiness comes from living in the street,” Gaudio said. “We came from the kind of areas most people strive to get out of, so that you can make something of yourself.”

DeVito, played by Dailey, was the initial driving force behind the group until gambling debts put him on the outs with the mob. He was known for stealing milk off people’s porches as a kid. But he did it according to his own set of ethics, Dailey said.

“First, he never stole from his own neighborhood, because those were his people. And he would never steal from a house that only had one jug of milk. If a house had two, he took one. If it had three, he took two. But he always left them with something.”

On January 12, 1959, Berry Gordy Jr. obtained a loan of $800 from his family and founded an enterprise he called Motown. He set up his Detroit headquarters in a modest house emblazoned with an immodest sign, “Hitsville U.S.A.” The slogan was premature, but prophetic. The company had its first hit record in 1960, and between 1961 and 1971 landed 163 singles in Billboard magazine’s top 20, including 28 songs that reached No. 1.

Gordy discovered, developed and launched the careers of Smokey Robinson and The Miracles, Diana Ross and The Supremes, The Temptations, Stevie Wonder, The Jackson 5, Michael Jackson and Marvin Gaye — to name just a few — and Motown became the most successful business owned and operated by an African American in the United States.

What Gordy accomplished had ramifications far beyond the world of music. Now his legacy is celebrated in Motown The Musical. “Berry Gordy is the Steve Jobs of the music field,” says Doug Morris, CEO of Sony Music Entertainment and co-producer of the show. “He’s the No. 1 creative executive in the history of the industry, an amazing American success story who changed the culture of the country.”

Relive the multi-cultured vibration that changed the world when Motown The Musical returns to Denver February 15-19.

A PROUD SPONSOR OF JERSEY BOYS

A SEAN DEMEULE Vice President & General Manager

Supporting the Denver Center for the Performing Arts means helping ensure that everyone in the community can continue to share in those magical and memorable moments that shine brightest on stage.

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As the famous French artist, Edgar Degas, once said, “Art is not what you see, but what you make others see.” The arts have a way of shining a light on the human experience, lending a new perspective on timeless subjects and bridging the gap of language and culture. They bring people and communities together — a pursuit that’s near and dear to the team members of Ameristar Casino Resort Spa Black Hawk.

In 2016, Ameristar team members were out and about, helping the town of Black Hawk and the greater Denver area, giving back to the community they call home. They hit the pavement to pick up trash from city streets and neighborhoods, laced up their sneakers to participate in the Denver MS Walk and American Cancer Society Bubble Run, packed food for the Food Bank of the Rockies, organized school supplies for Jefferson County families, and so much more.

The commitment to community is something that’s handed down from parent company, Pinnacle Entertainment, which operates 16 gaming entertainment destinations throughout the West, Midwest, Northeast and Southeast. At the center of its core values is “Care.” It’s such an important value, the company hosts an annual giving campaign called “Pinnacle Cares,” which encourages team members to support the causes they’re most passionate about in their individual communities by donating time to volunteering or making financial contributions that the company matches at a generous 25 percent.

With destinations across the country, each community that Pinnacle Entertainment serves is unique, as are its passions. At Ameristar Black Hawk, the team is incredibly passionate about supporting the Denver Center for the Performing Arts. Just as Degas says in his quote, the arts can help others see — they have an inexplicable ability to open the audience’s eyes, expand their hearts and broaden their world view.

The performing arts help people of all walks of life discover their similarities, while celebrating their unique place in the world. They bring people together and immerse them in a world of wonder, which is never more apparent than when a child marvels at a performance of A Christmas Carol for the first time. Supporting the Denver Center for the Performing Arts means helping ensure that everyone in the community can continue to share in those magical and memorable moments that shine brightest on stage.

APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

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NOTHING SHOULD STAND BETWEEN A CHILD AND THEATRE

There’s no better way to get swept up in the magic of theatre than experiencing it as a child. But many children across the state have never had an experience to spark their love of the craft. Thanks to donors like you, we’re able to give thousands of students the opportunity to dream bigger than ever before. We bring students to the theatre with discounted matinees, and bring theatre directly to their classrooms with performances, workshops and competitions.

A gift of $10 or more helps eliminate the barriers between the next generation of theatre lovers and the art that will inspire them.

GIVE TODAY

DENVERCENTER.ORG/DONATE

WEAVE YOUR STORY INTO OURS Planned gifts are the ultimate way to ensure the DCPA will serve and enrich our community for generations to come.

When you establish a planned gift in support of the DCPA, you become part of our Encore Society — a group of individuals committed to making a lasting difference.

There are many options available at various levels.

You may name the DCPA: • In your will or trust • As a beneficiary of your retirement plan, IRA or life insurance policy • To benefit from a Charitable Remainder Trust or Charitable Lead Trust

LEARN MORE ABOUT PLANNED GIVING

32

APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

Photo by John Moore

Contact Marc Ravenhill, Associate Director of Development at 303.572.4594 or mravenhill@dcpa.org

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“The best! The best! The best!”

“I’m at a loss for words. The professionalism, the skill, is beyond — Charles Wadsworth founding artistic director words. Phenomenal, just phenomenal.” — Grace Blank, classical concertgoer of the Chamber Music Society of Lincoln Center

Discover Hope

Be Inspired

Be Amazed

“So inspiring. I think I may have found some new ideas for the next Avatar movie.”

— Robert Stromberg, Academy Award-winning production designer for Avatar

IN NEARLY every culture, artists have sought divine inspiration to bring meaning to their creations.

Today, Shen Yun’s artists follow in this noble tradition, incorporating mindfulness and meditation into their daily lives. Many of Shen Yun’s programs present divinely-inspired themes such as loyalty, benevolence, justice, and the principle that good will be rewarded and evil punished. The result? A spiritual radiance that shines on stage, conveying a sense of compassion and hope that many in the audience take home with them.

WHEN THE CURTAIN lifts at a Shen Yun performance, what will you discover? The radiance of the dancers, the exquisite grace of their movements, and the mesmerizing display of the animated backdrops and handmade costumes. All of this gives the audience an almost overwhelming sense of amazement at the consummate beauty. It is a vision of loveliness not to be missed, and one that will never be forgotten.

MARCH 3–5 | THE BUELL THEATRE | Prices: $69.99–$174.99

TICKETS

AWESTRUCK. INSPIRED. That’s how audiences feel after a Shen Yun performance. Thunderous battle drums, dazzling choreography, and an enchanting live orchestra deliver an uplifting, dynamic experience. A Shen Yun performance isn’t just something you see and hear. It’s something you feel from the top of your head to the bottom of your soul.

www.ShenYun.com/Denver 1-888-316-4234

THE SPACE THEATRE TAKES A SECOND BOW

READY… SET… GROW! SERIOUSLY FUN TRAINING THAT’S ALWAYS IN SEASON

O

On New Year’s Eve 1979, the Denver Center for the Performing Arts’ (DCPA) Tony Awardwinning Theatre Company opened in the Helen Bonfils Theatre Complex. Designed by architect Kevin Roche, the building originally housed one cinema (now The Ricketson Theatre), a central lobby and three performance spaces (Stage, Source, and Space theatres).

Over the years, the Seawell Grand Ballroom and Directors Room were added, The Source was renovated and renamed in recognition of then-Trustee Glenn Jones, and the central lobby was given a much needed facelift.

Now, the DCPA is turning its focus on renovation of the nearly 40-year-old Space and Stage theatres.

Thanks in large part to a $10 million grant from the Better Denver Bond Program, renovation began on The Space Theatre in March 2016. And truth be told, “renovation” is far too inadequate a term for the project. The Space has been completely gutted and a new theatre is being built from scratch.

It will re-open in September 2017 and retain its signature five-sided, “in-the-round” shape. Originally designed as a fourlevel, 550-seat theatre, the new venue will be just two levels, greatly improving sightlines for audience members. And while the number of seats will be increased on the main floor, the overall seating capacity will be reduced to 416 seats, preserving the intimacy of the live theatre experience.

Once completed, the theatre will feature a flexible performance space allowing for innovative design and adaptable staging, full ADA compliance and improvements that are intended to enhance the audience’s enjoyment of each production — state-of-the-art acoustics, lighting and sound; improved sightlines, and more main-level seating.

Additionally, The Space Theatre will have its own enlarged lobby with one central doorway into the theatre. And, not to be overlooked, restroom capacity for both the Space and Stage theatres is being doubled.

When the theatre reopens next fall, the Denver Center will turn its attention to The Stage Theatre, the 750-seat mainstage venue used by DCPA Theatre Company for its larger productions such as A Christmas Carol, The Secret Garden and Sweeney Todd.

Watch Applause as plans develop to ensure that you enjoy world-class performances in world-class facilities.

34

APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

Acting Improv Musical Theatre On-Camera Auditioning DENVERCENTER.ORG/EDUCATION 303.446.4892

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APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

Photos by Studio JK

STEP OUTSIDE THE REALM OF POSSIBILITY

Circus 1903. Photos: ©Jose Leon Photography

I

COMING UP FROM BROADWAY:

In 1939, retailer Montgomery Ward asked Robert L. May to develop a Christmas story for publication. Titled “Rudolph the Red-Nosed Reindeer,” the story was adapted into a song by May’s brother-in-law and radio producer, Johnny Marks. Ten years later, the song was first sung commercially by Harry Brannon a month before Gene Autry’s No. 1 recording was released. Then, in 1964, Burl Ives re-recorded the song as the soundtrack to accompany the television episode that has become the longest-running Christmas TV special in history.

Now, Rudolph the Red-Nosed Reindeer The Musical is delighting audiences across the nation. Enjoy these fun facts about the original TV show before the curtain rises on Rudolph, Yukon, Bumble the Abominable Snow Monster and, of course, Santa Claus.

CIRCUS 1903

Step right up! Step right up! Don’t miss the marvelous, the magnificent, the mystifying golden age of circus when Circus 1903 comes to town.

Inspired by amazing performers from a bygone era, this all-new production by the producers of The Illusionists and the puppeteers of War Horse, will delight audiences of all ages with a turn-of-the-century circus spectacular.

The big top has never been brighter than when filled with unique, dangerous and awe-inspiring talent from across the globe. Through the magic of Significant Object (the award-winning puppeteers who brought audiences War Horse), Circus 1903 is able to return animals to the center ring with a fresh, innovative and humane spin. Animals are seemingly brought to life including the largestever performing African elephant through the magic of carefully constructed and realistic puppets.

Don’t miss contortionists, firebreathing daredevils and ski-high balancing acts when Circus 1903 dazzles the eyes and defies gravity February 21-26 in The Buell Theatre.

• All of the human characters in “Rudolph the Red-Nosed Reindeer” have four fingers.

• Santa’s sleigh is pulled by seven reindeer at the end of the special though, according to the song, there are usually nine reindeer.

• In 2006, the original Rudolph and Santa figures were featured in an episode of “Antiques Roadshow,” at which time they were valued at $8,000 – $10,000.

• Though he appears quite large on screen, the Bumble figure stood 14 inches tall and had 30 teeth in his mouth.

• Hermey is the only elf without pointed ears.

• It takes 24 frames to create one second of filmed animation.

• All of the characters in “Rudolph the Red-Nosed Reindeer” were built with joints so that any part of their body could be moved, including their eyes, mouth and ears.

• Rudolph is actually voiced by a woman, Billie Mae Richards, who was 43 years old when she helped bring young Rudolph to life.

RUDOLPH THE RED-NOSED REINDEER THE MUSICAL DEC 16 – 18 • BUELL THEATRE ASL, Audio-Described & Open Captioned performance: Dec 17, 2pm

“Rudolph the Red-Nosed Reindeer” animated television special adapted from a story by Robert L. May and the song by Johnny Marks, music and lyrics by Johnny Marks. All elements © and ™ under license to Character Arts, LLC.

• Rudolph’s signature nose, which was originally created using a 12v light bulb painted red, glows in 33 shots in “Rudolph the Red-Nosed Reindeer.”

* FREE THEATRE PARKING When you show your tickets, get 10% off Join us before the show!

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CRITICS PICK — TOP 10 OF 2015 “ A TERRIFIC NEW PLAY ABOUT THE MYSTERY OF FAITH” — The New York Times

“ THAT RARE PLAY THAT BOTH BELIEVERS AND NONBELIEVERS CAN EMBRACE” — L.A. Times

JAN 27 – FEB 26 TICKETS START AT $30

Illustration by Kyle Malone

The Christians

by Lucas Hnath

PRODUCING PARTNERS

SEASON SPONSORS

JIM AND LORI STEINBERG

DENVERCENTER.ORG

Illustrations by Kyle Malone

2 5 1

WORLD PREMIERE PRODUCTIONS

BY LAUREN GUNDERSON & TIRA PALMQUIST

NEW PLAY READINGS

COMING UP FROM THEATRE COMPANY:

UNFORGETTABLE EVENT

Two upcoming plays by DCPA Theatre Company both came out of the 2016 Colorado New Play Summit, both are written by women and both will be seen by Denver audiences first, but that’s where the similarities end.

Opening January 13 is The Book of Will, a touching, humorous play about the lengths Shakespeare’s contemporaries went to in order to preserve his works. Three years after the Bard’s death, actors John Heminges and Henry Condell realize that his plays risk being lost forever and they embark on an urgent attempt to regain the rights, reassemble the scripts and fill in the missing blanks. Lauren Gunderson’s play recounts their trials and tribulations in publishing the 1623 first Folio, which is, arguably, the most valuable book after the Bible.

Opening February 3 is Two Degrees

by Tira Palmquist. According to the playwright, “Two Degrees is about a woman who’s doing her best to help people understand why climate change is an important issue. And at the same time, she’s coming to terms with her own personal grief.” Infused with humor, the play probes one of society’s most pressing issues while balancing it against the struggle of a rich and complicated human being.

Both world premieres will be offered this Winter as part of the DCPA’s annual Colorado New Play Summit. For details, visit denvercenter.org.

COLORADO NEW PLAY SUMMIT

FEB 24 – 26, 2017 SAVE 20%

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Photo: Members of the cast of Midwinter by Mat Smart at the 2016 Colorado New Play Summit. Photo by John Moore.

4

YOU MAKE OUR BIGGER PICTURE POSSIBLE

Theatre Forward advances the American theatre and its communities by providing funding and other resources to the country’s leading nonprofit theatres. Theatre Forward and our theatres are most grateful to the following Educating Through Theatre funders: CURRENT FUNDERS List as of August 2016 THEATRE EXECUTIVES ($50,000-$99,000) The Schloss Family Foundation Wells Fargo BENEFACTORS ($25,000-$49,999) Buford Alexander and Pamela Farr Steven & Joy Bunson James S. & Lynne Turley

The support of donors like you does more

than bring shows to our stages. It elevates new voices and perspectives that leave an impact on our community.

You’re helping students in need see live theatre for the first time. You’re allowing us to take creative risks and evolve how we reach out to the next generation of theatre lovers. And for that, we can’t thank you enough.

GIVE YOUR TAX-DEDUCTIBLE, YEAR-END GIFT TODAY denvercenter.org/donate Megan Fevurly at 303.572.4593

Photo by John Moore

PACESETTERS ($15,000‑$24,999) Alan & Jennifer Freedman Frank & Bonnie Orlowski National Endowment for the Arts Southwest Airlines† Theatermania/Gretchen Shugart George S. Smith, Jr. DONORS ($10,000‑$14,999) Lisa Orberg RBC Wealth Management Daniel A. Simkowitz TD Charitable Foundation Isabelle Winkles SUPPORTERS ($2,500‑$9,999) Mitchell J. Auslander Paula A. Dominick Dorfman and Kaish Family Foundation, Inc. John R. Dutt Bruce R. and Tracey Ewing Mason & Kim Granger Brian J. Harkins Gregory S. Hurst Howard and Janet Kagan Joseph F. Kirk John R. Mathena Jonathan Maurer and Gretchen Shugart John Thomopoulos †Includes In-kind support Theatre Forward supporters are former supporters of National Corporate Theatre Fund and Impact Creativity.

For a complete list of funders visit theatreforward.org

42

APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

M E SS I A H PA RT I

DECEMBER 10–11 7:30 PM T I C K E TS : SJ C AT H E D R A L .O RG Saint John’s Cathedral 1350 Washing ton Street

2 locations in the DTC • 303-955-1722

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DCPA TEAM DCPA Janice Sinden......................................................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 Patrick Elkins-Zeglarski.........................Associate Director of Education and Curriculum Manager Jessica Austgen................................................ Teaching Artist & Shakespeare Coordinator Stuart Barr.................................. Education Technical Director Claudia Carson...... Bobby G and Playwriting Coordinator Leslie Channell................................................. Business Manager Melissa Doherty...........................Office Manager & Registrar Linda Eller..............................................................................Librarian Tim McCracken..................................................... Head of Acting Michelle Patrick...................Corporate Training Coordinator David Saphier.......... Teaching Artist & School Coordinator Elizabeth Schmit...........................................Assistant Registrar Rachel Taylor...........Teaching Artist & At-Risk Coordinator Chloe McCleod, Heather Hughes, 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 & PATRON SERVICES 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 Customer Experience & Marketing Simone Gordon...................................................Project Manager Hope Grandon..........................................PR & Events Manager Jeff Hovorka............................. Director of Sales & Marketing Jennifer Kemps........................................Group Sales Manager Emily Kent............................Associate Director of Marketing David Lenk............................................................. Video Producer

44

Emily Lozow........................................... Marketing Coordinator Adam Lundeen....................................Marketing Technologist Kyle Malone.................................................................... Art Director Carolyn Michaels...........................................................Copywriter Cheyenne Michaels............................. Marketing Coordinator John Moore................................................Senior Arts Journalist Adam Obendorf........................................... Senior Art Director Beth Osolin......................Group Sales Business Coordinator Allison Barber Pasternak..... Executive Assistant to the CMO Joseph Schurwonn......................................... Financial Analyst Jill Schwager...............Education Group Sales Coordinator Rob Silk.........................................Director of Creative Services Suzanne Yoe............................... Director of Communications & Cultural Affairs THEATRE SERVICES Carol Krueger.................................. Theatre Services Manager Adam Alberti, Ethan Aumann, Nora Caley, Samantha Egle, Hadley Kamminga-Peck, LeiLani Lynch, Aaron McMullen, Gregory Melton, Douglas Murphey, Joyce Murphey, Margaret Ohlander, 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 Micah White .............................................Subscription Manager Jessica Bergin, Vincent Bridgers, Katie Clow-Pollard, Tristan Jungferman ................................Box Office Managers Billy Dutton .............................................VIP Ticketing Manager Malcolm Brown, Kevin Dykstra, Molly Dougherty, Amanda Gomez, Edmund Gurule ...........................................................Show Leads Kirsten Anderson, Rebecca Hibbert, Scott Lix, Gregory Swan ......................Subscription Agents Román Anaya, Austin Lee Brown, Rena Bugg, D.J. Dennis, Jennifer Gray, Roger Haak, Noah Jungferman, Alia Kempton, Daniel Lindsey, Gustavo Marquez, Cora Marsh, Noah McDermott, Taylor Schulze, Liz Sieroslawski, Hayley Solano, Brad Steinmeyer, Tomas Waples, Cindy Yeast................................................................ Ticket Agents

SHARED SERVICES Vicky Miles................................................ Chief Financial Officer Jennifer Jeffrey.......................................... Director of Financial

Planning & Analysis Julie Schumaker.................Executive Assistant to the CFO ACCOUNTING Jennifer Siemers...................................Director of Accounting Sara Brandenburg, Michaele Davidson.....................................Senior Accountants Juliette Hidahl....................................................Accounting Clerk Kim Stewart........................................................ Staff Accountant HUMAN RESOURCES Regina Matthews......................... Director Human Resources Brian Carter...................................Human Resources Manager Donald Gabenski.............................................................Reception Jamie Hawkins...................................................... HR Coordinator Sandy Hertz.........................................................Payroll Specialist Monica Robles............................................Mailroom Supervisor INFORMATION TECHNOLOGY Yovani Pina.................................... Associate Vice President of 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

APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100 • denvercenter.org

Kerri Mirtsching.................................... Business Administrator Alie Quistberg...........................Assistant Company Manager ARTISTIC Charlie I. Miller................................Associate Artistic Director

Strategy & Innovation Douglas Langworthy ................................... Literary Director/

Director of New Play Development Chad Henry....................................................... Literary Associate Grady Soapes.............................................. Artistic Coordinator PRODUCTION Jeff Gifford...............................................Director of Production Melissa Cashion....................Associate Production Manager Matthew Campbell.............. Assistant 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 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 Rachel Ducat, Heidi Echtenkamp, Corin Ferris, Chris Luebke, D. Lynn Reiland, Kurt Van Raden...................................................Stage Managers Scene Shop Eric Rouse.......................................................... Technical Director Robert L. Orzolek, Josh Prues.................................Associate Technical Directors Albert “Stub” Allison, Louis Fernandez III.......................................... Lead Technicians Justin Hicks, Brian “Marco” Markiewicz, Wynn Pastor, Kyle Simpson Mike VanAartsen...........................................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, Louise Powers, Jackie Scott............................................................................Drapers Cathie Gagnon.................................................................First Hand Sheila P. Morris........................................................................... Tailor Kelly Jones.................................................................................Stitcher 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*, Kyle Moore, 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, Anthony Mattivi, Tim Nelson, Lisa Parsons Wagner, Alan Richards....................................................................... Dressers

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5 Dance genre “The Nutcracker” is more typically associated with _______.

8 He directed Jersey Boys the film 9 Ignorance and _______ 10 Hedwig is taking the wig down from the _______ 12 Ageless role John Cameron Mitchell played with DCPA Theatre Company (two words) 15 The Nutcracker’s nemesis (two words)

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For answers please visit denvercenter.org/news-center.

ACROSS 46

DOWN • denvercenter.org APPLAUSE • Nov 2016 – Jan 2017 • 303.893.4100

5 Dance genre "The Nutcracker" is more typically associated with

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