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MARCH - MAY 2012

WICKED ALSO PLAYING…

RING OF FIRE: THE MUSIC OF JOHNNY CASH 303.893.4100 303 3 .89 9 33. 3.4 .4 4 1100 00

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ARTISTIC C DIRECTOR’S LETTER

INDEX

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Kent Thompson Ken

startling ways. Lauren Feldman’s Grace, or The Art of Climbing, should be one of the most thrilling pieces of physical theatre in our history, as a young woman literally “rock climbs” her way out of grief and depression across the vertical space of The Space Theatre. All six actors in the cast must be skilled rock climbers! Joining the new plays is Romeo & Juliet. Each of us, of any age, can identify with Romeo or Juliet and the obstacles they face. One of Broadway’s most explosive current hits, Other Desert Cities by Jon Robin Baitz (creator among other things of TV’s “Brothers and Sisters”), will highlight the spring. A grown daughter returns to Palm Springs for a Christmas family gathering, having written a tellall book about a family secret. Things grow tense, funny (and very human), as family members grapple with an issue they’d rather not discuss. For The Ricketson Theatre’s final show, Herbert Siguenza (a founding member of Culture Clash) brings us A Weekend with Pablo Picasso, written and performed by him. He explores the ego, talent and life of this seminal 20thcentury artist as he paints, live, in front of us... For the final offering in The Stage Theatre, I’m announcing today that we’ll do Jane Austen’s Sense & Sensibility The Musical which was workshopped in February at our New Play Summit. Check pages 24 and 25 for the complete schedule. The support of our patrons makes all the difference in our ability to bring you productions that fulfill our mission—to create an exciting blend of new plays, classics and the best of contemporary theatre. Q I look forward to seeing you in the theatre,

I aam ddelighted to have this opportunity to outline the recently announced nit 2012/13 season of the Denver Center 20 2012/ Theatre Company (DCTC). Th Theat T swashbuckling bravura of The The Three Musketeers kicks off the fall in The Stage Theatre, paired with the revival of a masterpiece, August Wilson’s Fences, in The Space Theatre. As one of the few theatres in America to complete Wilson’s ten-play Century Cycle, we bring back Wilson’s award-winning drama about baseball, fathers, sons, racism, aspirations and the fears that keep us trapped—while the romance, flair and drama of Alexandre Dumas’ actionpacked novel gives our actors and our superb costume and scene shops another chance to strut their stuff. At the holidays comes an unexpected marital comedy, When We Are Married. What if you discovered on your 25th wedding anniversary that you weren’t? Legally married, that is. Playwright J.B. Priestley cranks up the tension by multiplying the idea times three as six prominent citizens of a small English town struggle to protect their reputations and deal with their newly unmarried status. The new year as usual brings two world premieres. The first is a story of the near future when we may download our memories into a computer before we die. In Michael Mitnick’s Ed, Downloaded, a love triangle makes the process humorous and surprising. This DCTC commissioned play incorporates Kent Thompson, Artistic Director, video and live performance in fresh and Denver Center Theatre Company

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RING OF FIRE: THE MUSIC OF JOHNNY CASH

Director Jason Edwards makes a strong case for the Man In Black. If you like Johnny’s music and his fascinating life, this staged concert is for you. by Sylvie Drake

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The beguiling witches of Oz are back in their dazzling musical to remind us it’s not only good, but also tuneful to be green. by Teri Downard

SNA REPORT

The Denver Center’s annual fundraising gala raises the roof—as well as support for its arts in education programs. 4

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Editor: Sylvie Drake Associate Editor: Suzanne Blandón Designers: Kim Conner, Brenda Elliott, Kyle Malone, Jim Smelser

Applause is published seven times a year by The Denver Center for the Performing Arts in conjunction with The Publishing House. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content. Applause magazine is funded in part by

For advertising information call The Publishing House 303.428.9529. 7380 Lowell Blvd., Westminster, CO 80030 Angie Flachman, Publisher

The Denver Center for the Performing Arts 1101 13th St., Denver, CO 80204

303.893.4000 www.denvercenter.org The Denver Center for the Performing Arts is a not-for-profit organization serving the public through the performing arts. BOARD OF TRUSTEES Daniel L. Ritchie, Chairman and CEO Donald R. Seawell, Chairman Emeritus Randy Weeks, President and Executive Director, Denver Center Attractions William Dean Singleton, Secretary/Treasurer W. Leo Kiely III, First Vice Chair Robert Slosky, Second Vice Chair Christian Anschutz Dr. Patricia Baca Joy S. Burns Isabelle Clark Navin Dimond Margot Gilbert Frank Thomas W. Honig Mary Pat Link Edward A. Mueller Robert C. Newman M. Ann Padilla Richard M. Sapkin Martin Semple James Steinberg Peter Swinburn Tim E. Taylor Lester L. Ward Dr. Reginald L. Washington Judi Wolf _______________________ Carolyn Foster, Executive Assistant to Daniel L. Ritchie Kim Schouten, Executive Assistant to Daniel L. Ritchie EX-OFFICIO MEMBERS Dorothy V. Denny Mayor Michael Hancock Governor John Hickenlooper Elaine Mariner Kent Thompson

HONORARY MEMBERS Jeannie Fuller Robert S. Garner Glenn R. Jones Cleo Parker Robinson MANAGEMENT COMMITTEE Randy Weeks, President and Executive Director, Denver Center Attractions Dorothy V. Denny, Executive Vice President Vicky Miles, CFO Kent Thompson, Artistic Director, Denver Center Theatre Company Suzanne Blandón, Director, Communications Clay Courter, Director, Facilities Management Emily Davidson, Director, Human Resources Sylvie Drake, Director, Publications Anita Edwards, Manager, Web Services John Ekeberg, Director, Programming and Operations, Denver Center Attractions Tam Dalrymple Frye, Director, Denver Center Theatre Academy Jeff Hovorka, Director, Media and Marketing Ed Lapine, Producing Director, Denver Center Theatre Company Bruce Montgomery, Director, Information Systems Daniel Renner, Director, Education

Jennifer Siemers, Director, Accounting Gregory Smith, Director, Audience Development Charles Varin, Managing Director, Denver Center Theatre Company Dawn Williams, Director, Venue Sales and Operations AMERICAN NATIONAL THEATRE & ACADEMY BOARD Kent Thompson, Chairman and CEO Judi Wolf, President and COO Daniel Renner, Secretary and Treasurer Donald R. Seawell, Chairman Emeritus HELEN G. BONFILS FOUNDATION BOARD OF TRUSTEES Lester L. Ward, President Martin Semple, Vice President Judi Wolf, Sec’y/Treasurer Donald R. Seawell, President Emeritus W. Leo Kiely III Daniel L. Ritchie William Dean Singleton Robert Slosky James Steinberg Dr. Reginald L. Washington _______________________ Brockman Seawell, President Emeritus & Honorary Trustee


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COMING ATTRACTIONS

Cult Following 2nd Thursday of each month Off-Center @ The Jones On Sale Now I Love You, You’re Perfect, Now Change Garner Galleria Theatre Now – June 24 On Sale Now Ring of Fire: The Music of Johnny Cash Now – May 13 Stage Theatre On Sale Now Wicked Now – May 20 Buell Theatre On Sale Now The Addams Family June 19 – July 1 Buell Theatre On Sale Now Jersey Boys July 17 – August 11 Buell Theatre On Sale Now The Book of Mormon Aug 14 – Sept 2 Ellie Caulkins Opera House SOLD OUT

La Cage Aux Folles Sep 4 – 16 Buell Theatre On Sale Now

World Premiere Ed, Dowloaded Jan 11 – Feb 17 Ricketson Theatre

Fences Sept 14 – Oct 14 Space Theatre

Grace, or The Art of Climbing Jan 18 – Feb 17 Space Theatre

The Three Musketeers Sept 21 – Oct 21 Stage Theatre STOMP Sept 25 – 30 Buell Theatre On Sale Now

Romeo & Juliet Jan 25 – Feb 24 Stage Theatre A Weekend with Pablo Picasso March 22 – April 28 Ricketson Theatre

The Giver Sept 28 – Nov 18 Ricketson Theatre

Other Desert Cities March 29 – April 28 Space Theatre

Memphis Oct 9 – 21 Buell Theatre On Sale Now

Sense & Sensibility The Musical April 5 – May 26, 2013 Stage Theatre

When We Are Married Nov 16 – Dec 16 Stage Theatre Irving Berlin’s White Christmas Nov 23 – Dec 24 Buell Theatre Sale dates to be announced

Judi Wolf’s Wol

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icture 1916 England: rolling hills, fresh countryside, high society and a devilmay-take-the-hindmost attitude that might seem fitting if World War I were not already well underway. You’ve just entered Heartbreak House, George Bernard Shaw’s biting commentary on Britain’s privileged upper class. According to costume designer Bill Black, women were slowly peeling off the layers, shortening the hems and loosening the “ties that bind�— quite literally—as corsets slowly fell out of fashion and off of women’s bodies. Charged with setting the right tone in the unconventional household of Hesione Hushabye, Black describes Hesione and her sister, Ariadne, together as “both sides of the complete woman. They each endeavor to get what they want by going in different directions to get it.� Black uses fashions of the period to perfectly illustrate the characters. “Hesione seduces using her intellect� and leans less on extravagant fashion trends, while “Ariadne seduces using feminine whiles. Her clothes are more of a presentation—up-to-the-moment fashions that help define her character.� See the costumes complement the characters in Heartbreak House playing The Space 30 Theatre March 30-April 29. Q

303.893.4100

TTY: 303.893.9582 tEFOWFSDFOUFSPSH AUDIO-DESCRIPTION, ASL INTERPRETATION AND OPEN CAPTIONING AVAILABLE AT SELECT PERFORMANCES; CHECK DATES/TIMES WHEN ORDERING.

Performances at The Denver Center are made possible in part through the generous support of: Denver Center Theatre Company 2011/12 Season Sponsors

Denver Center Attractions 2012 Season Sponsors

SCFD Denver Center Theatre Company & Denver Center Attractions Media Sponsors

Heartbreak Hea tb eak House Ho se costume designs by Bill Black 6

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Unless you are a dedicated fan of country western, gospel, hillbilly or rockabilly music, Johnny Cash could conceivably lie on the periphery of your consciousness. Which would be a shame, because when you pay closer attention, you discover that Cash was a complex man and unique artist who fit no pigeon hole. With his unmistakable, booming bass-baritone voice, he didn’t just sing. He galvanized his listeners. This singer/actor/film-maker/crusader/ composer and lyricist led a complicated life marked by religious devotion expressed in music and song, and marred by battles with demons and addictions. The second half of that life was dominated by his great love for June Carter (of the Carter Family Singers), the woman who became his second wife and who helped him largely overcome his dependency on alcohol and barbiturates. June shared

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Johnny’s religious and musical fervor for the 35 years they spent together, and became as invested as he was in the spirituality that grew to rule both Johnny Cash’s existence and the music he chose to create. ason Edwards, the director of Ring of Fire: The Music of Johnny Cash, is a huge fan and has no trouble identifying with the Man In Black (as Cash became known after he decided to wear black as a way to show solidarity with the poor, the sick, the imprisoned and the voiceless among us—and write a celebrated song about it). The reasons for Edwards’ affinity are simple: Cash’s life totally speaks to him. Edwards was in the cast of the original version of Ring of Fire as conceived by producer William Meade and created by Richard Maltby, Jr. (Fosse, Ain’t Misbehavin’). This concert-like tribute to

J

PHOTO BY JOAN MARCUS

RING OF FIRE

DIVING INTO JOHNNY CASH’S RING OF FIRE

Cash’s music lightly tracks his biography but mostly focuses on the songs. Just before Cash passed away in 2003, Meade, who had long sought it, received Cash’s permission to put such a show together. Maltby was enlisted to create it. Ring of Fire: The Johnny Cash Musical Show (its original title) opened in Buffalo in late 2005 to such a positive response that the producing team decided to skip any further try-outs and take it directly to Broadway early in 2006. But New York wasn’t Buffalo. The reception was cooler, reviews were mixed and the producers closed the show by the end of April. think if we’d built an audience on the road it would have mattered less what the critics had to say about it,” Edwards offered on the line from Thousand Oaks, California, where he was putting together the precursor to the current edition of Ring of Fire. “We

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—Jason Edwards, director

dwards expects the Denver version to be refined considerably beyond the show he mounted in California, not least because the Denver run is longer and The Stage Theatre is a thrust, which is more invasive and so more intimate than a proscenium. The technical facilities, skills and staff at The Denver Center also are stronger, so that the range of possibilities is broader. “It gives us the opportunity to dig deeper and clean things up,� he said. “It’s a different set, still designed by John Iacovelli, but we have the chance to keep working on the music, keep it fresh, create new excitement. The material speaks for itself if we just stay out of its way. “I would hope Johnny Cash would be happy with that. We’re really dedicated to this material, not just for me but for this great team we have. I can’t think of a more perfect group of people. The cream of the crop.� What keeps him so drawn to this show? he subject matter. Mr. Cash’s music and what he was trying to say. I’m spoiled. I’ve got some other shows going on, I’ve done some others in the meantime, which I really love, but there is something that keeps bringing me back to this one. “As an actor, a director and singer, I never thought, when I got into this business, that I’d actually be in a theatre— not in a club or concert stage—hearing ‘Folsom Prison Blues.’ This is terrific material. I couldn’t think of anything that I’d rather be doing. This show is way bigger than me.� Q

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PHOTO BY CINDY MOMCHILOV

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“We’re just trying to honor him, honor his music, honor what he was trying to say, do it in his words and convey that to the audience in some way.�

RING OF FIRE

were coming in before spring and you know the kind of money they put into Broadway shows‌â€? He let the sentence trail off. ing of Fire, the stage show, takes its name from the title of the song June Carter had written with Merle Kilgore that was recorded by her sister Anita on her 1963 Mercury Records album, Folk Songs Old and New. (The “ring of fireâ€? referenced reportedly was the love June had begun to feel for Johnny at the time, when both were still married to other people and she feared Cash’s overindulgence might indeed “burn, burn, burnâ€? them both.) When Mercury released Anita’s version of “Ring of Fireâ€? as a single with disappointing results, Johnny, who had wanted all along to record that song “the way I feel itâ€? took it over, adding the mariachi-style horns in the background—an idea he claimed had come to him in a dream. Dream or not, his version, with the horns and the Carter sisters and mother Maybelle singing harmony in the background, snapped, crackled and popped. Edwards never lost faith in Ring of Fire the musical. Nor could he quite let go of it. He felt a strong personal connection with Cash, having been born in the mountains of North Carolina. They may not have been the Arkansas cotton fields that Cash was born into, labored in and sang in, but they were close enough culturally and spiritually. illy Graham and his wife lived about 20 miles from where I grew up,â€? Edwards said, touching on the close friendship and collaboration that developed later in life between Graham and the Cashes. Johnny and June took part in many of Graham’s mega-crusades where Johnny finally gave unfettered rein to his lifelong passion for gospel singing. “I grew up in the Baptist church, singing in the choir,â€? Edwards said. “My mom and dad sang in the choir—still sing in the choir. My sisters were both masters of voice, opera singers, they grew up around that kind of music. We all grew up singing in church. “One reason I had the opportunity to get into this show in the first place is that Richard Maltby saw how much I related to what Johnny Cash was all about. Where I’m from is also where the Carter family foothold is. “Mr. Maltby is a brilliant writer and creator who didn’t shy away from the patriotic side or the spiritual side of

Johnny Cash, which was admirable risk-taking, especially for a New York audience, which is so political. He gave me a gift with this show when he gave me the approval for our version.� So how different is the Denver production from the one seen on Broadway? Different. It’s a smaller cast, down to six musicians, plus two men and two women—and everybody sings. t’s still Mr. Maltby’s concept,� Edwards said, ¨but it’s a different approach and a different version of that concept of not having any one person impersonate Johnny Cash or June Carter. No one can truly capture the real Johnny Cash and June Carter. The players and musicians all play them at various times, with nobody individually impersonating either one. “Oh, there are impersonators out there doing Johnny Cash and everybody else, but we’re not doing that. We’re just trying to honor him, honor his music, honor what he was trying to say, do it in his words and convey that to the audience in some way.�

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/PXo.BZt4UBHF5IFBUSF Producing Partner: L. Roger Hutson Sponsored by HealthONE and Comcast Additional support provided by CEAVCO 4JHOFE"VEJP%FTDSJCFEt.BZ QN

Tickets: 303.893.4100 5PMMGSFFt55: (SPVQT 

tdenvercenter.org 303.893.4100

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VIP EVENINGS

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Experience a VIP Evening at The Denver Center. Entertain clients, friends or family. Celebrate a Special Occasion.

Enjoy: )Pre-show cocktails, hors d’oeuvres and dinner in the Seawell Grand Ballroom )Center orchestra seating in The Buell Theatre )A tax-deductible contribution supporting The Denver Center is included with each ticket

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VIP Evenings are presented by supporting The Denver Center for the Performing Arts’ education programs

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EDUCATION

Video clips of hip-hop math taught by Denver Center Theatre Academy

Mountain View Elementary students learn math through hip-hop BY MAGDALENA WEGRZYN, LONGMONT TIMES-CALL

That’s OK with her teacher. In fact, after a duo of hip-hop artists stopped by the school, it might even be encouraged. “It helps me by just moving my fingers, and it helps me count up and down,” said Simone, seven. Teaching artists Laurence Curry and Kelsey Walsh with the Denver Center Theatre Academy have presented hip-hop-based math curricula at Mountain View twice this year, and they are scheduled to return later this month. They said they tailor the presentation to what students are learning in the classroom. Last week, they fused hip-hop movements with adding doubles, something Mary Tafel’s first-grade class has been practicing. Curry composed a rap song for the occasion, which took students from 1 plus 1 through 20 plus 20.

PHOTO BY LEWIS GEYER

“One plus one equals me and you, and that’s..” Curry started.

Laurence Curry, of the Denver Center Theatre Academy, teaches math with hip-hop dancing at Mountain View Elementary. To watch a video of hip-hop math, visit www.timescall.com.

“Two,” students called out. “Don’t close the door, prepare for more because two plus two has got to be?” Curry continued. “Four!” students replied. “Now let’s plant a tree and break some sticks, because three plus three must be...”

In addition to breaking up the cycle of memorization and repetition, adding movements into the mix helps some students remember the information, Tafel said. The teacher said she’s noticed students during recess practice some of the hand movements the dancers taught classes as part of a counting routine. “Research shows that if kids start moving with what they’re learning, they’re going to retain it longer,” she said. The hip-hop program is a natural fit with the school’s integrated arts focus, said music teacher Lana Duley, who sits on the school committee that implements the new focus. “It reaches out to kids that don’t necessarily learn in a traditional way,” Duley said.

PHOTO BY LEWIS GEYER

LONGMONT — Sometimes, when she gets stuck on a math problem, first-grader Simone Chandler dances at her desk until she figures out the right answer.

Mountain View Elementary students A $1,500 grant from the Lucas Evans, left, and Sedona Clifford Longmont Council for the participate in a hip-hop math class Arts’ artist-in-residence taught by members of the program provides the artists’ Denver Center Theatre Academy. stipends and covers supplies. The council’s executive director Joanne Kirves said the program supports avenues for students to work with an artist, outside their art teacher.

First-grader Johnathan Souther, seven, said he likes to dance everywhere — at home, at day care, at school. The insightful seven-year-old said he sometimes stutters and using movements can help him when he gets tongue-tied. “I like the dances, and I like the moves,” he said. Q

“Six!” came the response. Students then divided into two dance crews that took turns answering math questions at the dry erase board at the front of the classroom.

© Longmont Times-Call Reprinted by permission.

303.893.4100

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ART PARTNER

Partnering for Education A Letter from the Vice President

Because the DCPA is committed to making itself a place for lifelong learning and civic engagement, Ashford University is excited to support this worthy organization.

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ome amazing companies call Denver home, and Denver is very fortunate to host so many wonderful organizations that make a difference. Ashford University embraces the opportunity, as well as the responsibility, to enrich the communities it serves. As an active partner reaching out to alleviate the challenges many people face, Ashford University has identified three focus areas most relevant to its mission: education, youth and the military.    Ashford University is proud to partner with The Denver Center for the Performing Arts (DCPA) and is especially proud to support its 2011/12 Arts in Education programs, which provide theatrical experiences for more than 50,000 Colorado students each year. As the flagship theatre of the Rocky Mountain region, the DCPA creates and presents exceptional theatre that engages, excites, provokes, and inspires both artists and audiences of all ages. Because the DCPA is committed to making itself a place for lifelong learning and civic engagement, Ashford University is excited to support this worthy organization. shford University does not believe in measuring charitable giving solely based on dollar amounts. Ashford’s volunteer programs have seen tremendous success with passionate, giving employees joining together and donating hundreds of hours to the causes that move them most. The University’s commitment to the community is based on tangible benefits such as quality time spent volunteering, serving on a board, and supporting community initiatives that positively impact lives. It is a natural part of its culture to participate in organizations such as the DCPA and Junior Achievement to ensure it is impacting Denver’s youth through education. Since making Denver home in April 2011, Ashford University has established a partnership with the DCPA to support its Arts in Education program. It also made a three-year financial commitment to Junior Achievement���s Denver-based “Igniting the American Spirit” program, and Ashford employees have taught Junior Achievement’s “JA Day” program to more than 750 students at Denver area schools. In addition, an employee-driven project to collect school supplies and backpacks for local students in need through the Denver Public Schools Foundation was a huge success. hether offering a challenge grant to a local not-for-profit or investing time to make a difference in the community, Ashford University thrives on giving. These causes strengthen Ashford’s culture by helping change lives through education. Thank you, Denver, for welcoming Ashford University into your community.   Mitch Thomas Vice President, Denver Online Center Ashford University -------------------------www.ashford.edu Higher education made affordable®

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A proud sponsor of Denver Center Theatre Company 2011/12 Season DCPA Arts in Education programs

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Ashford University employees taught at Junior Achievement’s “JA Day” program


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Wicked examines the age-old desire in all of us to know the nature of good and evil. But is that even possible?

women BY TERI DOWNARD

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One hundred years ago this year, author L. Frank Baum wrote a charming book called The Wonderful Wizard of Oz that became a children’s classic. The book begat another great classic, the 1939 film The Wizard of Oz starring Judy Garland who played a girl who, after a close encounter of the tornado kind, found herself in a strange and mysterious land. Dorothy was her name and all she really wanted was to get back home to Kansas. The film’s iconic characters and images have become so deeply ingrained in our collective consciousness that psychologists use the movie as an archetype of the hero’s journey. Like Dorothy, all we want, it would seem, is to find our way back home. The film was turned into a stage play, one that still makes the rounds of high schools and community theatres across the country. The next Oz-ian incarnation came along in 1972 when a sleek version of the story called The Wiz, featuring an all-black cast, opened on Broadway. It ran for 1,672 performances. hen, in 1995, strident political satirist and author Gregory Maguire wrote a gargantuan and immensely popular fantasy novel, Wicked: The Life and Times of the Wicked Witch of the West. In an ironic twist—everything in Oz seems to have an ironic twist—the book examines, among other things,

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the nature of good and the nature of evil. Maguire found them alarmingly and inextricably entwined. Then the adventures in Oz morphed once again, this time into a stage production, adapted from Maguire’s book by Tony Award-winning musical composer-lyricist Stephen Schwartz (Godspell, Pippin and, in films, Pocahontas and The Prince of Egypt) and librettist Winnie Holzman (“My So Called Life,” “thirtysomething”). icked tells a tale that is about as far removed from Baum’s Wonderful Wizard of Oz as the Emerald City is from Wichita. The show’s dark, witty, sophisticated charm made it an ongoing hot ticket on Broadway—and in Denver. Glinda, the good witch is still there, but what, the musical inquires, is goodness after all? The main action revolves around Elphaba, the so-called wicked witch, (named by Maguire as a derivation of L. Frank Baum’s initials). Elphaba proves the popular adage that it’s not easy being green. Born a lovely shade of jade, she is misunderstood, shunned and persecuted. While this naturally takes its toll, the question remains: is she evil? The answer is as ambiguous as her name. Elphaba and Glinda’s unlikely friendship illustrates the fact that it’s not simple trying to figure out which witch is which.

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WICKED

WITCHY


WICKED

“T

he idea behind Wicked is that things are not as they seem,� notes book-writer Holzman. “What you think you know, you don’t really know. It is the premise of the novel that you know certain things, but you don’t know the deeper story.� The same notion drew composer Schwartz to the project: “I’m often attracted to an idea that takes a familiar story and spins it, looking at it from another direction, like Stoppard’s Rosencrantz and Guildenstern Are Dead. I like it when I see things like that, and I like to write them. For me, if you take a familiar story––whether it be the Book of Genesis or The Wizard of Oz––and you come at it from another point of view, the tension between the audience’s preconception and the approach you’re taking to the story adds an extra level of response, plus it helps to clarify the points you’re trying to make. “The idea of taking what is one of the iconic villains of American culture, the Wicked Witch of the West––so much ‘the villain’ that we don’t even know her name––and looking at it from her point of view, that seemed to me a brilliant concept. It was clear [that] a show about her could explore some of my favorite themes: the difference between surface appearances and what’s really going on underneath, how life is more complex and has more ambiguity than we tend to be comfortable with and, certainly, than our public discourse admits to.� Schwartz also found the whole idea inherently musical. “Oz is a fantastical, larger-than-life setting full of characters who almost demand to sing,� he said, “and the witch

“Oz is a fantastical, larger-than-life setting full of characters who almost demand to sing‌ and the witch herself is so full of big emotions––rage, ambition and longing–– the idea was screaming to be a musical.â€? —Stephen Schwartz herself is so full of big emotions––rage, ambition and longing––the idea was screaming to be a musical.â€? ctor David Garrison, who played the Wizard in the touring production the first time it came through Denver, noted he loved the fact that all of these familiar characters had been fleshed out. About the Wizard, he said, “He is a charming fellow of limited ability who, quite accidentally, finds himself in a position of power. In order to deal with it he employs the politics of fear. Sound familiar? What’s so great about this musical is that, unlike [what happened in] previous productions, we’re supposed to look behind the curtain‌ and it’s the other side of the moon back there. This is a cautionary tale of what happens in a society that doesn’t question authority.â€?

I

n addition, tucked into this timeless tale is enough eye-popping technical wizardry to keep everyone this side of Oz happy. Yet beyond the show’s infectious score and visual treats there is that thoughtful universal theme. Because there’s a Green Girl in all of us. Everyone has felt like an outcast at one time or another and that’s part of the show’s broad appeal. It’s also a show for all ages: kids enjoy the fantasy of it, adolescents get the love story and adults see the political allegory. In the end, it’s what the theatre does best. Q Teri Downard is a Denver-based arts writer and a frequent contributor to Applause magazine. This article also includes material from the Wicked press packet.

A

/PXo.BZt#VFMM5IFBUSF Signed, Audio Described & Open Captioned May 20, 2pm

Tickets: 303.893.4100 5PMMGSFFt55: (SPVQT 

tdenvercenter.org 303.893.4100

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PHOTO BY ERINN CHALENE COSBY

THE SHOWS

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SWING TIME

Swing Time

Golf Tournament

Monday, y, June J 25,, 2012 2012 Lakewood Country Club

Join us forr the 9th annual Swing Time Tournament. Impress your d customers at this tournament featuring premium food clients and and drink, rink, fast play and favors that will knock your spikes off!

Hole Sponsorship: $6,000 (includes one foursome) Foursome: $5,000 Golf for one: $1,250 Can’t attend?

Sponsor a hole for $1,000 – includes 4-color signage with logo plus opportunity to give away promotional item to each golfer.

Reservations or more information:

Linda Mitchell, Associate Director of Development 303.446.4812 lmitchell@dcpa.org 7YVJLLKZMYVT:^PUN;PTLILULÄ[ The Denver Center for the Performing Arts. Your play at the Swing Time Tournament helps us create and present exceptional theatre that engages, excites, provokes and inspires both artists and audiences.

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ART PARTNERS

Spotlight on Wells Fargo Advisors A proud sponsor of the 2011/12 Denver Center Theatre Company Season

Enthusiastic supporter of the Denver Center Theatre Company “Our focus on events and providing opportunities for our ¿QDQFLDODGYLVRUV WRJHWLQYROYHGDQG LQWHUDFWZLWKFOLHQWVLV MXVWRQHZD\ZHIHHO :HOOV)DUJR$GYLVRUVLV XQLTXHO\GLIIHUHQWIURP RWKHU¿QDQFLDO¿UPV´ -Marc Beshany, Managing Director – Market Manager Wells Fargo Advisors Rocky Mountain Market

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ells Fargo Advisors is proud to support the ongoing excellence and diverse productions of the Denver Theatre Company. Whether it is encouraging team members to get involved, or supporting local organizations, Wells Fargo Advisors has a strong reputation as a good corporate citizen and for being fully vested and involved in the communities we serve in Colorado and Wyoming. This year, in keeping with tradition, Wells Fargo Advisors once again invited clients to a private showing of the Denver Center Theatre Company’s production of Charles Dickens’ A Christmas Carol. Guests enjoyed a festive preperformance reception, and just as heartwarming, Wells Fargo Advisors team members collected vital, non-perishable food items for the Food Bank of the Rockies. In addition, the Food Bank was presented with a check for $10,000 from Wells Fargo.

What is the secret to Wells Fargo Advisors success?

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ultural, educational, charitable and entertaining special events increase ¿QDQFLDODGYLVRUYLVLELOLW\ and strengthen the brand and reputation of Wells Fargo Advisors Rocky Mountain Market in the communities where we live and work. Involvement in WKHVHHYHQWVDOVRKHOSV¿QDQFLDO advisors build relationships with their clients and make new connections. Q

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SEASON

THE PLAYS

ROMANCE. RELEVANCE. REDEMPTION. Come with us on a series of remarkable journeys of the mind and the spirit, full of hope, renewal, ro romance om and redemption. Renew your subscription today and save your seats… or consider joining us and reap the rewards available only to subscribers. Then get ready to travel to the unique and memorable places that can only be found in live theatre!

The Three Musketeers Th Adapted by Linda Alper, Douglas Langworthy, and Penny Metropulos From the book by Alexandre Dumas 4FQUo0DUt4UBHF5IFBUSF Producing Partner: Isabelle Clark

Young D’Artagnan comes to Paris to join the King’s Musketeers. Befriended by three legendary swordsmen, he is instantly put to the test, finds love, faces temptation and thwarts evil. With swashbuckling swordplay, intrigue and comedy, this adaptation of Dumas’ novel considers the cost of one hero’s journey.

By J.B. Priestley /PWo%FDt4UBHF5IFBUSF Producing Partners: Diana & Mike Kinsey Contributing Partners: Martin & Jo Ann Semple Sponsor: Gay & Lesbian Fund for Colorado

What if you discovered on your 25th wedding anniversary that you weren’t legally married? Playwright J.B. Priestley cranks up the tension by multiplying the idea times three as six spouses in a small English town struggle to figure out how to protect their reputations and deal with their newly unmarried status. WORLD PREMIERE

Ed, Downloaded

Fences

By August Wilson 4FQUo0DUt4QBDF5IFBUSF Producing Partner: Tina Walls

In this muscular and lyrical winner of the Pulitzer Prize and two Tony Awards, a star baseball player, his career blunted by racism, supports his family as a sanitation worker. In a changing world, he builds a fence to protect what’s his and hold off what threatens. But things happen when a strong man’s dreams are thwarted.

By Michael Mitnick +BOo'FCt3JDLFUTPO5IFBUSF Producing Partners: John & Jeannie Fuller, Jim Steinberg

Both live action and feature film, this intriguing comedy tells of Ed, who is dying. Offered a chance at immortality, he has his brain downloaded and is allowed ten memories to take into eternity. But when his wife discovers what they are, she intervenes. A Denver Center Theatre Company commission. WORLD PREMIERE

Grace, or The Art of Climbing By Lauren Feldman +BOo'FCt4QBDF5IFBUSF

A captivating tale of a reluctant young athlete for whom rock climbing is both metaphor and action. Emm struggles with doubt, depression and her demons, as she trains mind, body and sspirit sp pirit for a world climbing competition.

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D SAM GREGORY ID DESANTOS AN RUY ISKANDAR, DAV

MIMI LIEBER

N CAROLINE ROSENBLUM AND JOHN HUTTO

PHOTOS BY TERRY SHAPIRO

When We Are Married


When Romeo meets Juliet at a masked ball, love sparks and grows, swept along by flights of poetry and ecstatic romance. But the young lovers can’t long withstand the buffeting of their feuding families. Exuberant and tragic, this timeless love story still packs a huge emotional wallop.

A Weekend with Pablo Picasso

By Herbert Siguenza .BSDIo"QSJMt3JDLFUTPO5IFBUSF Producing Partners: Margot & Allan Frank, Judi & Robert Newman

Drawing on the writings of iconic artist Pablo Picasso, playwright/ performer Herbert Siguenza of LA’s Culture Clash creates a spirited celebration of the prolific artist’s life, featuring a sparkling portrayal—and live, onstage painting.

Other Desert Cities By Jon Robin Baitz .BSDIo"QSJMt4QBDF5IFBUSF Producing Partners: Terry & Noel Hefty, Karolynn Lestrud

A grown daughter returns to Palm Springs for a Christmas gathering after writing a tell-all book about a family secret. Parents and family suddenly have to grapple with an issue they’d rather not discuss. Secrets and lies unravel, making each character more complex—and more human. WORLD PREMIERE

Sense & Sensibility The Musical Based on the novel by Jane Austen Book and lyrics by Jeffrey Haddow Music by Neal Hampton "QSJMo.BZ t4UBHF5IFBUSF

Lois Lowry’s

The Giver* Dramatized by Eric Coble 4FQUo/PWt3JDLFUTPO5IFBUSF When young Jonas is chosen by the Elders to be Receiver of Memories, he begins to discover the disturbing truth about his utopian world. Lois Lowry’s powerful Newbery Medal-winning novel makes for a fantastic theatrical event.

*SWJOH#FSMJOT

White Christmas*

Based upon the Paramount Pictures Film written for the screen by Norman Krasna, Norman Panama and Melvin Frank

Music & Lyrics by Irving Berlin Book by David Ives & Paul Blake /PWo%FDt#VFMM5IFBUSF Two World War II vets are determined to rescue their commanding officer whose country inn is imperiled by lack of snow. With its Irving Berlin score, this stage adaptation of the Bing Crosby/Danny Kaye movie musical delivers gorgeous songs, nostalgia—and a clever plan to save Christmas. *Not part of the season subscription

G. PRESTO N

Producing Partners: Sherrie & Lee Archer, Katy Atkinson, Isabelle Clark, Diana & Mike Kinsey, Dennis & Anita Lacey, June Travis

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KATHLEEN MCCALL AN D JOHN

By William Shakespeare +BOo'FCt4UBHF5IFBUSF

THE PLAYS

Romeo & Juliet

Producing Partner: Daniel L. Ritchie Sponsor: U.S. Bank

DREW CORTESE

This musical adaptation of Jane Austen’s novel draws us into the tempestuous world of the Dashwood sisters. Different in temperament, but determined to find happiness in spite of their impoverished circumstances, Elinor and Marianne struggle with betrayal, soaring emotions and conflicting notions of ideal love. One follows her heart, the other her head, yet each triumphs romantically by remaining true to who she is.

Get your ticket to romance, relevance, redemption and enjoy the journey. 0OMJOFEFOWFSDFOUFSPSHTVCTt$BMMt55: 2012/13 SEASON SPONSORS



A P P L A US E

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No other company sells more luxury real estate in Colorado* To learn why visit us online at PreviewsMembersOnly.com ©2011 Coldwell Banker Real Estate LLC. Coldwell Banker®, Previews® and Previews International® are registered trademarks licensed to Coldwell Banker Real Estate LLC. An Equal Opportunity Company. Equal Housing Opportunity. Owned and Operated by NRT LLC. *Based on information from Metrolist and Information & Real Estate Services, LLC for the period 1/1/10 through 10/31/10. FILTER: Sales Price: $500,000-$99,999,999 Prop. Types: SFH Condo TwnHm Areas: ALL Due to MLS reporting methods and allowable reporting policy, this data is only informational and may not be completely accurate. Therefore, Coldwell Banker Residential Brokerage does not guarantee the data accuracy. Data maintained by the MLS’s may not reflect all real estate activity in the market.

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SATURDAY NIGHT ALIVE

Nati Nationally-renowned artist Ed Dwight donated the sculpture, “After Hours.”

JOY TO THE WORLD

A sizzling Saturday Night Alive to help our Arts in Education programs A sold-out crowd of 800 guests sang “Joy to the World” at The Denver Center’s 32nd annual Saturday Night Alive. Held on March 3, the black-tie fundraiser raised more than $630,000 to support the Center’s theatre education programs, which serve 50,000 students each year. Highlights of the evening included the Surprise Box Sale, the area’s best Silent Auction, a delicious dinner by Epicurean Catering and entertainment by the legendary Three Dog Night. Joy to the world, indeed!

Contributing artist Julie Chase with her husband Paul took one last look at her donated work, “Concerto.”

Dianne Eddolls enjoyed the evening with DCPA Honorary Trustee Glenn Jones.

(l-r) Amanda Gurr greeted Michael & Michelle Hobbs during the cocktail hour, which featured frog legs by Epicurean in keeping with the evening’s theme.

James Varlett and his daughter Jamie admired a signed Tim Tebow jersey.

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PHOTOS BY VICKI KERR

(l-r) LaFawn Biddle and Don Ross discuss the evening’s wonderful artwork with Amanda Gurr.

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Steve Hirsch was amazed at the Tiffany bowl that Terrie Fontenor selected during the Surprise Box Sale.


John Vanderberg & Lisa Spicola coordinated their attire for the black-tie event.

Saturday Night Alive Event Chairs Steven and Ryta Sondergard led the way to $630,000 in proceeds.

SATURDAY NIGHT ALIVE

Denver Center Alliance members Jeanne Saunders (l) and Gayle Novak with their husbands, Dick and Ed, were all smiles over the success of the event.

(l-r) Anita and Paul Adams greeted Jen & Eric Jacobsen during the pre-dinner festivities.

Patty & Kenny Moore were Platinum Patrons for the evening.

Event sponsor L. Roger Hutson and Leslie McKay met legendary entertainers Three Dog Night after the show.

Bill & Rhonda Schneider and Darci Overstreet Mayor Michael Hancock was on hand to tout the importance of Arts in Education and pay tribute to the 800+ guests in the audience.

Corporate Event Chairs Peter & Janet Swinburn helped sell out the corporate tables in record time.

Pat Spieles and Anne Hanson had a great time during the Silent Auction.

And a big thank you to our contributing supporters:

303.893.4100 303 8933 4100 89 4 100

A PP P P L AUS A US E

333


ART PARTNER

Outreach, Service and Philanthropy Sponsoring events such as VIP Evenings and the Student Matinee program gives Fidelity the opportunity to give back to the Denver area community.

A proud sponsor of DCTC’s Student Matinee Program VIP Evenings

F

idelity Investments is a proud sponsor of the Denver Center Theatre Company Student Matinee program, where school groups see a live, professional production at The Denver Center for the Performing Arts. During the 2011/12 Season more than 16,000 students will have participated in 33 matinees. The company also is the presenting sponsor of The Denver Center’s popular VIP Evenings. Fidelity Investments is one of the world’s largest providers of financial services, with assets under administration of more than $3.2 trillion, including managed assets of more than $1.4 trillion, as of May 31, 2010. Founded in 1946, the firm is a leading provider of investment management, retirement planning, portfolio guidance, brokerage, benefits outsourcing and many other financial products and services to more than 20 million individuals and institutions, as well as through 5,000 financial intermediary firms. Fidelity has a long history of community outreach and philanthropic service in communities nationwide. Among its outreach initiatives, the company partners with numerous civic, charitable, arts and cultural organizations across the country, one of which is The Denver Center for the Performing Arts, to support and strengthen arts education and appreciation. Sponsoring events such as VIP Evenings and the Student Matinee program gives Fidelity the opportunity to give back to the Denver area community. Two additional examples of Fidelity’s efforts in education and the arts include: nearly 20 years of involvement in Reading is Fundamental, one of the nation’s largest and oldest not-for-profit children’s literacy programs—and Fidelity’s own Inspire the Future program, a grass roots outreach initiative dedicated to supporting community youth programs that inspire future generations of athletes, musicians, artists and fans. For more information about Fidelity Investments’ services and community initiatives, visit www.fidelity.com. Q Fidelity Brokerage Services, Member NYSE, SIPC, 900 Salem Street, Smithfield, RI 02917 555042.1.0

Students reach out to theatre

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NEXT UP

Looking ahead… h d

The Addams Family June 19 – July 1, Buell Theatre

D

a da da dum, snap snap… In a prolific career spanning six decades, es, Charles Addams created several thousand cartoons, sketches and drawings, many of which were published in The New Yorker. But itt was his creation of characters that came to be known as The Addams Family that brought Addams his greatest acclaim. Addams’ drawings have entertained millions ions and served as the inspiration for television series ries and motion pictures. Now, Charles Addams’ freaky family has leapt off the page and onto the stage with h a new Broadway musical. The Addams Family began performances in March 2010 10 to become one of Broadway’s big hits, delighting audiences of all generations with this family’s tortured tribulations. This original musical comedy brings the darkly delirious world of Gomez, Morticia, cia, Uncle Fester, Grandma, Wednesday, Pugsley sley and, of course, Lurch, to spooky and spectacular ular life on stage. The snappy music (two snaps), with an exciting score and the characters we all know and love, guarantees everyone will have a R.I.P.roaring good time at the theatre. Come meet the family. We’ll leave the lights off for you. Q

Jersey Boys

July 17 – Aug 11, Buell Theatre

T

his very special show made its Denver sell‐out premiere in 2008 and now, the Tony, Grammy and Olivier Award‐ winning Best Musical is “Working Its Way Back” to the Buell Theatre. One of Broadway’s biggest success stories takes you behind the music of Rock Hall of Famers Frankie Valli & The Four Seasons. Jersey Boys features 33 songs including such hits as “Sherry,” “Big Girls Don’t Cry,” “Rag Doll” and “Can’t Take My Eyes Off You.” Follow the rags-to-rockto-riches tale of four blue-collar kids working their way from the streets of Newark to the heights of stardom. They wrote their own songs, invented their own sounds and sold 175 million records worldwide – all before they were 30. “Oh, What a Night!” Q

Broadway Cast member Brad Oscar as Uncle Fester and the company of THE ADDAMS FAMILY. (Photo by Jeremy Daniel)

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NEXT UP

Tickets: 303.893.4100 Toll-free: 800.641.1222 55: Groups: 303.446.4829

denvercenter.org

La Cage Aux Folles Sept. 4 – 16, Buell Theatre

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C

ommercial, film and stage star George Hamilton (sometimes noted for his perpetually bronzed skin tones) will delight Denver audiences in La Cage aux Folles this fall. Winner of three Tony Awards including Best Musical Revival, La Cage tells the story of Georges (Hamilton), the owner of a glitzy nightclub in lovely Saint-Tropez, and his partner Albin, who moonlights as the glamorous chanteuse Zaza. When Georges’ son brings his fiancÊe’s conservative parents home to meet the flashy pair, the bonds of family are put to the test as the feather boas fly. La Cage is a tuneful and touching tale of one family’s struggle to stay together, stay fabulous and above all else, stay true to themselves. George Hamilton and the dynamite cast of La Cage will leave you humming the melodies of this extraordinary new version of an indisputable musical comedy classic. Q

AND DOWN THE ROAD A PIECE COMES‌

Memphiss

Oct 9 – 21, Buelll Theatre

T

urn up that dial... From the underground Tennessee, comes a hot Broadway musical rground dance clubs of 1950s Memphis, Tenness that bursts off thee stage with explosive dancing, irresistible songs and a thrilling tale of fame and forbidden love. Inspired nspired by actual events, Memphis is about a wh white radio DJ who wants to change the world and a black club singer who is ready for her big break. Come along on their terrific journey to the ends of thee airwaves—a journey filled with laughter, emoti emotion and roof-raising rock’n’roll. This winner of four 2010 TonyŽ Awards, A including Best Musical, Musica Memphis, which came to Broadway from the La Jolla Playhouse, Pla ho se features feat res a Tony Ton Ž aaward-winning ard book by Joe DiPietro (I Love You, You’re Perfect, Now Change) and a TonyŽ award-winning original score with music by Bon Jovi founding member David Bryan. Direction is by TonyŽ nominee Christopher Ashley (Xanadu) and choreography by Sergio Trujillo (Jersey Boys). So get ready to experience what AP has called “The very essence of what a Broadway musical should be.� Q   303.893.4100

A P P L A US E

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PREMIUM SUBSCRIPTIONS

PREMIUM SUBSCRIPTIONS Join Now – Support the Denver Center Theatre Company and enjoy the new 2012/13 Season as a VIP Subscriber! Two Options Available:

DIRECTORS SOCIETY Tailored for the subscriber who wants to get closer to the company: t&JHIUQMBZTVCTDSJQUJPOPOTFMFDUFE8FEOFTEBZFWFOJOHT t#FGPSFUIF4IPX.FNCFSTPOMZDPDLUBJMQBSUJFT t"GUFSUIF4IPX$BTVBMZFUFMFHBOUEJOOFSTXJUIUIFDBTUBOEDSFX X t#FIJOEUIFTDFOFTQSPHSBNTMFECZ"SUJTUJD%JSFDUPS,FOU5IPNQTPO TPO t1FSTPOBMJ[FEUJDLFUJOHBOEFYDIBOHFTFSWJDFT

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(l-r) Jack Hanley, Sheri Archer, Andrew Schneider, Jennifer Lacey, Lee Archer, Barb ara Huff

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r Keith DCTC acto obb & C n to il Ham oeltzow Carmel K

rspoor & Renee Ve teward l Michae S Kate Johnson with DCTC actor Karen Pittman

Rebecca & Derek of sponsor C Handley and Will Snid er oreFir st Ban k & Trust Traces cast member s Xia Zhengqi & Bradley Hender son meet Cindy Ken t & Tudor Coleman

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4UFQVQZPVSOJHIUMJGF Tailored for the busy professional:

PHOTOS BY VICKI KERR

Isabelle Clark with DCTC actors Steve Jones & Amy Kersten


dramatic EVENT

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Learn to be the best from the best. PHOTO BY BRIAN LANDIS FOLKINS

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Be Prepared

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DENVER CENTER THEATRE ACADEMY

AT THE DENVER CENTER THEATRE COMPANY

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ANNUAL FUND

THE

POWER OF YOUR

GIFT

‌

for the Performing Arts (DCPA)

doubled the number of Student Matinee performances and 16,000 Colorado children have been coming to “their DCPA� to see productions of The Adventures of Tom Sawyer,r To Kill a Mockingbird, The Taming of the Shrew and more.

Just $10 can send one more student to a matinee. More than $50,000 of the contributed income needed to support this and other education programs will come from small gifts added to the purchase of tickets online.

We’re working with hundreds of great teachers to provide resources, training, in-class workshops and live theatre experiences that

help our children grow into literate, creative, self-confident adults. We’re helping young adults explore careers in the arts

Photos by Brian Landis Folkins and

We’re proud of the fact that more than 4,000 people make up our donor family.

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Collectively we can do amazing things!

(an industry with a $1.4 billion economic impact in our state) and we’re helping them become 21st century learners. Math becomes more interesting when you see how a set designer or costumer uses it every day.  Literature comes to life through performance, and science can be actualized through lighting and sound design.

You can help by: r"EEJOHBDPOUSJCVUJPO to a ticket or subscription purchase r4FOEJOHBHJGUUP DCPA Development Office 1101 13th St. Denver, CO 80204 r(JWJOHPOMJOFBU www.denvercenter.org/donate g

APPLAUSE

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Applause Magazine 2012/2013 Season Media Kit