Applause -- Cat on a Hot Tin Roof, October 3-November 2, 2025

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SIGHTLINE

BY JANICE SINDEN

WWelcome to our 2025/26 season!

We’re thrilled you’ve joined us for the first of 35 productions, hundreds of classes, and a variety of events designed to engage and inspire our community. The coming year offers Pulitzer Prize-winning plays, Broadway’s biggest hits, and original works crafted right here in Denver. We hope you’ll return to share in the stories that bring us together.

As we look to the future, your support is more important than ever. The City’s Vibrant Denver Bond initiative would allow us to make improvements to the Helen Bonfils Theatre Complex including a consolidated entry, lobby refresh, and new security screening equipment. This upgrade would enhance safety and create a more welcoming experience.

You might ask why the DCPA needs bond funds when it benefits from the SCFD. In short, SCFD funds may not be used for capital improvement, so we must rely on fundraising and community support for projects like this.

Speaking of SCFD — the voter-approved Scientific and Cultural Facilities District — I’d like to applaud outgoing Executive Director Deborah Jordy for her nine years of extraordinary leadership, and welcome Andrea Albo who steps into the role. With more than 27 years of experience in public service leadership, Albo’s appointment places the taxing district in reliable hands as it moves toward reauthorization in 2028.

There’s so much onstage and on the horizon. We hope you join us for it all.

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Warm regards,

Janice Sinden

Janice Sinden, President & CEO

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IN THIS ISSUE

The Happiest Man on Earth pg 10

Cat on a Hot Tin Roof pg 14

Disney’s The Lion King pg 20

Shucked............................................ pg 22

FOR A COMPLETE LIST OF UPCOMING SHOWS:

APPLAUSE MAGAZINE

EDITOR: Suzanne Yoe

DESIGN DIRECTOR: Kyle Malone

DESIGNER: Paul Koob

CONTRIBUTING DESIGNERS: Lucas Kreitler, Kyle Malone

CONTRIBUTING WRITERS: Lisa Kennedy, Joanne Ostrow

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

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Denver Center for the Performing Arts is a non-profit organization that engages and inspires through the transformative power of live theatre.

BOARD OF TRUSTEES

Ruth Krebs, Chair

Hassan Salem, Immediate Past Chair

Jerome Davis, Vice Chair

David Jacques Farahi, Secretary/Treasurer

Nicole Ament

Marco D. Chayet

Yosh Eisbart

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Elizabeth Hioe

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Robert Kenney

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HONORARY TRUSTEES

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FOUNDATION BOARD OF TRUSTEES

Martin Semple, President

William Dean Singleton, Vice President

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Marco D. Chayet

David Jacques Farahi

Ruth Krebs

Susan Fox Pinkowitz

Hassan Salem

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Janice Sinden, President & CEO

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Music and lyrics by Kristen Anderson-Lopez & Robert Lopez, book by Jennifer Lee. Based on the Disney film written by Jennifer L and directed by Chris Buck & Jennifer Lee. Originally produced on Broadway by Disney Theatrical Productions. ee

A BLUEPRINT FOR HAPPINESS

BY LISA KENNEDY

WWith his wavy white hair, his dapper blue-gray suit, and gold-rimmed eyeglasses, the nonagenarian did not look a day over 80.

Standing at a podium at a 2019 TED Talk, 99-year-old Eddie Jaku looked out at the audience before he began recounting his experiences of Kristallnacht and the five concentration camps he survived. “My dear new friends,” he said to a packed theater in Sydney, Australia. His talk, “A Holocaust Survivor’s Blueprint for Happiness,” has had more than 2.2 million views.

Although he immigrated to Australia decades earlier with his wife, Flore, Jaku (born Abraham Salomon Jakubowicz in 1920) still had the accent of a man who’d begun life in Leipzig, Germany. Kindly would be a good description of Jaku’s demeanor. Only the word has Germanic roots and Jaku shared near the end of his 11-minute talk that he had vowed many things when his first son was born: “From that day until the end of my life, I promised to be happy, to smile, be polite, helpful, and kind. I also promised never to put my foot on German soil again.” All were promises kept.

Jaku’s harrowing memories and tenacious hope that those memories might make us (the vast collective us) wiser and, yes, kinder fuels his memoir: The Happiest Man on Earth: The Beautiful Life of an Auschwitz Survivor, published in 2021. He died later that year. He was 101.

In 2023, playwright Mark St. Germain adapted the book for a solo play and sent a draft to the director Ron Lagomarsino. The Happiest Man on Earth starts as cordially as Jaku’s TED Talk did. “We decided to begin

the play with Eddie interacting with the audience,” says Lagomarsino. “He starts out [telling them], ‘I have to speak to my children at synagogue tomorrow, and they’ve never heard this story. I don’t know if I can do it.’ So, he sort of includes the audience, not as co-conspirators, but to join him in the journey.”

Lagomarsino has been with the play since that first draft. He directed the world premiere at Massachusetts’ Barrington Stage Company and its reprise there as well. He also helmed a London production last fall. All starred veteran film and television actor Kenneth Tigar as Jaku.

The memoir isn’t even 200 pages, but it is necessarily relentless. The abject cruelties, the unfathomable losses, the unceasing precarity Jaku bore and witnessed began on Kristallnacht (“Night of Broken Glass”) when Nazis broke into the family home, beat him, killed his beloved dachshund, and burned down the house, which had been in his family for 200 years. That was November 9, 1938. Torments did not cease for him until he made his way to Belgium (for a second time) in 1945. And, even after that, his psychic wounds seeped.

“The memoir is chock-full…so many things that happened to him that you couldn’t possibly put into this piece,” Lagomarsino says. “So, we tried to maintain the essence of the memoir.” For that, he credits the script but also Tigar.

“We were so blessed to have found Ken because he’s truly to the manner born,” Lagomarsino says. “He studied German literature at Harvard. He’s got a Jewish background. He’s so great in the role.”

A couple of decades younger than Jaku, Tigar embodies Jaku as he was at 100 years old but also as a young man living through “my hell on Earth,” as he refers to Auschwitz, the concentration camp in Poland.

Lagomarsino knew he wanted the play to be physical. A one-person piece, featuring a 100-year-old man just talking would slight theater’s powerful tools — the lighting, sound and scenic design. But, for his lead, says the director, “I had to go day by day and see if Ken was going to go along with me and how much I could push him.” The short answers: “He was” and “a lot.”

“He becomes Eddie.”

The memoir is chock-full… so many things that happened to him that you couldn’t possibly put into this piece. So, we tried to maintain the essence of the memoir. — RON LAGOMARSINO, DIRECTOR

What of the emotional demands of the material? How does a director and his actor live Jaku’s horrific memories repeatedly? Because if they can’t there’s a chance the audience won’t be able to either.

“First, I think you need the ability to have some relief from that darkness. There is quite a bit of humor in the play,” says Lagomarsino, adding, “I mean, it’s black humor mostly. Second, I want my actors to feel safe and therefore free to fail, to soar, to whatever it is.”

Lagomarsino appreciates the intimacy depicted between Jaku and the imaginary audience. “Jaku actually thanks the audience for allowing him to realize that he has to get over his fear of this, because this is a story that must always be told, and he must tell the story.” It’s the burdensome and vital blessing of the living — one Jaku embraced with such verve toward the end of his life.

The arrival of The Happiest Man on Earth is, alas, achingly timely. It documents the depravity of Antisemitism, incidents of which are on the rise. But the play is also a testament to Jaku’s deeply humanist grasp of the kinds of civic weakness that undermine moral courage. The kinds of false strength that lead to the cruelties justified in the name of ethnicity, state, fear.

“It’s a challenging experience,” says Lagomarsino, not as a caution but as an invitation. “This play is challenging, but anything worthwhile is.”

THE HAPPIEST MAN ON EARTH

SEP 19 – NOV 2 • SINGLETON THEATRE

ASL Interpreted & Audio-Described performance: Sep 28 at 1:30pm Stay for a post-show Talkback on Oct 21 or Nov 2.

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Learn more about what drives the DCPA, and where we’re going, at denvercenter.org/plan

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TENNESSEE WILLIAMS LOOMS LARGE WITH

BY LISA KENNEDY

TTennessee Williams might not be the biggest daddy in American theatre — there is Eugene O’Neill, Arthur Miller, August Wilson — but the Mississippi-born playwright comes awfully close. His early plays became a string of Broadway hits: The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof, Sweet Bird of Youth, and Night of the Iguana, among them. Transferred to the movie screen, they left their mark on cinema, too, not least for providing indelible roles for indelible stars: Vivian Leigh, Marlon Brando, Ava Gardner, Katharine Hepburn, Burl Ives, Paul Newman, and Elizabeth Taylor.

For its Broadway debut in 1955, directed and nurtured by Elia Kazan, Cat on a Hot Tin Roof featured Barbara Bel Geddes, Ben Gazzara and Ives. More famously, the 1958 movie starred Taylor and Newman as Maggie and husband Brick and Ives reprising his role as Big Daddy, a cotton plantation baron.

The second Williams’ work to win a Pulitzer Prize (after A Streetcar Named Desire) is the first of his plays Chris Coleman is producing and directing for the Denver Center stage. And, after the 2022 revival of Who’s Afraid of Virginia Woolf?, it’s only the second classic by an American playwright, during his tenure. But says Coleman, “I know there’s an appetite with our audience for American classics.”

“People talk about Williams as a ‘poetic realist.’ I’m like, what does that mean?” says Coleman, Artistic Director of the Denver Center Theatre Company. “It sounds like he makes beautiful images — which he does — but I think what I discovered is the reason he has stuck around. Sometimes in these plays, he hits a truth about human existence. It just resonates like 18 layers beneath the surface in a way that feels really powerful.” Williams looms large.

Outsized, as well, is the South he hailed from and often depicted. As regions go, the South continues to compete with the West for the ways its truths and fables, its sins and hopes have shaped the American character. “I grew up in the South,” says Coleman, “and as a young director, I did not want to do Tennessee. I didn’t want to do Southern plays. Those stories, I’ve lived that. And they seemed corny to me. I wanted to do Shaw. And then, a few years ago, I did Streetcar.”

Coleman, who was raised in Georgia and founded a theatre in Atlanta, wasn’t surprised when actors toted some pretty peculiar baggage into the auditions. “What I’ve often found myself saying is, ‘You know, a tad of the dialect is all you need,’” he says, “because the tendency is to try to just play the dialect. I wanted people who could live inside these people.” Headlining the cast is local actor Noelia Antweiler as Maggie and Adam Hagenbuch (“Modern Family”) as Brick. Lawrence Hecht — who appeared with the Denver Center Theatre Company in productions including The Pillowman, Glengarry Glen Ross, and A Midsummer Night’s Dream and served as head of the DCPA’s former National Theatre Conservatory and Head of Acting for adult classes — returns to rail against mendacity as Big Daddy.

While the play is set on a Mississippi plantation, much of its hothouse drama unfolds in the bedroom of Maggie and Brick, the once idolized gridiron football star who now throws back whiskeys. Maggie and Brick, as well as Brick’s brother and sister-in-law, Gooper and Mae, have come to join Big Mama for a birthday celebration after the big man clears a cancer scare. Only it wasn’t a scare. At the start of the play, the couples already know the bad news. A doctor and a minister — longtime family friends — are also on hand to break the news to Big Mama.

Coleman recalls his reaction upon rereading the play. “I’m like, holy cow, this is potent — characters are so delicious — and the center of it being a fight over the estate, but also a fight for survival.” At the heart of that throwdown? Maggie.

“I had always thought Maggie’s ultimate goal was to get Brick back because she was in love with him,” says Coleman. “And she is in love with him. But I think Maggie has to secure her financial future at any cost,” Coleman says.

“I think a lot of people now cast Maggie as close to Elizabeth Taylor as they can get, which is off sometimes — really pretty but can’t act it right. What’s tricky about playing that role is you’ve got to fight,” he says. “If she’s too blunt, she’ll feel harsh. And she’s got

Sometimes in [Tennessee Williams’] plays, he hits a truth about human existence. It just resonates like 18 layers beneath the surface in a way that feels really powerful.

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to try to charm Brick. She’s got to try to charm the audience through her humor and storytelling so that we want her to win. So that we’re on her side in the fight.”

Returning to classics offers theatre-makers — but also audiences — fresh angles on the play’s truths. For years, one way into Cat on a Hot Tin Roof focused on the tense dance between Maggie and Brick. It hinged on the fractured love story between a woman who wants and a husband who, since the death of his best friend and football buddy, has been dousing all feeling with liquor. An undercurrent of thwarted desire (hers) and repressed possibly queer sexuality (his) roils the goings on.

So, what happens then when we see Big Daddy anew? When for the first time, we hear the sympathy in the towering patriarch’s approach to his favorite son?

While it was played down in the movie adaptation, the meaning of Brick and Skipper’s love for each other hangs over Cat on a Hot Tin Roof. “I don’t know if he was a gay man,” says Coleman about Brick. “Williams thought he was a gay man, who is so burdened by his shame and his cowardice toward probably the love of his life that he is basically slowly killing himself.”

Brick tells Maggie he drinks to hear a click. “The click I get in my head when I’ve had enough of this stuff to make me peaceful.” What happens when we listen to Williams awaiting our own click — not of peace but of fresh understanding?

In returning to Williams, Coleman remains struck by the playwright’s humor.

“Williams is funny,” Coleman says. “And then he rips your heart out.”

CAT ON A HOT TIN ROOF

OCT 3 – NOV 2, 2025

KILSTROM THEATRE

ASL Interpreted & Audio-Described performance: Oct 12 at 1:30pm Stay for a post-show Talkback on Oct 16 or Oct 29.

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JOIN THE CIRCLE OF LIFE

THE LION KING

“Circle of Life,” The Lion King’s jaw-dropping, much-talked-about opening number, introduces a menagerie of animals who stride, leap, gallop and dance across the stage. A closer look reveals the creative magic at work behind this breathtaking bit of stagecraft.

1. LET’S GIVE THEM A HAND: Julie Taymor, along with Michael Curry, designed, hand sculpted and painted every prototype mask in this scene.

2. THE VIEW FROM THE TOP: Pride Rock rises 12 feet over the African savannah five times during each performance.

3. A REAL LIGHTWEIGHT: Mufasa’s mask, like others in the show, is made of carbon fiber (the same stuff airplanes are made of) and weighs less than a pound.

4. ACCENT ON AUTHENTICITY:

To capture the intangible spirit and sound of the savannah, South African performers are cast members of every production of The Lion King around the world except Japan, where the local artists mastered the pronunciation of the five different African languages used in the show.

5. LADDER OF SUCCESS: The tallest animals in the iconic opening number are the giraffes at 14 feet high. Two actors climb six-foot ladders to fit inside the puppets, mount stilts and enter stage left.

6. MAKE ROOM FOR BERTHA: At 13 feet long and nine feet wide, the elephant, nicknamed “Bertha,” is the largest animal in the show, requiring four cast members to maneuver her down the aisles of the theatre.

7. QUICK-CHANGE ARTIST: One Ensemble Dancer part requires 16 costume changes. Some actors have to perform quick changes in less than a minute.

GLOBAL EDUCATION STARTS

SHUCKED

THE SWEET TASTE OF CORNQUEST: A DSA GRAD’S JOURNEY TO SHUCKED

BY LISA KENNEDY

OOkay, he gushed. Ryan Fitzgerald had just seen Shucked at the invitation of the show’s writer, Robert Horn — or as the actor says only half-jokingly, “The man. The myth. The legend” — and, yup, now he was gushing.

Fitzgerald, who is in the ensemble of the first national tour of Shucked, met the writer of Broadway’s Tootsie and television’s “Designing Women” while working on Hercules at the Paper Mill Playhouse in 2023. “He got all of us in the company and said, ‘My show’s on Broadway right now. I would love for you all to come and see Shucked,” recalls Fitzgerald who was raised in Longmont, Colorado. “Not only did I laugh my heart out, I sobbed.”

For a show with slightly fewer puns than South Dakota’s Corn Palace has ears in its mural façade, that last bit might come as news. Although the story of the small fictional Cob County town that must reach beyond its borders when a mysterious blight hits its beloved crop actually does have a touching amount of sweet corn pathos.

Ryan Fitzgerald

“I sobbed because I was just like, oh, my gosh, this show is everything I want to be in. It is so light-hearted, yet so deep, so rich and so silly,” Fitzgerald says on a video call, his laptop stationed in the kitchen of a shared Airbnb for the DallasFort Worth leg of the tour.

And so, he walked up to Horn, still crying and now gushing. “This is incredible!” he told him. “This is like what we want to see!” And “I’ve been wanting to do something like this since I got to New York City!” And finally, “You built that!?”

Consider that moment the delightfully corny part of the Ryan Fitzgerald show. But, not unlike Shucked — which won a Tony Award and was nominated for eight more, including one for Horn’s book and one for Nashville luminaries Brandy Clark and Shane McAnally’s original score — his story has its share of grit and gumption. What happened next was far more intentional and disciplined. Or as he says, with an impish smile, “I started scheming.”

When the tour was announced, he knew he had to “advocate for myself,” says Fitzgerald. He texted Horn. “I want to be in Shucked,” he wrote. “I want to be in it. I obviously have my eye on certain things, but whatever it is, I will jump. And ask, ‘how high?’ on the way up.”

After Fitzgerald got an audition for a lead role, he messaged Horn again. “I don’t want to mess this up. Even if it doesn’t go my way, I want to walk in with my best foot forward. I want to leave a good impression. Because you never know, right?” Horn gave him some insights into the

The Cast of The North American Tour of

Photo by Matthew Murphy and Evan Zimmerman.

characters and, says Fitzgerald, “really put me on the right path so that I was in that place so I could flourish.

“The rest” — with multiple callbacks and a troupe of people to wow — “was history,” he says. Fitzgerald landed a role in the ensemble.

If you shuck the great outcome part of that account, you’ll discover an invaluable get-to-work kernel. One that Shawn Hann, Fitzgerald’s theater teacher at the Denver School of the Arts back in the early aughts, recognizes immediately.

“I see a work ethic,” she says, pinpointing that certain something in her former students who’ve become theater professionals. “Because DSA is a sixth-through-12th-grade program, to see that when a kid’s a 10- and 11-year-old — the priority, the focus, the drive — that’s crazy. And then as they get to high school, it’s more about creativity and being a good person. Ryan’s a good person,” Hann says.

“I really do feel like for the kids that go on, it’s a selflessness,” she adds. “It’s not, ‘what can I get from this?’ It’s ‘what can I do for you? How can I be in this ensemble? What can I give to you?’”

A performing arts incubator, the Denver School of the Arts can be foundational to building a robust arts-forward city, that in turn bolsters the nation’s arts identity. Think of it as cultural infrastructure. And during her 25 years, Hann has fashioned an alumni network that spans the theater and entertainment industries.

I think from an early age, that sort of focus [at Denver School of the Arts], that dedication, that diligence, I guess, really, really led into my work ethic.

— RYAN FITZGERALD, ACTOR

As a kid, Fitzgerald saw Fame at a community theater in Longmont. “Wow,” he remembers thinking. “I was talking to this girl, and I said, ‘Wouldn’t that be so amazing to go to a place like that where you could focus on these things?’ And they said, ‘Well, that actually exists. There’s one in Denver and you should audition.’” His first year, Fitzgerald would get up at five, catch the bus from Longmont to Denver and then a city bus to DSA in east Denver. “I think from an early age, that sort of focus, that dedication, that diligence, I guess, really, really led into my work ethic.”

Shucked is not Fitzgerald’s first Broadway tour hoe-down. In his twenties, he traveled with the international tour of West Side Story Still, there’s something a little mind-bending about returning to his hometown to be in a production at the Denver Center. (Last season, Fitzgerald appeared in the Arvada Center shows Beautiful Cinderella.) Something worth gushing about.

“We saw Phantom of the Opera there. We saw Thoroughly Modern Millie. We saw Grease. We saw all the things there,” he says. “And I can’t believe that I get to add my signature to the Buell’s Actor’s Alley alongside casts of legendary shows that have played Denver.”

SHUCKED

OCT. 7 – 19 • BUELL THEATRE

ASL Interpreted, Audio-described & Open Captioned performance: October 19 at 1pm

NEXT UP FROM BROADWAY THE NOTEBOOK

This holiday season, Denver audiences are invited to experience one of the most beloved love stories of our time in a breathtaking new way. The Notebook, based on Nicholas Sparks’ best-selling novel that inspired the iconic film, comes to the Buell Theatre Dec. 16–28.

Directed by Broadway visionaries Michael Greif (Dear Evan Hansen) and Schele Williams (The Wiz), this deeply moving production features original music and lyrics by acclaimed singersongwriter Ingrid Michaelson, a book by Bekah Brunstetter (“This Is Us”), and choreography by Katie Spelman. The show brings to life the timeless romance of Allie and Noah, both from different worlds, who share a lifetime of love that defies all odds.

Praised as “absolutely gorgeous” by the Chicago Tribune and “a love story for the ages” by the New York Daily News, The Notebook promises an unforgettable theatrical experience that portrays the enduring power of love. Whether you’re reliving the story or discovering it for the first time, The Notebook offers a beautiful opportunity to share an evening of soaring music, heartful emotion, and connection. Bring someone you love and create memories that will stay with you long after the curtain falls.

Broadway Cast. Aisha Jackson (Middle Allie) and Ryan Vasquez (Middle Noah).

Photo by Julieta Cervantes (2024).

Chris Coleman, Artistic Director

Charles Varin, Managing Director

presents

CAT ON A HOT TIN ROOF

BY Tennessee Williams

WITH

Leslie Alexander*, Noelia Antweiler*, Matthew Bryan Feld*, Isabel Gorrell, Adam Hagenbuch*, Lawrence Hecht*, Jim Hunt*, Chase Jaquith, Lenne Klingaman*, Danika Morin, Mark Rubald*, Max Rynerson, Sagely Sloan

STAGE MANAGERS: Harper Hadley*, Brooke Redler*

SCENIC DESIGN BY Lisa M. Orzolek

SOUND DESIGN BY Joshua Nguyen

DRAMATURGY BY Leean Kim Torske

COSTUME DESIGN BY Kevin Copenhaver

VOICE AND DIALECT COACHING BY Elisa Carlson

CASTING BY Grady Soapes, CSA and Chad Murnane, CSA Murnane Casting

DIRECTED BY Chris Coleman

LIGHTING DESIGN BY Robert J. Aguilar

PSYCHODRAMATURGY BY Barbara Hort, PhD

PRODUCTION MANAGEMENT BY Peggy Carey

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

THE KILSTROM THEATRE • OCT 3 – NOV 2, 2025

Cat on a Hot Tin Roof is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com

CAST

(In order of appearance)

Margaret Noelia Antweiler*

Brick Adam Hagenbuch*

Reverend Tooker ................................................................................................................................................................... Jim Hunt*

Doctor Baugh Mark Rubald*

Mae Lenne Klingaman*

Dixie Isabel Gorrell

Buster Chase Jaquith

Polly ......................................................................................................................................................................................Danika Morin

Sonny

Max Rynerson

Trixie Sagely Sloan

Big Mama Leslie Alexander*

Big Daddy Lawrence Hecht*

Gooper................................................................................................................................................................ Matthew Bryan Feld*

SETTING Mississippi

CAT ON A HOT TIN ROOF will be performed with two 10-minute intermissions.

Stage Manager............................................................................................................................................................ Brooke Redler*

Assistant Stage Manager Harper Hadley*

Stage Management Apprentice Casey Pitts

Assistant Director Levi Franklin

Youth Performance Supervisor Kailey Buttrick

YOUTH UNDERSTUDIES

Chase Jaquith (Sonny), Danika Morin (Trixie), Sagely Sloan (Dixie)

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

WHO’S WHO

ACTING COMPANY

(In order of appearance)

NOELIA ANTWEILER (Margaret) (She/ Her) is delighted to be making her DCPA debut! Denver credits include: Dracula, Noises Off, Stick Fly, The Liar, and Animal Farm (Arvada Center); The Winter’s Tale, One Man Two Guvnors, Macbeth, and The Merry Wives of Windsor (Colorado Shakespeare Festival); Dreamgirls and Baskerville (Lone Tree Arts Center); Heroes of the Fourth Turning (Curious Theatre Company); Chasing Breadcrumbs (Local Theater); and Little Miss Sunshine (Aurora Fox). Select NYC credits: Leah and The Forsaken

(New York Times mention, Metropolitan Playhouse); The Tempest, Hair, and As You Like It (Secret Theatre). Noelia is also a professional aerialist, specializing in silks and dance trapeze.

ADAM HAGENBUCH

(Brick). TV credits include: “9-1-1,” “Mid-century Modern,” “High Potential,” “American Horror Stories,” “Fuller House,” “Modern Family,” and a dozen others. Theatre credits include: The Thanksgiving Play and Dracula: A Comedy of Terrors (Ensemble Theatre Company). Training: BFA, CMU. Member of The Actor’s Studio.

JIM HUNT (Reverend Tooker) (He/Him). At the DCPA: The Voysey Inheritance (Understudy). Other Colorado credits include: Downstate (Curious Theatre Company), An Enemy of the People (Boulder Ensemble Theatre Company), A Christmas Carol (Miners Alley Performing Arts Center—five years), The Minutes (Curious Theatre Company), Victorian Horrors (Molly Brown House and Museum—30 years), Our Town (Miners Alley Performing Arts Center), and August: Osage County (Creede Repertory Theatre). Video Game motion capture credits include: Life is Strange: True Colors (Deck Nine

Games). Special Awards: Colorado Theatre Guild’s Lifetime Achievement Award (2012/13).

MARK RUBALD (Doctor Baugh) (He/Him). At the DCPA: The Reservoir, Hamlet, A Midsummer Night’s Dream, Dinner with Friends, Merchant of Venice, Comedy of Errors, Lonesome West, The Winter’s Tale, Man of the Moment, A Christmas Carol, and others. Arvada Center: Of Mice and Men, La Cage Aux Folles, Beauty and the Beast, Ragtime, Dividing the Estate, Man Of La Mancha, Defiance, Best Little Whorehouse in Texas, Man for All Seasons, and others. Theatreworks: Twelfth Night and Into the Woods He’s also worked at Central City Opera, Colorado Springs Fine Arts Center, Theatre SilCo, Lonetree Theatre, Off Square Theatre, NYSF, and the Old Globe in San Diego.

LENNE KLINGAMAN (Mae). At the DCPA: Romeo & Juliet and Appoggiatura. Broadway/OffBroadway credits include: Waitress (Dawn, Broadway and First National Tour) and The Underlying Chris (Second Stage). Regional: Billie Jean (Chicago Shakes), Legacy of Light (McCarter Theatre), Love All (La Jolla Playhouse), Hamlet (HamletColorado Shakespeare Festival); A.R.T., NYSAF, Berkeley Rep, Shakespeare Theatre, South Coast Rep, Cincinnati Playhouse, St. Louis Rep, Shakespeare Santa Cruz, The Jungle, Capital Stage, A Noise Within. TV/Film: “FBI: Most Wanted,” “Chicago Med,” “Cold Case,” “Welcome to Sanditon,” “5 Second Films,” The Exchange Training: MFA, University of Washington. Member of The Actors Center. Her new album “PHOENIX” is streaming now and on vinyl. @lenneklingaman

ISABEL GORRELL (Dixie) is ecstatic to be making her DCPA debut! She has trained at Colorado School of Acting and been seen in Mary Poppins, Jr., Willy Wonka, Jr., and Harry Potter. She has been producing elaborate plays with her siblings and friends since she was a toddler and dreams of being an actress when she grows up. She’s an energetic 4th grader who loves to dance, ride her bike, read, and go to gymnastics class. Isabel would like to thank her teachers, family, and friends for their support, and DCPA for this opportunity!

CHASE JAQUITH (Buster/Sonny Understudy) (He/ Him) is thrilled to be making his DCPA debut. Chase has studied acting at Ensemble Theatre Company and Kidstage Colorado. Some of his favorite past roles include Pinocchio in Shrek the Musical, Burt Healy in Annie Jr. and Nick in Something Rotten Jr. When not on stage, Chase is in 5th grade and loves swimming, geography, art, and math. Chase wants to thank the DCPA for this opportunity and his family for all their support.

DANIKA MORIN (Polly/Trixie Understudy) (She/ Her) is honored and excited to be making her DCPA debut in Cat on a Hot Tin Roof. Her passion for theatre and the arts began at the age of 3, with classes and camps at DCPA in Denver and The Barrow Group in New York City. She recently performed a solo of “Popular” from Wicked in a showcase. Her love of fashion and singing led her to be cast to walk Denver Fashion Week this past spring and be part of a vocal trio in a local talent show. Her positiv-

ity resonates with others, inspiring others to stay smart, strong, and beautiful!

MAX RYNERSON (Sonny) (He/Him) is thrilled to be joining Cat on a Hot Tin Roof as his first professional production, having previously played the role of Bruce in a junior theater production of Matilda. He is an eleven-year-old sixth grader at La Luz Microschool and enjoys playing piano, board games, and video games. Max speaks, writes and reads Spanish. He has seen over 25 productions at the Wolf, Buell, Boettcher, and the Ellie, but this is his first time at the Kilstrom. Max would like to thank his family for their support and DCPA for this amazing experience.

SAGELY SLOAN (Trixie/Dixie Understudy) (She/ Her) is excited to be joining this amazing cast in her first professional production! She is grateful to Stephen Bertles at St. Anne’s Episcopal School for opportunities to perform as Annie in Annie Jr. and Mrs. Bucket in Charlie and the Chocolate Factory Jr. Sagely has also sung with the Colorado Children’s Chorale, performed with the Colorado Youth Symphony Orchestra, and trained with the Applause NYC summer program. She loves her family (almost as much as she loves pigs).

LESLIE

ALEXANDER (Big Mama). At the DCPA: A Little Night Music, A Christmas Carol, The Taming of the Shrew, and Rattlesnake Kate (Colorado New Play Summit). Broadway credits include: The Boy from Oz and Mamma Mia!. National Tours include: My Fair Lady (Mrs. Higgins) and Fiddler on the Roof

Off-Broadway: The Audience and Thistles. Regional roles include:

Eulalie Mackechnie Shinn in The Music Man, Mother Superior in Sister Act, and Dolly Levi in Hello Dolly!. Film/TV: Hallmark’s Mystic Christmas, HBO’s The Leftovers, and ABC’s “One Life to Live.” Video Games: “Red Dead Redemption 2” and “Grand Theft Auto V.” leslie-alexander.com / IG @lalesliealexander

LAWRENCE

HECHT (Big Daddy) (He/Him). At the DCPA: Twelfth Night, Glengarry Glen Ross, The Pillowman, and A Skull in Connemara. Regional credits include: 237 Virginia Avenue (Local Theatre Company); Red and The Intelligent Homosexual’s Guide… (Curious Theatre Company); A Midsummer Night’s Dream and Wittenberg (Colorado Shakespeare Festival); King Lear (Shakespeare Santa Cruz); A Lie of the Mind, Buried Child, Hamlet, and Sunday in the Park with George (ACT); The Lion in Winter (The Jewell Theatre); Good and My Fair Lady (PCPA); Uncle Vanya (Encore Theatre). Films: Scream, Scream 3, and Searching for Fortune. Conservatory Director (ACT/ATP), Former Head of Acting (DCPA/NTC). Unions: AEA, SAG/ AFTRA, SDC.

MATTHEW BRYAN

FELD (Gooper) (He/Him) began studying acting with The Barrow Group Theatre Company after receiving his master’s in jazz performance at the Manhattan School of Music. Matthew won a Henry Award for Best Supporting Actor for his role in the original musical Rattlesnake Kate at DCPA. Other credits include Beautiful (Asolo Rep), Dirty Rotten Scoundrels, The Sound of Music (Engeman), and Fiddler on the Roof (Portland Center Stage). TV: “Manifest”

(Netflix) and “Power” (Starz). Matthew is so excited to return to DCPA! He’d be nothing without his beautiful Amanda and magical Hayes! @matthewbryanfeld

PLAYWRIGHT

TENNESSEE WILLIAMS (1911-1983) explored passion with daring honesty and forged a poetic theatre of raw psychological insight that shattered conventional proprieties and transformed the American stage. The autobiographical The Glass Menagerie brought what Mr. Williams called “the catastrophe of success,” a success capped by A Streetcar Named Desire, one of the most influential works of modern American literature. An extraordinary series of masterpieces followed, including Vieux Carre, Sweet Bird of Youth, The Rose Tattoo, Orpheus Descending and the classic Cat on a Hot Tin Roof.

DIRECTOR

CHRIS COLEMAN is passionate about the connection between stories and community. He joined the DCTC as Artistic Director in November of 2017 and has directed Little Shop of Horrors, Rubicon, Hamlet, A Little Night Music, Hotter Than Egypt, Much Ado About Nothing, Rattlesnake Kate, Twelfth Night, A Doll’s House, Anna Karenina, and Oklahoma! Previously, Chris served as Artistic Director for Portland Center Stage in Oregon for 18 years. Under his leadership, PCS renovated the city’s historic Armory into a new home, saw annual attendance nearly double, workshopped 52 new plays that went on to productions at over 100 theaters around the US and UK, and became a national leader in how theaters engage with their community.

In 1988, Chris founded Actor’s Express in Atlanta (in the basement of an old church), a company that continues to be a cultural force in the Southeast today. He has directed at major theaters across the country, including Oregon Shakespeare Festival, the Alliance Theater,

Dallas Theater Center, Baltimore Center Stage, Actors Theatre of Louisville, ACT/Seattle, the Asolo, Pittsburgh Public, 59E59, and New York Theater Workshop. He and his husband, actor/writer Rodney Hicks, live in Reunion. Since moving to Colorado, he has hiked Dominguez Canyon, wandered the Cliff Dwellings of Mesa Verde, explored a working mine in Creede, and rafted down the Arkansas River.

CREATIVE TEAM

ROBERT J. AGUILAR (Lighting Designer) (He/Him). At the DCPA: Hotter Than Egypt Regional credits include work at Seattle Rep, Portland Center Stage, ACT, The 5th Avenue Theater, The Old Globe, Utah Shakespeare Festival, Intiman Theater, Cincinnati Playhouse in the Park, Milwaukee Rep, and Village Theatre, among others. Film: The Jinkx and Dela Holiday Special and Potato Dreams of America. www.robertjaguilar.com IG: @fake_robert

PEGGY CAREY (Production Manager) is the newest of the PM team, joining as Associate Production Manager in 2022. Before then, she worked at The Public Theater (New York, NY) as an Associate Production Manager where she managed readings, developments, and events, and hired stage management teams. Additionally, she helped to originate the Ithaca Fringe Festival as Production Director and has also worked at Actor’s Workshop of Ithaca, Eugene O’Neill Theater Center, Sie Film Center, and the Kitchen Theatre and studied in both London and the National Theatre Institute.

ELISA CARLSON (Voice and Dialect Coach) (She/Her). Voice, Text, and Dialect coaching includes: Off-Broadway at The Mint, more than 100 productions nationally at the Guthrie Theater, Alliance Theatre Company, Oregon Shakespeare, Alley Theatre, American Player’s Theatre, Delaware REP, Children’s Theatre Company, Minnesota and Atlanta

Operas. Film/TV: Historic voices/ dialects for First Man, Selma and Southside with You; dialects for Baby Driver, The Good Lie, Burden, A Dark Place, “Stranger Things,” “Will Trent”; text coach (and actor) for Campbell Scott’s Hamlet. Actor: Guthrie, Alliance, StageWest, Theatrical Outfit, Actor’s Express. Director: Alliance Reiser Lab, Refuge Theatre, GTA, Theatrical Outfit.

KEVIN COPENHAVER (Costume Designer) At the DCPA (30+ seasons): A Little Night Music, Much Ado About Nothing, Wild Fire, Twelfth Night, Goodnight Moon, Sweat, Corduroy, The Who’s Tommy, The Snowy Day, Sweeney Todd, Frankenstein, The Christians, Lord of the Flies, Animal Crackers, Just Like Us, Ring of Fire: The Music of Johnny Cash, The Whale, Dracula, Mama Hated Diesels, A Christmas Carol, and many others. Other Theatres: A Gentleman’s Guide to Love and Murder (Arvada Center); Hair (Geva Theatre Center); Sylvia, The Explorer’s Club, Passing Strange, Hairspray, Young Frankenstein, Smokey Joe’s Cafe, Hedwig and the Angry Inch, The Divine Sister, Tommy, Dream a Little Dream, 12th Night, Titus Andronicus, regional premiere of Peter and the Starcatcher and Love, Janis (USF). Training: BA in Theatre Design, University of Cincinnati College Conservatory of Music, Centro Maschere e Strutture Gestuali, Padua, Italy.

BARBARA HORT, PHD (Psychodramaturg) has maintained a private practice in Portland, Oregon for nearly four decades, based on the work of the psychoanalyst Carl Jung. Dr. Hort has served as psychodramaturg on numerous productions at the Denver Center for the Performing Arts and Portland Center Stage, providing material on the play’s psychological dynamics that is used by the artists creating the production. She is the author of Hollow Crown of Fire: A Discovery of Meaning in the Coronavirus Pandemic and Its Predecessors (2023) and Unholy Hunger:

Encountering the Psychic Vampire in Ourselves and Others (1996).

CHAD MURNANE, CSA (Casting) (He/Him) is a New York-based creative professional and the founder of Murnane Casting. Previously, Chad enjoyed six years as a casting director at Binder Casting, a renowned office within the theatre industry, where he collaborated on dozens of high-profile projects. Career highlights include casting Into the Woods (Hollywood Bowl), Emojiland (Off-Broadway at The Duke), along with national/ international tours of Lincoln Center Theater’s My Fair Lady, The Sound of Music, Tootsie, and the Tony Award-winning revival of The Color Purple. On film, Chad worked on Teenage Mutant Ninja Turtles: Out of the Shadows and the reboot of Friday the 13th (Paramount).

JOSHUA NGUYEN (Sound Designer) (He/They). DCPA: debut. Regional: Broke-ology (Kansas City Repertory Theatre) and Dracula: A Comedy of Terrors (Dallas Theater Center). Associate Designer: Diary of a Tap Dancer (American Repertory Theater); Clue, Disney’s The Little Mermaid, The Rocky Horror Show (Dallas Theater Center); In the Heights (Cleveland Playhouse), Side by Side by Sondheim (Repertory Theater of St. Louis). Education: BFA, Baylor University. Affiliations: TSDCA, CAATA.

LISA M. ORZOLEK (Scenic Designer). At the DCPA: (280+ productions/35 seasons) Hotter Than Egypt, Who’s Afraid of Virginia Woolf?, A Doll’s House and A Doll’s House, Part 2, The Whistleblower, Native Gardens, The Nest, Tribes, One Night in Miami, Benediction, Shadowlands, Jackie & Me, Death of a Salesman, Superior Donuts, Othello, Gee’s Bend, The Pillowman, A Lovely Sunday for Creve Coeur, and more (DCPA Theatre Company); Sweet & Lucky: Echo, Theater of the Mind (Associate Designer), DragOn, Sweet & Lucky (2016) (DCPA Off-Center); Elephant & Piggie’s “We Are in a Play!”, Little

Red, Goodnight Moon and more (DCPA Education); Gutenberg! the Musical, Miss Rhythm, The Other Josh Cohen, The Improvised Shakespeare Company®, Xanadu, Forbidden Broadway, Girls Only, and more (DCPA Cabaret). Lisa is a Denver native and has a BFA in Scenic Design from Boston University.

GRADY SOAPES, CSA (Casting) is the Director of Casting and Artistic Producer with the Denver Center for the Performing Arts. Grady has cast over 50 DCPA productions including Rattlesnake Kate, Theater of the Mind, The Chinese Lady, The Who’s Tommy, and The Wild Party. Choreography credits include A Christmas Carol (3 seasons), Twelfth Night, Goodnight Moon, Anna Karenina, As You Like It, Drag Machine, Lord of the Butterflies, DragON (Denver Center); Natasha, Pierre and…, Into the Woods, The Liar (Arvada Center); Comedy of Errors (Colorado Shakespeare Festival). Grady also works as a Casting Director for Sylvia Gregory Casting where he has cast multiple commercials, TV, film, and video game projects.

LEEAN KIM TORSKE (Dramaturg) is the Director of Literary Programs for the Denver Center Theatre Company. In the past, she’s served as the Literary Manager and Casting Associate at Northlight Theatre, Director of the Russ Tutterow Fellowship at Chicago Dramatists, and a publicist and discussion facilitator at Steppenwolf Theatre Company. As a freelance dramaturg and theatre artist, she worked with theatres throughout the Chicagoland area including A Red Orchid Theatre, Congo Square Theatre, Definition Theatre, Victory Gardens Theater, and more. Her play Pity Party is featured in Smith & Kraus’s 105 Five-Minute Plays for Study and Performance. Most recently, her play And the Wind Howls was commissioned and produced by Relative Theatrics with support from the Wyoming Arts Council.

STAGE MANAGEMENT

HARPER HADLEY (Assistant Stage Manager). At the DCPA: The Hot Wing King, Theater of the Mind, Elephant and Piggie’s “We Are in a Play”, Little Red: The Musical, Colorado New Play Summit: 2022, 2024, 2025, and In the Upper Room. Regional credits: Amerikin and Truth Be Told (Curious Theatre Company); Democracy Cycle and 237 Virginia Avenue (Local Theater Company); A Very Sordid Wedding, Fun Home, When Pigs Fly, and Kinky Boots (Uptown Players).

BROOKE REDLER (Stage Manager) (She/Her) is excited to be joining DCPA for this production! Her other credits include: Once on This Island, In The Heights, Million Dollar Quartet, and Native Gardens (Cincinnati Playhouse in the Park); Hair: Retrospection, Cabaret, and five seasons of A Christmas Carol (Kansas City Repertory Theatre); Peter and the Starcatcher (Utah Shakespeare Festival), Harry the Great (Creede Repertory Theatre), and multiple ASM credits as well. Other companies include Starlight Theatre, Stages St. Louis and Off Broadway. Brooke also works in opera, having spent eight seasons at the Cincinnati Opera (ASM) and two seasons at The Santa Fe Opera.

THEATRE COMPANY LEADERSHIP TEAM

CHRIS COLEMAN (Artistic Director) See Director.

CHARLES VARIN (Managing Director) and his team are responsible for the administrative, financial, and business operations for Theatre Company and Off-Center productions and other artistic initiatives. Since joining the Theatre Company in 2006, he has played a major role in executing the artistic vision of the organization and facilitating the production of shows such as Theater of the Mind, Sweet & Lucky, The Unsinkable Molly Brown, Sense & Sensibility the Musical, The 12, Sweeney Todd with DeVotchKa and many more.

Charles is passionate about artistic innovation and firmly believes in DCPA’s long-standing commitment to new plays and new voices.

In addition to DCPA staff, the following crew worked on this production: Andy Bruening, Jason Bushey, Lisa Ehrle, Christina HadleyDike, Phi Le, Nikki Mayer, Anna Sanchez.

The Director and Fight Director are members 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.

The Denver Center for the Performing Arts (DCPA) is one of the largest non-profit theatre organizations in the nation, presenting Broadway tours and producing theatre, cabaret, musicals, and immersive productions.

In its 2023/24 season, the DCPA offered 908,685 engagements, generating a $193.4 million economic impact.

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals. The Theatre Company is a division of the Denver Center for the Performing Arts, a non-profit organization serving the public through the performing arts.

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

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

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

PLEASE BE ADVISED

• LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas.

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

• ASSISTIVE LISTENING DEVICES, PROGRAMS & BOOSTER SEATS theatres. Ask an usher to direct you.

• BRAILLE PROGRAMS are available with 2 weeks’ notice to accessibility@dcpa.org

TAKING PHOTOS AT THE THEATRE

We welcome you to take photos in the theatre before and after the performance. If you post on social media, please credit, and tag the DCPA and the design team:

@denvercenter

Playwright: Tennesse Williams

Director: Chris Coleman

Scenic Designer: Lisa M. Orzolek

Costume Designer: Kevin Copenhaver

Lighting Designer: Robert J. Aguilar @fake_robert

Sound Designer: Joshua Nguyen @jashngooyen

Voice and Dialect Coach: Elisa Carlson @elisacbme

Dramaturg: Leean Kim Torske

Psychodramaturgy: Barbara Hort, PhD

Casting:

Grady Soapes, CSA and Chad Murnane, CSA of Murnane Casting

Photos and the video and/or audio recording during any part of the performance by any means whatsoever are strictly prohibited

Leslie Alexander and Sophia Dotson in A Little Night Music

Photo by Amanda Tipton Photography

SWEET & LUCKY RETURNS WITH ECHO

BY JOANNE OSTROW

SSweet & Lucky, the 360-degree, dream-like dance-theater experience that catapulted Denver, the Denver Center for the Performing Arts, and Off-Center to the forefront of the immersive theater world in 2016, returns with Sweet & Lucky: Echo. Neither sequel nor prequel, Echo has been incubating for years and aims to be similar enough but different enough to engross fans of the original.

The same creators, design team, and many of the same performers are back, this time in a different Denver warehouse with a different theatrical structure, scaled differently but with the same themes.

If the original Sweet & Lucky was about facilitating a sense of intimacy, Echo is about fostering a sense of community.

During the Covid shutdown, Denver native Zach Morris of New York’s Third Rail Projects relocated here to be close to family. He and Charlie Miller of DCPA’s Off-Center met regularly (six feet apart, with blankets and a heater in Miller’s backyard) to discuss what might come next. After Miller collaborated with David Byrne on Theater of the Mind, “we started talking more seriously about Sweet & Lucky: Echo being our next produced show,” Miller said. “We’ve been actively working on this one since 2022.”

According to the collaborators, the structure of the original was invisible to the audience as attendees were led in a more solitary experience through a labyrinth of rooms and encounters; the structure of this work is visible to the audience, as a central space transforms around them. As before, individual audience members will see different combinations of scenes.

Sweet & Lucky: Echo centers on a couple, their love relationship. It’s about memory, loss, and making sense of what’s left behind in someone’s life.

— CHARLIE MILLER, EXECUTIVE DIRECTOR & CURATOR, DCPA OFF-CENTER

Don’t expect it to be like a night at the Buell, although there will be optional seating available through much of the show.

Describing a changed financial reality, physical constraints, and a socially different atmosphere, Miller said, “we couldn’t remount the show even if we wanted to. What has emerged is a new play, a new experience, that has the heart, the soul of Sweet & Lucky, staged in a new way.”

Having a larger audience is necessary to make it financially viable and also is now central to the show, he said.

How will the story be different for those who enjoyed the original Sweet & Lucky? Associate directors Edward Rice and Rebekah Morin of Third Rail said via email, “We have been thinking about the story as though it has been refracted through a prism. Some moments are being

amplified and duplicated, while others are seen through a characterspecific lens. We get to experience both the present and the memories of the past and consider how they affect each other.”

The 27,000 square-foot warehouse where Echo is taking shape is where the immersive MONOPOLY LIFESIZED: Travel Edition took place in 2024, previously the site of the former Dollar Tree on South Broadway. The DCPA has a lease on the building for another year.

The space will accommodate 192 audience members with 14 actors, two stage managers, five crew plus front of house personnel. This time, Miller is glad to say, “we built a real bar with real plumbing.”

Beyond what’s on offer at The Keepsake Bar, this experience promises to feel very different.

Careful to avoid spoilers, Miller will only say that “instead of moving room to room, the audience is in one large primary space that transforms around you.” The themes are familiar, as Echo uses the same source material, and some scenes are reimagined or replayed. “It centers on a couple, their love relationship. It’s about memory, loss, and making sense of what’s left behind in someone’s life.”

Three of the original performers return — Amanda Berg Wilson, Diana Dresser, and Jenna Moll Reyes. And the design team is the same as in 2016 — Lisa M. Orzolek, scenic design; Meghan Anderson Doyle, costume design; Charles R. MacLeod, lighting design; and Sean Hagerty, composer and sound design. Audiences will note some familiar faces from DCPA shows. Additionally, a couple of Third Rail veterans have relocated here to be part of this show.

2016’s Sweet & Lucky was “a defining moment for our artistic community,” Miller said. Denver’s immersive scene now is considered one of the most robust in the country. “I’m eager to see what this new version spawns as well.”

The route to Echo has been “a rollercoaster,” Miller said. Not least, the site had a number of restrictions and required a hefty financial investment to build out the space. The ceilings aren’t high enough to make it rain, for example. But, Miller said, that has ended up being “a liberating artistic opportunity.”

Expect “no rain, but other exciting reveals,” he said.

The production will offer 24 premium tickets each night, which entitles participants to what Miller describes as “a cool keepsake and participation in a special scene 30 minutes after the show ends, in a private space, not an epilogue but a sort of bonus content,” in which they can go deeper into one of the storylines and have a chance to connect with the performers.

Not that premium tickets will help the production break even.

“The cost of creating these shows from scratch is so high, we would have to run them for years to recoup the investment. It is not revenue positive,” Miller said diplomatically. That’s where sponsors, donors, and grants come in.

“The immersive theater landscape has greatly expanded in the last decade,” Rice and Morin said. “Traditional theatergoers have certainly embraced immersive theater, and you can see that in Broadway taking on elements of the form. We have also seen people who wouldn’t normally consider themselves theatergoers get interested in this form because it has expanded into multiple performance practices: live-action role-play, escape rooms, murder mystery dinner parties, haunted houses, and 360 visual installations etc.”

Echo is none of those things, but an innovative step in multisensory theater.

SWEET & LUCKY: ECHO

NOW PLAYING AT BROADWAY PARK®

407 S. Broadway at Broadway & Alameda

Alberto Denis. Photo by Jamie Kraus Photography.

SETTING THE STAGE FOR LIFELONG LEARNING

BY SUZANNE YOE

In 1985, the Denver Center for the Performing Arts (DCPA) launched its arts education program with a simple school tour. By 1992, it had expanded to include acting instruction for students of all ages — and its impact has only grown.

From career readiness and early childhood literacy to in-school residencies and student matinees, DCPA Education engages nearly 144,000 students each year through 12 programs including the popular Theatre for Young Audiences (TYA) early childhood production.

The program debuted in 2017 with a pilot production of Oily Cart’s In a Pickle. Now the program welcomes as many as 43,500 children ages PreK through third grade each year. This season, Goodnight Moon returns by popular demand, running Oct. 24, 2025-Jan. 25, 2026 in the Weeks Conservatory Theatre

Created specifically for the DCPA by playwright Chad Henry and director Allison Watrous with in-house design by Denver Center Theatre Company artisans, this show brings Bunny, kittens, bears, cows, the red balloon, and a (not-so-quiet) old lady to life on stage.

Thanks to support from the Genesee Mountain Foundation, Chevron, DaVita, Alan & Carol Meny, and the Rollie R. Kelley Family Foundation, Theatre for Young Audiences has grown so popular that DCPA Education lengthened the run by more than 40 performances. To broaden access, the DCPA offers $16 tickets to its student matinees and regularly supplements ticket costs with discounts and scholarships. Of the nearly 21,560 tickets distributed last season, 67% were free or low-cost. Plus, school groups are always treated to a complimentary pre- or post-show activity that enriches the experience.

“Experiencing live theatre allows children to connect their experiences to stories on stage,” said Watrous. “Theatre for Young Audiences is the first steppingstone of our curriculum that — paired with classes, residencies, and all of the DCPA’s wonderful productions — fosters a lifelong love of theatre.”

To learn more about Theatre for Young Audiences and how you can support all of the DCPA’s educational opportunities, visit denvercenter.org.

Photo by McLeod9Creative.

BALLYHOO

SEASON AT THE DCPA

From festive favorites and holiday classics to heartwarming stories and laugh-out-loud comedies, the DCPA transforms into a wonderland of storytelling and connection during the season of gathering.

Since 1965, ABC Custom Framing has been Denver’s trusted choice for museum-quality custom framing.

From fine art to heirlooms, memorabilia, and more, we craft frames that preserve, elevate, and transform your space. Framing isn’t just about protection—it’s about making a statement.

Denver

Complimentary dessert

&

IN DOWNTOWN DENVER

Panzano

Three-course Pre-Theatre Menu for $60 per person with an optional wine pairing for $30

Complete the perfect outing with special offers from our DCPA Restaurant Partners.

Just show your theatre tickets and enjoy!

range

Complimentary valet parking and dessert with purchase of entrée

Complimentary valet parking and 20% off bill

Dazzle

Rioja Free glass of our proprietary Barcino C3 Cava

STK Steakhouse

Champagne Tiger 10% off Final Bill before tax

A PROUD PARTNER OF THE DENVER CENTER FOR THE PERFORMING ARTS

CChevron has invested in Colorado for more than 90 years and today Chevron is the largest oil and gas producer in Colorado, with close to 1,000 employees. We know how to deliver affordable, reliable, and ever-cleaner energy and we are investing resources and time to find ways to drastically lower the carbon intensity of the energy we produce while maintaining the important pillars of affordability and reliability.

Our company and our employees take pride investing our time and talent into the many communities we call home. Chevron invests millions of dollars and volunteers thousands of hours with community organizations across the state. Our focus areas include meeting essential needs, promoting diversity and inclusion, enhancing education, providing arts experiences, and protecting the environment.

Through several different partners, Chevron supports science, technology, engineering, and math (STEM) subjects at universities, community colleges, K-12 schools, and career technical education centers on the Front Range and Western Slope.

We also work with non-profits whose programming encourages young boys and girls to explore STEM in various ways. Our support of robotics programs in several schools enables youth to have hands-on learning.

We have proudly supported the Denver Center for the Performing Arts for more than three years, believing in its vital contribution to the state’s creative energy. The arts are for everyone, and Chevron’s contribution enables DCPA’s educational programs, youth theater, budding teen playwrights, Denver’s own theater company, and Broadway productions.

Congratulations on another wonderful year bringing the performing arts to all the Front Range, and indeed, Colorado.

To learn more about Chevron and our community investments, please visit https://colorado.chevron.com/

Supporting communities is a treasured and fundamental ethic of Chevron employees. They are proud to volunteer at food banks, environmental projects, fundraisers, and more.

[The arts] inform, inspire, and uplift while bringing the community together.

— ANDY AYE, CO/AZ/NV/NM

MARKET

LEADER, GIS

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

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

“We’re proud to serve the DCPA because it provides the best in live entertainment, in addition to education for all ages through the art of theatre,” said Andy Aye, Global Industrials and Services Market Leader for Colorado, Arizona, Nevada and New Mexico. “We know the critical role that the arts play in our society. They inform, inspire and uplift while bringing the community together.”

In 2023, the U.S. Bank Foundation committed $96.4 million in corporate contributions to nonprofit organizations across the entire enterprise, $3.1 million of which was invested to Colorado nonprofits. Those contributions had an emphasis on community development diversity and inclusion, financial education, and the environment. Additionally, its employees volunteered more than 360,000 hours, demonstrating that employee engagement is a major component of its community success.

“The DCPA brings us together to appreciate our diversity of thought, perspective, and talent,” said Aye. “I am always amazed at how much we share when we all laugh or gasp during a key moment in a performance. It is a sense of participation and belonging that strengthens our community. Supporting the DCPA is making an investment in ourselves, the arts, and the place we call home.”

THANK YOU

The Denver Center for the Performing Arts gratefully acknowledges the generous support of the following donors of $250+ between July 1, 2024 and June 30, 2025.

+ Includes in-kind support

* Deceased

EXTRAORDINARY GIVING

Scientific and Cultural

Facilities District

PLATINUM CIRCLE

($100,000+)

Chevron Corporation

Marike & Greg Fitzgerald

Genesee Mountain Foundation

Robert & Judi Newman

The Shubert Foundation

U.S. Bank

GOLD CIRCLE

($50,000-$99,999)

Bret & Cindy Bolin

Estate of Isabelle Clark

Dorota & Kevin Kilstrom

Lewis E. Myers, Jr.

Scholarship Fund

The Morgridge Family Foundation

Everett Schneider & Robert Phifer

Martin & Jo Semple

SILVER CIRCLE

($25,000-$49,999)

Anonymous

The Anschutz Foundation

Tom & Mary Bagley

CIBC Private Wealth

Management

Edgerton Foundation

Keith & Kathie Finger

Elizabeth & Nelson Hioe

Deborah Kelly

Betsy Kiley & Steve Knox

Ruth Krebs & Peter Mannetti

MDC/Richmond American

Homes Foundation

Ralph & Trish Nagel

Eva Schoonmaker

Mark Sexton and the Sexton Family Foundation

The Sheri and Les Biller

Family Foundation

Robert & Carole Slosky

June Travis

Ken & Debra Tuchman

Tim & Stephanie White

Walter Wilson & Drew Englund

Xcel Energy Foundation

Sylvia Young & David Young, M.D.

BRONZE CIRCLE

($15,000-$24,999)

Antero Resources

Brownstein Hyatt Farber

Schreck, LLP

The Buell Foundation

BuildStrong Foundation

Cruiser Accessories

David & Laura Merage

Foundation

DaVita Inc.

FirstBank Holding Company of Colorado

Susan Fox Pinkowitz &

Ted Pinkowitz

Michael Gosline & Don Werner

Norma Horner & John Estes

IMA Financial Independent Financial

Barbara Kelley

Nicholas & Jennifer Kemp

Diana & Mike Kinsey

Lori & Bill Kurtz

William & Kim Lewis

Monarch Casino & Resort, Inc.

Gayle & Steve Mooney

PNC Bank

James & Stacy Rechtin

The Sam and Beth Coyle

Family Charitable Fund

Steven Schenbeck

Janice Sinden

Dean Singleton

George & Kristin Strompolos

Bea Taplin

Transamerica

Pamela & Joe Woods

SPOTLIGHT VISIONARY

($10,000-$14,999)

Alpine Bank of Colorado

Susan & Andrew Anderson

Anonymous

Delaney & Kristine Bensler

John Carlen & Jean Gleason

Brisa & Mark Carleton

Marco & Paige Chayet

The Chotin Foundation

CLA (CliftonLarsonAllen)

Robert* & Kathleen Clark

Mark Clouatre & Tye Richerson

Colorado Creative Industries

Colorado Rockies

Chris Comer

Lisa & Tom Corley

Greg & Allison D’Argonne

Jerome Davis

Denver Arts & Venues

Margaret DesCombes

Navin & Rita Dimond

John & Kathryn Dunn

Judy Dunn

Edgemark, LLC

El Pomar Foundation

Heidi Elliott

Caryl & Ken Field

Adrienne Ruston Fitzgibbons

Katie Fox

In Memory of Sally Gass

HealthONE

HRM Resources LLC

Dan & Lisa Kelly

Land Title Guarantee

Company

Ron Litvak & Amy Gaines

Scott & Ingrid Lynn

Alan & Carol Meny

Morgan Stanley Private Wealth Management

Lynnette Morrison

Erica Motes

Philip & Marcie Munishor

Sherri Nitta

Judith Pettibone

The Phyllis M. Coors Foundation

Craig Ponzio

Riverfront Park Community Foundation

Rollie R. Kelley Family Foundation

Cheri & Alan Rubin

Peter & Nicole Rueth

Semple Brown Design, P.C.

Susan & Eugene Sherman

Alison & James Shetter

Steven & Kerri Siegel

Katy & Erik Simpson

Stonebridge Companies

Steve Talley

Union Pacific University of Colorado Foundation

Matthew Van Praag

Steven & Tricia Vath

Ron Villarreal

Wolf Energy Company, LLC

Judi Wolf

THEATRE BUILDER

($5,000-$9,999)

Nicole & JJ Ament

Cheryl & Darryl Annett

Auraria Higher Education Center

Paula Bernstein

Claude Pumilia & Rasmani Bhattacharya

Bow River Capital

Brown & Brown

The Christian Anschutz Foundation

Michael & Pam Copp

Jennifer Crossett

Peter & Julie Cushman

Daniels Family Charitable Trust

Denver Agency

Denver Language School

Matthew & Lisa Emerson

Janet Evans

William Fortune

Jeannie & John Fuller

Rich Garvin

Caleb & Sidney Gates

Daniel & Shelley Hatch

Hays Family Charitable Gift Fund

Taru & Bill Hays

Barbara Hort

Kathy Huwaldt

Hyman J. and Florence

Hammerman Family Foundation

Patty & Michael Imhoff

Leede Operating Company

Mary Leprino

Jessica Levhofer

Yoav Lurie & Lana Kimayeva

Margulf Foundation

Stephen & Kathleen

McConahey

Paul & Jodell Mizoue

Emily & Amit Mrig

Nelson Mullins

Linda Rieger

Dorothea Simmons

Harlan & Joyce Spritzer

Debi & Jerry Tepper

Kendyl Butler Truettner

Turner Morris, Inc.

ARTISTIC DREAMER

($2,500-$4,999)

Anonymous

Liz Armstrong

Leslie Beltrami

Patricia & Chris Billinger

BOK Financial

Peggy & Cole Brannick

Arleen Brown

Christopher Bujanda

Brent & Christine Case

Jennifer Caskey

Cliff Foundation

Denver Post Community Foundation

Matthew & Karin Dolph

Tamera & Richard Ehrman

Yosh Eisbart

Teresa Elder

Shawn Elliott

Rick Fantini

David & Jessica Farahi

Tim Farris

Erik Fetzer

Fisher Phillips LLP

Margot Gilbert Frank

The Gilman Family Foundation

Carol Hamer

Jeanne Land Foundation

Sandy & Paul Jeffery

John & Joanne Kirby

William LaBahn

John Lee

Yi Liu

Mariel

Timothy Meeks

Christian & Katrin Mezger

Michael & Cynthia Stollar

Family Giving Fund

David Miller & Katherine Dines

Jay Mills

Arlene Mohler-Johnson

Nancy & Paul Oberman

Cynthia & Alexander Read

Alan Salazar

Hassan & Sheila Salem

Betsy Schutte

Todd & Tamara Seelman

Earl & Lisbeth Sethre

Cheryl Solich & John Kure

Alan & Gayle Talesnick

Thomas and Suzanne

Hefty Fund

Ted Tow & Cathy Traugott

DonnaDale & Mark Turner

Paul Washington & Nadia El Mallakh

Ken & Dana Zinn

SCENE MAKER

($1,200-$2,499)

Holly Bachmeyer

Erin Baker

James Ball & Maureen Geoghan

Sherwin & Theresa Beck

John Blair

The Blanche and Irving Laurie Foundation

Brad Bolon

Libby Bortz

Joan Briggs

Laura & Jarrel Burrow

Chris & Gina Carlson

Lee Ann Cast

Colorado Gives Foundation

Vanessa Curley

Stacey & Sydney D’Angelo

Sally David

Paul & J’ne Day-Lucore

Jennifer & Evan Dechtman

John Ekeberg & Jennifer Schwem

Fantini Family Giving Fund

Barbara Ferris

David & Theresa Flake

Ro Fleury

David Galinis

Heather Gilmore & Dorian Brugger

Rosemary Glista & Donna Butwin

Goldman Sachs Ayco

Nathaniel Graf

Peggy Harrison & Jeff Holmes

Jennifer Havercroft-Miller & Greg Miller

Annette Hejl

Michael Henry

THANK YOU TO OUR DONORS

Robin Heppler-Seay & Jon Seay

Barry & Arlene Hirschfeld

Jackson H. Fenner

Foundation

Paul Jerez & Chris Goodale

Robert Kenney

Michael & Linda King

Nancy & Bob Koontz

Rachel Macias & Chris Porter

Sharla Marshall

Frances Matthews

Lisa May

Brian McCallin

Patrice McEahern

James McGuckin

Matthew Miller

Jen Moore

Mary Moriarty

Cara Nakata

Lisa Nassardeen-Buckley

NCBC Foundation

Timothy O’Donnell

Loren Parsons

Steven Pike

Valorie Plesha & Ally Daubenspeck

Julia & Rusty Porterfield

David Price

Read Foundation

Patricia Robinson

Sammy Scoma

Paul Snogren

Edie Sonn

Nathan Steele

Steven Fager & Nancy Stern

Melanie & Sean Tafaro

Vanguard Charitable

Sean Velisek

Heidi & Mark Wilbur

Jordan Wilde

Donald & Elizabeth Williams

Jane Williams

BACKSTAGE ENTHUSIAST

($500-$1,199)

Peter Abuisi

Diane Adams

Kathryn Ake

Claudia Alexander

Doug & Lindsay Andrews

Anonymous

Steven Antonoff

Alan Arbuckle & Eric Cornejo

Timothy Arnold

Carol & Russell Atha

Daniel Bailey

Katie & Mark Baker

Kathie Barnes

Tamara & Francis Barron

Catherine Bauer

Heidi Baumert

Doug & Geralyn Beahm

Laura Beard

Karen Beauvais

Donna Beckmann

Katie Behnke

Angela Benford

Allen Benning

Neil Bergin

Amanda Bernstrauch

John Bishop

Megan & James Black

Susan Blake-Smith & Scot Smith

Michael Bloom

Doris & Thomas Blyth

Adriana Bombard

Gloria Bowen

Marge Bozarth & Gail Knowles

Natalie Brader

Break-Away Tours

Colleen Brewer

William Browning

Linda Brune

Elle Bruno

Emily Burkart

Linda Bushman

Madonna Butwin

Eileen Byrne

Nancy Cain

Libby Campbell

Ginnie Carlier

Deo & Kelli Carmichael

Nancy Carpenter

Janice Carroll

Michelle Chiodini

Stephanie Chiu

Jamie Clements &

Lance Owen

Suzanne Cluff

Beth Cobert

Robin & Alan Cole

Chris Coleman &

Rodney Hicks

Craig Connelly

Ellen Connor

Steve Cordes

Tori Correll

Kim Corrigan

Kay Cowling

Joy & Tim Cox

Thomas & Cheryl Cox

Linda & Steve Crain

Katie Cymbala

Toni & Blake Davis

Fiona de Kerckhove

Katie Deenihan

Kim DeGrande

Barbara DeJong

Ted & Janelle deLescinskis

Cindi Dilts & Margaret Leede

Bobby & Sara Dishell

P. Lynn Donaldson

Sue Dority

Thomas Dority &

Susan Gapter-Dority

Paul Dorr

Maureen Dudley

Donna DuHadway

Renee Duke

Renee Duncan

Elizabeth Caswell Dyer

Helene Eckstein &

William Humphries

Encore Bank

Candy & Charles Ergen

Ashley Etchart

Andrew Feinstein

Fidelity Charitable Funds

Valerie Finberg

Richard & Barbara Finke

Karen & William Fisher

Elaine Fitzgerald & Gerald Spann

Virginia Fuller

Diane & John Gallagher

Mary Ann Gallegos

Allison Galligan

James & Katheryn Giasafakis

Golden Hands Fund

Michelle Goldman & Jeanette Domber

Barry & Thorey Goldstein

Manuel Gonzales

Elliot Good

Glenn & Kim Goodwin

Juli & Richard Gordon

Vivian & Ronald Gordon

Judy & Gene Gorham

Ray Gottesfeld

Gertrude Grant

Neal Groff

Patricia Gunckel

Lindsey Gutman

Karen Haley

Linda Hamlin

Diane Hanson

Dane Harbaugh

Donna Harrison

Lo Harrison

Mary Harvey

Beverlee Henry Fullerton

Bernice Hernandez

HHSB Family Fund

Crystal Himmel

Sarah Hintz

Robert & Diane Hochstadt

Cheryl Hopper

Kerry Houghton

Hsiu-Tseng Huang

Lydia Ibarra

Gary Jacobs

Sue Jhung & Terri Baldwin

Eric Johnson

Larry & Susan Johnson

Lynda Johnson

Paul Johnson

Mary Anne Johnston

Betsy Jones

Kim Kanas

Carla Kennedy

Katie Kennedy

Lynne Kerr

Kerry Kinnard

Dianne Kirkbride

David & Tiffany Klenke

William Kohut

Lois Krause

Dianna Kunz

Kathleen Kurtz

Jean Kutner

Colleen LaFontaine

Nancy Lambertson

Todd Larabee

Karen Lechtenberg

William Lee

Anne Lehigh

Jennifer Leitsch

LIV Sotheby’s

Charles & Gretchen Lobitz

Merry Logan

Lawrence Long

Jill Lorentz

Lisa Lund-Brown

Martha Lynch-Biasi

Diane MacRossie

Mandile Family Fund

Dottie Marchant

Shirley Marlow

Giselle Martin

Jeff Martin

Julie Martin

Marianne Marvez

Chelsea Marx & Mike Davidson

Domingo Mata

Margaret Matthews

Thomas & Pamela Mayeda

Beth McCann

Laura McCarthy

Kelly McCormick

Scott McEwen

Eric Mead & Joyce Larson

Harold & Betty Meadows

Patrick Meyers

Mile High United Way

Amanda & Jacky Miller

Jonathan Miller

Sacha Millstone

Joseph Moenich

Rayanne Mori

Ann Morrissey

Karen Musick

Kristin Nelson

Kristy Niedermuller

Kristen Nordenholz &

Andrew Martin

David & Vicky Norris

Jaydee Nowak

Marilyn Oliver

Dan & Jeanne O’Shaughnessy

Lucy O’Shaughnessy

Katherine Ott

Anita Padilla-Fitzgerald

Lisa Parrett

Kim Patmore & Tom Haller

Richard & Nancy Peters

Carol Petitmaire

Juliana Phelps

Cason & Rachel Pierce

Toby Pippin

Stephen Pirner & Kevin Rutherford

Mimi Platte

Joey Porcelli

Marisa Porter

Koger & Marcie Propst

Melinda Quiat

Barbara & Gary Reece

Mark Reese &

Martha Graves Reese

Diana & Paula Refuerzo

Sharon Regier

Eric Replinger

Linda Rhea

Richard Kornfeld

Giving Fund

Fred & Ayliffe Ris

Lynn & Roger Ritvo

Bret Roberts

Ron & Merilee Robertson

Susan Rodger

Jennifer Romig

Bee Ross

Chris Ross

Molly Ross

Stephanie Rossi

Peggy Rottner

Terry Roybal

RPM Parking Companies

Carol Rust

Jan Rutty

Deborah Sandquist

Sandra and Douglas Tashiro

Family Fund

Sharon Schonhaut

Douglas Scrivner

Ann Sears

Aaron Sheppard

Christine Shore

Terry Siek & Randy Fitch

Artis Silverman

Jamee Simons

Amy Skinner & Richard Brandon

Martha Sloven

Betty Speir

Kathryn Spuhler

Janis Starkey

Steinberg Giving Fund

Stellar Solutions Foundation

Mimi & Philipp Stephanus

Mark Stotik

Darwin Strickland

Robin Strong

Marielena Suarez

Chris & Geri Swahn

Jamie Tafoya

Tatar Family Foundation

Andrea Telesco

Robert Terkhorn

Judy Terry

Deanna & Dan Tesone

Patti Theil

Jeffrey Thomas

Barbara Thornhill

Elaine Torres

Margaux & Keith Trammell

Jason & Leslie Trow

Pamela Tumler

Terri Tymkovich

Heather Van Dusen

Barbara Vollmer

Tina Walls

Nicole Walsh

Beverly Walter

April Walters

Pamela & Mike Watanabe

Mary Watson

Lee & Jilda Weinstein

Glory & David Weisberg

Nancy Welch

Cambria Wethey

Sarah Wheatley

Kathleen Wheeler

Maryl & Greg Wilensky

Kristen Wilson

James Wojtkewicz

Richard Wolniewicz

Michael & Lynne Wozniak

Suzanne Yoe

Peter Zaemes

ENSEMBLE

($250-$499)

Richard & Kim Abele

Andrea Ackerman &

Nicholas Anderson

Richard Akeroyd

Jeffrey & Haley Allen

Zachary Andrews & Erika Mori

Christine & Craig Andrisen

Cindy Antil

Gary & Gail Armstrong

Diane Arnold

Jodi Asarch

Andrew Aye

Julie Bank & Linda Walmsley

Karen Barker

Richard & Barbara

Blum Barnett

Larry Bass

Shea Bax

Chris Beatty

Michael Beltracchi

Michael Bennet &

Susan Daggett

Martha & Ron Berge

Angela Betker & Anthony Simon

Paul Biederman

Susan Bishop

Kendra Black

Georgia Blum

Laurie Bolthouse

Susan Boulden

Rebecca Bowman

Michael Braga

Dina Brudenell Altman

Merrianne & Gerald Bryan

Jim Bumanglag

Samantha Byrnes

Diana & Richard Carney

Judy Chaloupka

Joe Chang

Susan Chong

Jane & Walter Christman

Christina Clark

Montgomery Cleworth

Thomas Comer

Lawren Coope

Carol Core

Michelle Cowgill

Sheryl Cox Gillis

Faustine Curry

Suzanne Danuser

Richard Darlak

Matthew Deasaro

Connie Delany

Christine DeRose

Howard & Elizabeth Diamond

Sonya Dixon

Jennifer Dyer

Pamela Easter

Judi Ernst

Albert Fialkovich

Peggy Finkowski

Mike Fiorillo

Chelsea & Bill Flagg

Sasha Franger

Frank Fransioli

JoAnne Friedman

Gregory & Ann Fulton

Baryn Futa

Elaine Gampel

Cindy Garcia

Timothy & Paula Gilbert

David Goldstein

Al Gonzales

Larry Green

Shannon & Maya Green

Kristin Hakalmazian

Susan Halstedt

THANK YOU TO OUR DONORS

Karen Hamilton

Linda Hamilton

Daniel Harris

JoAnne Hart

Steven Heil

Tim Held

Susan Hemauer

Matt & Kelly Herndon

Connie Hewitson

Henry & Sue Hewitt

Pamela Hirschman

Kathy Hodak

Wendy Hodges

Carol Hunziker

Vivian Iniguez

Jason Richter MD

Charitable Fund

Paula Jensen

Heather Jordan

James Judge

Lara A Kendrick

Gwen Kerby

Derek Kiernan-Johnson

Tom Kirkpatrick

Roland Kjeso

Melvyn & Roberta Klein

Zeena Kohr

David Krell

Laff Foundation

Richard Leaman

Robin Lee

Doug Lind

Jill Lorentz

Kristen Lucero

John Lynass

Michael & Susan Magee

Merrylue Martin

Jami Maselli

Kim McConnell

James & Carole McCotter

Joseph McTee

Natalie & Paul Meyer

H Michael Miller

Michele Middlesworth

Karen Miller

Richard Minot

Nancy Moore

Michael & Nancy Moskal

Mary & Michael Moynihan

Robyn Nagy

Nancy Nakamura

Jenny Nikaido

Nike Matching Gifts

Gail Nordheim

John O’Keeffe

Becky & William O’Rourke

Elizabeth Orr

Robin Pack

Chuck Palmer

Charice Palmer-Flory

Nancy Pancheco

Julie Parsons & Frank Nowell

Paula Pinkley

Sonja Lee Poling

Ann & Keith Pollack

Jennifer Poole

Debbie Price

Sue Provost

Peter Rainsford

Lillian Ramseur

Julia Ramsey

Holly Reef

Ann Reid

Mary Carol Riaski

Tamera Rice Ehrman

The RichRaff Family Fund

Mary Riddell

Andrew Riojas

Patricia Rocha

Doug Rood

Rose Community Foundation

Richard Roth

John & Vivian Sabel

Tom Satter

Laura Saylor

Stephanie Schultz

Joe Schweid

Heather Shea

Joan Shields

William Silberstein

Cassidy Simard

Ben & Monica Slabach

Lynn Slouka

Sara Smith

Shelly Snyder

Dawn Song

Erin Starr

Susan Stein

Judith Steinberg

Susan Stiff

Jeanne Surbrugg

Emily Tarleton

Cynthia Tinkham Shepherd

Kristine Turner

Deborah Van Wyke

Irene Verstraete

Dona & Mark Wallace

Tom & Donna Ward

Matt Wasserman

Charles Wehrwein

Wendy Weil

Mary Werth

Tim Wieland

Cynthia Williams

Susan Willson

Young Americans Center for Financial Education

Eugene & Tita Zeffren

Brian Ziolkowski

GIFTS IN KIND

Ameristar Casino Resort Spa

Aramark Destinations

The ART Hotel

Balani Custom Clothiers

Bonneville Denver

Jane Boone

The Brown Palace Hotel

The Buell Foundation

Carboy Winery

CBS Colorado

Central City Opera

Champagne Tiger

Christine June Photography

Cirque du Soleil

City Floral Garden Center

Club Greenwood

Colorado Public Radio

Colorado Sightseer

Colorado Symphony

Comedy Works

Chris Davis

Dazzle Denver

Delta Airlines

Denver Athletic Club

Denver Divers and the Swim School of Denver

Denver Film Society

Denver Museum of Nature & Science

The Denver Post

Denver7/KMGH (ABC)

Disney Theatricals

El Semanario

Emma Lynn Esthetics

Event Rents

Devon & Hannah Fitzgerald

The FlyFisher Guide

Service LLC

The Four Seasons and EDGE

Restaurant and Bar

The Fox Hill Club

Garbarini

Grand Hyatt Vail

Halcyon Hotel Cherry Creek

Darrell Hammond

HEARD Digital Marketing

Robin Heppler-Seay & Jon Seay

Hermes Worldwide

Hermitage Bookshop

Hyatt Regency Denver at Colorado Convention Center

Hydrate IV Bar

Inside the Orchestra

The Jacquard Hotel

Jay’s Valet

Jiang Photography

Kendra Scott Jewelry

Kroenke Sports Enterprises

KUSA/Channel 9 News

Le Meridien Denver

Downtown

Limelight Hotels

Charles MacLeod

Kyle Malone

Mark Stevens Photography

Graham Marsden

McNeil Designer Portraits

Monarch Casino & Resort, Inc.

The NOW Massage

Ordinary Fellow Winery

The Oxford Hotel Denver

Panzano

Planet Bluegrass

Populus Hotel

The Publishing House

range Restaurant / Renaissance Denver

Downtown

Redstone Castle

Rioja

Rocky Mountain Events

Sage Hospitality

Resources, LLC

Saks Fifth Avenue

Salt Water Social

Scissors & Scotch

Serendipity Catering

Skin Spirit

The Slate Hotel

Sonnenalp Vail Hotel

Michelle & Roger Stansbury

STK Denver

Terra Bella

Trinchero Family Estates

UCHealth

Julie Ulstrup

Vintage Theatre

Westin Denver Downtown

Wines for Humanity

ENDOWMENTS

& LONG-TERM FUNDS

SUPPORTING DCPA PROGRAMS AND PRODUCTIONS

Boettcher Foundation Endowment

The Doug Langworthy Fund

Frost Endowment

Hearst Foundation Endowment

Janice Sinden Endowment

The National Theatre Conservatory Fellowship Fund

The New Play Fund

The Randy Weeks Fund

Robert & Carole Slosky Endowment

Robert & Judi Newman Endowment

The Women’s Voices Fund

BEST OF BROADWAY SOCIETY MEMBERS

Alpine Bank of Colorado

Susan & Andrew Anderson

Antero Resources

Tom & Mary Bagley

Mary & Barry Berlin

Bret & Cindy Bolin

John Carlen & Jean Gleason

Chevron Corporation

The Chotin Foundation

CIBC Private Wealth

Management

Robert* & Kathleen Clark

Lisa & Tom Corley

Cruiser Accessories

Greg & Allison D’Argonne

Margaret DesCombes

John & Kathryn Dunn

Judy Dunn

Edgemark, LLC

Heidi Elliott

Kathie & Keith Finger

Adrienne Ruston Fitzgibbons

William Fortune

Genesee Mountain

Foundation

Norma Horner & John Estes

HRM Resources LLC

Kathy Huwaldt

Barbara Kelley

Dan & Lisa Kelly

Nicholas & Jennifer Kemp

Kevin & Dorota Kilstrom

Ruth Krebs & Peter Mannetti

Lori & Bill Kurtz

Land Title

William & Kim Lewis

Ron Litvak & Amy Gaines

Yoav Lurie & Lana Kimayeva

Scott & Ingrid Lynn

Jodell Mizoue

Monarch Casino &

Resort, Inc.

Gayle & Steve Mooney

Erica Motes

Emily & Amit Mrig

Ralph & Trish Nagel

Robert & Judi Newman

Sherri Nitta

Craig Ponzio

Nancy Rebek

James & Stacy Rechtin

Cheri & Alan Rubin

Everett Schneider &

Robert Phifer

Martin & Jo Semple

Mark Sexton

Alison & James Shetter

Steven & Kerri Siegel

Dorothea Simmons

Dean Singleton

Stonebridge Companies

George & Kristin Strompolos

Steve Talley

Debi & Jerry Tepper

June Travis

Ken & Debra Tuchman

U.S. Bank

Matthew Van Praag

Steven & Tricia Vath

Ron Villarreal

Judi Wolf

Pamela & Joe Woods

Xcel Energy Foundation

Sylvia Young & David Young, M.D.

DIRECTORS SOCIETY MEMBERS

Tom & Mary Bagley

Mary & Barry Berlin

Rasmani Bhattacharya & Claude Pumilia

Patricia & Chris Billinger

Joan Briggs

John Carlen & Jean Gleason

Brent & Christine Case

Jennifer Caskey

Mike & Pam Copp

Margaret DesCombes

Matthew & Karin Dolph

Judy Dunn

Matthew & Lisa Emerson

Caryl & Ken Field

Larry & Joanne Fisher

Adrienne Ruston Fitzgibbons

Susan Fox Pinkowitz &

Ted Pinkowitz

Rich Garvin

Margot Gilbert Frank

Michael Gosline &

Don Werner

Elizabeth & Nelson Hioe

Deborah Kelly

Kevin & Dorota Kilstrom

Diana & Mike Kinsey

John & Joanne Kirby

William LaBahn

Ron Litvak & Amy Gaines

Alan & Carol Meny

Christian & Katrin Mezger

David Miller & Katherine Dines

Jonathan Miller

Ralph & Trish Nagel

Robert & Judi Newman

Nancy & Paul Oberman

Timothy O’Donnell

Patricia Robinson

Cheri & Alan Rubin

Martin & Jo Semple

Dean Singleton

Robert & Carole Slosky

Alan & Gayle Talesnick

Debi & Jerry Tepper

June Travis

Rosalind Ward

Walter Wilson & Drew Englund

Judi Wolf

While we make every effort to ensure the accuracy of our donor listings, we apologize for any errors or omissions. Please contact us at 303.446.4812 if we made an error in your acknowledgment so that we can correct our records for future listings. Thank you!

The DCPA would like to extend an extra measure of gratitude to our Encore Society members, who have made a long-term commitment to the theatre by including us in their estate plans.

Thanks to you, the show will go on!

JOIN THE ENCORE SOCIETY

One of our core values at Carboy is growing a community and creating a cultural experience for wine in Colorado.

— KEVIN WEBBER, CEO AND CO-FOUNDER, CARBOY WINERY

COFFICIAL CORPORATE WINE SPONSOR OF THE DCPA

Carboy Winery is excited to announce its partnership with the Denver Center for the Performing Arts (DCPA), bringing together Colorado’s flourishing wine scene and the city’s dynamic arts community. This collaboration reflects Carboy’s ongoing commitment to enriching the local landscape and fostering meaningful connections through wine.

Known for its innovative and bold approach to winemaking, Carboy has played a pivotal role in the Colorado wine renaissance. “One of our core values at Carboy is growing a community and creating a cultural experience for wine in Colorado,” says Kevin Webber, CEO and cofounder. “Partnering with the Denver Center for the Performing Arts allows us to further that mission by supporting one of the state’s most influential creative institutions.”

Carboy Winery remains steadfast in its mission to increase awareness of Colorado wine and embed it into the state’s ethos through a variety of imaginative initiatives. This partnership with the Denver Center for the Performing Arts exemplifies Carboy’s dedication to that vision. By blending the art of winemaking with the energy of live theater, Carboy seeks to make Colorado wine an essential part of the community experience. The collaboration provides an opportunity to highlight the unique character of Carboy’s wines while engaging audiences in a way that celebrates the innovation and vibrancy of the region. Through this alliance, Carboy is redefining how people experience both wine and the arts, inspiring a deeper connection to Colorado’s adventurous spirit.

FEATURED EVENTS

Oct. 3-12: Pride and Prejudice

By Kate Hamill Tickets $32

THEATRE & DANCE

Oct. 24 and 26: Dead Man Walking

Music by Jake Heggie, Libretto by Terrence McNally Tickets start at $18 COLLEGE OF MUSIC

Nov. 7-16: The Olive Tree

By Satya Chávez Tickets $24

THEATRE & DANCE

Nov. 13-16: Cabaret

Book by Joe Masteroff, Music by John Kander, Lyrics by Fred Ebb Tickets st art at $32

COLLEGE OF MUSIC

DCPA TEAM

DCPA

Janice Sinden President & CEO

Donna Hendricks Executive Assistant, President & CEO

Julie Schumaker Manager, Board Relations

ACCOUNTING & FINANCE

Jane Williams CFAO

Sara Brandenburg Director, Accounting Services

Jennifer Jeffrey Director, Financial Planning & Analysis

Kristina Monge Associate Accountant

Eric Montoya Accountant

Rachel Rodriguez Manager, Accounting

Jennifer Siemers Director, Accounting

BROADWAY & CABARET

John Ekeberg Executive Director

Administration

Ashley Brown Business Manager

Alicia Bruce General Manager

Lisa Prater Operations Manager

Garner Galleria Theatre

Abel Becerra Technical Director

Jason Begin+, Anna Hookana+ Core Stagehands

DEVELOPMENT

Jamie Clements Vice President

Sarah Darlene Manager, Grants & Reports

Kara Erickson-Stiemke Manager, Annual Giving & Stewardship

Emily Kettlewell Director, Development Operations

Caitie Maxwell Senior Director, Major Gifts

Marc Ravenhill Director, Donor Relations

Sarah Smith Development Coordinator

Megan Stewart Associate Director, Special Events

EDUCATION & COMMUNITY ENGAGEMENT

Allison Watrous Executive Director

Stuart Barr Technical Director

Leslie Channell Director, Business Operations

Lyndsay Corbett Teaching Artist & Manager, Bobby G

María Corral Director, Community Engagement

Heather Curran Teaching Artist & Manager, Playwriting

Elliot Davis Evening Registrar & Office Coordinator

Rachel Ducat Executive Assistant & Business Manager

Rya Dyes Registrar & On-Site Class Manager

Gavin Juckette Teaching Artist & Manager, TYA Engagement & Music

Timothy McCracken Head of Acting

Rick Mireles Manager, Community Engagement

David Saphier Teaching Artist & Manager, In-School Programming

Charlotte Talbert Librarian

Rachel Taylor Teaching Artist & Manager, Literary Engagement & Resiliency

Justin Walvoord Teaching Artist & Manager, Shakespeare in the Parking Lot

Samuel Wood Director, Education & Curriculum Development

EVENT SERVICES

Danielle Levine, Blair Quiring Senior Sales & Event Managers

Stori Heleen-O’Foley Event Technical Manager

Shane Hotle Audio Engineer

Phil Rohrbach, Jacob Noon Sales & Event Managers

Tara Miller Event Sales & Operations Director

Brook Nichols Event Technical Director

Benjamin Peitzer Event Technical Lead

Savannah Singleton Event Captain

Michael Harris Lighting Designer

INFORMATION TECHNOLOGY

Lisa Roebuck Vice President

For security purposes, the IT team has been omitted.

MARKETING & SALES

Angela Lakin Vice President

Whitney Testa Executive Assistant, Marketing & Broadway

Communications

Suzanne Yoe Director

Heidi Bosk, Brittany Gutierrez Associate Directors

Todd Metcalf Media Producer

Creative Services

Kyle Malone Director,

Sofia Contreras, Lucas Kreitler Graphic Designers

Paul Koob Senior Graphic Designer

Noelle Norris Traffic Coordinator

Digital

Michael Ryan Leuthner Director

Erin Bunyard Senior Strategist

Harper Anne Finch Manager, Social Media

Hannah Selwyn Manager, Email

Sergio von Kretschmann Manager, Web

Insights & Strategy

Emily Kent Director

Dan McNulty Analyst

Marketing

Claire Graves Director

Emily Lozow Associate Director

Emmy VanLangevelde Manager

Julie Whelan Manager

Maddie Young Manager

Mikayla Woods Coordinator

Ticketing & Audience Services

Jennifer Lopez Director

Valery Ackley*, Jessica Alverson*, Zeah Edmonds*, Lauren Estes*, Jen Gray*, Noah Jungferman*, Holly Stigen*,

Asheala Tasker*, Bronwen VanOrdstrand*,

Rob Warner* Ticket Agents

Kirsten Anderson*, Scott Lix*,

Liz Sieroslawski*,

Greg Swan* Subscription Agents

Jon Collins Manager, Subscription

D.J. Dennis*, Edmund Gurule*, Hayley Solano*, Sam Stump*, Andrew Sullivan*, Alfonso Vazquez*, Max McCord* Counter/Show Leads

Billy Dutton Associate Director, Operations

Katie Davis, Claire Hayes, Ella Mann,

Lane Randall Managers, Box Office

Chris Leech VIP Ticketing Associate

Katie Spanos Associate Director, Subscriber Services

Group Sales

Jessica Bergin Associate Director

Elias Lopez Associate

OFF-CENTER

Charlie Miller Executive Director & Curator

OPERATIONS

Sarah Arzberger,

Danielle Freeman Managers

Aaron Chavez Lead

Ruben Cruz, Jordan Latouche Engineers

Simone Gordon Director

Kyle Greufe Senior Analyst

Maria Herwagen Junior Analyst

Brandon LeMarr Associate Director

Alison Orthel, Tara Perticone Analysts

Joseph Reecher Senior Engineer

PEOPLE & CULTURE

Laura Maresca CPCO

Equity & Organization Culture

Seán Kroll Specialist

Human Resources

Brian Carter Senior Business Partner

Andrew Guilder Recruiter & HR Generalist

Michaela Johnson Mailroom Assistant

Paul Johnson Manager, Payroll & Compliance

Jocelyn Martinez Business Partner

Kinsey Scholl Manager, Operations

THEATRE COMPANY

Administration

Charles Varin Managing Director

Emily Diaz Business Admin./ Asst. Company Manager

Jessica Eckenrod Line Producer

Alex Koszewski Company Manager

Ann Marshall General Manager

Artistic

Chris Coleman Artistic Director

Grady Soapes Artistic Producer & Casting Director

Leean Kim Torske Director, Literary Programs

Madison Cook-Hines Literary Assistant

Costume Crafts

Kevin Copenhaver Director

Chris Campbell Assistant

Costume Shop

Janet MacLeod Director/Design Associate

Meghan Anderson Doyle Design Associate

Katarina Kosmopoulos First Hand

Ingrid Ludeke, Carolyn Plemitscher Drapers

House Crew

Douglas Taylor+ Supervisor

James Berman+, Dave Mazzeno+, Kyle Moore+, Heather Sparling+, Matt Wagner+ Stagehands

Joseph Price+, Kelley Reznik+ Assistants

Lighting Design

Charles MacLeod Director

Connor Baker+ Production Electrician

Lily Bradford Assistant

Paint Shop

Kristin Hamer MacFarlane Charge Scenic Artist

Melanie Rentschler, Sasha Seaman Scenic Artists

Production

Jeff Gifford Director

Julie Brou Administrative Assistant/ Office Manager

Matthew Campbell Production Manager

Peggy Carey Production Manager

Prop Shop

Meghan Markiewicz Supervisor

Sara Pugh Associate Supervisor

Bennet Goldberg, Ashley Lawler Artisans

Scene Shop

Eric Moore Technical Director

Albert “Stub” Allison, Robert L. Orzolek, Josh Prues Associate Technical Directors

Jeremy Banthoff, Tyler D. Clark, Amy Wynn Pastor, Kyle Scoggins Scenic Technicians

Louis Fernandez III Lead Scenic Technician

Brian “Marco” Markiewicz Lead Carpenter

Scenic Design

Lisa Orzolek Director

Nicholas Renaud Assistant

Sound Design & Technology

Alex Billman Supervisor

Meagan Holdeman+, Timothy Schoeberl+, Dimitri Soto+ Technicians

Elena Martin Associate Supervisor

Stage Management

Anne Jude Supervisor

Chandra R.M. Anthenill, Corin Davidson, Kristin Dwyer, Elizabeth Ann Goodman, Harper Hadley, Sage Hughes, Melissa J. Michelson, Christine Rose Moore, Nick Nyquist, Kristen O’Connor, Brooke Redler, Malia Stoner Stage Managers

Sage Goetsch, Dylan Hudson, Hannah Iverson, Casey Pitts Apprentices

Wardrobe

Heidi Echtenkamp Supervisor

Robin Appleton^, Amber Krimbel^, Lauren LaCasse^, Lisa Parsons Wagner^, Nicole Watts^, Kami Williams^ Dressers

Wigs

Diana Ben-Kiki Supervisor

Abby Schmidt^, Marisa Sorce^ Wig Assistants

VENUE OPERATIONS

Glen Lucero Vice President

Kristi Horvath Director

Merry Davis Financial Manager

Jane Deegan Administrator

Samantha Egle Manager, Event Operations

Kaylyn Kriaski Manager, Patron Experience

Facilities

Craig Smith Director

Dwight Barela, Mark Dill, Bryan Faciane, John Howard, Iver Johnson Engineers

Saleem As-Saboor, Abraham Cervantes, Carmen Molina, Judith Primero Molina, Juan Loya Molina, Blanca Primero Custodians

Michael Kimbrough Manager, Engineering

Oscar Fraire Manager, Custodial

Brian McClain Supervisor, Custodial

Patron Experience

LeiLani Lynch, Aaron McMullen, Stacy Norwood, Wendy Quintana, Valerie Schaefer Managers on Duty

Kelly Breuer, Nora Caley, Amy Howard, Robin Lander, Melanie Mason, Barbara Pooler, Ayden Smith House Managers

Safety & Security

Quentin Crump Director

Timothy Allen, Jodi Benavides Lead Security Officers

Samara Attridge, David Bright, Ariana Cuevas, Ethan Kemberlin, Jack Leatherwood, Ian Nelson, Ashley Skillman, Zach Stemley, Pamela Winston, Tori Witherspoon Security Specialists