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VOLUME XXVIII • NUMBER 5 • JAN - MAR 2017

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THE BOOK OF WILL

Also Playing: Fun Home Two Degrees The Christians Motown The Musical Circus 1903 - The Golden Age of Circus

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APPLAUSE

SIGHTLINE

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BY JANICE SINDEN

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VO LU M E X XV I I I • N U M B E R 5 • JA N – M A R 2 0 1 7

EDITOR: Suzanne Yoe CREATIVE DIRECTOR: Rob Silk ASSOCIATE EDITOR: John Moore SENIOR ART DIRECTOR: Adam Obendorf ART DIRECTOR: Kyle Malone DESIGNER: Brenda Elliott CONTRIBUTING WRITERS: Hope Grandon, McKenzie Kielman, Cassie McHale Applause is published seven times a year by Denver Center for the Performing Arts in conjunction with The Publishing House, Westminster, CO. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Call 303.893.4000 regarding editorial content.

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Welcome to our first shows of 2017 and what a lineup we have in store! We kick off the year with the return of Robert Petkoff — our very own “Sweeney Todd” — in the national tour of Fun Home, followed closely by two brand new productions selected from our 2016 Colorado New Play Summit — The Book of Will and Two Degrees. We’re also delighted to offer our production of The Christians in which a pastor delivers a sermon that may divide his congregation, the Tony Award-winning story of a lovers’ triangle in An American in Paris and the exciting return of Motown The Musical. Just as we welcome shows to our stages, we’d also like to introduce Nataki Garrett, who joins us as DCPA Theatre Company Associate Artistic Director. Cited by American Theatre as one of six “theatre workers you should know,” Nataki joins us from CalArts. Additionally, a big “welcome back” to our local and national peers — playwrights, directors, actors, administrators and guests — who will attend our 12th New Play Summit in February. Just around the corner is our largest fundraiser, Saturday Night Alive, on March 4. The evening will feature the incomparable dance moves of Savion Glover, best known for Bring in ’Da Noise, Bring in ’Da Funk. This marks the event’s 37th anniversary with cumulative proceeds of more than $18 million raised to support our theatre education programs. Finally, as 2017 begins, we’d like to reflect on the past season. Thanks to the passion of our incredibly talented team, the DCPA is wrapping up its most successful season to date. We engaged with more than 1.2 million guests — theatregoers, students, educators, event attendees and social followers — and generated a $150 million economic impact from ticket sales alone. It is through your participation and continued patronage that we remain the largest non-profit theatre organization in the nation. Thank you for sharing unforgettable experiences with us each and every day.

JANICE SINDEN President & CEO Denver Center for the Performing Arts

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APPLAUSE • Jan – Mar 2017 • 303.893.4100 • denvercenter.org

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

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

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

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EXECUTIVE MANAGEMENT Janice Sinden, President & CEO Clay Courter, Vice President, Facilities & Event Services John Ekeberg, Executive Director, Broadway Vicky Miles, Chief Financial Officer Jennifer Nealson, Chief Marketing Officer Yovani Pina, Associate Vice President of Information Technology Kent Thompson, Producing Artistic Director, Theatre Company Charles Varin, Managing Director, Theatre Company David Zupancic, Director of Development


Good Vibrations

February 11 & 12 • Newman Center for the Performing Arts with 17th Avenue Allstars

Brass & Bagpipes Returns to its Roots March 12 • Bethany Lutheran Church with Celtic Colorado Pipes & Drums, Rick Seaton – Organ

Brass & Bagpipes: Celtic Fling!

March 17, 18, 19 • Newman Center for the Performing Arts with Celtic Colorado Pipes & Drums, Rocky Mountain Highland Dancers, Wick School of Irish Dance, Jillian Lee – Soprano, Erin Newton – Harp

SAVE THE DATE Friday, April 28, 2017 at 11:30 a.m. Hyatt Regency Denver at Colorado Convention Center

TICKETS ON SALE NOW

Discounts for First Time Attendees – Call to Learn More! 303-832-HORN(4676) • www.denverbrass.org www.newmantix.com/denverbrass

SPONSORSHIPS AVAILABLE NOW Contact Lisa Benoit at 720.248.4633 or lbenoit@jewishfamilyservice.org.

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Sara Esty and Garen Scribner in An American in Paris. Photo by Matthew Murphy.

COMING UP FROM BROADWAY:

AN AMERICAN IN PARIS The romance and intrigue of the City of Lights was not lost on American composer George Gershwin. Following a trip to Paris, George was inspired to pen “An American In Paris,” a jazz-influenced symphonic piece that draws upon the atmosphere, sights and sounds he experienced. Despite making its debut in 1928, it was nearly 25 years later that An American in Paris leapt to the big screen. When MGM producer Arthur Freed (The Wizard of Oz, Babes in Arms, Annie Get Your Gun) heard the composition, he was determined to acquire the rights. He negotiated for months with George’s brother and collaborator, Ira Gershwin, as well as the estate and music producers before being granted permission to use the score as the basis for the 1951 Oscar-winning movie. The movie inspired a new musical in 2015, which won four Tony Awards and introduced a new generation to the story of World War II American soldier-turned-painter Jerry Mulligan. When Jerry becomes infatuated with French ballerina Lise Dassin, he accidentally enters a love triangle with his close friend Henri Baurel. See how the plot unfolds and be swept up in George Gershwin’s lush and beautiful score when An American in Paris visits The Buell Theatre March 8 – 19.

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STICK AROUND AFTER THE SHOW. FOR FIFTEEN YEARS.

NAME A SEAT IN OUR NEW SPACE THEATRE You can be a part of our brand new Space Theatre opening in the fall of 2017. Name a seat after your loved ones, your company or yourself with a simple $1,500 donation payable over time. It’s a once-in-a-lifetime opportunity for fans who wish they never had to leave.

For more information, contact Marc Ravenhill at mravenhill@dcpa.org or 303.572.4594.


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APPLAUSE • Jan - Mar 2017 • 303.893.4100 • denvercenter.org


At PAA, it’s not just about putting on a great show – although we do that too! It’s about taking it beyond the stage to help our students grow in every way possible.

Summer registration is now open! We offer 2 week intenstives for grades K-12 and 1 week summer camps for ages 3-K Visit stlukesPAA.org to learn more

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APPLAUSE • Jan - Mar 2017 • 303.893.4100 • denvercenter.org


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Every once in a while a show comes along that surprises, moves and excites in ways only a truly landmark musical can. The “groundbreaking,” (Wall Street Journal) “life-affirming” (Chicago Tribune) and “exquisite” (NY Daily News) new musical Fun Home was the event of the 2015 Broadway season, receiving raves, winning five Tony Awards including Best Musical, and making history along the way. Based on Alison Bechdel’s best-selling graphic memoir, Fun Home introduces us to Alison at three different ages

as she explores and unravels the many mysteries of her childhood. A refreshingly honest musical about seeing your parents through grown-up eyes, “Fun Home is extraordinary, a rare beauty that pumps fresh air into Broadway” (The New York Times).

FUN HOME

JAN 10 - 22 • THE ELLIE ASL, Audio-Described & Open Captioned Performance: Jan 22, 2pm


WOMEN’S VOICES FUND HELPING WOMEN TAKE CENTER STAGE While over half of our fans are female, there are still too few women that are able to share their stories with an audience. The Women’s Voices Fund enables our Theatre Company to commission, workshop and produce new plays by women and is now a national model for female-centric theatre fundraising. In its twelfth year, we have raised more than $1 million that has enabled us to commission 15 female playwrights, hire 18 female directors and contribute to 12 world premiere plays by women.

Meet the artistic women who benefit from the fund at events throughout the season when you join the fund for $300.

BECOME A MEMBER TODAY DENVERCENTER.ORG/WVF 303.572.4593

WEAR A HAT THAT SPEAKS VOLUMES

MAY 4, 2017 • 11AM - 1:30PM Women with Hattitude, our signature fundraiser benefiting the Women’s Voices Fund, starts with wine and networking for up to 600 ladies and gentlemen, followed by an elegant Epicurean-catered lunch. After lunch, guests will enjoy a surprise performance and the exciting Parade of Hats, featuring 50 of the best hats at the event, complete with prizes.

GET YOUR TICKETS TODAY DENVERCENTER.ORG/HATTITUDE • 303.446.4812 12

APPLAUSE • Jan - Mar 2017 • 303.893.4100 • denvercenter.org


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THE BOOK OF WILL

PRESERVING SHAKESPEARE’S LEGACY BY JOHN MOORE

Illustration by Kyle Malone

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It’s hard to imagine a world without beloved Shakespeare plays such as Macbeth or Antony and Cleopatra. But if it weren’t for two forgotten men named John Heminges and Henry Condell, we might never have known Macbeth, Antony or Cleopatra. Or Prospero or Pericles, for that matter. “To be or not to be” is not the question. Without Condell and Heminges, we would have lost 18 of Shakespeare’s 38 plays forever. No question. And if it weren’t for playwright Lauren Gunderson, we might never have known Condell and Heminges. Gunderson tells the surprising story of these historical unsung heroes in the DCPA Theatre Company’s world premiere play The Book of Will. You might presume that when Shakespeare died, he surely left dozens of copies of his plays scattered about England. But complete copies of his plays did not largely exist. The actors who performed them were never provided complete manuscripts — rather scrolls that included only those specific lines each actor spoke. When Shakespeare died in 1616, the posthumous fate of his canon was nothing if not precarious. Many of his destined classics were not much more than literary jigsaw puzzles, with many of the pieces missing, bastardized or badly reconstructed from faulty memories. “This is such an important story because Shakespeare’s plays are so important not just to Western audiences, but to every audience around the world,” Gunderson said from her home in San Francisco. “The stakes were simple:

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APPLAUSE • Jan - Mar 2017 • 303.893.4100 • denvercenter.org

We wouldn’t have Shakespeare as we know him today if we didn’t have this book.” We know that book as “The First Folio” — essentially the first complete collection of Shakespeare’s plays. After his death, actors Condell and Heminges set out to find, edit, curate and publish their friend’s collected works. It was a task that took five grueling years, and publishers Edward Blount and Isaac Jaggard would need another two years themselves to release “Mr. William Shakespeares Comedies, Histories, & Tragedies” in 1623. “The reason this particular collection is so valuable is because the paper, the ink and the binding made it last,” Gunderson said. “And the people who did this had every obstacle thrown at them.” The Book of Will takes great delight in laying out how Shakespeare’s pals managed to preserve a canon that the Bard, interestingly enough, never saw, read or himself authorized, coming seven years after his death. Even today, scholars have no way of knowing exactly what Shakespeare did and did not write. “When Shakespeare died, he hadn’t published anything except for some poems and sonnets,” Gunderson said. “He hadn’t with his own hand stipulated, ‘This is the version of this play that I want published.’ Writers didn’t really do that back then.” Rights for authors to protect their work in those days were non-existent. Anyone could publish just about anything and put their name on it, so there was no way to know who really wrote what.


“Believe me, there are a lot of terrible versions of Hamlet out there that rivals cobbled together while sitting in the stands and watching his shows, or later writing down whatever they could remember,” Gunderson said. Which is why the world should be grateful that Condell and Heminges saw the value in preserving the closest possible proximity to Shakespeare’s works. Not everyone did. “We know how valuable Shakespeare is to the world at large today, but they didn’t at the time,” Gunderson said. “He was known as a great writer, but there were a lot of great writers around.” And yet The Book of Will, she says, endeavors to be more than a play about this little-known real-life publishing drama. It’s about the loves and lives of those who are responsible for producing the folio. “This is really a play, ideally, about friendship and legacy and facing our own mortality when our friends and family start leaving us,” Gunderson said.

“This is really a play, ideally, about friendship and legacy and facing our own mortality when our friends and family start leaving us.” — LAUREN GUNDERSON, PLAYWRIGHT “It was important to me from the beginning that Book of Will be a play about real people and real friendships, and not putting these people on the pedestal that history tends to do. The play really starts to hone in on questions like, ‘What do we leave behind?’ and ‘What does theatre do for society and culture and civilization?’ But it does so, ideally, with a real and grounded heart.” In a landscape where women make up nearly 60 percent of theatre audiences but only about 25 percent of produced playwrights, Gunderson is the anomaly. She not only will have three different plays produced by three different Colorado theatre companies this season — she is currently the mostproduced playwright in America, ironically, not named Shakespeare. And she’s 34. And has two babies. And she’s getting it done. “This is a pretty amazing moment in my career,” Gunderson said. “I have always dreamed of having a place in a smart, adventurous theatre community like the Denver/Boulder area. I am really honored and excited to have my work be in that soup. Colorado gets me.” Colorado got The Taming from the Catamounts, in the fall. And in April Colorado gets Silent Sky, the story of pioneering astronomer Henrietta Swan Leavitt, from the Boulder Ensemble Theatre Company. But first they get The Book of Will from the DCPA Theatre Company.

THE BOOK OF WILL

JAN 13 - FEB 26 • RICKETSON THEATRE ASL & Audio-Described Performance: Feb 4, 1:30pm

PLAYS THE FIRST FOLIO SAVED All’s Well That Ends Well Antony and Cleopatra As You Like It Comedy of Errors Coriolanus Cymbeline Henry VI, Part 1

Henry VIII Julius Caesar King John Macbeth Measure for Measure The Taming of the Shrew The Tempest

Timon of Athens Twelfth Night Two Gentlemen of Verona The Winter’s Tale

COSTUME COLUMN Last February, audiences had the chance to get the first look at Lauren Gunderson’s The Book of Will at the Colorado New Play Summit. Now, the creative team is hard at work bringing Gunderson’s vision of Elizabethan England to life in the world premiere production of the piece. The costumes of Shakespeare’s closest friends and family have been entrusted to French designer Camille Assaf. While Assaf and the rest of the designers have certainly been inspired by the Elizabethan period and used it as a guidepost, you will see some very purposeful anachronisms. “We’re not being too precious with the period,” Assaf said. “You might see a very historical silhouette paired with combat boots you’d see on the street today.” While these types of pairings might seem contradictory, Assaf contends that if you take time to look at paintings from the 1700s, you will absolutely see ensembles that would fit in perfectly with the style of, say, hipsters on the streets of Brooklyn. You’ll see some gorgeous patterns and luxe fabrics, particularly in the costumes of Richard Burbage. After all, these men were the rock stars of their time. According to Assaf, on more than one occasion director Davis McCallum has likened Richard Burbage to Kurt Cobain. So keep one foot squarely rooted in 2017 while you and your imagination journey back in time to the Elizabethan period in The Book of Will.


TWO DEGREES

HEATS UP GLOBAL WARMING CONVERSATION BY JOHN MOORE

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Two Degrees, the provocative title of Tira Palmquist’s new world premiere play, is meant to both set up her story…and sound an alarm. “There has been an effort to describe where we need to cap the escalating temperature of the Earth in order to forestall a whole host of problems including melting ice caps and rising ocean levels,” Palmquist said. “Two degrees Celsius was the number given. And that number resonated for me. It’s a number that can help people understand this palpably thin margin we are fighting for. Two degrees (or 3.8 degrees Fahrenheit). Two Degrees, Palmquist says, is a proudly political play. But it’s also a human play about a woman in crisis. That’s why, she said, it’s no accident that her story begins with two people engaging in, well…their own kind of global warming. “For me, this is a play about climate change, but it’s also about what it means to be a woman over 40,” Palmquist said. “And you know what? Women over 40 have sex.” “Not only that,” added Two Degrees director Christy Montour-Larson with a laugh, “but we like it. And we’re good at it.”

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APPLAUSE • Jan - Mar 2017 • 303.893.4100 • denvercenter.org

Two Degrees began as a challenge from a friend who encouraged Palmquist to write a play for a female protagonist over 45 — something as rare in the theatre as uncooked steak. It became all the more personal when Palmquist chose to make the story about climate change and grief. Grief for a loved one. And grief for the planet. “When I read about climate change, I actually feel a physical grief in the pit of my stomach,” Palmquist said. “I despair of what will happen if we don’t act. And that became an important catalyst for the play. How do we make this clear to people that climate change is real? And then, what can we do about it?” Two Degrees introduces us to a scientist named Emma who has been called to Washington to testify before a congressional committee on climate legislation. This is a particularly difficult moment for her because it also happens to be the anniversary of her late husband’s death. And did we mention? “I think it’s a pretty funny play,” Palmquist said. Montour-Larson calls it “a beautiful, thought-provoking, human and witty play of today about an important human issue.”


“It’s true that someone who does not believe in climate science may find their point of view challenged. But I welcome them to come, and then maybe we can have a conversation.”

Illustrations by Kyle Malone

What Two Degrees is not is the same play it was when it was introduced to DCPA audiences last February as a featured reading of the 2016 Colorado New Play Summit. Neither is it the same play it was on November 7, the day before Donald Trump won the presidential election. Palmquist already was planning to make changes to her script based on the victor because the outcome of this particular election would have a drastic impact on what Emma would be doing in Washington — helping to pass a possibly unpopular legislation, or trying to fight a perhaps scientifically unwise legislation, depending on which party controlled Congress. And in November, Americans elected a president whose firmly stated beliefs on climate change are, at best, highly oppositional to Emma’s.

— TIRA PALMQUIST, PLAYWRIGHT

“The election has absolutely changed the urgency of the play,” Palmquist said. “It also has changed the villain of the piece. One of the villains I see are those legislators who are not educated on what the science is saying. I also think apathy and fear are villains. I worry that people will give in to despair. Or worse, that they won’t understand that this is an actual pressing problem. Either eventually will mean that we are dooming future generations.” But Palmquist promises that her play is not unwelcoming of contrary points of view. “One of the main characters in the play, Clay, works in the mineral-exploration industry, and Clay has a point of view,” she said. “It is not necessarily my point of view, but I feel certain that we could get past that to find common ground. It’s true that someone who does not believe in climate science may find their point of view challenged. But I welcome them to come, and then maybe we can have a conversation.” There is a sacred place in theatre for comedies, musicals, romances and adventures. Montour-Larson believes plays that are political in nature are just as essential. “I think it’s important to remember artists are cultural architects,” she said. “The world needs people with reckless imaginations like Tira. We have a passion for the possible, and we have a commitment to creativity, because to create is to be fully human. And we are healers. Through our work, we can heal and give hope.” It has long been said that theatre is supposed to comfort the afflicted and afflict the comfortable. “And if that is true, then I think that it’s also important to try to find the hopefulness in this play,” Palmquist said. “This play ends up not being a tragedy. This is a play about what it means to start having conversations.”

TWO DEGREES

FEB 3 - MAR 12 • THE JONES ASL & Audio-Described Performance: Mar 5, 1:30pm

COMING UP FROM THEATRE COMPANY:

THE SECRET GARDEN It all began at the dawn of the 1900s when Frances Hodgson Burnett wrote the original novel The Secret Garden. The enchanting story revolves around a determined young girl, Mary Lennox, who sees potential beauty in a grim world. Mary isn’t the only one with determination and a powerful vision. The beloved classic has been brought to life by a dynamic collection of women throughout the years. The Secret Garden continued to flourish when Pulitzer Prize-winning playwright Marsha Norman and Grammy-winning composer Lucy Simon adapted The Secret Garden into a musical that premiered on Broadway in 1991. The powerful duo created a captivating story of hope, renewal and the power that one young girl has. Jenn Thompson, who previously helmed Vanya and Sonia and Masha and Spike for the DCPA, will now carry on this timeless message for DCPA Theatre Company. Don’t miss your chance to be a part of the magic created by the inspiring women who have brought this classic story to life. The spirited production blossoms anew Apr 21 - May 28 in The Stage Theatre.

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BMW of Denver Downtown

A PROUD SPONSOR OF DCPA BROADWAY

“Only through art can we navigate the complex terrain between intellect and feeling.” — BMW OF DENVER DOWNTOWN

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BMW of Denver Downtown is looking forward to another great year for the Denver Center for the Performing Arts — and you can look forward to a more complete car buying experience when its state-of-the-art new facility officially opens this winter. Like any great work of art, every BMW coupe, sedan, or SUV is the perfect fusion of passion and form. BMW of Denver Downtown understands the power of pure performance and how even the smallest details can excite, inspire and move. Just as BMW has always striven to create the Ultimate Driving Machine, BMW of Denver Downtown aspires every day to create the ultimate location for buying, selling and servicing luxury vehicles in Denver. It has doubled the capacity of its new service center, and the new showroom is the largest BMW dealership in Denver. BMW of Denver Downtown will deliver these improvements while maintaining the unique Sonic experience for which it has become known, with transparent pricing and a no pressure sales approach, which are the hallmarks of this unique BMW center. More than this, it understands its role and how important it is to provide support where it’s needed, both in the arts and in the wider community. This is why BMW of Denver Downtown has been active in the community since it first opened its doors as Murray Imports in 1975. Now a member of the Sonic Automotive Group, it has extended its community outreach to encompass every aspect of Colorado society, providing support to charities and non-profit groups engaged in everything from lifesaving medical research and educational support to animal welfare and culture. People choose BMW because they demand the ultimate driving experience. So why compromise on your buying experience? Whether you’re buying, selling or servicing a new, used or Certified Pre-Owned luxury vehicle, look forward to a location that puts you in the driver’s seat. Look forward to the all-new BMW of Denver Downtown – online at BMWofDenverDowntown.com.

APPLAUSE • Jan - Mar 2017 • 303.893.4100 • denvercenter.org


LOGO WITH SUBDIVISIONS

presents

A DENVER CENTER WORLD PREMIERE

BY

Lauren Gunderson

With Liam Craig, Thaddeus Fitzpatrick, Miriam A. Laube, Jennifer Le Blanc, Rodney Lizcano, Wesley Mann, Andy Nagraj, Kurt Rhoads, Triney Sandoval, Nance Williamson

SCENIC DESIGN BY Sandra Goldmark

COSTUME DESIGN BY Camille Assaf

DRAMATURGY BY Douglas Langworthy

LIGHTING DESIGN BY Paul Toben

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

DIRECTOR OF PRODUCTION Jeff Gifford

SOUND DESIGN BY Stowe Nelson

CASTING BY Elissa Myers Casting / Paul Foquet, CSA

STAGE MANAGER Kurt Van Raden

DIRECTED BY Davis McCallum

The Book of Will is a commission of the DCPA Theatre Company and was developed at the Colorado New Play Summit in February 2016. The video and/or audio recording of this performance by any means whatsoever are strictly prohibited. THE RICKETSON THEATRE • JANUARY 13–FEBRUARY 26, 2017 Producing Partners: Margot & Allan Frank and Robert & Judi Newman The Book of Will is the recipient of an Edgerton Foundation New Play Award and a Women’s Voices Fund beneficiary. This project is supported in part by an award from the National Endowment for the Arts.

SEASON SPONSORS

THE BOOK OF WILL

Kent Thompson, Producing Artistic Director


THE BOOK OF WILL

CAST

(In Order of Speaking) Boy Hamlet.............................................................................................................................................. THADDEUS FITZPATRICK Richard Burbage................................................................................................................................................TRINEY SANDOVAL Alice Heminges................................................................................................................................................JENNIFER LE BLANC John Heminges....................................................................................................................................................................LIAM CRAIG Henry Condell............................................................................................................................................................... KURT RHOADS Barman.....................................................................................................................................................................RODNEY LIZCANO Barman 2.........................................................................................................................................................................WESLEY MANN Elizabeth Condell...................................................................................................................................................MIRIAM A. LAUBE Rebecca Heminges.......................................................................................................................................NANCE WILLIAMSON Ben Jonson...........................................................................................................................................................TRINEY SANDOVAL Ed Knight.........................................................................................................................................................................ANDY NAGRAJ Ralph Crane.......................................................................................................................................................... RODNEY LIZCANO William Jaggard..........................................................................................................................................................WESLEY MANN Isaac Jaggard................................................................................................................................................................ANDY NAGRAJ Bernardo................................................................................................................................................... THADDEUS FITZPATRICK Francisco..................................................................................................................................................................RODNEY LIZCANO Marcus........................................................................................................................................................ THADDEUS FITZPATRICK Emilia Bassano Lanier.........................................................................................................................................MIRIAM A. LAUBE Compositor.............................................................................................................................................................RODNEY LIZCANO Anne Hathaway Shakespeare.................................................................................................................NANCE WILLIAMSON Susannah Shakespeare................................................................................................................................JENNIFER LE BLANC Sir Edward Dering......................................................................................................................................................WESLEY MANN. ENSEMBLE THADDEUS FITZPATRICK, MIRIAM A. LAUBE, JENNIFER LE BLANC, RODNEY LIZCANO, WESLEY MANN, ANDY NAGRAJ, TRINEY SANDOVAL, NANCE WILLIAMSON

Assistant to the Director........................................................................................................................................ALYSSA MILLER Stage Manager...................................................................................................................................................... KURT VAN RADEN. Assistant Stage Manager.........................................................................................................................KRISTEN LITTLEPAGE Stage Management Apprentice................................................................................................................. MARIAH B. BROWN.

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.

SETTING 1619-1623 London, England


ACTING COMPANY LIAM CRAIG (John Heminges). At the Theatre Company: Debut. Broadway: Boeing Boeing (u/s; performed). OffBroadway: Servant of Two Masters, The Killer (Theatre For A New Audience), The Internationalist (Vineyard Theater), Aunt Dan and Lemon (The New Group), Two Noble Kinsmen (The Public). Regional: The Tempest, Government Inspector, Servant of Two Masters (Shakespeare Theatre Company), Accidental Death of An Anarchist, A Doctor In Spite of Himself (Berkeley Rep), Accidental Death of An Anarchist, Servant of Two Masters (Yale Rep), The Scene (Alley Theater, Hartford Stage). Film/TV: The Royal Tenenbaums, “Mozart in the Jungle,” “Law and Order,” “Law and Order: SVU.” Training: MFA, NYU’s Tisch School of The Arts. THADDEUS FITZPATRICK (Marcus/Boy Hamlet/Bernardo/ Crier). At the Theatre Company: Frankenstein, The Book of Will (Colorado New Play Summit 2016). New York credits include Autumn’s Harvest (Lincoln Center), Alcestis Ascending (Clurman Theatre). Regional: I and You (Olney Theatre Center and Geva Theatre Center), The Jungle Book (Arden Theatre Company). He is currently involved in several developing plays. Commercial credits include Yes Television with Alec Baldwin, Lady Gaga MTV VMA promotion, and voiceover work for Sierra Mist commercial. Special Awards/Training: National Award Winner in Prose and Poetry Performance. BA, University of Alabama.

MIRIAM A. LAUBE (Elizabeth Condell/ Emilia Bassano Lanier). At the Theatre Company: Debut. Broadway: Bombay Dreams. Other Theatres: Pericles (Public Theater), Agamemnon (Aquila Theater), Berkeley Rep, Guthrie Theater, Dallas Theater Center, Baltimore Center Stage and The Cleveland Playhouse. Miriam has been a company member at the Oregon Shakespeare Festival for the last 12 seasons. OSF roles include Cleopatra, Hermione, Rosalind, Olivia, Julia, Cordelia, Paulina, The Witch (Into the Woods) and Ilona Ritter (She Loves Me). Originated: Gynecia in Head Over Heels (Jeff Whitty) Cleo in Family Album (Stew) and Maruca in Party People (Universes). Miriam is a recipient of the Fox Foundation Resident Actor Fellowships. JENNIFER LE BLANC (Alice Heminges/Susannah Shakespeare). At the Theatre Company: Pride and Prejudice, Our House, The Book of Will (2016 Colorado New Play Summit). Regional: Love’s Labour’s Lost, Macbeth, Three Musketeers (Colorado Shakespeare Festival); Silent Sky, 33 Variations, Sense and Sensibility (TheatreWorks); Disgraced (Capital Stage); Fifth of July (Aurora Theatre Company); Othello (Arabian Shakespeare Festival); Much Ado About Nothing, Taming of the Shrew (Livermore Shakespeare Festival); By and By (Shotgun Players); Eurydice (Artists Repertory Theatre); Twelfth Night, A Midsummer Night’s Dream, The Imaginary Invalid (Pacific Repertory Theatre). Training: MFA, National Theatre Conservatory.

RODNEY LIZCANO (Ralph Crane/ Barman/Compositor/ Francisco). At the Theatre Company: Frankenstein, Hamlet, American Night, Merchant of Venice, Spinning Into Butter, Inna Beginning, The Tempest, Gross Indecency, The Rivals, Kingdom, A Winter’s Tale, A Christmas Carol. Other Theatres: Colorado Shakespeare Festival (Much Ado About Nothing, Othello, Henry V, The Tempest, Merry Wives of Windsor, Henry IV Parts 1 & 2, Equivocation, Cymbeline), Arvada Center (Archbishop’s Ceiling, The Crucible, A Man For All Seasons), Dallas Shakespeare Festival, Stories on Stage, Theatre Aspen and OffBroadway with Actors Ensemble Theater and DreamScape Theatre Company. TV/Film: Silver City and “Stage Struck.” Training: BFA, Southern Methodist University; MFA National Theatre Conservatory. WESLEY MANN (William Jaggard/ Barman 2/Sir Edward Dering). At the Theatre Company: Debut. Other theatres: Ebenezer Scrooge at Portland Center Stage, 10 Seasons with Hudson Valley Shakespeare Festival appearing in 17 of Shakespeare’s plays. World premiere of Lovers And Executioners (Arena Stage); Elephant Man (Arkansas Rep); three plays at The Arts Center Of Coastal Carolina; Feste (Twelfth Night), Larry Burn This (American Conservatory Theatre). Multiple roles and plays at PCPA Theatrefest. Most recently, Polonius at Inner Circle Theatre LA, The Dock Brief (Pacific Resident Theatre), You Never Can Tell (A Noise Within in Pasadena). Film and TV: 47 credits so far including recent appearances on “2 Broke Girls” and “Liv and Maddie.” wesleymannactor.com

THE BOOK OF WILL

WHO’S WHO


THE BOOK OF WILL

ANDY NAGRAJ (Ed Knight/Isaac Jaggard). At the Theatre Company: The Book of Will (2016 Colorado New Play Summit). Chicago theatre: Court Theatre, Northlight Theatre, Writers Theatre, TimeLine Theatre, Silk Road Rising. Regional: Milwaukee Rep, Chautauqua Theatre Company, and the Utah, Texas, Virginia and Ohio Shakespeare Festivals. TV/Film: “Chicago Fire,” “Geeta’s Guide to Moving On,” Nima’s Beauty Shop. Andy is a voiceover artist, co-wrote the book, music and lyrics of the musical Murphy’s Law and plays lead guitar for The Winchesters. Teaching: University of Pittsburgh. Training: MFA, Delaware/PTTP. KURT RHOADS (Henry Condell). At the Theatre Company: Clarence in Richard III, two appearances at Colorado New Play Summit. Other theatres: Thomas More in A Man for All Seasons (Arvada Center for the Arts). With director, Davis McCallum, Kurt has performed in Fashions for Men (Mint Theater) and as Pompey in Measure for Measure (Hudson Valley Shakespeare Festival). Other roles at HVSF: one-man show, An Iliad, Petruchio, Launce, Iago, Tartuffe, Macbeth, Leontes, Anthony, Benedick. Recent work includes Titus in Titus Andronicus (Clarence Brown Theatre); Pride & Prejudice, Inherit the Wind, To Kill a Mockingbird (Arts Center of Coastal Carolina). TRINEY SANDOVAL (Richard Burbage/ Ben Jonson/Horatio). At the Theatre Company: Debut. Broadway: Macbeth, A Free Man of Color, A Man for All Seasons, Frost/Nixon. OffBroadway: Important Hats, Timon of Athens, The Idiot, As You Like It, Whisper. Regional: Old Globe, La Jolla Playhouse, The Wilma Theatre, Round House Theatre, Actors Theatre of Louisville, The Alliance Theatre, Two Rivers Theatre Company, Virginia Stage Company, Center Stage, Yale

Rep., Milwaukee Rep., Great Lakes Shakespeare, Idaho Shakespeare, Alabama Shakespeare, California Shakespeare, Shakespeare Santa Cruz, and six seasons at The Oregon Shakespeare Festival. TV: “Elementary,” “The Sopranos,” “Lights Out,” and recurring roles on both “Law & Order” and Law & “Order: SVU.” NANCE WILLIAMSON (Rebecca Heminges/ Anne Hathaway Shakespeare). At the Theatre Company: Benediction, When We Were Married, Marvin’s Garden. Broadway: Romeo and Juliet with Orlando Bloom, Cyrano with Kevin Kline, Broken Glass, Henry IV (Lincoln Center). Off Broadway: Shakespeare in the Park, Primary Stages, Minetta Lane, Pearl. She has been a professional actor for 32 years and performed in over 140 plays, favorites include Marvin’s Room (Kennedy Center), Moon for the Misbegotten (Alliance and DTC), The Glass Menagerie (Pioneer and DTC). This is the 62nd production with husband Kurt Rhoads. Other favorites together are Shooting Star (Trinity), As You Like It, Much Ado About Nothing, Anthony and Cleopatra, Macbeth, Merchant of Venice, Rivals, A Midsummer Nights Dream (Hudson Valley Shakespeare Festival). PLAYWRIGHT LAUREN GUNDERSON (Playwright) is the most-produced living playwright in America of 2016, the winner of the Lanford Wilson Award and the Steinberg/ATCA New Play Award, a finalist for the Susan Smith Blackburn Prize and John Gassner Award for Playwriting. Her plays are published by Playscripts, Dramatists and Samuel French. She is a Playwright in Residence at Marin Theatre Company and a proud Dramatists Guild member. DIRECTOR DAVIS MCCALLUM (Director) is the Artistic Director of the Hudson Valley Shakespeare Festival in Garrison, NY, and recently directed The Winter’s Tale and Measure for Measure for the company. He has directed new plays and classics at theatres in New York and around the country, including

Lincoln Center, the Public Theater, Playwrights Horizons, the Oregon Shakespeare Festival, the Guthrie Theater, and The Old Globe. He is delighted to be working at the Denver Center. ARTISTIC STAFF CAMILLE ASSAF (Costume Designer). Regional: McCarter Theater, Two River, Syracuse Stage, Playmakers Repertory Theater, Great River Shakespeare, Yale Repertory Theater. Opera: Santa Fe Opera, Wolf Trap Opera, The Juilliard School, Nashville Opera, Florentine Opera. International: Where Elephants Weep (Phnom Penh, Cambodia), Three Children (Hong Kong Fringe), Palais de Tokyo. New York: New York City Ballet, Joyce Theater, Park Avenue Armory, Mint Theater, La MaMa. Film: Bébé Tigre (feature film, France). NEA/TCG career development program. Editor of Chance magazine. Upcoming: Zaza, Holland Park Festival, London. SANDRA GOLDMARK (Scenic Designer). Sandra is a New York-based Set and Costume Designer, Assistant Professor of Professional Practice at Barnard College, and the Founder of Pop Up Repair, an itinerant repair service for household items. In her theatrical work Sandra is committed to developing and implementing sustainable design and production practices, and her designs have been nominated for numerous awards, including the Drama Desk and the Hewes. DOUGLAS LANGWORTHY (Dramaturg). At the Theatre Company: All The Way, As You Like It, Appoggiatura, Lord of the Flies, The Unsinkable Molly Brown, Shadowlands, Hamlet, Just Like Us, Sense & Sensibility The Musical, The Three Musketeers, When We Are Married. Other Theatres: The Oregon Shakespeare Festival produced his adaptation (with Linda Alper and Penny Metropulos) of Dumas’ The Three Musketeers and his translation of Brecht’s The Good Person of Szechuan. Target Margin Theatre produced his translations/adaptations: Medea by Hans Henny Jahnn, Goethe’s Faust and the opera The Sandman with David Herskovits and Thomas Cabanis. Awards/Training: Elliot Hayes Award for Dramaturgy, National Theatre Translation Fund Award, John


KATHRYN G. MAES Ph.D (Voice and Dialect Coach). At the Theatre Company: The Glass Menagerie, Frankenstein, FADE, The Nest, Tribes, Benediction, Appoggiatura, Vanya and Sonia and Masha and Spike, Lord of the Flies, The Unsinkable Molly Brown, Animal Crackers, Shadowlands, Hamlet, black odyssey, A Christmas Carol, Jackie & Me, The Most Deserving, Just Like Us, Death of a Salesman, When We Are Married, Fences, The Three Musketeers, Heartbreak House, Great Wall Story. Other Theatres: Royal Shakespeare Company, Royal National Theatre (Arthur Miller’s American Clock). Special/Training: Voice and Dialect Coach for numerous professional theatre companies in the United States, Head of Voice at DCPA Theatre Company 1989 to 1992. Ph.D. in Theatre Arts, University of Pittsburgh; Advanced Diploma in Voice Studies, Central School of Speech and Drama, London, England. ELISSA MYERS CASTING, Paul Fouquet, CSA (Casting). Three Emmy nominations and one win, and one Peabody Award for Outstanding Contribution to Television. Over 15 films for PBS. Theatre includes seven Broadway shows, and 26 OffBroadway shows. Current regional casting includes Denver Center, Geva Theatre, Cleveland Play House, Alabama Shakespeare Festival, Magic Theatre, Arena Stage and Arizona Theatre Company. The office has so far received 16 nominations and has won three Artios Awards for “Outstanding Achievement in Casting.” STOWE NELSON (Sound Designer). At the Theatre Company: Debut. New York: The Wolves (Playwrights Realm); Miles for Mary, Samuel & Alasdair (The Mad Ones, Drama Desk Nom); Small Mouth Sounds (Ars Nova); Indian Summer (Playwrights Horizons); The Painted Rocks at Revolver Creek, The Wayside Motor Inn (Signature Theatre). Regional: The 39 Steps (Actors Theatre of Louisville); Buyer & Cellar (Westport Country Playhouse); Macbeth, Measure for Measure, An Iliad (Hudson Valley Shakespeare Festival); Clarkston (Dallas Theater Center). www.wingspace.com/stowe.

PAUL TOBEN (Lighting Designer). At the Theatre Company: Debut. Other Theatres: Peter and the Starcatcher, 4000 Miles (Actors Theatre of Louisville); three seasons of the Humana Festival (including designs of The Grown-Up, The Roommate, This Random World, and others); Electra (Court Theatre); NSFW (Round House Theatre); Silent Sky, Triangle, Upright Grand (TheatreWorks); Fly by Night, Medea, School for Wives (Dallas Theater Center); The Who and The What (Kansas City); Daddy Long Legs (New York, regional and international premiers). STAGE MANAGEMENT KRISTEN LITTLEPAGE (Assistant Stage Manager). At the Theatre Company: FADE, A Christmas Carol, As You Like It, Animal Crackers, black odyssey, Jackie & Me, Death of a Salesman. Other Theatres: DCPA Cabaret, Colorado Shakespeare Festival, Phamaly Theatre Company, LIDA Project, Augustana Arts. Training: BFA Applied Theatre Technology & Design, Metropolitan State University of Denver. KURT VAN RADEN (Stage Manager). At the Theatre Company: 40+ productions including Frankenstein, Sweeney Todd, Lookingglass Alice, Benediction, The Unsinkable Molly Brown, Animal Crackers, Hamlet, Just Like Us, Romeo & Juliet, Irving Berlin’s White Christmas, The Three Musketeers, Ring of Fire: The Music of Johnny Cash, The Taming of the Shrew, A Christmas Carol, The Liar, Othello, A Raisin in the Sun, A Prayer for Owen Meany, Richard III, Noises Off, The Merry Wives of Windsor, Pride and Prejudice, Season’s Greetings, Living Out, After Ashley. At DCPA Cabaret: First national tour of Murder For Two. Other Theatres: Over 56 new plays at The O’Neill Theatre Center (National Playwrights Conference, Cabaret and Performance Conference, Artistic Associate and Production Stage Manager), The Great River Shakespeare Festival. EXECUTIVE STAFF KENT THOMPSON (Producing Artistic Director) is in his 12th season leading the Theatre Company. In Denver he directed productions of Sweeney Todd, Hamlet, Just Like Us, Other

Desert Cities, Irving Berlin’s White Christmas, The Taming of the Shrew, A Midsummer Night’s Dream, Plainsong, Eventide, Benediction, Amadeus, The Liar and Measure for Measure, among others. Three of Kent’s major accomplishments since coming to Denver have been the creation of Off-Center (innovative theatrical experiences aimed at millennial audiences), the Colorado New Play Summit (a premier national festival for new American plays), and the Women’s Voices Fund (an endowment that supports the commissioning and development of new plays by women). Prior to moving to Denver he was Producing Artistic Director of the Alabama Shakespeare Festival for 16 seasons. Kent created the Southern Writers’ Project which commissioned and produced 16 world premieres during his tenure. He served eight years on the Board of Directors for Theatre Communications Group (TCG) and as president for three years. He has served on peer review panels for the NEA (also chair), TCG, The Pew Charitable Trusts, The Fulbright Scholars Program, The Wallace Funds, The Doris Duke Foundation and The Andrew W. Mellon Foundation, among others. CHARLES VARIN (Managing Director) and his team are responsible for administrative, financial and business operations related to producing the Theatre Company’s season of productions and other artistic and educational initiatives. Prior to DCPA, Charles was General Manager for Geva Theatre Center in Rochester, NY and also has worked at Glimmerglass Opera, Asolo Repertory Theatre and Florida Studio Theatre. JEFF GIFFORD (Director of Production) is in his fourth season at the DCPA and oversees every­thing you see on stage except the actors. Guiding world premieres to their first opening night is especially gratifying and Jeff has worked on more than 35 of them. Among his favorites are Dinner with Friends, The Violet Hour, The Beard of Avon, Mr. Marmalade and the new musical FLY. Jeff holds an MFA from California Institute of the Arts.

THE BOOK OF WILL

Gassner Award in Critical Writing. Yale School of Drama.


THE BOOK OF WILL

LOGO WITH SUBDIVISIONS

STAFF ADMINISTATION Charles Varin, Managing Director Ryan Meisheid, Associate Managing Director Allison Taylor, Company Manager Kerri Mirtsching, Business Administrator Alie Quistberg, Assistant Company Manager ARTISTIC Kent Thompson, Producing Artistic Director Nataki Garrett, Associate Artistic Director Charlie I. Miller, Associate Artistic Director Strategy & Innovation Douglas Langworthy, Literary Director/Director of New Play Development Chad Henry, Literary Associate Grady Soapes, Artistic Coordinator Sophia Koop, Artistic Intern Commissioned Playwrights José Cruz González, Lauren Gunderson, Aleshea Harris, David Jacobi, Kimber Lee, Rogelio Martinez, Tony Meneses, Mary Kathryn Nagle, Kemp Powers, Anne Garcia-Romero, Robert Schenkkan, Regina Taylor, Lauren Yee Directors Ina Marlowe, Sam Buntrock, Melissa Rain Anderson, Davis McCallum, Kent Thompson, Christy Montour-Larson Choreographer Christine Rowan Assistants to the Director Eli Carpenter, Alyssa Miller

Music Directors

Sound Designers

Gregg Coffin, Gary Grundei

Craig Breitenbach, Curtis Craig, Stowe Nelson, Tyler Nelson

Acting Company Daniel Berryman, Steve Brady, Molly Carden, Latoya Cameron, Liam Craig, Kevin Curtis, Aubrey Deeker, Allen Dorsey, Napoleon M. Douglas, Jack Eller, Michael Fitzpatrick, Thaddeus Fitzpatrick, Sam Gregory, Meridith C. Grundei, John Hauser, Sullivan Jones, Mark Junek, Kevin Kilner, Charlie Korman, Miriam A. Laube, Jennifer Le Blanc, Jason Delane, Jenny Leona, Avi Levin, Kyra Lindsay, Cajardo Lindsey, Brody Lineaweaver, Rodney Lizcano, Krystel Lucas, Lars Lundberg, Robert Manning Jr., Kathleen McCall, Conan McCarty, Kevin McGuire, Chloe McLeod, Timothy McCracken, M. Scott McLean, Wesley Mann, Chris Mixon, Grace Morgan, Leigh Nichols Miller, Robert Montano, Andy Nagraj, Leslie O’Carroll, Amelia Pedlow, Jim Poulos, Wayne W. Pretlow, Max Raabe, Douglas Rees, Augie Reichert, Helen Reichert, Kurt Rhoads, Jeffrey Roark, Jessica Robblee, Christine Rowan, Triney Sandoval, Brian Shea, John Skelley, Kim Staunton, Shannan Steele, Olivia Sullivent, Brynn Tucker, Olivia Sullivent, Nellesa Walthour, Nance Williamson, Erin Willis, Caitlin Wise, Max Woertendyke, Owen Zitek Designers

Topher Blair, Charlie I. Miller Coaches Geoffrey Kent (Fight), Kathryn G. Maes Ph.D. (Voice/Dialect), Phil Thompson (Voice/Dialect) Casting Grady Soapes, Emily Tarquin New York Casting Elyssa Myers Casting/Paul Fouquet, CSA MARKETING Brianna Firestone, Director of Customer Experience & Marketing Emily Kent, Associate Director of Marketing Hope Grandon, PR & Events Manager Cheyenne Michaels, Marketing Coordinator PRODUCTION Jeff Gifford, Director of Production Melissa Cashion, Associate Production Manager Matthew Campbell, Assistant Production Manager

Scenic Designers

Julie Brou, Production and Artistic Office Manager

Sandra Goldmark, Robert Mark Morgan, Jason Sherwood, Vicki Smith, Joseph P. Tilford

Scenic Design

Costume Designers

Scenic Design Assistants:

Camille Assaf, Angela Balogh Calin, Kevin Copenhaver, Meghan Anderson Doyle

Matthew Plamp, Nicholas Renaud

Lighting Designers

Charles R. MacLeod, Director of Lighting

Dramaturgs Heather Helinsky, Douglas Langworthy, Stephanie Prugh, Heidi Schmidt Ph.D.

Projection Designers

Don Darnutzer, Richard Devin, Charles R. MacLeod, Paul Toben, Brian Tovar

Lisa M. Orzolek, Director of Scenic Design

Lighting Design

Lighting Design Assistants: Lily Bradford, Katie Gruenhagen Production Electrician: Reid Tennis


Costume Shop

Multimedia Specialist: Topher Blair

Janet S. MacLeod, Costume Director/ Costume Design Associate

Multimedia Operator: Porscha Banker Sound Design Craig Breitenbach, Director of Sound Sound Operators: Alex Billman, Hayat Dominguez, Frank Haas, Tyler Nelson, Jonathan Ruiz Stage Management Christopher C. Ewing, Production Stage Manager Stage Managers: Matthew Campbell, Heidi Echtenkamp, Christopher C. Ewing, Karen T. Federing, Kristen Littlepage, Chris Luebke, Randall K. Lum, Rick Mireles, Kurt Van Raden, D. Lynn Reiland Stage Management Apprentices: Kailey Buttrick, Lucas Bareis-Golumb, Mariah B. Brown Child Wrangler: Lauren LaCasse Scene Shop Eric Rouse, Technical Director Robert L. Orzolek, Associate Technical Director Josh Prues, Associate Technical Director Lead Technicians: Albert “Stub” Allison, Louis Fernandez III Scenic Technicians: Tyler Clark, Rachel Gibson, Justin Hicks, Ludwig Hnatkowycz, William Loving, Brian “Marco”Markiewicz, Logan McGuire, Wynn Pastor, Kyle Simpson, Kenneth Thomas, Mike Van Aartsen , Katherine Yates

Meghan Anderson Doyle, Costume Design Associate Drapers: Carolyn Plemitscher, Louise Powers, Jackie Scott First Hand: Cathie Gagnon Tailor: Sheila P. Morris Stitchers: Claire Bunch, Kelly Jones, Cindy Kauffman, Jeanne Legrand, Ingrid Ludeke, Jenny Milne-Wright, Sereena Ojakian, Wanda Price, Beth Walker Costume Crafts Kevin Copenhaver, Costume Crafts Director Chris Campbell, Costume Crafts Assistant Wigs Diana Ben-Kiki, Wig Master House Crew Doug Taylor, Supervisting Stagehand Jim Berman*, Zach Brown, Tyler Clark, Forest Fowler, Jennifer Guethlein*, Stephen D. Mazzeno*, Kyle Moore, Rebecca Pearce, Kyle Scoggins, Miles Stasica*, Tyler Stauffer*, Matt Wagner* (*IATSE Local 7 Stagehands), Stagehands Wardrobe Brenda Lawson, Director Wig Assistants: Maria Y Davis, Taylor Malott Dressers: Robin Appleton, Amber Donner, Anthony Mattivi, Tim Nelson, Lisa Parsons Wagner, Alan Richards

Prop Shop Robin Lu Payne, Properties Director Eileen Garcia, Assistant Properties Director Props Artisans: Jamie Stewart Curl, Charles Dallas, Georgina Kayes, Tobias Harding, David Hoth, Roo Huigen, Katie Webster

Paint Shop Jana L. Mitchell, Charge Scenic Artist Lead Scenic Artist: Melanie Rentschler Scenic Artists: Mallory Hart, Sherry Hern, Kristin Hamer MacFarlane, Jeni RaddatzLelah Radostis

The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The actors and stage managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States. Backstage and Ticket Services Employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. (or I.A.T.S.E.) The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE. Member of the Colorado Theatre Guild

PLEASE BE ADVISED that once the show begins:

• LATECOMERS and those exiting the theatre are seated at predetermined breaks in designated areas. • PHOTOS, RECORDING & CELL PHONE USE are prohibited during the performance. • CHILDREN 4+ are welcome in our theatres and must be ticketed. • DRINKS are allowed in provided containers. • ASSISTIVE LISTENING DEVICES, LARGE PRINT PROGRAMS & BOOSTER SEATS are available in most theatres. Ask an usher to direct you. • BRAILLE PROGRAMS are available with 2 weeks’ notice to ckrueger@ dcpa.org or 303.893.4836.

The Theatre Company is grateful for the funds provided by the Scientific and Cultural Facilities District. Special thanks also to grants from Arts & Venues Denver; the Helen G. Bonfils Foundation; and contributions from corporations, foundations and individuals. The Theatre Company is a division of the Denver Center for the Performing Arts, a not-for-profit organization serving the public through the performing arts. The Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; and the Stage Directors and Choreographers Society. The Theatre Company also operates under an agreement with Denver Theatrical Stage Employees Union, Local No. 7 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada. The Theatre Company is constituent of Theatre Communications Group (TCG), the national organization for not-forprofit 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.

THE BOOK OF WILL

Multimedia


DISCOVER NEXT YEAR’S

WORLD PREMIERE

BEFORE IT TAKES THE STAGE COLORADO NEW PLAY SUMMIT

FEB 18 – 19 & 24 – 26, 2017 Susan Shay and Arye Gross in The Book of Will reading at the 2016 Colorado New Play Summit. Photo by John Moore.

TICKETS START AT JUST $10 CHOOSE THE EVENTS YOU WANT TO 12 ATTEND, OR GET AN ALL-INCLUSIVE2017 PACKAGE AND SAVE. DENVERCENTER.ORG/SUMMIT 303.893.6030 Summit Partners: Joy S. Burns, Terry & Noel Hefty, Karolynn Lestrud, Robert & Carole Slosky, Steinberg Charitable Trust, Daniel L. Ritchie


60th Season

JUNE 11 – AUG. 13, 2017

303-492-8008

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THE CHRISTIANS:

WHERE ONE’S JOURNEY IS THE CORE BY JOHN MOORE

A

According to the Pew Research Institute, 70 percent of Americans identify themselves as persons of faith. Yet they remain a largely underserved audience group in the American theatre. And when companies do take on stories about religion, Alissa Wilkinson wrote last year for Christianity Today, “The New York theatre scene is not noted for its religious acumen or open-mindedness.” The DCPA Theatre Company has bucked that trend by regularly addressing complex questions of faith in a variety of recent plays spanning Two Things You Don’t Talk About at Dinner, Shadowlands, Benediction, The 12 and now, Lucas Hnath’s The Christians. Producing Artistic Director Kent Thompson doesn’t think of the local trend as overtly serving the faith-based. That’s because any compelling drama must, in some way, question an audience’s core beliefs, he says — whether the subject of the story is religion or not. That’s the cornerstone of good storytelling. “What is intentional for me is that I am always interested in looking at moments in our lives where events happen, and your beliefs are profoundly shaken — and you have to figure out how to move on,” Thompson said. “Maybe that means within your faith. But you don’t only find faith in religion. Faith can be in all kinds of movements, whether you’re talking about civil rights or the environment or otherwise.” Hnath, like Thompson, is a Preacher’s Kid (or “P.K.”). Thompson’s father was a well-known Southern Baptist preacher and, his son says, a mesmerizing storyteller. Hnath’s mother is an evangelical minister and he thought he might follow in her footsteps until playwriting lured him away. Although The Christians didn’t pull him too far from the world he knew.

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APPLAUSE • Jan – Mar 2017 • 303.893.4100 • denvercenter.org

“I was having a very difficult time thinking of other contemporary plays that took on the subject of religion, and specifically Christianity, that did so without satirizing it or prompting us to roll our eyes at ‘those Christians,’” Hnath told The New York Times. “It seemed to me that there was a lack of effort to try to understand what’s at stake in those beliefs.” The Christians takes place in an evangelical megachurch that serves a flock of nearly 20,000 followers. Thompson likens the leaders of these institutions to mayors of small cities. The founder of this church is Pastor Paul, who creates a deep schism among his flock when he announces a ground-shaking epiphany that has changed his personal opinion about a fundamental belief regarding eternal salvation. The theological fallout within his congregation will be enormous.


“…you don’t only find faith in religion. Faith can be in all kinds of movements, whether you’re talking about civil rights or the environment or otherwise.” — KENT THOMPSON, DIRECTOR In Pastor Paul’s case, his changing beliefs are his own. “But this is how he now perceives God’s word to be,” Thompson said, “and he believes profoundly that this is where he must take this community for the next step in its spiritual development.” In doing so, Thompson insists Hnath is not making a playwriting statement about anyone’s religious beliefs. “That isn’t about pointing the finger at these Christians and judging them in any way,” Thompson said. “It’s about watching these dynamics play out that are intensely personal and very human.” Hnath describes his entire play as “a kind of sermon.” Sometimes it’s a literal sermon, he teases, “and sometimes it’s made up of scenes that use the formal elements of a sermon.” In addition to Pastor Paul, the audience will be introduced to his wife, an associate pastor, a church elder and a younger congregant. Every performance includes an on-stage praise band made up of eight singers and three musicians. Hnath admits his play is made up of intentional ambiguities and contradictory arguments. No single argument “wins.” There’s no resolution. “A church is a place where people go to see something that is very difficult to see,” he said in an interview with Playwrights Horizons. “A church is a place where the invisible is — at least for a moment — made visible. The theatre can be that too.” Thompson had an opportunity to speak with Hnath about the commonalities in their upbringings, and what the playwright thought was most important that Thompson get right. “First, that we present every person on stage as a fully developed and complex human being,” Thompson said. “And to really ensure this is dramatic and emotionally engaging and moving, and not only for what we would call a Christian community, but for any community. Whether that’s theatre-lovers who don’t go to church or those who do, or the public at large. Because the journey here is core to the human endeavor. That makes The Christians a story for everyone.”

THE CHRISTIANS

JAN 27 - FEB 26 • STAGE THEATRE ASL & Audio-Described Performance: Feb 12, 1:30pm

Illustrations by Kyle Malone

“The thing I love about this piece is that we are all human beings, and it’s all so very complex,” Thompson said. “All theatre is about conflict — but then you have to figure out the path forward, either as a group or independently. How do you deal with events that challenge your core beliefs? It’s the hero’s journey, and that has really become my obsession.” Thompson said audiences who do not attend megachurches might by unfamiliar with their institutional structure. These churches are essentially independent businesses and are often not affiliated with traditional denominations. “There might be a series of beliefs that these churches share,” Thompson said, “but each church hires its own pastor. It’s not like the Catholic or Episcopal church where you are appointed by an established religious hierarchy.”

COMING UP FROM THEATRE COMPANY:

DISGRACED

Disgraced comes charging into Denver with incredible momentum. This 2013 Pulitzer Prize-winning play is one of the most-produced plays nationwide for the second season in a row and is sparking conversations across the country. Pakistani American playwright Ayad Akhtar’s work has drawn recognition for its piercing portrayal of American Muslim identity. Disgraced touches on the tensions between modern global cultures. “Disgraced is that rare play that we, as a country, must urgently address,” said DCPA Theatre Company Producing Artistic Director Kent Thompson. “It is a powerful drama that speaks to what place Muslims hold in our society during this time of aggressive Islamic fundamentalism, coupled with domestic Islamophobia.” Called “breathtaking, raw and blistering” (Associated Press), it is a powerful reminder of the complexity of identity for all of us. When interviewed by Newsweek about the significant number of productions this play is receiving, Akhtar responded, “It makes a case that is exciting to theatergoers.… When it’s done well, it’s a play that delivers a lot of laughs, and then a gut-punch.” With just a 90-minute run-time and no intermission, Disgraced is a fast-paced, intense drama with a startling twist. Don’t miss this timely production at The Ricketson Theatre March 31 - May 7.

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“Breathtaking, raw and blistering.” – The Associated Press

PULITZER PRIZE WINNER

MAR 31 MAY 7 TICKETS START AT $35

Illustration Kyle Malone Illustration byby Kyle Malone

Disgraced by Ayad Akhtar

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A PROUD SPONSOR OF THE DENVER CENTER FOR THE PERFORMING ARTS

“At CBS4, we believe that our cities and towns, our schools and businesses, our neighborhoods and families are all markedly better because of our vibrant and evolving arts community.”

C

CBS4 is a long-time, proud partner of the Denver Center for the Performing Arts. At CBS4, we believe that our cities and towns, our schools and businesses, our neighborhoods and families are all markedly better because of our vibrant and evolving arts community – already one of the most successful in the entire nation – led by the DCPA. Look for continuing coverage on myriad performances revolving around both the Broadway series and Theatre Company on CBS4 News. CBS4 features a variety of performances in newscasts and gives viewers “back-stage” access, including exclusive video from performances, interviews and insights with stars and directors. At CBS4 we strive to constantly evolve and innovate. Our region’s reliance on credible, up-to-the-minute weather information has spurred even more news growth at the station. CBS4’s expanded weather capabilities now include the CBS4 Outdoor Weather Lab. The Outdoor Weather Lab joins the ranks of the Chevy Mobile Weather Lab, the CBS4 Weather Watchers and Junior Weather Watchers, and daily weather updates with Denver’s leading radio partner – KOA. All of this provides our growing communities with everything they need to plan their day, their daily commute and even their travel across the country. A couple of key moves to share: An “old friend” of Denver – Ashton Altieri – is back – and now anchors weather for CBS4 weekday mornings, Monday-Friday. CBS4’s Lauren Whitney has moved to evenings and joins Ed Greene to provide expanded weather in the 5, 6 and 10pm newscasts, with Meteorologist Chris Spears directing coverage on the road from the Mobile Weather Lab. CBS4/KCNC TV is part of the CBS Television Group, owned and operated by CBS. In addition to providing local news – CBS4 viewers enjoy national news and news magazine programs such as “60 Minutes,” “CBS This Morning” and “CBS Sunday Morning,” prime time entertainment with hit shows including “Big Bang Theory,” “N.C.I.S.” and “Madam Secretary,” late night talk featuring “The Late Show with Stephen Colbert” and “The Late, Late Show with James Corden” and, of course, CBS4 Sports – Denver Broncos and NFL Football, the NFL-AFC Playoffs, March Madness/ the NCAA Tournament, including the 2017 Final Four and National Championship and the biggest PGA Events – including the 2017 Masters and PGA Championship.

The CBS4 Weather Team – Ashton Altieri, Lauren Whitney, Ed Greene, Dave Aguilera and Chris Spears

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APPLAUSE • Jan –- Mar 2017 • 303.893.4100 • denvercenter.org


Jarran Muse as Marvin Gaye & Cast. MOTOWN THE MUSICAL First National Tour. Photo by Joan Marcus.

BERRY GORDY’S MOTOWN MUSIC THAT CHANGED THE WORLD

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On January 12, 1959, Berry Gordy Jr. obtained a loan of $800 from his family and founded an enterprise he called Motown. He set up his Detroit headquarters in a modest house emblazoned with an immodest sign, “Hitsville U.S.A.” The slogan was premature, but prophetic. Gordy discovered, developed and launched the careers of Smokey Robinson and The Miracles, Diana Ross and The Supremes, The Temptations, Stevie Wonder, Mary Wells, The Jackson 5, Michael Jackson and Marvin Gaye — to name just a few — and Motown became the most successful business owned and operated by an African American in the United States. Now his legacy is celebrated in Motown The Musical. Although Motown was home mostly to black artists, Gordy envisioned the music as “the sound of young America” — and by that he meant Americans of all colors and ethnicities. He started Motown just before the Civil Rights Movement was in full flower, when music by black artists was mostly relegated to black radio stations. Gordy “endeavored to reach across the racial divide with music that could touch all people,” as the Rock & Roll Hall of Fame acknowledged. And so he did. It began, of course, with the sound, a thrilling amalgamation of gospel, blues, jazz, doo wop, and country. “I may not have always known what I was looking for exactly, but when I found it I knew it,” Gordy has said. “Long before there were electronic synthesizers, I was looking for new ways to create different sound effects. We would try anything to get a unique percussion sound: two blocks of wood slapped together, striking little mallets on glass ashtrays, shaking jars of dried peas — anything.

In the early ’60s, when Motown was evolving and beginning to hit its stride, radio play was crucial to a song’s success. Robin Seymour, Detroit’s most popular radio personality of that era, was perhaps the only white disc jockey in the city to feature black music on his shows in the ’50s, prior to the founding of Motown. “When Berry Gordy came along, I started playing his records,” says Seymour. “Some of the sponsors hated the music, but they had kids and their kids thought it was the greatest music ever. The sponsors were getting results, so they were happy. The music really took off.” In those days, according to Seymour, “The record had to be pretty high on the charts before a song was played in New York, regardless of whether the singer was black or white. Later in the ’60s, when Motown had made it big, that changed. Stations would play a new record by a new artist.” Motown gradually became part of the fabric of America. “Music really makes the world vibrate,” says Morris. “And when multi-cultures vibrate together, it’s a great thing. That’s what Berry Gordy made happen. His music changed the world.”

MOTOWN THE MUSICAL

FEB 15-19 • BUELL THEATRE ASL, Audio-described & Open Captioned Performance: Feb 18, 2pm


IN THE

UPCOMING SHOWS

SPOTLIGHT

An Act of God Now – Apr 8 Fun Home Now – Jan 22

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

The Book of Will Jan 13 – Feb 26 The Christians Jan 27 – Feb 26 Two Degrees Feb 3 – Mar 12 Cult Following Feb 10 – 11 Apr 28 – 29 • May 12 – 13 Colorado New Play Summit Feb 18 – 19 & 24 – 26 Motown The Musical Feb 15 – 19

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Top photo by Amanda Tipton

Circus 1903 — The Golden Age of Circus Feb 21 – 26 Rain — A Tribute to the Beatles Mar 2 & 3 An American In Paris Mar 8 – 19 Travis Wall's Shaping Sound: After the Curtain Mar 18 & 19 Kinky Boots Mar 21 – 26

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1. DCPA THEATRE COMPANY and season sponsor United Airlines recently hosted a packed house for the Student Matinee at A Christmas Carol. 2. DCPA BROADWAY took Matthew Dailey of Jersey Boys back to his old high school stomping ground. Dailey spoke with students of Arapahoe High School about his career and the importance of theatre education. 3. DCPA participated in Denver Arts Week with The Magic of Theatre. This showcase of Theatre Company, Broadway, Cabaret, Off-Center and Education treated guests to demonstrations of special effects — lighting, sound, multimedia, scenic design, painting, costumes and props — cast appearances, a scene from Shakespeare in the Parking Lot and a participatory lesson on how to “walk like a man” with Matthew Dailey of Jersey Boys.

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APPLAUSE • Jan – Mar 2017 • 303.893.4100 • denvercenter.org

Bottom photos by John Moore

Disgraced Mar 31 – May 7 Hal Holbrook: Mark Twain Tonight! Apr 1 MAMMA MIA! Apr 11 – 16 The Secret Garden Apr 21 – May 28 The Illusionists — Live from Broadway May 19 – 21 The Curious Incident of the Dog in the Night-Time May 30 – Jun 18 DragOn Jun 1 – 25 Frozen August 17 – Oct 1


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A PROUD SPONSOR OF SATURDAY NIGHT ALIVE

Photo by Adams VisCom

“…[PwC’s] involvement with DCPA strengthens our commitment to comprehensive education and literacy of young people in our local communities.”

T

The Denver Center for the Performing Arts is a powerful driver behind the vibrancy of the arts in Colorado. The arts possess innumerable social and educational benefits and PwC is honored to support DCPA – the arts broaden the horizons of our people and our clients and our involvement with DCPA strengthens our commitment to comprehensive education and literacy of young people in our local communities. In addition to supporting Denver arts, one of PwC’s strongest tenets is service to our communities. Our Rockies market is a firm leader in number of service hours per employee committed to advancing youth education and financial literacy in the US. One of the ongoing volunteer activities that helps us accomplish this is Power Lunch – a partnership with the Denver Public Schools Foundation and Mile High United Way. We are in our fourth year of proudly partnering 40-50 PwC volunteers annually with a classroom of third grade students at Columbian Elementary in Denver. The goal is building relationships through reading and helping each student reach reading proficiency by the end of third grade. We partner two volunteers with each student, alternating weeks while reading to that student every Friday for 45 minutes throughout the entirety of the school year. The philanthropic imperative that is pervasive throughout PwC locally drives our unwavering youth education and financial literacy commitment here. DCPA’s commitment to arts education and training, also giving back to our communities in the areas they know best, is a compelling component of why we choose, and are honored, to partner with them. PwC is proud to support the DCPA as an arts purveyor, teacher, visionary and inspiration in our local community.

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APPLAUSE • Jan - Mar 2017 • 303.893.4100 • denvercenter.org


NEW SHOW ‘CIRCUS 1903’ BRINGS BACK LIVE ELEPHANTS, SORT OF

Photo by Mark Turner

BY M A R K K E N N E DY

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Ringling Bros. and Barnum & Bailey Circus may have retired their iconic elephants but there’s still a way to see the huge beasts onstage. The new touring show Circus 1903 - The Golden Age of Circus, which is making its American debut this year, features two life-size elephants — one baby, one massive mamma — created by the puppeteers and model-makers of Significant Object, who made the lifelike horse featured in the hit play War Horse. “These puppets feel real. They’ve been built in a way, even when they’re just standing there doing nothing, they’re just breathing, they absolutely feel real. That’s what we wanted to capture,” said creative and executive producer Simon Painter. The pachyderms will be part of a show that attempts to capture the magic of circuses at the dawn of the last century, with foot jugglers, contortionists, acrobats, knife throwers, teeterboarders, high-wire performers and a bicycle stuntman. Painter, who has had great success with his magician supergroup franchise The Illusionists, said he’s hoping to revive the panache and bravery of the past, “where showmanship was front and center.” It’s an attempt to jettison the Cirque Du Soleil-led drive for narratives in favor of highlighting the acts themselves, which often tried to outshine the others. “Every single person needs to win the crowd. Every act should be almost the closing act.”

Painter and his team consulted circus historians and picked 1903 because that’s when Barnum & Bailey’s so-called Greatest Show on Earth returned from a fiveyear tour of Europe. It traveled almost daily with a mindboggling 1,200 people, 200 wagons and 700 animals. “The way that they would get you to come — the whole town — was by promising these acts that were beyond anybody’s imagination. And that’s what we’ve tried to do,” said Painter. “We’ve made a massive effort to cast a net as far as possible, just like they did over 100 years ago.” Many of the acts in the show are being performed by members of the same family, who have passed down their skills over generations and so knew what their ancestors did 100 years ago. For other acts, Painter had to teach the performer new skills — and unlearn tricks from 2016. “This is, honestly, the show I’ve wanted to make for 15 years,” he said. In addition to Painter, the producers include Tim Lawson and MagicSpace Entertainment.

CIRCUS 1903 - THE GOLDEN AGE OF CIRCUS

FEB 21 – 26 • BUELL THEATRE ASL, Audio-described and Open Captioned Performance: Feb 25, 2pm Used with permission of The Associated Press. Copyright 2016. All rights reserved.


OUR PARTNERS DESERVE A ROUND OF APPLAUSE Bookend the perfect night out by visiting DCPA’s preferred restaurant partners before or after a show.

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PROUD SPONSOR OF SATURDAY NIGHT ALIVE

“Social responsibility is one of PCL’s guiding principles, and community giving is at its core. As a result, PCL focuses philanthropic efforts in the areas of community development, health, education and sustainability.”

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PCL Construction is proud to support the Denver Center for the Performing Arts (DCPA) through sponsorship of its sensational fundraiser for theatre education, Saturday Night Alive, as well as through the historic renovation projects completed by PCL, such as The Temple Hoyne Buell Theatre renovation, the Pavilion Bridge, and the Third Vault Addition. PCL embraces similar values that the DCPA embodies, primarily by making a difference in the community. Each year, the PCL family of companies contributes millions of dollars and thousands of volunteer hours to humanitarian organizations, food banks, sustainability initiatives, educational organizations, healthcare facilities, community development drives, and sports and arts organizations. PCL also believes in making a difference in their employees’ communities through collective volunteering and generous giving to programs that support military personnel and their families, feed the hungry and create a greater appreciation for the arts. PCL employees help transform the lives of those in need through these and many other donations and in-kind gifts. PCL has many companywide initiatives, such as supporting the United Way and Habitat for Humanity with donations and volunteers, providing a multi-year financial commitment to the Red Cross and supporting local charities identified by employees. PCL commonly provides matching contributions to the donations made by its employees. PCL opened its Denver office and US Headquarters in 1975. They have grown over the years and are currently ranked as the eighth largest general contractor in the United States. PCL has more than 200 employees in its Denver office and has been recognized by Forbes in its “Top 100 Companies to Work For” list 11 consecutive years. In addition to its work at the DCPA campus, PCL has built other Colorado landmarks such as the Denver International Airport Main Terminal, Republic Plaza (the tallest building in Denver), and the Ritz Carlton Residences in Vail.

APPLAUSE • Jan - Mar 2017 • 303.893.4100 • denvercenter.org


DCPA TEAM DCPA Janice Sinden......................................................President & CEO Julie Schumaker.................Executive Assistant to the CEO

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

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

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

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

MARKETING, SALES & PATRON SERVICES Jennifer Nealson..................................Chief Marketing Officer Eric Boone...................................................Front End Developer Heidi Bosk......................... Senior PR & Promotions Manager Nathan Brunetti...................................................Digital Manager Flora Jane DiRienzo...............Director of Strategic Projects Brenda Elliott......................................Senior Graphic Designer Brianna Firestone............Director of Customer Experience & Marketing Simone Gordon...................................................Project Manager Hope Grandon..........................................PR & Events Manager Jeff Hovorka............................. Director of Sales & Marketing Jennifer Kemps........................................Group Sales Manager Emily Kent............................Associate Director of Marketing David Lenk............................................................. Video Producer Emily Lozow........................................... Marketing Coordinator

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

SHARED SERVICES Vicky Miles................................................ Chief Financial Officer Jennifer Jeffrey.......................................... Director of Financial Planning & Analysis Julie Schumaker.................Executive Assistant to the CFO ACCOUNTING Jennifer Siemers...................................Director of Accounting Sara Brandenburg, Michaele Davidson.....................................Senior Accountants Juliette Hidahl....................................................Accounting Clerk Kim Stewart........................................................ Staff Accountant HUMAN RESOURCES Regina Matthews......................... Director Human Resources Brian Carter...................................Human Resources Manager Donald Gabenski.............................................................Reception Jamie Hawkins...................................................... HR Coordinator Sandy Hertz.........................................................Payroll Specialist Monica Robles............................................Mailroom Supervisor INFORMATION TECHNOLOGY Yovani Pina.................................... Associate Vice President of Information Technology Chris Calenzo...................................................Help Desk Analyst Jayson Cowley......................................Network Administrator Jim Hipp................................................. Associate Director of IT Christopher Hoge.......................VoIP/System Administrator Bobby Jiminez.........................Senior AudienceView Analyst John H. Voorheis............................ Manager of Infrastructure

THEATRE COMPANY Kent Thompson........................... Producing Artistic Director ADMINISTRATION Charles Varin...................................................Managing Director Ryan Meisheid...........................Associate Managing Director Allison Taylor..................................................Company Manager

Kerri Mirtsching.................................... Business Administrator Alie Quistberg...........................Assistant Company Manager ARTISTIC Nataki Garrett.................................Associate Artistic Director Charlie I. Miller................................Associate Artistic Director Strategy & Innovation Douglas Langworthy ................................... Literary Director/ Director of New Play Development Chad Henry....................................................... Literary Associate Grady Soapes.............................................. Artistic Coordinator PRODUCTION Jeff Gifford...............................................Director of Production Melissa Cashion....................Associate Production Manager Matthew Campbell.............. Assistant Production Manager Julie Brou...................Production & Artistic Office Manager Scenic Design Lisa M. Orzolek................................ Director of Scenic Design Matthew Plamp, Nicholas Renaud..............................Scenic Design Assistants Lighting Design Charles R. MacLeod...................................Director of Lighting Lily Bradford.....................................Lighting Design Assistant Reid Tennis............................................... Production Electrician Multimedia Topher Blair............................Multimedia Assistant/Operator Sound Design Craig Breitenbach...........................................Director of Sound Tyler Nelson.......................................................... Sound Designer Alex Billman, Frank Haas..............................Sound Operators Stage Management Christopher C. Ewing................ Production Stage Manager Rachel Ducat, Heidi Echtenkamp, Corin Ferris, Karen T. Federing, Chris Luebke, Randall Lum, D. Lynn Reiland, Kurt Van Raden...................................................Stage Managers Scene Shop Eric Rouse.......................................................... Technical Director Robert L. Orzolek, Josh Prues.................................Associate Technical Directors Albert “Stub” Allison, Louis Fernandez III.......................................... Lead Technicians Justin Hicks, Brian “Marco” Markiewicz, Wynn Pastor, Kyle Simpson Mike VanAartsen...........................................Scenic Technicians Prop Shop Robin Lu Payne.............................................Properties Director Eileen S. Garcia......................... Assistant Properties Director Jamie Stewart Curl, David Hoth, Georgina Kayes, Katie Webster..........................................................Props Artisans Paint Shop Jana L. Mitchell...........................................Charge Scenic Artist Melanie Rentschler........................................Lead Scenic Artist Kristin Hamer MacFarlane ....................................Scenic Artist Costume Shop Janet S. MacLeod..........................................Costume Director/ Costume Design Associate Meghan Anderson Doyle........ Costume Design Associate Carolyn Plemitscher, Louise Powers, Jackie Scott............................................................................Drapers Cathie Gagnon.................................................................First Hand Sheila P. Morris........................................................................... Tailor Kelly Jones.................................................................................Stitcher Costume Crafts Kevin Copenhaver............................Costume Crafts Director Chris Campbell.................................Costume Crafts Assistant Wigs Diana Ben-Kiki............................................................... Wig Master House Crew Doug Taylor*..........................................Supervising Stagehand Jim Berman*, Jennifer Guethlein*, Stephen D. Mazzeno*, Kyle Moore, Miles Stasica*, Tyler Stauffer*, Matt Wagner* (*IATSE Local 7 Stagehands)................................ Stagehands Wardrobe Brenda Lawson........................................Director of Wardrobe Maria Y. Davis, Taylor Malott............................Wig Assistants Robin Appleton, Amber Donner, Anthony Mattivi, Tim Nelson, Lisa Parsons Wagner, Alan Richards....................................................................... Dressers


STEP OUTSIDE THE REALM OF POSSIBILITY

Photos by Studio JK

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HOW MUCH DO YOU KNOW ABOUT THE BOOK OF WILL, THE CHRISTIANS, TWO DEGREES AND FUN HOME? FIND OUT!

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APPLAUSE • Jan –- Mar 2017 • 303.893.4100 • denvercenter.org

ACROSS 3 T  he first collected edition of Shakespeare’s plays is the First _______ 5 Shakespeare’s working drafts of a play were called the _______ Papers 7 Home to the world’s largest Shakespeare collection is the _______ Library 8 Alison’s occupation in Fun Home 10 The Christians playwright Lucas _______ 13 Now on tour with Fun Home, he was the DCPA’s Sweeney Todd: Robert _______ 16 He came up with this common temperature scale in 1724 17 One of the nearly lost Shakespeare plays — and a salad: Julius _______ 18 The Fun Home graphic memoir was written by Alison _______ 19 Lyric from the traditional hymn: “Farther along, we’ll understand _______” 20Two Degrees’ Christy Montour-Larson last directed this C.S. Lewis title at DCPA

DOWN 1 Colorado native nominated for a Fun Home Tony Award: Beth _______ 2 How Shakespeare spelled “Ado” 4 Climate change is largely attributed to increased levels of carbon _______ in the atmosphere 6 Song from The Christians: “God’s _______ Hand” 9 The Christians takes place entirely in one of these 11 Nine of the 10 _______ years on record have occurred since 2000, says NASA 12 A  ttitudes that are religious or spiritual in nature 14 In the title, “Fun” Home is short for _______ 15 T  he temperature scale based on 0 for the freezing point of water

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


“It was food for my heart and for my soul. It was just excellent.” — Siegfried & Roy of illusionist duo “Siegfried & Roy”

“I will give this production 5 stars. That’s the top.”

“The orchestra is phenomenal. They are very very on top.”

— Richard Connema, critic for Talkin’ Broadway

— Roger Tallman, seven-time Emmy Award–winning composer

“It’s the best of both worlds... I think a lot of this is the historical significance of the music.” — Kenneth Melo, filmmaker

“I feel like it’s touched my life and changed my life in a way that I will never forget.” — Linda Eppinger, music teacher

REVIVING 5,000 YEARS OF CIVILIZATION

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hrough the universal language of music and dance, Shen Yun weaves a wondrous tapestry of heavenly realms, ancient legends, and modern heroic tales, taking you on a journey through 5,000 years of Chinese culture. Its stunning beauty and tremendous energy leave audiences uplifted and inspired. A Shen Yun performance features the world’s foremost classically trained dancers, a unique orchestra blending East and West, and dazzling animated backdrops—together creating one spectacular performance.

a deep foundation of traditional aesthetics. Classical Chinese dance is rich with expressive power. Through expression of bearing and form, beautiful dance movements bring out the inner meaning of intrinsic thoughts and feelings, reflecting the peculiarities of human nature, the standard for human conduct, moral concepts, mental state, one’s value system, and so on.

Stunning Chinese Dance

Classical Chinese dance has a long history of thousands of years, passed down continuously within the imperial palace and ancient Chinese theater and opera. Soaking up profound wisdom from every era and dynasty, it has become a complete system of dance embodying traditional aesthetic principles with its unique dance movements, rhythms, and inner meaning. Dance is part of human culture. Classical Chinese dance is grounded in 5,000 years of divinely inspired culture, and is a dance art form built upon

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The Shen Yun Orchestra combines the spirit, beauty, and distinctiveness of Chinese music with the precision, power, and grandeur of the Western symphony orchestra. The result—two great traditions producing one refreshing sound.

Dazzling Handmade Costumes

Shen Yun’s costume artists collect countless de-

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signs of traditional attire, ranging from those of emperors, ministers, and generals to the everyday clothing of the common people. They use bright colors to tailor and recreate hundreds of new pieces each season. Every detail is given meticulous attention and is a result of artistic inspiration and careful polishing. The designers stress harmonic balance and contrast. Their objective is an authentic presentation of the attire that comes from China’s divinely inspired traditional culture, and a consummate stage effect. Audiences throughout the world have warmly welcomed Shen Yun. The values Shen Yun portrays belong to all of humanity. Bilingual emcees highlight each number in both English and Chinese.

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Applause Magazine, January 13-February 26 , 2017