Applause Magazine, February 21-26, 2017

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VOLUME XXVIII • NUMBER 5 • JAN – MAR 2017

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THE GOLDEN AGE OF CIRCUS Also Playing: Fun Home The Book of Will Two Degrees The Christians Motown The Musical

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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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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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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

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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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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.

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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

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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

T

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

Simon Painter, Tim Lawson, Simon Painter,Entertainment Tim Lawson, MagicSpace MagicSpace Entertainment present present

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and Alejandro Ricardo Rossi and Ricardo Rossi

Lucky Moon Lucky Moon Elena Gatilova

The Cycling Cyclone TheFlorian Cycling Cyclone Blummel

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Lucky Moon Elena Gatilova

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Scenic Design

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The Sensational Sozonov

Les Incredibles

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The Great Gaston Francois Borie

Ringmaster Composer Willy Whipsnade

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Composer Evan Jolly David Williamson Evan Jolly

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Los Lopez The Lopez Family

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Costume Designer

and Anny AndreiLaplante Kalesnikau and Andrei Kalesnikau

Senayet Assefa Amara

Mikhail Sozonov

The Flying Fins

Les Incredibles LesAnny Incredibles Laplante

The Elastic Dislocationist The Senayet ElasticAssefa Dislocationist Amara

The Sensational Sozonov The Sensational Sozonov Mikhail Sozonov

Costume Designer Artur Ivankovich, Petter Vatermark, Costume Designer Angela and AJAaron Saltalamacchia Angela Aaron

Associate Director Associate Director Richard Peakman Richard Peakman

Los Lopez

Lopez TheLos Lopez Family The Lopez Family

Composer

Hair & Make-Up Designer Hair Kate & Make-Up Designer McLeod Kate McLeod Casting Director

Technical Director – Ivins Production Rigging Designer & Production Manager Todd Edward Angela Aaron Paul Smith Evan Jolly Mathieu Stage Laplante Technical Director – Production Production Stage Manager David Simpson TechnicalRigging DirectorDesigner – Rigging& & Scenic Terrence Williams David Simpson Technical DirectorSchonbrodt – Rigging & Scenic Terrence Williams Vincent Associate Director Associate Lighting Designer Hair & Make-Up Designer Vincent Richard Peakman TomSchonbrodt Wright Kate McLeod Puppets Designer Puppetry Director Technical Director – Production Rigging Designer & Production Stage Manager Puppets Designer Puppetry Director Mervyn Millar and Tracy Technical Waller Mervyn Millar David Simpson Director – Rigging & Scenic Terrence Williams Mervyn and Tracy Waller Mervyn Millar forMillar Significant Object Vincent Schonbrodt for Significant Object Puppets Designer Mervyn Millar and Tracy Waller Executive for Significant Object

Puppetry Director

Producers Mervyn Millar Executive Tim Lawson and Producers Andrew Spencer Tim Lawson and Andrew Spencer Executive Producers

Lawson and AndrewExecutive Spencer & Creative Producer Director & Co- CreativeTim Producer Director Neil & Co-Dorward Creative Producer Executive & Creative Producer Painter Director & Co- Creative Producer Executive &Simon Creative Producer Neil Dorward Simon Painter Neil Dorward Simon Painter

THE USE OF ANY RECORDING DEVICES, AUDIO OR VIDEO, AND THE TAKING OF PICTURES, WITH OR WITHOUT THE USE OF ANY RECORDING DEVICES, AUDIO OR VIDEO, AND THE TAKING OF PICTURES, WITH OR WITHOUT FLASH, WITHOUT THE WRITTEN PERMISSION OF ILLUSIONISTS MANAGEMENT, IS STRICTLY PROHIBITED. THE USE OF ANY RECORDING DEVICES, AUDIO OR ANDMANAGEMENT, THE TAKING OF PICTURES, WITH OR WITHOUT FLASH, WITHOUT THE WRITTEN PERMISSION OFVIDEO, ILLUSIONISTS IS STRICTLY PROHIBITED. FLASH, WITHOUT THE WRITTEN PERMISSION OF ILLUSIONISTS MANAGEMENT, IS STRICTLY PROHIBITED.

CIRCUS 1903 – THE GOLDEN AGE OF CIRCUS

AND SEASON SPONSORS

CIRCUS 1903 – THE GOLDEN AGE OF CIRCUS

WHO’S WHO IN THE CAST YEVGENIY DASHKIVSKYY AND YEFREM BITKINE (Duo Flash) Clowns and comedy have been a part of variety performances since traveling minstrels first wandered the countryside and jesters were a part of royal courts.The Circus 1903 performance of Duo Flash continues the tradition of pantomime comedy combined with an impressive demonstration of acrobatic agility. Yevgenty Dashkivskyy and Yefrem Bitkine are natives of Kiev, Ukraine and have been working together for many years. In that time they have perfected their act and impressed international audiences on every continent. Split second timing and synchronized acrobatics are the hallmark of Duo Flash, an act which has been featured on numerous circuses and television programs all over the world.

ALEJANDRO AND RICARDO ROSSI (Fratelli Rossi) The Rossi Brothers are sixth generation circus. Although the Rossi Family originally began performing in Italy, Alejandro and Ricardo are natives of Spain. The “foot juggling” act perfected by Fratelli Rossi dates back to the early 20th Century and Circus 1903 presents the act in the same manner that audiences viewed it more than 100 years ago. Although the Rossi Brothers have an outstanding circus pedigree, they attended the renowned Circus Academy in Verona, Italy where they honed their act prior to beginning their professional career at Germany’s Circus Roncalli. Their foot juggling act was featured on Germany’s Circus Krone and they are the recipient of numerous awards from the most prominent international circus festivals and competitions in the world.

THE LOPEZ FAMILY (Los Lopez) Johan and Jonatan Lopez along with Maria Jose Pontigo are recognized around the world as daredevils on the highwire, an act that is performed without a safety net! Whether it is riding a bicycle 30 feet on a wire 30 feet in the air or performing acrobatics that would be difficult on the ground, Los Lopez present an act that is as thrilling today as it would have been on a circus at the turn of the 20th Century. The stunts performed by

Los Lopez are filled with suspense and danger, and those who attend Circus 1903 will find their hearts beating a little faster when they take to the air! The Lopez family captivate audiences across the globe with their high energy, death-defying stunts, all performed with spectacular Latin flavor!

ANNY LAPLANTE AND ANDREI KALESNIKAU (Les Incredibles) Anny was determined to become a professional acrobat at the age of 14 and began her training at the National Circus School in Montreal. In addition to a passion for acrobatics she developed her artistic side through learning dance and stagecraft. While still in her teens Anny began performing the Aerial Cradle, and at the age of 20 she became a part of Cirque du Soleil - Corteo presenting her act high above the stage. It was while performing this act that she met Andrei Kalesnikau and in doing so found the perfect partner. Together they began working on an act that combines their artistic skill and ability to build a unique and deep story based on trust, mental force and love. As a child Andrei was focused on becoming a professional wrestler. After years of training, he was chosen at the age of 16 to attend the Russian Sports Olympic School where ultimately his athletic prowess led him to the circus. By the time he was 18 he was performing professionally in various Russian circuses. It wasn’t long until he was asked to join Cirque du Soleil – Corteo where he was featured as a clown, one of the main characters in the show. It was while at Cirque du Soleil that Andrei learned the Russian Cradle and met his future partner both on stage and in life. Together Anny and Andrei bring the trust, love and determination that they have off stage to every performance of Circus 1903.

ELENA GATILOVA (Lucky Moon) Elena Gatilova is a former World Champion of Rhythmic Gymnastics, and she comes to Circus 1903 after being featured in over 2500 performances in the provocative Cirque du Soleil production Zumanity. Elena is billed as “Lucky Moon” and her act is

a show stopper which harkens back to the aerial ballets of circuses during the early part of the 20th Century.

Millions have seen her performances on The Tonight Show, and Last Call with Carson Daly. She appeared in the feature film Love Sick and appeared in 43 episodes of the Italian television show Chiambretti Night.

Elena has been featured in Vanity Fair and Playboy and has appeared in thousands of performances directed, choreographed and starring some of the world’s most renowned performers, dancers and artists.

FLORIAN BLUMMEL (The Cycling Cyclone) Florian Blümmel, a triple German Champion, European Champion and Double Vice World Champion in Artistic Cycling, is an athlete who followed his dream and is now on the world’s stage as a master of his craft. By the age of 6 he was already fascinated with artistic cycling and started to learn the skill, practicing for several hours each day, addicted to learning the art. Although trained as a carpenter, his passion for the cycle beckoned and Florian rose quickly to the top of his sport, qualifying in all of the major competitions. Over the years he and his brother Felix received numerous national and international awards and for nine years he was a member of the German National Team. In 2013, after great success in competitive cycling, Florian realized he was destined to perform on stage, where he could touch and thrill an audience not just as an athlete, but also as an artist. Since then he has performed around the world with circuses, on cruise ships, in theatres and at concerts. In addition, he has competed and repeatedly received international accolades for his performance, including a prestigious award from Le Festival Mondialdu Cirque de Demainin Paris and the Chinese Acrobats Association Trophy. In his native German he appeared on Germany’s Got Talent, and in 2016 he received the Harzer Show Kristall. Florian’s act takes his audience on an emotional, poetic and magical bike ride. His bicycle seems to come to life and appears to drive itself - a love story between a man and his bicycle and a stunning acrobatic performance.

FRANCOIS BORIE (The Great Gaston) Francois is recognized around the world as one of the fastest jugglers performing today. A former student at the renowned Academie Fratellini Circus School in Paris, Francois comes to Circus 1903 after mastering his craft in circuses and on stages around the world. The recipient of multiple awards at international circus festivals, Francois has performed worldwide and has been a featured performer in Europe’s most renowned circuses, including Circus Bouglione and Circus Grussin (France) and Circus Roncalli (Germany). Francois has traveled worldwide with Royal Caribbean Cruise Line and featured in numerous prestigious productions including Cirque Du Soleil, Prodartes and Famma Events.

ARTUR IVANKOVICH, PETTER VATERMARK AND AJ SALTALAMACCHIA (The Flying Fins) Artur is an acrobat who is a master of the teeterboard. A native of Antwerp, Belgium, Artur takes his training seriously and has studied circus performance in Europe and Canada.

Teeterboard acts such as “The Flying Fins” are as amazing to the audience of Circus 1903 as they were to those who witnessed similar acts more than a century ago. AJ is an alumni of The Flying Fruit Fly Circus where he excelled not only on the teeterboard but also in a variety of other acts of endurance and agility. His style is reminiscent of the acrobats of the early 20th Century and he is a tangible link to those who have gone before him. He has an impres-

sive performance resume spanning 4 countries around the world, including Singapore and Turkey. Petter brings artistry and grace along with acrobatic acumen to Circus 1903. As a circus performer he has been featured in some of the most renowned productions in the world including Cirque du Soleil and Cirque Eloize. With a degree in Fine Arts from the University of Dance and Circus in Stockholm he inspires the audience and his colleges with his unique and innovative presentation.

MIKHAIL SOZONOV (The Sensational Sozonov) Like many circus performers, Mikhail comes from a family where both of his parents were performers in a Russian circus.

In his early teens Mikhail joined the company and for the past 20 years he has traveled the world perfecting his “Rola Bola” act. Audiences around the world have marveled at Mikhail’s balancing skill which he has demonstrated in circuses throughout Europe, Japan, Taiwan and the Philippines. Mikhail is the recipient of numerous international awards for his performance, and he is also an accomplished photographer, having recently graduated from the New York Institute of Professional Photography.

DAVID WILLIAMSON (Ringmaster Willy Whipsnade) David has been featured on ABC’s, Champions of Magic, where he appeared with Princess Stephanie as he performed his miracles at different locations in and around Monaco. David has also co-starred in several top-rated prime-time network specials including CBS’ Magicians’ Favorite Magicians, NBC’s Houdini: Unlocking His Mysteries, and NBC’s World’s Greatest Magic. David has been the recipient of numerous awards and honors by his peers in the world of magic including the prestigious Gold Cups Award of Excellence in close-up magic presented by the International Brotherhood of Magicians. David was twice voted “Close Up Magician of the Year” and “Parlor Magician of the Year” by his peers at Hollywood’s renowned Magic Castle.

Recently David was honored with the Performance Fellowship by the Academy of Magical Arts and Sciences at the Magic Castle. As host of the United Kingdom’s acclaimed television series The Magic Com-

edy Strip, David’s irresistible mix of humor and skill helped make it one of the highest rated shows in the country. He has performed in television commercials and developed programs for Walt Disney Productions and ABC, as well as consulted for illusionists David Copperfield and David Blaine on their TV specials.

David appeared in the cast of The Illusionists during their Australian tour and most recently in London’s West End. David has also been a regular and popular performer on the Disney Cruise Line. www.davidwilliamson.com NYRON LEVY (Queenie “Head” Puppeteer & Ensemble) Theatre Credits include: Moth/Dance Captain Donkey Show (Proud Camden), Topthorn Heart WarHorse (New London Theatre), Featured Dancer and Aerialist / Dance Captain BFG (Birmingham Rep Theatre), Bassianus’ Titus Andronicus (Bold Tendencies Theatre), Domingos Futebol (UK Tour), Ensemble La Boheme (Royal Albert Hall), Ensemble/Dance Captain Peter Pan (Dorking Halls), Ensemble Heartbeat of Home (Dublin), Seabee / Henry (Cover) South Pacific (UK Tour), Ensemble Two Boys (London Colisseum), Onstage Swing Fela!

(National Theatre), Cuban Dance/ Ensemble Guys and Dolls (Kilworth House), Featured Ensemble Aladdin (Hackney Empire), Tommy the Cat Dick Whittington (Salisbury Playhouse), Soloist Dancer Don’t Stop Me Now! (Adrian Mann Theatre) TV and Film Credits include: African Delegate Holiday! (Film), Soloist Dancer So You Think You Can Dance (BBC trailer), Adagio Act Britain’s Got Talent (ITV).

CHRIS MILFORD (Queenie “Heart” Puppeteer & Ensemble) Theatre Credits Include: Atlas Heart at the Longleat 50th Anniversary, Joey “Heart” in War Horse - New London Theatre, Rat Scabies in 20th Century Boy UK Tour, Ensemble u/s Warner and UPS Guy in Legally Blonde Original UK Tour, Lieutenant Shaw in The Secret Garden - Royal Alexandra Theatre, Toronto and The Festival Theatre (Edinburgh), Hot Stuff - Leicester Curve Theatre, Harry in The Hired Man - Bolton Octagon Theatre, Mamma Mia! International Tour, High School Musical Original UK Tour, High School Musical - Ham-

CIRCUS 1903 – THE GOLDEN AGE OF CIRCUS

SENAYET ASEFA AMARE (The Elastic Dislocationist) As a child Senayet was intrigued with the circus. At the age of 11 she enrolled with Circus Tigray school and began her training in contortion, under the guidance of Tesendi Shoo. In 2010 she began her career performing alongside 4 other contortionists under the title “Queens of Africa”. The act experienced huge success touring through China and also performing in the tallest building in the world, the Burj Khalifa, in Dubai. Senayet has since starred in countless shows across Europe including Cirque Phoenix, Zirkus Des Horrors, Eloha Cirque and Circus Dziva and now she brings her supreme talent to Circus 1903!

CIRCUS 1903 – THE GOLDEN AGE OF CIRCUS

mersmith Apollo, Oliver! - London Palladium. Film Credits Include: Les Miserables (2012) - Dir. Tom Hooper.

DANIEL FANNING (Queenie “Hind” Puppeteer & Ensemble) Daniel trained as a dancer at London Studio Centre, however for the past few years he has been working mostly as a suit performer and puppeteer having toured extensively with Walking With Dinosaurs The Arena Spectacular (North American tour, New Zealand/ Australian tour and International European/Japan tour). He has also played the role of B1 in Bananas in Pajamas (Cairo, Egypt) and Giant in Jack and the Beanstalk (Lighthouse theatre, Kettering), along with many other suit appearances for corporate events. Other theatre credits include West Side Story – Diesel (No.1 UK tour): West Side Story – Swing (No.1 UK tour) Lazy Town – Sportacus (Minehead/Bognor Regis): Forbidden – Dancer (The Globe, Blackpool): Black Maria – Mr Ur/Dancer (Lilian Baylis Sadlers Wells): Night of 1000 Voices – Dancer (Royal Albert Hall): Spirit of Broadway – Dancer (Germany, US Tour and UK Tour).

Aladdin – Assistant choreographer (Dorking Halls), Aladdin – PC Ping Pong (Harlow Playhouse), Wizard of Oz – Dancer (UK Easter Tours), Aladdin – Dancer (Grand Opera House, Belfast), Jack and the Beanstalk – Dancer/Giant (Hexagon, Reading).

LUKE CHADWICK-JONES (Karanga Puppeteer & Ensemble) Luke Chadwick-Jones is an East 15 Acting School Physical Theatre graduate. He has trained as a gymnast and trampolinist for over a decade and competed from an early age becoming regional, zonal and national champion trampolinist on 4 occasions.

Luke toured internationally with the Kangaroos Gymnastics Display team for over 10 years. His diverse skill set includes Puppetry, Acting, Movement, Circus, Aerial, Stage Combat, Mime, Clowning, Mask and Dance.

He has recently appeared in Productions such as: Alice with Creation Theatre, Goosebumps Alive Kidz at The Vaults, Bound with Justice In Motion Theatre Company and As You Like It with Watch Your Head Theatre Company.

HENRY MAYNARD (Elephant Puppeteer & Ensemble) Henry is an Actor,

Puppeteer, Physical Theatre Practitioner, Contemporary Clown and Director. He is the Artistic Director of Flabbergast Theatre, the co-producer of London Clown Festival and has built a 120-seat touring venue called the Omnitorium. As a performer he has worked for The National Theatre – War Horse, Royal Opera House – Faeries, National Theatre Scotland A Christmas Carol Royal Court West End –That Face, BAC - 1984 and many others. Recently he performed as a principal puppeteer in Paul McCartney’ s Music Video to accompany Appreciate and was the Creative Director on Plan B’ s Music video for In the Name of Man set for release early 2017. Henry is also a puppet and prop builder and helped to create the puppets for Complicitè’s shows Shun Kin and Master and Margarita.

JESSICA SPALIS (Elephant Puppeteer & Ensemble) Jessica gained a First Class BA Hons from The Liverpool Institute for Performing Arts. Credits Include; Alisa in Thoroughly Modern Millie (Adelphi), Ensemble in Faust ENO (London Coliseum), Astrid/ Helen Shapiro in The Beatles Musical (Italian Tour), Queen of Hearts in Alice in Wonderland (Greenwich Theatre), Ophelia in Shakespeare Shorts (Action To The Word), Rachel in Where The Solitary Eagle Flies (SellADoor), Aladdin in Aladdin (Theatre Royal Bury St Edmunds), Fairy Flora in Jack And The Beanstalk (Theatre Royal Winchester), Rico/ Aerialist/Cover Titania in The Donkey Show (Proud, London), Cheshire Cat/Aerialist in Alice In Wonderland (Lichfield Garrick Theatre), Aerialist/ Swimmer in One Ten and Pirates Live (Hippodrome Circus UK), Vocalist for Blues Brothers (UK Tour) and P&O Cruises.

SIMON PAINTER (Executive & Creative Producer) is a visionary creative producer and entrepreneur based in California. Originally from London, Simon started his career as a classical violinist but soon transitioned into producing and creating commercial theatre. During the last 15 years, Simon has been at the forefront of the live-entertainment industry, having launched and managed major performance venues and conceived, created and produced acclaimed productions such as Adrenaline and Le Noir. The first

show he produced, Le Grand Cirque, smashed box office records at the Sydney Opera House, selling more than 40,000 tickets in ten days.

The Illusionists franchise followed, becoming one of the biggest magic shows of all time, playing in more than 75 cities in 15 countries. The show spawned two television specials, the first in 2013 filmed live at London’s Hammersmith Apollo and broadcast on ITV, and more recently a primetime special on NBC filmed at the famed Orpheum Theatre in Los Angeles. The Illusionists 2.0, the stunning sequel to the original, was presented in 2014, and The Illusionists: Turn of the Century then replicated the success of the previous incarnations in 2015, premiering throughout Australia. Painter’s newest marquis endeavor, Circus 1903, is set to debut in Australia later this year. Featuring the most marvelous acts from around the globe, this spectacular and authentic golden-age circus will bring the elephants back to the big top through the cunning use of puppetry. as imagined by Significant Object, the puppet designers made famous for helping bring War Horse to life on stage.

TIM LAWSON (Executive Producer) Australasian producing credits include Sweet Charity, Jolson, Buddy, Spirit of the Dance, Oh! What a Night, Fiddler on the Roof starring Topol, It’s a Dad Thing!, Weary – The Life of Sir Edward Dunlop, Shout! The Musical, Brave Men Run in Our Family, Jekyll & Hyde starring Brad Little, The Rocky Horror Show starring Richard O’Brien as the Narrator, the Helpmann Award-winning production of A Chorus Line through Australasia and at the London Palladium, Ian Fleming’s Chitty Chitty Bang Bang and most recently the acclaimed new production of Fiddler on the Roof starring Anthony Warlow. In partnership with Simon Painter: Le Grand Cirque, Aerial Dreams, Adrenaline, The Illusionists, The Illusionists 2.0 — The Next Generation of Magic, Illusionists 1903 – Turn of The Century, Le Noir — The Dark Side of Cirque and their spectacular new family show, Circus 1903 —The Golden Age of Circus, featuring elephants created

by Significant Object (War Horse), currently playing the Sydney Opera House prior to a U.S. tour. These original productions have played

NEIL DORWARD (Director & CoCreative Producer). A top commercial theatre and TV director/ choreographer; Neil’s worked on critically acclaimed shows around the world: Le Noir ,The Dark Side of Cirque (World Tour), Le Grand Cirque Adrenaline (Sydney Opera House), All Night Long (U.S/ European Tour), Rock Around the Clock (Monte Carlo), Spirit of Christmas (Kodak, LA), Man in the Mirror (European tour). Neil proudly directed The Illusionists franchise from its debut, to the London’s Apollo theatre to Broadway. www.directordorward.com ANDREW SPENCER (Executive Producer) has 20 years of experience in the live-entertainment and arts industry from London to Sydney.

Over that time, Andrew has built up a diverse skill set that spans the entrepreneurial and subsidized sector within theatre, music, family entertainment and special events.

Most recently, Andrew was executive producer of the Sydney Opera House programming department, Sydney Opera House Presents. Highlights of Andrew’s time at SOH were producing the annual program Summer at the House, a festival of summer entertainment that annually sold 200,000 tickets; Just for Laughs at SOH in collaboration with the JFL team in Montreal; and Jerry Springer: The Musical. Eight years ago Andrew collaborated with Tim Lawson and Simon Painter to present commercial family entertainment during summer at SOH. The first show, Le Grand Cirque in 2007, was the highestselling show in the Opera House’s history. In 2012, Andrew, on behalf of SOH, co-produced The Illusionists, which became one of the most successful live entertainment brands in the world.

EVAN JOLLY (Composer). Theatre credits include The Illusionists 2.0 (Sydney Opera House), Le Grand Cirque (Sydney Opera House), Big White Fog (Almeida, London), arrangements for The Genius of Ray Charles and Thriller: The Musical

(West End, UK and U.S. tours). Film and TV credits include Tonight Is Cancelled (Fastnet Films), Under the Skin (FilmFour), Cowboys in India (Channel 4), “Graham and Alice” (BBC). Video games (with James Hannigan) include “Command & Conquer” and the Harry Potter franchise.

ANGELA AARON (Costume Designer). began in Europe designing for fashion mag-azines and continues to work internationally designing costumes for a wide variety of theatrical and commercial productions. Domestic TV credits include “America’s Next Top Model” and “America’s Got Talent.” Music videos in 2015 alone include Pitbull’s “Fireball” and Magic!’s 750+-million YouTube hit, “Rude.” Angela’s celebrity work includes Marilyn Manson, Michael C Hall and Aerosmith among others. Theatrical credits include The Illusionists, Illusionists 1903, Cirque le Noir and the forthcoming Circus 1903. She loves working with talented teams of creative people while contributing to the visual aspect of a performance with her costumes.

RICHARD PEAKMAN (Associate Director) Graduating as a scholarship student from the Italia Conti Academy, Richard made his West End debut in West Side Story and went onto be a regular in London’ s West End, toured internationally and made TV appearances with shows such as; We Will Rock You, Cats, Movin’ Out, Peggy Sue Got Married, Oh! What a Night, Fame, Night of a 1000 Voices, Billy Elliot, Chess, Grease, Me & My Girl and Magic of the Musicals.

Previous creative credits include: Associate Director/Choreographer on Cirque Adrenaline (Crown Casino Perth, Melbourne Arts Centre & Al Raha Theatre- Abu Dhabi). La Cirque Nova,The Birds Nest-Beijing.

Choreographer: Pal Joey and Grease - Aoyama Theatre, Tokoyo, From the Hart - New End Theatre, London, Magic of the Musicals - UK tour, Stars of the Night Gala - Haymarket Theatre London. Spring Awakening - Chelsea Theatre, London. TV and commercial credits include; Bruno Mars Unorthodox Jukebox campaign.

Ambitions music video for Donkey Boy, both for Warner Bros Records.

School for Stars (CBBC) and Children in Need (BBC). Richard has

been a core creative at both Q’dos Entertainment and P&O Cruises, where he has choreographed dozens of popular pantomimes across the UK and his production shows on board, currently sailing all over the world.

MERVYN MILLAR (Sound Designer) Mervyn is a theatre director and puppetry specialist, and Artistic Director of Significant Object. He was part of the original creative team of the National Theatre’s War Horse, also appearing at the NT and directing casts in London, New York, Toronto and Berlin. Other puppet design/ direction includes: Stiller (Residenz Munich); James II (NT Scotland); Siegfried and Die Walküre (Opera National du Rhin); Appreciate (Paul McCartney), The Thief of Baghdad (Royal Opera House); Crow (Handspring UK); Great Expectations and The Comedy of Errors (RSC); The Odyssey (Lyric Hammersmith and Bristol Old Vic); Get Santa! (Royal Court); James and the Giant Peach at Bolton Octagon (MEN award-winner); and work for the Young Vic and the National Theatre Studio. He was Director at the Finborough Theatre, and has directed productions at theatres including the National Theatre (Cottesloe), BAC, NVT (Norway), & Bloomsbury Festival. Evidence for the Existence of Borrowers (with Kazuko Hohki and Andy Cox) won a Total Theatre Award and a Herald Angel Award. His books include The Horse’s Mouth, and The Journey of The Tall Horse. Awarded an Arts Foundation Fellowship 2010 for his work in puppetry. www.significantobject.com ASIA LIVE NETWORK (Producer) creates, produces and presents the productions of Simon Painter and Tim Lawson across an everexpanding network of more than 250 cities in 25 countries. Their shows have broken box office records many times over through many of these territories, including Sydney (Opera House), Broadway (Marquis and Neil Simon theatres), Mexico (Auditorio National) and London (Shaftesbury Theatre). In 2007, their first production, Le Grand Cirque at the Sydney Opera House, became the biggestselling show at the iconic venue and led to multiple international productions. They repeated the success

CIRCUS 1903 – THE GOLDEN AGE OF CIRCUS

to packed theatres and arenas in well over 250 cities in 25 countries.

Upcoming musicals include a new UK and international tour of The Wedding Singer and Guys and Dolls starring Rebel Wilson.

CIRCUS 1903 – THE GOLDEN AGE OF CIRCUS

over the coming years with Aerial Dreams and Cirque Adrenaline, again launching at the Sydney Opera House followed by extensive international touring. Recognizing the absence in the market of a high-quality touring magic show, the company created a production showcasing seven of the world’s best magicians: The Illusionists – Witness the Impossible, which has quickly become the most successful group magic show in the world, with pro-ductions playing simultaneously throughout the world and spawning TV specials on ITV UK and NBC. Following this unprecedented success, The Illusionists 2.0 – The Next Generation of Magic and The Illusionists 1903 – Turn of The Century were created to follow and tour internationally. Their critically acclaimed production Le Noir – The Dark Side of Cirque, has been setting imaginations and box office records on fire, with arenas and theatres transformed like never before, so audiences experience the jaw-dropping, daredevil talents of the world’s finest circus artists and acrobats in a 360 degree setting. Their latest production, Circus 1903 – The Golden Age of Circus, is enjoying a sold-out world premiere season in Australia prior to a U.S. and international tour.

MAGICSPACE ENTERTAINMENT (Producer). MagicSpace Entertainment is headed by Lee D. Marshall, Joe Marsh, John Ballard, Steve Boulay and Bruce Granath and has been producing and presenting national tours, Broadway shows, concerts and museum exhibits worldwide for over 35 years. Consistently one of the top promoters in the world, MagicSpace Entertainment typically produces and presents more than 350 events worldwide per year. Recent Broadway credits include The Illusionists - Witness the Impossible (Broadway & West End), The Illusionists – Live On Broadway, The Illusionists – Turn of the Century, Donny & Marie – A Broadway Christmas, American Idiot and RAIN - A Tribute To The Beatles On Broadway and Alton Brown Live – Eat You Science on Broadway.

National tour credits include The Illusionists – Live From Broadway, Lord of the Dance created by Michael Flatley, Jamie Hyneman and Adam Savage starring in Mythbusters - Unleashed, Alton Brown Live, Mannheim Steamroller Christmas by Chip Davis,

Donny & Marie Christmas, RAIN – A Tribute to the Beatles, The Magic of David Copperfield, Circus 1903 – The Golden Age of Circus, Brain Candy Live starring Adam Savage and Michael Stevens, Jesus Christ Superstar, A Chorus Line and national concert tours by Janet Jackson, Cher and Fleetwood Mac to name just a few. Touring museum exhibitions produced include Juassic World: The Exhibition, Tutankhamun and the Golden Age of the Pharaohsexhibition, Titanic: The Exhibition and Diana – A Celebration, St Peter and the Vatican: The Legacy of the Popes exhibition. MagicSpace Entertainment has offices in Park City and Salt Lake City, UT. www.magicspace.net STAFF FOR Circus 1903 - The Golden Age of Circus GENERAL MANAGER MAGICSPACE ENTERTAINMENT Dave Stinson PRODUCTION STAGE MANAGER Terrance Williams

WARNING The photographing or sound recording of any performance or the possession of any device for such photographing or sound recording inside this theatre, without the written permission of the management, is prohibited by law. Violators may be punished by ejection and violations may render the offender liable for money damages.

Become a fan of Circus 1903 - The Golden Age of Circus on Twitter @Circus1903, Facebook, Instagram, & YouTube! www.Circus1903.com Members of Denver Theatrical Wardrobe, Wigs, Hair and Make-up, Union 719 Linda Ackerschott Carrie Breidenbach Vonnie Clough Janel Clough Craig Cory Cyndie Cory Laura Cotugno Steve Davies Anne Davis Carolyn Dore Deborah Guess

AnnSue Gunter Judy Holabird Leslie Lambert Sharon Millikan-Hale Callie Morrow Yolanda Pollock Dave Poole Liz Spadi Amy Tepel Marybeth Tscherpel Barb Wilson

DPAC House Crew Mark Anthony Perry Elliot Randy Mitchell Maximillian Peterson

John Kendrick Tanya M. Rist Albert Sainz, Sr David A. Wilson

COMPANY MANAGER Melanie Fiorille PRESS REPRESENTATION Aleman Public Relations Phillip Aleman

DENVER CENTER FOR THE PERFORMING ARTS GRATEFULLY ACKNOWLEDGES THE FOLLOWING SUPPORT IN ITS 2016/17 BROADWAY SEASON

MARKETING REPRESENTATION MAGICSPACE ENTERTAINMENT Kristy Maple Head Carpenter/Rigger .................................. Jessie Cole Rigger...........................................................Pedro Castagna Rigger................................................................Luca Portilho Carpenter/Swing Tech....................................Oliver Smith Head Electrician...............................................Chris Mantel Assistant Electrician.......................................... Sam Bailey ASM................................................................. Jessica Walling Props ............................................................. Annik Sabourin Wardrobe ...............................................Kathleen Langford TOUR DIRECTION THE ROAD COMPANY, Stephen Lindsay & Brett Sirota WILLIAM MORRIS ENDEAVOR, Clint Mitchell ASIA LIVE NETWORK Chairman & CEO................................................Tim Lawson Financial Controller...................................... Liam Gretgrix Production Manager...................................David Simpson Producer................................................... Jonathan Sanford Associate Producer..................................... Hollie Sanford Payroll Services..............................................................CAPS Marketing...........................................................................AKA Graphic Design & Video.............................. Nice Studios/ Gil Nevo, Ian Noe Merchandise............. Sam Klingner, Christopher Wayne

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

• PHOTOS, RECORDING & CELL PHONE USE are prohibited.

• 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.

MAGICSPACE ENTERTAINMENT Chief Executive Officer/Producer Lee D. Marshall Chairman................................................................. Joe Marsh President...................................................... John W. Ballard Chief Operating Officer................................ Steve Boulay Vice President, Marketing..........................Bruce Granath Vice President Touring................................. Dave Stinson Tour Marketing..................................................Kristy Maple Tour Marketing............................................ Grace Torreano Graphic Designer.............................................. Katie Perhai Accounting...................................................... David Rooker Mary Deon-Roberts

THE BUELL THEATRE is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Arts and Venues.

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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

O

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

1

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

2

3

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

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“ …[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

R

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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P

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

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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 _______” 20 Two 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 I n 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.

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