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VOLUME XXVIII • NUMBER 5 • JAN – MAR 2017

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MOTOWN THE MUSICAL

Also Playing: Fun Home The Book of Will Two Degrees The Christians Circus 1903 - The Golden Age of Circus Julius Thomas III as Berry Gordy (center right) & Cast. MOTOWN THE MUSICAL First National Tour. Photo by Joan Marcus.

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APPLAUSE

SIGHTLINE

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BY JANICE SINDEN

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

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

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

JANICE SINDEN President & CEO Denver Center for the Performing Arts

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

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

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

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

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Good Vibrations

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

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

Brass & Bagpipes: Celtic Fling!

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

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

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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.

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

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

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

FUN HOME

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


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

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

BECOME A MEMBER TODAY DENVERCENTER.ORG/WVF 303.572.4593

WEAR A HAT THAT SPEAKS VOLUMES

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

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

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


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THE BOOK OF WILL

PRESERVING SHAKESPEARE’S LEGACY BY JOHN MOORE

Illustration by Kyle Malone

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

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

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


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

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

THE BOOK OF WILL

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

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

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

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

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


TWO DEGREES

HEATS UP GLOBAL WARMING CONVERSATION BY JOHN MOORE

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

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

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


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

Illustrations by Kyle Malone

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

— TIRA PALMQUIST, PLAYWRIGHT

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

TWO DEGREES

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

COMING UP FROM THEATRE COMPANY:

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

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BMW of Denver Downtown

A PROUD SPONSOR OF DCPA BROADWAY

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

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

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


Kevin McCollum Doug Morris and Berry Gordy in association with Work Light Productions PRESENT

BOOK BY

MUSIC AND LYRICS FROM

Berry Gordy

The Legendary Motown Catalog

Based upon the Book To Be Loved: Music by arrangement with The Music, The Magic, The Memories Sony/ATV Music Publishing Of Motown by Berry Gordy Motown® is used under license from UMG Recordings, Inc. STARRING

Chester Gregory

Allison Semmes Jarran Muse David Kaverman

Michelle Alves Malcolm Armwood Erick Buckley Raymond Davis Jr. Judith Franklin Jeremy Gaston Alyssa V. Gomez Garfield Hammonds LaTrisa Harper Rod Harrelson Jared Howelton Louis James Jackson Elijah Ahmad Lewis Ramone Owens Devin L. Price Alana Randall Tavia Riveé Matthew Sims, Jr. Kimberly Ann Steele Doug Storm Daniel Robert Sullivan Gabriella Whiting Galen J. Williams CJ Wright Ricardo A. Zayas SCENIC DESIGN

David Korins

COSTUME DESIGN

LIGHTING DESIGN

Emilio Sosa

HAIR AND WIG DESIGN

PRODUCTION STAGE MANAGER

Charles G. LaPointe

Peter Hylenski GENERAL MANAGEMENT

Anna R. Kaltenbach

CASTING

SOUND DESIGN

Natasha Katz

Work Light Productions

EXECUTIVE PRODUCERR

Nansci Neiman-LeGette

Wojcik | Seay Casting

Port City Technical

The Booking Group Rhys Williams

TOUR BOOKING AGENCY

TOUR MARKETING AND PRESS

ORCHESTRATIONS

MUSIC DIRECTOR/CONDUCTOR

DANCE MUSIC ARRANGEMENTS

ADDITIONAL ARRANGEMENTS

Ethan Popp & Bryan Crook

PRODUCTION MANAGEMENT

PROJECTION DESIGN

Daniel Brodie

Darryl Archibald SCRIPT CONSULTANTS

David Goldsmith & Dick Scanlan

Zane Mark

CREATIVE CONSULTANT

Christie Burton

MUSIC SUPERVISION AND ARRANGEMENTS BY

Ethan Popp

ASSOCIATE CHOREOGRAPHER

Brian H. Brooks CHOREOGRAPHED BY

Patricia Wilcox & Warren Adams STAGED BY

Schele Williams DIRECTED BY

Charles Randolph-Wright

Allied Live Meredith Blair Bryan Crook

MOTOWN THE MUSICAL

AND SEASON SPONSORS


MOTOWN THE MUSICAL

CAST

CHESTER GREGORY

DAVID KAVERMAN

JARRAN MUSE

ALLISON SEMMES

RAYMOND DAVIS JR.

CJ WRIGHT

MICHELLE ALVES

MALCOLM ARMWOOD

ERICK BUCKLEY

JUDITH FRANKLIN

JEREMY GASTON

ALYSSA V. GOMEZ

GARFIELD HAMMONDS

LATRISA HARPER

ROD HARRELSON

JARED HOWELTON

RAMONE OWENS

DEVIN L. PRICE

ALANA RANDALL

LOUIS JAMES JACKSON

ELIJAH AHMAD LEWIS

TAVIA RIVEÉ

MATTHEW SIMS JR.

DANIEL ROBERT SULLIVAN GABRIELLA WHITING

KIMBERLY ANN STEELE

DOUG STORM

GALEN J. WILLIAMS

RICARDO A. ZAYAS


Berry Gordy.........................................................................................................................CHESTER GREGORY Diana Ross............................................................................................................................... ALLISON SEMMES Smokey Robinson................................................................................................................ DAVID KAVERMAN Marvin Gaye.................................................................................................................................... JARRAN MUSE Young Berry Gordy/Stevie Wonder/Michael Jackson.............RAYMOND DAVIS JR., CJ WRIGHT

ENSEMBLE Claudette Robinson, Landlady, Marvelette, Billie Jean Brown, Teena Marie...........................................................................................MICHELLE ALVES Levi Stubbs, Mickey Stevenson, Contour, Jackson 5, Rick James............. MALCOLM ARMWOOD Edna Anderson, Anna Gordy, Martha Reeves, Marvelette.....................................JUDITH FRANKLIN Four Top, Contour, Lamont Dozier, Miller London, Commodore..........................JEREMY GASTON Four Top, Pop Gordy, David Ruffin, Martin Luther King, Jr., Jermaine Jackson, Commodore........................................................................... GARFIELD HAMMONDS Gwen Gordy, Vandella, Marvelette, Mary Wells, Cindy Birdsong......................... LATRISA HARPER Dennis Edwards, Miracle, Brian Holland, Commodore..........................................JARED HOWELTON Temptation, Contour, Eddie Holland.................................................................. LOUIS JAMES JACKSON Four Top, Jackie Wilson, Miracle, Jr. Walker Allstar, Jackson 5, Stevie Wonder........................................................................................ ELIJAH AHMAD LEWIS Robert Gordy, Melvin Franklin, Miracle, Jackson 5, Commodore........................ RAMONE OWENS Temptation, Contour, Jr. Walker, Commodore................................................................. DEVIN L. PRICE Mary Wilson, Mother Gordy..........................................................................................................TAVIA RIVEÉ Esther Gordy, Vandella, Lula Hardaway, Gladys Horton.............................. KIMBERLY ANN STEELE Ed Sullivan, Harold Noveck, Shelly Berger, Dudley Buell................................................ DOUG STORM Roger Campbell, Jackie Wilson’s Manager, Studio Head, Tom Clay, Barney Ales, Pirate DJ...................................... DANIEL ROBERT SULLIVAN Suzanne De Passe, Florence Ballard....................................................................... GABRIELLA WHITING Temptation, Fuller Gordy, Contour...............................................................................RICARDO A. ZAYAS SWINGS ERICK BUCKLEY, ALYSSA V. GOMEZ, ROD HARRELSON, ALANA RANDALL, MATTHEW SIMS, JR., GALEN J. WILLIAMS DANCE CAPTAIN: ROD HARRELSON ASSISTANT DANCE CAPTAIN: RAMONE OWENS UNDERSTUDIES Understudies never substitute for listed performers unless a specific announcement is made at the time of the performance For Berry Gordy—JEREMY GASTON, JARRAN MUSE For Diana Ross—TAVIA RIVEÉ, KIMBERLY ANN STEELE For Smokey Robinson—GARFIELD HAMMONDS, RICARDO ZAYAS For Marvin Gaye—MALCOLM ARMWOOD, GARFIELD HAMMONDS

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CAST


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SCENES ACT 1 1983: Pasadena Civic Auditorium, Berry Gordy’s House—Los Angeles 1938: The Gordy Family Home—Detroit, Urban Street 1957: Flame Show Bar, Gwen’s House, Jackie Wilson’s Manager’s Office, Gordy Home 1959: Hitsville House, WJBK Radio 1962: Motortown Revue, Hitsville Office/A Payphone in Birmingham 1963: Hitsville Studio A 1964: Caravan Of Stars, Ed Sullivan Theatre Stage 1965: Theater—Manchester, England—Backstage & Onstage, Paris Hotel, The Copacabana 1968: In and Around Hitsville

ACT 2

1968: Performance Stage 1968: In and Around Hitsville 1969: Hollywood Palace 1970: Frontier Hotel Stage 1971: A Resort in the Bahamas, Smokey’s Hotel Room—Los Angeles, Berry’s Office, Sales Dept./Southern Distributor’s Office 1972: Diana’s Dressing Room, Hollywood Movie Set 1975: Motown L.A. Offices 1981: Diana’s Dressing Room, Onstage 1983: Berry Gordy’s House, Pasadena Civic Auditorium

The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited. Please turn off all electronic devices such as cell phones and pagers prior to the beginning of the performance.


MOTOWN MUSIC COURTESY OF SONY/ATV MUSIC PUBLISHING. “ABC”

“Reet Petite”

“A Breathtaking Guy”

“I Can’t Help Myself (Sugar Pie, Honey Bunch)”

“Ain’t No Mountain High Enough”

“I Got the Feeling”

“Shop Around”

“Ain’t Too Proud to Beg”

“I Hear a Symphony”

“Shotgun”

“Baby I Need Your Lovin’”

“I Heard It Through the Grapevine”

“Signed, Sealed, Delivered I’m Yours”

“Baby Love”

“(I Know) I’m Losing You”

“Square Biz”

“Ball of Confusion”

“It’s What’s in the Grooves That Counts”*

“Stop in the Name of Love”

“Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini”

“Super Freak”

“Brick House” “Buttered Popcorn” “Bye Bye Baby/Two Lovers”

“Remember Me”

“Stubborn Kind of Fellow” “The Happening”

“I Want You Back”

“Can I Close the Door”*

“I Wish”

“The Love You Save”

“Cruisin’”

“Lonely Teardrops”

“To Be Loved”

“Dancing in the Street”

“Love Is Here and Now You’re Gone”

“Two Lovers”

“Do You Love Me”

“Mercy, Mercy Me (The Ecology)”

“War”

“Get Ready”

“Money (That’s What I Want)”

“What’s Going On”

“Give It to Me, Baby”

“My Girl”

“Where Did Our Love Go”

“Good Morning, Heartache”

“My Guy”

“Who’s Loving You”

“Got a Job”

“My Mama Done Told Me”

“You’re All I Need to Get By”

“Happy Birthday”

“Please, Mr. Postman”

“Hey Joe (Black Like Me)”*

“Reach Out (I’ll Be There)”

“You’re Nobody ‘Til Somebody Loves You”

“I Can’t Get Next to You”

“Reach Out and Touch”

“You’ve Really Got a Hold on Me”

* Songs written for this production by Berry Gordy and Michael Lovesmith

THERE WILL BE ONE FIFTEEN-MINUTE INTERMISSION.

MOTOWN: THE MUSICAL ORCHESTRA CONDUCTOR & KEYBOARD 1—DARRYL ARCHIBALD ASSOCIATE CONDUCTOR & KEYBOARD 2—JENNIFER OIKAWA DRUMS—TREVOR HOLDER ELECTRIC, ACOUSTIC, AND 5 STRING ELECTRIC BASS—ENZO PENIZZOTTO GUITAR (ELECTRIC & HOLLOW-BODY ELECTRIC)—DAVID MATOS MUSIC PREPARATION—EMILY GRISHMAN MUSIC PREPARATION KEYBOARD PROGRAMMING—RANDY COHEN

DENVER MUSICIANS FOR MOTOWN: THE MUSICAL TRUMPET—JOHN ADLER TRUMPET—JAKE BOLDMAN LOCAL MUSICIANS CONTRACTOR—ART BOUTON GUITAR—DAVE DEMICHELIS PERCUSSION—CARL DIXON PERCUSSION—MARK FOSTER

TROMBONE/BASS TROMBONE—JIM GRAY REED—TOM MYER REED—ELIJAH SAMUELS VIOLIN/VIOLA—NAOMI SUE SMITH KEYBOARD—BOKO SUZUKI REED—WIL SWINDLER

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MUSICAL NUMBERS


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A NOTE FROM BERRY GORDY At Motown, we called ourselves a family and we were—a big family. While it is impossible to list here the many people who helped Motown with their love and passion, I personally want to thank them all. Their dedication and talent contributed to our success, as well as helped to inspire me to bring our story to Broadway. Motown was a dream that happened to come true, and it’s all because of you. Thank you. Berry Gordy Founder, Motown

WHO’S WHO IN THE CAST CHESTER GREGORY (Berry Gordy) is thrilled and honored to return in the role of Berry Gordy, after portraying him last summer on Broadway in Motown The Musical! Broadway credits include Hairspray, Tarzan, Cry-Baby and Sister Act. He has toured nationally with several shows including Dreamgirls and his one-man show The Eve of Jackie Wilson. Chester has received many awards, including the NAACP Theatre Award, and has been presented the key to the city of his hometown of Gary, Ind. and East Chicago. He has also been chosen as an Honorary State Representative and has received a Honorary Doctorate from his alma mater Columbia College in Chicago. Chester is also a songwriter and producer. Join the journey @ChesterGregory and chestergregory.com. ALLISON SEMMES (Diana Ross). Thrilled to be traveling the nation with this show again! Proud AEA member. Chicago native. B.M. opera at UIUC, M.M. from NYUSteinhardt. Broadway credits: Motown The Musical (Florence Ballard) and The Book of Mormon (Nabalungi u/s, Swing). Other credits include The Color Purple national tour, Dreamgirls, Bubbling Brown Sugar, The Wiz, Candide. BroadwayWorld Chicago award for Best Female Lead and an NAACP Theatre Award nomination for Best Female Lead for Diana Ross in Motown. “Thanks to Mr. Gordy, Charles, KM and my family.” Follow her journey @ladysemmes and allisonsemmes.com. JARRAN MUSE (Marvin Gaye), a native Jersey boy, couldn’t be happier living his dream. “God is good, y’all.” Broadway/ N.Y.C.: Motown The Musical, Irving Berlin’s White Christmas, Dreamgirls. Tours: American Idiot, Dreamgirls, Hairspray, 42nd Street. Check jarranmuse.com for the complete resume. “Thank you to Mr. Gordy, Charles and Telsey for this new

opportunity to bring Marvin to stage every night, to the Motown legends that lived the story we are telling, to KMR for representing me and to my family and friends for being there. I love you! Proud member of Actors’ Equity Association. Follow me on Instagram: @JaeMuse or Twitter: @JarranMuse.” DAVID KAVERMAN (Smokey Robinson) is honored to make his Equity and national tour debuts with Motown! Native of Ohio. Favorite credits (regional): Sister Act, Dreamgirls, Carousel, Chicago, Godspell and Disney Cruise Line. Proud graduate of Otterbein University (B.M.) and the Manhattan School of Music (M.M.). Eternal thanks to Mr. Gordy and Wojcik|Seay Casting. Shout out to The Mine, his superMama, Manda and invaluable friends and teachers who have given him the world! Love. Instagram: @deighvidk. davidkaverman.com. CJ WRIGHT (Young Berry Gordy/Young Stevie Wonder/Young Michael Jackson) is an 11-year musician from Upland, Calif. and is beyond excited to join the Motown cast and make his national tour debut. He has appeared in a commercial, print, voice overs and has performed in local theater and venues. He would like to thank his family, friends and teachers who have supported him along this amazing journey. RAYMOND DAVIS JR. (Young Berry Gordy/Young Stevie Wonder/Young Michael Jackson). A 12-year-old native of Indianapolis, Raymond is humbled and extremely grateful to join the Motown cast. He has appeared in commercials and has won many singing contests in Indianapolis. He would like to thank God, family and friends. MICHELLE ALVES (Ensemble). Broadway/ national tour: West Side Story (Anita

2012–2014), Carmen, Rent, Hairspray, Godspell, Hair, Chicago, Nine; Ricky Martin, Black Eyed Peas, Pitbull, Nelly Furtado; Grammy/Billboard Awards; L.A. Broadwayworld Best Featured Actress in a Musical Winner (Anita—2013). michellemalves.com. MALCOLM ARMWOOD (Ensemble). National tour: Smokey Joes Cafe (Adrian). Regional: Grease (Teen Angel); Show Boat; Ragtime; Hairspray; Kiss Me, Kate. ECU alum! Praises to God for his continuous blessings! Thanks Dad, Mom, Mckenzie, family and friends for all the love and support. ERICK BUCKLEY (Swing). Broadway/ national tours: Les Misérables (Valjean); The Addams Family (Uncle Fester); The Full Monty (Dave); The Phantom of the Opera (Piangi); Kiss Me, Kate (Gangster #1); Grease (Roger). Favorite roles: husband to Robin, dad to Miranda. JUDITH FRANKLIN (Ensemble). Houston, Texas native. Regional: Dreamgirls, Memphis The Musical, Little Shop of Horrors, Company. Tours: Todrick Hall’s Straight Outta Oz, Tyler Perry’s Madea on the Run. Grateful! @judithfranklin. JEREMY GASTON (Ensemble). National/ international tours: Sister Act first national (Eddie u/s, Curtis u/s, TJ u/s), Shrek (Donkey), Smokey Joe’s Café (Victor u/s), We Will Rock You (Britney), Jesus Christ Superstar (Priest u/s), Sunfish (Monk). Jeremiah 29:11. @JeremyAllynGaston. ALYSSA V. GOMEZ (Swing). A N.Y. native, Alyssa is delighted to join the company of Motown! Regional: In the Heights (Nina), Rent (Mimi), American Idiot (Whatsername). B.A. Emerson College. “Much love to mi familia!”


LaTRISA HARPER (Ensemble): Broadway: The Color Purple, The Lion King. First national tours: The Color Purple, Motown The Musical. Off-Broadway: Invisible Thread (Second Stage Theater NYC). Regional: The Wiz (Arkansas Repertory), Witness Uganda (American Repertory Theater). Was a member of Ailey II. Proud AEA member. Love to family and Susan Batson Studios. ROD HARRELSON (Dance Captain, Swing). Proud AEA member! Originally from Greensboro, N.C., trained/studied at UNC-Chapel Hill. “‘Golden Rule’” at all times. Love and thanks to God and family—always for Cynthia!” JARED HOWELTON (Ensemble). Credits include international tour: Shrek The Musical (Donkey); Off-Broadway: Urinetown (Bobby Strong). Otterbein University (B.F.A.). Thanks be to God, family and TPG! LOUIS JAMES JACKSON (Ensemble). International tour: Shrek The Musical (u/s Donkey and perf’d/Papa Bear). Regional: Beauty and the Beast (Ensemble, Ogunquit Playhouse). Dance: Luna Negra Dance Theater, DanceWorks Chicago. The Ailey School. ELIJAH AHMAD LEWIS (Ensemble) is thrilled to return to Motown! Broadway: Motown. Off-Broadway: Mama I Want to Sing, Sing Harlem Sing. Tours: Motown (first nat.), Mama I Want to Sing (Japan). Music: Mario, Ariana Grande, Mary Mary, Madonna. @eal360. eal360.com. RAMONE OWENS (Assistant Dance Captain/Ensemble). Broadway: Motown. Off-Broadway; Finian’s Rainbow (Irish Rep). Regional: Disney’s Aladdin, Hairspray, Dreamgirls, Man of La Mancha. Countless thanks to God, his family and The About Artist Agency. B.F.A., The Boston Conservatory. Psalm 16:8. DEVIN L. PRICE (Ensemble). Born and raised in Lansing, Mich. Graduated from Oakland University in Rochester Hills, Mich. with B.F.A. musical theater (’15). Special thanks always to God, family and friends. ALANA RANDALL (Swing). Toronto native thrilled to be joining the Motown family! Off-Broadway/tours: The Vagina Monologues (Jerry Orbach), Dirty

Dancing, The Wizard of Oz. Theater: West Side Story, Hairspray, Hair, High School Musical. TV: Series regular on “Hellcats” (CW). Love to family and Bloc NYC. TAVIA RIVEÉ (Ensemble) is thrilled to join the Motown family! Favorite credits include Hairspray, Seussical, All Shook Up. Thanks to Wojcik|Seay, Brian Graziani and my amazing parents. Glory to God! @TaviaRivee. MATTHEW SIMS JR. (Swing). Graduate of AMDA. International performer for Carnival Cruise Lines. Wailin’ Joe in Memphis, Leroy in Hairspray and The Band Leader in the NAACP Awardwinning musical Recorded in Hollywood. KIMBERLY ANN STEELE (Ensemble). Favorite credits: Hair (Hollywood Bowl); Kiss Me, Kate! (Pasadena Playhouse); Carrie: The Killer Musical Experience (Los Angeles Theatre); Spring Awakening (UCLA). UCLA alum. electricsteele.com. “Thanks, Mom!” DOUG STORM (Ensemble). Broadway: Motown, Les Misérables, Jekyll & Hyde, The Scarlet Pimpernel, Dance of the Vampires, Chess in Concert. OffBroadway: Bat Boy (original cast). Other: Disney’s Tarzan, Because of Winn Dixie, Notre Dame de Paris—Vegas (Quasimodo). Trained at HB Studios (NY) & Second City (Chicago). DANIEL ROBERT SULLIVAN (Ensemble). Over 1000 performances as Tommy DeVito in Jersey Boys. Author of awardwinning play Prospect High: Brooklyn, and theatrical memoir Becoming a Jersey Boy. Say hello at DanielRobertSullivan@ gmail.com! GABRIELLA WHITING (Ensemble). Previous credits include the national tour of Saturday Night Fever (Candy). Regional: Sister Act (Michelle/Delores u/s), Sweet Charity (Helene), Rent (Mimi). Big thanks to mom for always being so supportive. GALEN J. WILLIAMS (Swing). Favorite past credits: Motown The Musical (Broadway), Passing Strange, Three Little Birds. “Huge thanks to my loving family, amazing friends and my stellar team at Apex Talent Group!” B.F.A., Howard University. RICARDO A. ZAYAS (Ensemble). Brooklyn, N.Y. Honors graduate—Fordham. “25 to Watch”—Dance magazine. Dance: Ailey II, Lar Lubovitch, LINES Ballet, Metropolitan Opera, Shen Wei. Theater: In the Heights, Queen of the Night, West Side Story (Carnegie Hall), Broadway’s Hamilton.

BERRY GORDY (Book, Producer) is the founder of Motown, the hit-making enterprise that reached out across a racially divided, politically and socially charged country to transform popular music. He is also a songwriter, producer, director, innovative entrepreneur, teacher and visionary. Actively involved in the Civil Rights movement, he released the recorded speeches of Dr. Martin Luther King, Jr. His films include Lady Sings the Blues (five Academy Award nominations) and Mahogany. Gordy has received four honorary doctorates in philosophy (Occidental College), the humanities (Morehouse College, Michigan State University) and music (Eastern Michigan University). Other awards include the Martin Luther King, Jr. Leadership Award, the Gordon Grand Fellow from Yale University, induction into the Rock and Roll Hall of Fame, a star on Hollywood’s Walk of Fame, the Rainbow Coalition’s Man of the Millennium Award, the Rhythm and Blues Foundation’s Lifetime Achievement Award, the T.J. Martell Foundation’s Lifetime Artistic Achievement Award and the Grammy Salute to Industry Icons President’s Merit Award. In 2011, President Obama honored him with a Salute to Motown evening at the White House. He is also the recipient of the 2013 Marian Anderson Award, BET’s Visionary Award, Ebony’s first Lifetime Achievement Award, Major League Baseball’s 2014 Beacon of Change Award and The NAACP 2016 Theatre Award for Best Playwright. In a White House ceremony in September 2015, President Barack Obama presented Gordy with the National Medal of Arts for a lifetime of achievement that “transformed music and American life and still reverberates today.” Berry Gordy’s unparalleled contribution to popular culture is chronicled in his autobiography, To Be Loved: The Music, The Magic, The Memories of Motown. SONY/ATV MUSIC PUBLISHING. Sony/ ATV Music Publishing, established in 1995 as a joint venture between Sony and Michael Jackson, is the world’s leading music publisher. Together with EMI Music Publishing, Sony/ATV owns or administers more than two million copyrights, including those from such iconic music catalogs like Leiber Stoller, Mijac Music, Motown and Famous Music. Sony/ATV also controls many of the best-known songs ever written, such as “New York, New York,” “All You Need Is Love,” “You’ve Got a Friend,” “Moon River,” “Jailhouse Rock,” “The Mission Impossible Theme,” “Ain’t No Mountain High Enough,” “Over the Rainbow,” “Stand By Me,” “I Heard

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GARFIELD HAMMONDS (Ensemble) is elated to join the Motown family! Fave credits: Kiss Me, Kate (nat’l tour), Ragtime (Coalhouse), Smokey Joe’s Cafe, Big River. Love to Chris and Mom. Thanks Bobbie!


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It Through the Grapevine” and “Singin’ in the Rain.” In addition, Sony/ATV represents the copyrights of such legendary artists as the Beatles, Leonard Cohen, Neil Diamond, Bob Dylan, Marvin Gaye, Michael Jackson, Carole King, Kraftwerk, Joni Mitchell, Willie Nelson, Roy Orbison, Queen, the Rolling Stones, Richie Sambora, Sting, the Supremes, Wyclef Jean, Hank Williams and Stevie Wonder, among others. Its ever-growing list of chart-topping artists, writers and producers includes Akon, Fall Out Boy, Jessie J, Norah Jones, Alicia Keys, Lady Gaga, John Mayer, P!nk, RedOne, Shakira, Ed Sheeran, Stargate, Taylor Swift and Kanye West. CHARLES RANDOLPH-WRIGHT (Director). Theater directing credits include Motown The Musical (on Broadway, the national tour and London), the new musical Born for This (co-written with Bebe Winans), the Pulitzer Prize-winning play Ruined and Sophisticated Ladies at Arena Stage, the 75th anniversary international tour of Porgy and Bess, Love/Life at Lincoln Center (with Brian Stokes Mitchell), the national tour of Guys and Dolls (starring Maurice Hines) and They’re Playing Our Song (in Brasil in Portuguese). Randolph-Wright wrote the plays Blue (starring Phylicia Rashad and Diahann Carroll), The Night Is a Child (starring JoBeth Williams), Cuttin’ Up; co-wrote Just Between Friends—Bea Arthur on Broadway and the upcoming new play Love in Afghanistan. Charles directed the award-winning film Preaching to the Choir, and has written screenplays for HBO, Showtime, Disney and Fox. Television credits include directing the series “Greenleaf,” “Lincoln Heights,” “South of Nowhere,” the music special “America America,” the “Freestyle” football commercial for Nike and producing and writing the Showtime series “Linc’s.” randolph-wright.com. PATRICIA WILCOX (Choreographer). Broadway: Motown The Musical (Astaire Award and NAACP Awards) and A Night with Janis Joplin. Off-Broadway/national tours: Little Shop of Horrors (Encore/ City Center starring Jake Gyllenhaal), Children’s Letters to God, Bowfire (and PBS television special), Blues in the Night (NAACP nomination) and Seussical. West End: Motown The Musical. Selected regional: The Kennedy Center, Pasadena Playhouse, Arizona Theatre Company, Pioneer Theatre Company, Missouri Repertory Theatre, The Alley Theatre, Goodspeed Opera House, and Paper Mill Playhouse. She has staged original works

for the Houston Symphony, Minnesota Pops, Phoenix Symphony, Norwegian Cruise Line, and she has also created numbers for ice skating gold medalists Viktor Petrenko, Ilia Kulik, Katya Gordeeva, Miki Ando and ice dancing teams for the 2006, 2010 and 2014 Winter Olympics. WARREN ADAMS (Choreographer). Motown: Broadway, U.S. tours, West End (Fred Astaire Award, NAACP Theatre Award); Born for This (Alliance and Arena ). Adams is an award winning producer director, choreographer and an adjunct professor at NYU and Princeton University in the theater department. He recently directed the film documentary Africa Straight Up and also choreographed the Pulitzer Prize-winning Off-Broadway plays How I Learned to Drive and Ruined. Other notable credits include the opera Magdalena at the Theatre du Chatelet in Paris, Toy Story the Musical for Disney and Nora Ephron’s last film Julie & Julia starring Meryl Streep. His theatrical work has been presented at New York City Center, the Joyce, Second Stage, South Coast Rep, Teatro du Municipal Sao Paulo, Theatre for a New Audience, the Intiman, the Geffen and several dance companies. Upcoming works include directing Michael Ogborn’s Trial of the Century and Gilbert Bailey’s ’Bout to Blow. Born and raised in South Africa, he won the Nelson Mandela/Sainsbury Scholarship to study at the Rambert Ballet in London. He is a graduate of Brunel University in England and winner of the Rudolf Nureyev Award. warrenadams.me. ETHAN POPP (Music Supervision, Orchestrations, Arrangements). Awards: 2016 NAACP Theatre Award (Motown The Musical), 2014 Grammy Award nomination (Motown The Musical Original Cast Recording, Music Producer), 2013 Tony Award nomination (Motown The Musical, Best Orchestrations). Theater: Jay Chou’s The Secret (Beijing; Orchestrator), School of Rock (Broadway; Music Supervisor), Hedwig and the Angry Inch (2014 Tony Award-winner, Best Revival of a Musical Broadway; Music Supervisor), Motown The Musical (Broadway, U.S. tour, London; Music Supervisor, Arranger, Orchestrator), Rock of Ages (2009 Tony Award nomination, Best Musical; Broadway, U.S. tour, London, Australia; Music Supervisor, Arranger, Orchestrator), Disney’s Tarzan (Broadway), We Will Rock You (German premiere), Disney’s Aida (European premiere), Mamma Mia! (German premiere), among others. Film: The Greatest Showman starring Hugh Jackman, Michelle Williams, Zac Efron and Zendaya (20th Century

Fox, Music Director). Television: “Last Week Tonight with John Oliver” (HBO; Music Director, Composer, Arranger), “Smash” (NBC/Universal; Music Producer, Arranger, Orchestrator), “A Capitol Fourth” (PBS; Arranger, Orchestrator), “The 2011 Primetime Emmy Awards” (FOX; Conductor), “The Tonight Show with Jay Leno” (NBC; Music Director, Arranger, Orchestrator), “Late Night with Conan O’Brien” (NBC; Music Director, Arranger, Orchestrator). Love to Vanessa and Aldrin! ethanpopp.com. DAVID KORINS (Scenic Design). Broadway: Dear Evan Hansen, Hamilton (Tony nom.), War Paint, Misery, Motown, Vanya and Sonia…, Annie, Bring It On, Magic/Bird, An Evening with Patti Lupone and Mandy Patinkin, Godspell, Chinglish, The Pee-wee Herman Show, Lombardi, Passing Strange and Bridge and Tunnel. TV: “Grease: Live!” (Emmy Award). Concert: Bruno Mars, Lady Gaga, Kanye West, Sia, Mariah Carey, Andrea Boccelli. Extensive Off-Broadway/ regional theater, hospitality, event and experience design. Dad: Stella and Vivian. @davidkorins. EMILIO SOSA (Costume Design). Radio City Spectacular (2015–2016). Broadway: On Your Feet!, Lady Day at Emerson’s Bar & Grill, Motown: The Musical (West End, first national tour, NAACP Theater Award), Porgy and Bess (Tony nomination, NAACP Theatre Award), Topdog/ Underdog. Off-Broadway: By the Way, Meet Vera Stark (Lucille Lortell Award, NAACP Theatre Award), Invisible Thread, Sex with Strangers, Crowns, The Invisible Hand, Sunset Baby, Detroit ’67, The Misanthrope. Regional: Twist (L.A. Ovation Award), Immediate Family, Marley, American Night: The Ballad of Juan José, Ruined, Cutting Up, Señor Discretion Himself (Helen Hayes nomination), Witness Uganda, Fences, Turandot: The Rumble for the Ring, Pippin, Ain’t Misbehavin,’ Sense & Sensibility The Musical. Project Runway finalist; Trustees, American Theatre Wing. NATASHA KATZ (Lighting Design) has designed extensively for theater, opera and dance around the world. She is a six-time Tony Award-winner whose recent Broadway credits include Cats, Long Day’s Journey into Night, School of Rock, An American in Paris, Aladdin, Skylight, The Glass Menagerie, Once, Follies, The Coast of Utopia: Salvage and Aida. Opera/dance/other include Alice’s Adventures in Wonderland (Royal Ballet), Cinderella (Dutch National Ballet), Buried Child (National Theatre, London), Cyrano (the Met), Carnival of the Animals (NYCB), Swan Lake


and the 2011 Emmy Awards. He has several projects in development, including Mighty Cindy Cypress, a children’s show. His most important credits, however, are as a husband to Hilary and father to Liam, Ethan and Henry.

PETER HYLENSKI (Sound Design). Grammy, Olivier and four-time Tony award-nominated. Selected designs include Something Rotten!, Rock of Ages, After Midnight, Motown, The Scottsboro Boys, Side Show, Rocky, Bullets Over Broadway, Shrek The Musical, On a Clear Day, Lend Me a Tenor, Elf, Wonderland, Cry Baby, The Times They Are A-Changin’, The Wedding Singer, Sweet Charity, Martin Short: Fame Becomes Me, Little Women, Brooklyn. Other credits: Le Reve and ShowStoppers at Wynn Las Vegas, Ragtime (London), Rocky Das Musical (Hamburg, Stuttgart), King Kong (Melbourne), Bull Durham, Mame, Gotta Dance, Anastasia. International arena tours of How to Train Your Dragon and Walking with Dinosaurs.

ZANE MARK (Dance Music Arrangements). Broadway: Hollar If You Hear Me; Motown The Musical; Pippin; Leap of Faith; All ShookUp; Dirty Rotten Scoundrels; Never Gonna Dance; The Full Monty; Bring in ’da Noise, Bring in ’da Funk (Tony and Grammy nominations); Bubblin’ Brown Sugar; The Wiz. OffBroadway and regional: Smart People, Frog Kiss, Crowns, The Brother/Sister Plays, Ray Charles Live, Imagine Tap, Radiant Baby, George Wolfe’s Harlem Song (AUDELCO Award), Thunder Knocking on the Door, Insurrection, Betsy Brown. Movies: Rosenwald; The Dancer Chronicles, Lackawanna Blues, Frances Ford Coppola’s The Cotton Club.

DANIEL BRODIE (Projection Design). Designs include Basil Twist’s Behind the Lid, Arias with a Twist and The Rite of Spring, as well as Christopher Wheeldon’s Cinderella and The Winter’s Tale. His designs for Broadway include Motown the Musical, Jekyll & Hyde and Disney’s Aladdin. He has also created large-scale video designs for hip-hop artist Kanye West and for the Bonnaroo Music and Arts Festival. CHARLES G. LaPOINTE (Hair & Wig Design). Broadway: Hamilton, On Your Feet, Allegiance, Color Purple (revival), Holiday Inn, Violet, A Gentleman’s Guide…, After Midnight, Of Mice and Men, Julius Caesar, Fences, Clybourne Park, Newsies, The Columnist, Magic/ Bird, Bonnie & Clyde, The Mountaintop, Women on the Verge, The Merchant of Venice, Memphis, Henry IV, The Rivals, Cymbeline, Lombardi, Looped, The Miracle Worker, Superior Donuts, 33 Variations, Guys and Dolls, In the Heights, Jersey Boys, The Color Purple, Martin Short, Good Vibrations, The Apple Tree, A Raisin in the Sun, Cat…, The Lieutenant of Inishmore, Radio Golf, Sight Unseen, High Fidelity, Xanadu and Bring It On. BRYAN CROOK (Orchestrations, Additional Arrangements) is a Tonynominated orchestrator, producer, composer, arranger and multi-instrumentalist for Broadway, TV and films. In addition to playing woodwinds for The Book of Mormon on Broadway, his work can be heard in Ice Age 4 (FOX), “Smash” (NBC), The 2011 Billboard Music Awards

DARRYL ARCHIBALD (Musical Director, Conductor). Memphis Broadway tour; Wicked at the Pantages Theater (substitute conductor); Dreamgirls national tour (associate conductor); Disney’s The Lion King tour (vocal coach/assistant conductor); Innocence (Banff Centre and Manhattan Theatre Club); Next to Normal, Swing! (McCoy/Rigby); Carousel, Li’l Abner (Reprise); Camelot, 1776 (Utah Shakespearean Festival); guest conductor for ERASURE (Palm Springs Convention Center). WOJCIK|SEAY CASTING (Casting) is Scott Wojcik and Gayle Seay. Along with Holly Buczek, they cast all mediums. Tours: Vocalosity, Flashdance, Nice Work If You Can Get It, Jekyll & Hyde (national and Korean), Dreamgirls (Korean tour), Joseph…Dreamcoat, Oklahoma! and A Chorus Line. Off-Broadway current and past: Othello: The Remix, The Portal, Tennessee Williams’ The Two Character Play with Amanda Plummer and Brad Dourif, Handle with Care with Carol Lawrence, Triassic Parq, National Pastime, 666 and more. Regional: multiple seasons/shows for Riverside Theatre, Fla.; The Engeman Theatre, N.Y.; Theatre Raleigh, N.C.; Stages St. Louis, Mo.; Theatre Aspen, Colo.; and Tuacahn PAC, Utah. Pilots: “Upstate” and “Stand-In.” Films: Best Man in the Dark, Tommy Battles the Silver Sea Dragon, My Prologue. Webseries: “The Fuzz.” Many commercials. Currently: “The Hunt with John Walsh” on CNN. wscasting.com. J. JARED JANAS (Make Up Design). Broadway designs include makeup for The Visit and The Real Thing, wigs and special makeup effects for Lady Day

at Emerson’s Bar and Grill, wigs and makeup for The Gershwins’ Porgy and Bess, hair for Peter and the Starcatcher and wigs for All About Me and Next to Normal. TV/film includes “30 Rock,” “Gotham,” “Mozart in the Jungle,” “Master of None,” Lola Versus, Angelica and Six by Sondheim. DAVID GOLDSMITH (Script Consultant). Imagine This (lyrics, Theatre Royal, Plymouth and London, West End; a filmed version of the West End production is part of the PBS catalogue); Having It All (book and lyrics, Los Angeles; Ovation nominee, Best Musical, Best Book). Invisible Thread (Story Consultant— Second Stage Theatre, Diane Paulus, dir.) Thanks to BG, DS, CB, BB, NNL, CRW and KM. DICK SCANLAN (Script Consultant) has been involved with many acclaimed shows as a writer (Everyday Rapture, Thoroughly Modern Millie—2002 Tony Award, Best Musical) and director (Little Shop of Horrors at Encores! Off-Center, starring Jake Gyllenhaal). He has been a Motown fanatic since his mother bought him a Supremes record in 1967. Thanks, mom. Thanks, Berry Gordy. SCHELE WILLIAMS (Associate Director) has directed numerous Broadway Concerts at the Gershwin Theatre in New York, including Uprising of Love, Defying Inequality, for which she received a New York City Proclamation, and From Broadway to Bourbon Street. She had directed at numerous regional theaters including The Kennedy Center, The Village Theatre, Human Race Theatre, Weston Playhouse, Ogunquit Theatre, TheaterWorks, NYMTF and NAMT. Schele is an adjunct professor at NYU New Studio on Broadway and is co founder of Parlor Night, a pop up entertainment experience and Blink Twice Productions. BRIAN HARLAN BROOKS (Associate Choreographer) Training at the Dance Theater of Harlem, and The Alvin Ailey American Dance Theater, The William Esper Studio. Since then performing with Forces of Nature, Philadelphia Dance Company (Philidanco), Joseph Holmes Chicago Dance Theatre, Deeply Rooted Dance Theatre, the tour of Vinette Carole’s Your Arms Too Short to Box with God, Donald Byrd/The Group, Williams/ Henry Danse Theatre, Earl Moseley’s Diversity of Dance and The Color Purple first national tour (Dance Captain). TV and film: Across the Universe; Lifted, a Fox Searchlight film; and the HBO series “Boardwalk Empire.” Working as rehearsal director for Deeply Rooted

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(Edinburgh Festival). Concert acts: Shirley MacLaine, Ann-Margret and Tommy Tune. Permanent lighting installations: Niketown NYC and London, and the Big Bang at the Museum of Natural History in NYC.


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Dance Theater, Donald Byrd/The Group, Ailey Camp Missouri Site Director and Cedar Lake Contemporary Ballet. ANNA R. KALTENBACH (Production Stage Manager). Broadway/N.Y.: Motown, Broadway Advocacy Coalition, Broadway Inspirational Voices. Tours: Once, Memphis, Shrek, A Chorus Line, Mamma Mia!, Dirty Rotten Scoundrels, Joseph… (Tokyo). West End: Motown. Regional: Marriott Lincolnshire, Chicago Shakespeare, Other Theatre Company, Western Stage, Cleo Parker Robinson Dance, Colorado Ballet, Opera Colorado. Proud AEA member. RALPH STAN LEE (Stage Manager) is pleased to join Motown. Some of his favorite credits are national tours of Dreamgirls; Hello, Dolly!; Cinderella; and Nice Work If You Can Get It. Regional: Whorl Inside a Loop (Second Stage), Porgy & Bess (Spoletto) and A Christmas Carol (N.C. Shakes). Ralph would like to thank Worklight and Mr. Gordy for this opportunity. AMBER JOHNSON (Assistant Stage Manager) is thrilled to be working with Motown again. Touring credits: The Phantom of the Opera (North American tour), Motown The Musical (first national), The Book of Mormon (Chicago tour) and Jersey Boys (Chicago tour). Chicago credits include West Side Story, Mamma Mia! and Oklahoma! (Paramount Theatre); and Gypsy, Seussical The Musical and Shrek The Musical (Chicago Shakespeare Theatre). Other regional credits include Williamstown Theatre Festival and Antelope Valley Ballet. Amber graduated from the University of Oklahoma with a B.F.A. in theater. “As always, Boomer Sooner!” ALLIED LIVE (Press and Marketing) is a full-service marketing/advertising agency representing national tours, performing arts institutions and experiential entertainment entities throughout North America. Current touring clients: Hamilton, The Book of Mormon, An American in Paris, Something Rotten!, Rent 20th anniversary tour, Kinky Boots, Rodgers + Hammerstein’s Cinderella, A Gentleman’s Guide to Love & Murder, Mamma Mia!, Motown The Musical, Once, Elf and Irving Berlin’s White Christmas. Upcoming tours include School of Rock and The Humans. WORK LIGHT PRODUCTIONS (General Management). Dedicated to creating and producing live entertainment. General management for Something Rotten! and

Motown. Producers of Rent 20th anniversary tour, Cinderella, Mamma Mia!, White Christmas. Currently developing Clue, a new stage play based on the Paramount movie. Produced Julie Andrews, The Gift of Music at The Hollywood Bowl and London’s O2 Arena. Other recent touring productions include the Tony Award-winners American Idiot, In the Heights and Avenue Q. WLP is led by founding partner and President Stephen Gabriel and Vice President Nancy Gabriel. worklightproductions.com. PORT CITY TECHNICAL (Production Management) is a production management company based in Charleston, S.C. Current tours with Work Light Productions include Mamma Mia!, Rent, Cinderella and White Christmas. “We are thrilled to be working with them again on Motown and Something Rotten! KEVIN McCOLLUM (Producer) has received three Tony Awards for Best Musical for In the Heights (2008), Avenue Q (2004) and Rent (1996), which was also awarded the Pulitzer Prize for Drama. He also produced The Drowsy Chaperone (2006, winner of five Tonys) and, most recently, Something Rotten!, Hand to God and Motown The Musical on Broadway. He will be represented on Broadway this spring by The Play That Goes Wrong and also on tour by Something Rotten! Mr. McCollum was trained at the University of Cincinnati’s College-Conservatory of Music and earned his master’s from the University of Southern California. DOUG MORRIS (Producer) is widely considered the most influential executive in the music industry. Currently CEO of Sony Music Entertainment, he has worked with many of the most popular artists of the past four decades, including the Rolling Stones, Phil Collins, Pete Townshend, Led Zeppelin, Stevie Nicks, Bette Midler, Tori Amos, INXS, Mariah Carey, Jay-Z, Stevie Wonder and U2. He is on the board of the Rock and Roll Hall of Fame, he has a star on the Hollywood Walk of Fame, and he has been recognized by numerous organizations for his outstanding contributions to music. Morris is also the founder of VEVO, the top music entertainment destination on the web, and previously spent 15 years as worldwide chairman and CEO of Universal Music Group. He began his career as a songwriter and producer, with credits including the Chiffons’ “Sweet Talkin’ Guy” and Brownsville Station’s “Smokin’ in the Boys Room.”

NANSCI NEIMAN-LEGETTE (Executive Producer). After a noteworthy career as Executive Vice President and Publisher of Warner Books and West Coast Publisher of Penguin Putnam, Nansci became Berry Gordy’s Chief Operating Officer in 2004. She has helped shepherd the show from first pages to this production.

STAFF FOR MOTOWN GENERAL MANAGEMENT WORK LIGHT PRODUCTIONS Stephen Gabriel Nancy Gabriel Scott Seay Anièle Fortin William Aaron Hicks Kevin Greene Carolyn Smith COMPANY MANAGER Maia Sutton ASSISTANT COMPANY MANAGER Jasmin Jakobsen CONSULTANT GENERAL MANAGER Nathan Gehan, Bespoke Theatricals PRODUCTION MANAGEMENT PORT CITY TECHNICAL Rhys Williams Mike East Mackenzie Foster Rossella Human Wade Jolly Suzanne Prueter ALCHEMATION Kevin McCollum Lucas McMahon Graham Duff Emma Horwitz Darnetha M’Baye Thomas Schermerhorn Jessica Troy TOUR BOOKING AGENCY The Booking Group Meredith Blair, Kara Gebhart thebookinggroup.com TOUR PRESS AND MARKETING ALLIED LIVE LAURA MATALON MARYA PETERS Scott Praefke Anne Waisanen Doug Blemker Mary Alyce Blum Sarah Dahlberg Andrew Damer  Jennifer Gallagher John Gilmour Meghan Kastenholz Anne Dailey Meyer  Jacqueline Smith WEST GRAND MEDIA PRODUCTIONS Michael Lovesmith, President Brenda Boyce, Director of Creative Services/Archivist CASTING WOJCIK | SEAY CASTING Scott Wojcik and Gayle Seay Holly Buczek ORIGINAL CASTING TELSEY + COMPANY telseyandco.com LEGAL COUNSEL LEVINE PLOTKIN & MENIN, LLP Loren Plotkin, Conrad Rippy, Susan Mindell Daniel Watkins, Emily Erstling Production Stage Manager..................................... Anna R. Kaltenbach Stage Manager........................................................... Ralph Stan Lee Assistant Stage Manager......................................Amber Johnson Dance Captain..............................................................Rod Harrelson Assistant Dance Captain.......................................Ramone Owens Associate Scenic Designers.......James Burns, Rod Lemmond Associate Costume Designer..............................Heather Stanley Assistant Costume Designers......Tina McCartney, William Mellette Costume Assistant........................................................... Amber Paul Associate Lighting Designer.....................................Aaron Spivey Assistant Lighting Designer.....................................Timothy Reed Moving Light Programmer........................................... Sean Beach Automation Programmer........................................Kevin Donnelly Associate Projection Designer.............................. Olivia Sebesky Lead Projections Animation................................Gabriel Aronson Projection Programmer..................................Benjamin Keightley Projection Image Researcher...............................Susan Hormuth Associate Sound Designer................................. Simon Matthews Associate to the Hair Designer...........Gretchen Androsavich Assistant to the Hair Designer...............Michael Dondanville II Makeup Designer........................................................ J. Jared Janas Assistant Production Manager.......................... Suzanne Prueter Production Carpenter..................................................... Paul Hunter Production Automation.............................................McLane Snow Head Carpenter..............................................................Shane Lowry Automation Carpenter..........................................Schuyler Woods Flyman.......................................................................... Keith Kolasinski


CREDITS Automation by TAIT. Video Projection System Engineered and Provided by WorldStage Inc. Scenery constructed by TTS Studios, LLC and Hudson Scenic Design. Scenery and props constructed by Proof Productions, Inc. and Daedalus Design and Production Inc. Props by Paragon Theme and Prop Fabrication, Jerard Studio, Craig Gregg and Zoe Morsette. Onstage guitars compliments of Gibson Guitars USA. Costumes by Artur & Tailors; Beckenstein’s Men’s Fabric Czar; Steppenwolf Costume Shop; Giliberto Designs Inc.; Katrina Patterns; Timberlake Studio; Paul Chang Custom Tailors; Tricorne, Inc.; Ritz Furs NYC, Sharnelle Furs NYC, Arel Studios. Lighting equipment by PRG Lighting, Inc. Sound equipment by PRG Sound, Inc. Custom shoes by LaDuca Shoes and Worldtone. Dying and distressing by Hochi Asiatico. Custom hats by Arnold S. Levine. Special thanks to Bra*Tenders, Brooks Brothers and Michael Santulli, Pearl Drums and Zildjian Cymbals. “I Am a Man” iconic image copyrighted by Richard L. Copley. Keyboards Furnished by Yamaha. Research materials by Portia K. Maultsby and Charles E. Sykes. Motown® is a trademark of UMG Recordings, Inc., registered in the U.S. and other countries, and is used under license. The producers wish to thank The MOTOWN MUSEUM The official home of Hitsville U.S.A. motownmuseum.org

Experience the little house that ROCKED the world! Visit Motown Museum at Hitsville U.S.A.— the birthplace of Motown…where it all began. motownmuseum.org THE PRODUCERS WISH TO THANK AND ACKNOWLEDGE MARTY BANDIER FOR HIS SUPPORT OF THIS PRODUCTION. motownthemusical.com MUSIC CREDITS “ABC” by Mizell, Alphonso J./Perren, Freddie/Richards, Deke/ Gordy, Berry Jr. Jobete Music Co. Inc. (ASCAP). “A Breathtaking Guy” by Robinson, Smokey. Jobete Music Co. Inc. (ASCAP). “Ain’t No Mountain High Enough” by Simpson, Valerie/Ashford, Nickolas. Jobete Music Co. Inc. (ASCAP). “Ain’t Too Proud to Beg” by Whitfield, Norman J./Holland, Edward, Jr. Stone Agate Music (BMI). “Baby I Need Your Loving” by Holland, Brian/ Holland, Edward, Jr./Dozier, Lamont Herbert. Stone Agate Music (BMI). “Ball of Confusion (That’s What the World Is Today)” by Whitfield, Norman J./Strong, Barrett. Stone Agate Music (BMI). “Brick House” by Richie, Lionel/Lapread, Ronald/Orange, Walter/Williams, Milan/MC Clary, Thomas/King, William. Jobete Music Co. Inc. OBO itself and Cambrae Music/Hanna Music/ Libren Music/Macawrite Music/Old Fashion Publishing/Walter Orange Music (ASCAP). “Buttered Popcorn” by Gordy, Berry Jr./Ales, Barney. Jobete Music Co. Inc. (ASCAP)/Stone Agate Music (BMI). “Bye Bye Baby” by Wells, Mary. Stone Agate Music (BMI). “Can I Close the Door” written by Berry Gordy and Michael Lovesmith. “Crusin’” by Robinson, Smokey/Tarplin, Marvin. Jobete Music Co. Inc. OBO Bertam Music Company (ASCAP). “Dancing in the Street” by Gaye, Marvin P./Hunter, Ivy Jo/Stevenson, William Stone Agate Music (BMI)/Jobete Music Co. Inc. OBO itself and MGIII Music, NMG Music and FCG Music (ASCAP). “Do You Love Me” by Gordy, Berry Jr. Jobete Music Co. Inc. (ASCAP). “Get Ready” by Robinson, Smokey. Jobete Music Co. Inc.(ASCAP). “Give It to Me Baby” by James, Rick. Jobete Music Co. Inc. (ASCAP). “Good Morning Heartache” by Drake, Ervin M./Fisher, Dan/Higginbotham, Irene. Lindabet Music Corporation, Microhits Music Corp., Sony/ATV Tunes,

LLC. (ASCAP). “Got a Job” by Robinson, Smokey/Gordy, Berry Jr./Carlo, Tyran. Jobete Music Co. Inc. obo itself and Taj Mahal Music/Third Above Music Inc. (ASCAP). “Happy Birthday” by Wonder, Stevie. Jobete Music Co. Inc. and Black Bull Music c/o EMI April Music Inc. (ASCAP). “Hey Joe (Black Like Me)” written by Berry Gordy and Michael Lovesmith. “I Can’t Get Next to You” by Whitfield, Norman J./Strong, Barrett. Stone Agate Music (BMI). “I Can’t Help Myself (Sugar Pie Honey Bunch)” by Holland, Brian/Dozier, Lamont Herbert/Holland, Edward, Jr. Stone Agate Music (BMI). “I Got the Feelin’” by James Brown. Bro N Sis Music, Inc. (BMI). “I Hear a Symphony” by Holland, Brian/Dozier, Lamont Herbert/Holland, Edward, Jr. Stone Agate Music (BMI). “I Heard It Through the Grapevine” by Whitfield, Norman J./Strong, Barrett. Stone Agate Music (BMI). “(I Know) I’m Losing You” by Whitfield, Norman J./Holland, Edward, Jr./ Grant, Cornelius. Stone Agate Music (BMI). “Inner City Blues (Make Me Wanna Holler)” by Gaye, Marvin P./Nyx, James. Jobete Music Co. Inc. obo itself and MGIII Music, NMG Music and FCG Music (ASCAP). “It’s What’s in the Grooves That Counts” written by Berry Gordy and Michael Lovesmith. “Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini” by Pockriss, Lee J./Vance, Paul. Emily Music Corp, Music Sales Corp (ASCAP). “I Want You Back” by Perren, Freddie/Mizell, Alphonso J./Gordy, Berry Jr./ Richards, Deke. Jobete Music Co. Inc. (ASCAP). “I Wish” by Stevie Wonder. Jobete Music Co. Inc. and Black Bull Music c/o EMI April Music Inc. (ASCAP). “Lonely Teardrops” by Gordy, Berry Jr./Fuqua, Gwendolyn Gordy/Carlo, Tyran. Jobete Music Co. Inc. obo Old Brompton Road Music. (ASCAP)/Third Above Music Inc. (ASCAP). “Love Is Here and Now You’re Gone” by Holland, Brian/Dozier, Lamont Herbert/Holland, Edward, Jr. Stone Agate Music (BMI). “Mama Done Told Me (My)” by Robinson, Smokey/Gordy, Berry Jr./Carlo, Tyran. Jobete Music Co. Inc. (ASCAP). “Mercy Mercy Me (The Ecology)” by Gaye, Marvin P. Jobete Music Co. Inc. obo itself and MGIII Music, NMG Music and FCG Music (ASCAP). “Money (That’s What I Want)” by Gordy, Berry Jr./Bradford, Janie. Jobete Music Co. Inc. (ASCAP)/Stone Agate Music (BMI). “My Girl” by White, Ronald/ Robinson, Smokey. Jobete Music Co. Inc. (ASCAP). “My Guy” by Robinson, Smokey. Jobete Music Co. Inc. (ASCAP). “My World Is Empty Without You” by Brian Holland, Lamont Dozier, Edward Holland Jr. Stone Agate Music (BMI). “Papa Was a Rollin’ Stone” by Whitfield, Norman J./Strong, Barrett. Stone Diamond Music Corp. (BMI). “Please, Mr. Postman” by Garrett, William/Dobbins, Georgia/Holland, Brian/Gorman, Freddie/Bateman, Robert. Jobete Music Co. Inc. (ASCAP)/Stone Diamond Music Corp. (BMI)/EMI Blackwood Music Inc. (BMI). “Reach Out and Touch (Somebody’s Hand)” by Ashford, Nickolas/Simpson, Valerie. Jobete Music Co. Inc. (ASCAP). “Reach Out I’ll Be There” by Holland, Brian/Dozier, Lamont Herbert/Holland, Edward, Jr. Stone Agate Music (BMI). “Reet Petite (The Sweetest Girl in Town)” by Gordy, Berry Jr./Carlo, Tyran. Jobete Music Co. Inc. (ASCAP)/Third Above Music Inc. (ASCAP). “Remember Me” by Ashford, Nickolas/Simpson, Valerie. Jobete Music Co. Inc. (ASCAP). “Shop Around” by Robinson, Smokey/Gordy, Berry Jr. Jobete Music Co. Inc. (ASCAP). “Shotgun” by Dewalt, Autry. Stone Agate Music (BMI). “Signed, Sealed, Delivered I’m Yours” by Wonder, Stevie/Wright, Syreeta/Garrett, Lee/Hardaway, Lula Mae. Jobete Music Co. Inc. and Black Bull Music c/o EMI April Music Inc. (ASCAP)/Swandi Music (BMI) c/o EMI Blackwood Music Inc. (BMI). “Square Biz” by Brockert, Mary C./MC Grier, Allen Henry. Jobete Music Co. Inc. obo itself and McNella Music (ASCAP). “Stop in the Name of Love” by Holland, Brian/ Dozier, Lamont Herbert/Holland, Edward, Jr. Stone Agate Music (BMI). “Stubborn Kind of Fellow” by Gaye, Marvin P./ Gordy, George/Stevenson, William. Stone Agate Music (BMI)/ Jobete Music Co. Inc. obo itself and MGIII Music, NMG Music and FCG Music (ASCAP). “Super Freak” by James, Rick/Miller, Alonzo. Jobete Music Co. Inc. (ASCAP)/Stone Diamond Music Corp. (BMI). “The Happening” by Dozier, Lamont Herbert/ Holland, Edward, Jr./Holland, Brian/De Vol, Frank. Jobete Music Co. Inc. (ASCAP)/Stone Agate Music (BMI). “The Love You Save” by Perren, Freddie/Mizell, Alphonso J/Gordy, Berry Jr./Richards, Deke. Jobete Music Co. Inc. (ASCAP). “Theme From Mahogany ‘Do You Know Where You’re Going To’” by Goffin, Gerry/Masser, Michael. Jobete Music Co. Inc. (ASCAP)/ Screen Gems-EMI Music Inc. (BMI). “To Be Loved” by Gordy, Berry Jr./Fuqua, Gwendolyn Gordy/Carlo, Tyran. Jobete Music Co. Inc. obo Old Brompton Road Music. (ASCAP)/Third Above Music Inc. (ASCAP). “Two Lovers” by Robinson, Smokey. Jobete Music Co. Inc. (ASCAP). “War” by Whitfield, Norman J./Strong, Barrett. Stone Agate Music (BMI). “What’s Going On” by Benson, Renaldo/Cleveland, Alfred W/Gaye, Marvin P. Stone Agate Music (BMI)/Jobete Music Co. Inc. obo itself and MGIII Music, NMG Music and FCG Music (ASCAP). “Where Did Our Love Go” by Holland, Edward, Jr./Holland, Brian/Dozier, Lamont Herbert. Stone Agate Music (BMI). “Who’s Lovin’ You” by Robinson, Smokey. Jobete Music Co. Inc. (ASCAP). “You Are the Sunshine of My Life” by Wonder, Stevie, Jobete Music Co. Inc. and Black Bull Music c/o EMI April Music Inc. (ASCAP). “You Are You” by Gordy, Berry Jr., Jobete Music Co. Inc. (ASCAP). “You Can’t Hurry Love” by Holland, Edward, Jr./Holland, Brian/ Dozier, Lamont Herbert. Stone Agate Music (BMI). “You’re All I Need to Get By” by Ashford, Nickolas/Simpson, Valerie. Jobete Music Co. Inc. (ASCAP). “You’re Nobody ’Til Somebody Loves You” by Cavanaugh, James/Morgan, Russ/Stock, Larry. Larry Stock Music Co.; Shapiro Bernstein & Co., Inc.; Southern Music Publishing Co., Inc. (ASCAP). “You’ve Really Got a Hold on Me” by Robinson, Smokey. Jobete Music Co. Inc. (ASCAP).

THE BUELL THEATRE is part of the Denver Performing Arts Complex, owned and operated by the City and County of Denver, Arts and Venues. CITY & COUNTY OF DENVER Michael Hancock, Mayor ARTS AND VENUES Kent Rice, Director For information call: 720.865.4220

The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the union of professional actors and stage managers in the United States. All stage work performed by employees represented by IATSE. UNITED SCENIC ARTISTS represents the designers and scenic painters for the American Theatre. The Musicians employed in this production are members of the American Federation of Musicians of the United States and Canada. The Director and Choreographer are members of the Stage Directors and Choreographers Society, an independent national labor union. The Press Agents, Company and House Managers employed in this production are represented by the Association of Theatrical Press Agents & Managers. This production is produced by a member of The Broadway League in collaboration with our professional union-represented employees.

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

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

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.

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Production Electricians....... Michael Pitzer, Brendan Quigley Head Electrician...............................................................Billy Paton Assistant Electrician/Video....................................David Salazar Front Light Electrician............................................ Nicole Laeger Production Sound..........................................................Jeff Human Head Sound................................................................... Kevin McCoy Assistant Sound...........................................................Elyssa Kohen Head Props..................................................................... Art Johnson Production and Touring Wardrobe Supervisor..... Megan Quinn Assistant Wardrobe Supervisor..................Jocelyn Seawright Assistant Wardrobe/Principal Dresser................ Renee Jones Production and Touring Hair/Wig/ Makeup Supervisor........................................Tereza Victoriano Assistant Hair/Wig Supervisor........................Adrienne Maurer Associate Keyboard Programmers.Tim Crook, Jeremy King Casting Assistant......................................................... Joe Hetterly Tutoring.......................................................On Location Education Tutor/Child Wrangler............................................Amy Freedman Production Assistants........................................Anthony CeFala, Randy Donaldson, Emily Pelletier, Meg Whitehurst Assistant to Mr. Gordy............................................ Mario Escobar Assistant to Mr. Morris...................................................... Jane Ellis Associate Producer..............................................Lucas McMahon Production Photographer.........................................Joan Marcus Web/Social/Digital Agency.........................The Marketing Division Bob Bucci, Maris Smith, Danielle Migliaccio Accountant.................................................WithumSmith+Brown/ Robert Fried, CPA, Karen Kowgios, CPA, Anthony Moore, CPA Comptroller................. Galbraith & Company/Sarah Galbraith Insurance.......................................... Maury Donnelly & Parr, Inc./ Bob Middleton, Meghan Shriver Banking................................Signature Bank/Margaret Monigan Payroll................................................................................. People, Inc. Travel Agent.....................................Road Rebel and Tzell Travel Merchandising............................... Creative Goods/Pete Milano Housing..............................................................................Road Rebel


FAMILY 4-PACKS FOR JUST $99* WITH CODE SAVE SEASON SPONSORS

FEB 21 – 26 BUELL THEATRE

DENVERCENTER.ORG OFFICIAL TICKETS: 303.893.4100

* Valid for all 7:30pm performances of Circus 1903 – The Golden Age of Circus. Not valid on a prior purchase. Subject to availability. Standard service fees apply. Restrictions apply. Each ticket costs $24.75. Minimum purchase of 4 tickets required.


60th Season

JUNE 11 – AUG. 13, 2017

303-492-8008

COLORADOSHAKES.ORG

TUE SD AY - TH UR SD AY 4 PM - 10 PM FR ID AY - SATUR D AY 4 P M - 2 AM H AP P Y H O UR UN TIL 5 : 3 0 P M

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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

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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.”

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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

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

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

Bottom photos by John Moore

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


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A PROUD SPONSOR OF SATURDAY NIGHT ALIVE

Photo by Adams VisCom

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

T

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

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


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

Photo by Mark Turner

BY M A R K K E N N E DY

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

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

CIRCUS 1903 - THE GOLDEN AGE OF CIRCUS

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


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

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PROUD SPONSOR OF SATURDAY NIGHT ALIVE

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

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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


STEP OUTSIDE THE REALM OF POSSIBILITY

Photos by Studio JK

SEAWELL GRAND BALLROOM

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

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

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

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

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


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

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

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

— Richard Connema, critic for Talkin’ Broadway

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

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

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

REVIVING 5,000 YEARS OF CIVILIZATION

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

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

Stunning Chinese Dance

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

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

Dazzling Handmade Costumes

Shen Yun’s costume artists collect countless de-

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

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Applause Magazine, February 15-19, 2017  

In-theater magazine produced for the Denver Center for the Performing Arts

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