View Magazine Fall 2015, October 15-24, 2015

MOTOWN 2 JERSEY • THE EXPLORERS CLUB • NATIONAL GEOGRAPHIC LIVE-EXPLORING THE RED PLANET • THE GUGU DRUM GROUP • ROCK LEGENDS • ONE MAN STAR WARS • NAT KING COLE CHRISTMAS • NATIONAL GEOGRAPHIC LIVE: EXPLORING THE RED PLANET • THE NUTCRACKER • TARTAN TERRORS CHRISTMAS • JOHN DENVER HOLIDAY CONCERT • CLASSICAL HOLIDAY FEATURING HANDEL’S MESSIAH • ONE MAN STAR WARS • CHRISTINE EBERSOLE-BIG NOISE FROM WINNETKA • REUNION 1985 • SHERYL RENEE’S SALUTE TO THE LEGENDS • NATIONAL GEOGRAPHIC LIVE-PASSION 8000: DREAM OF A LIFETIME • THE GUGU DRUM GROUP • CHERISH THE LADIES • COLORADO BALLET DIRECTOR’S CHOICE • NATIONAL GEOGRAPHIC LIVE: CORAL KINGDOMS AND EMPIRES OF ICE • CYRANO • TARTAN TERRORS CHRISTMAS • CHERISH THE LADIES • MOTOWN 2 JERSEY • THE EXPLORERS CLUB • ROCK LEGENDS • NAT KING COLE CHRISTMAS • THE NUTCRACKER • TARTAN TERRORS CHRISTMAS • JOHN DENVER HOLIDAY CONCERT • CLASSICAL HOLIDAY FEATURING HANDEL’S MESSIAH • REUNION 1985 • ONE MAN STAR WARS • CHRISTINE EBERSOLE-BIG NOISE FROM WINNETKA • ROCK LEGENDS SHERYL RENEE’S SALUTE TO THE LEGENDS • NATIONAL GEOGRAPHIC LIVEPASSION 8000: DREAM OF A LIFETIME • THE GUGU DRUM GROUP • THE EXPLORERS CLUB • CHERISH THE LADIES • COLORADO BALLET • CHOICE • NATIONAL GEOGRAPHIC LIVE! CORAL KINGDOMS AND

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The Lone Tree Arts Center is owned and operated by the City of Lone Tree.

Lone Tree City Council FAMILY & EDUCATION PROGRAMS SPONSORS

Mayor Jim Gunning Mayor Pro Tem Jacqueline Millet Councilmember Harold Anderson Councilmember Kim Monson Councilmember Susan Squyer

Lone Tree City Management City Manager Seth Hoffman Deputy City Manager Steve Hebert

The Tappan Foundation SEASON MEDIA SPONSOR

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LONE TREE ARTS CENTER

Please Note: Late seating is at the discretion of the House Manager and may not be available at all performances.

Children are welcome in our theater, but bringing infants to a performance is highly discouraged, as they can become a distraction to performers and other audience members.

Each individual must be ticketed to enter the theater.

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LONE TREE STAFF LISTINGS Lisa Rigsby Peterson, Executive Director, helped open the Lone Tree Arts Center in 2011 as its first Executive Director. Over her twenty-eight year career in performing arts management, she has been a part of many of Colorado’s leading cultural organizations–including The Denver Center for the Performing Arts, Curious Theatre Company, and PHAMALY; served on multiple arts and cultural boards and committees, and also worked abroad. A Colorado resident since 1975, Lisa is a graduate of the University of Colorado and the Yale School of Drama.

Paul Ackerman, Technical Director, is a native of Long Island, NY. Paul received his degree in Technical Theatre and Design from the University of Virginia. He has worked in Atlanta with The Alliance Theatre/Atlanta Children’s Theatre, Atlanta Ballet, and the Georgia Institute of Technology. Paul joined the team at LTAC prior to its opening in 2011 after serving as the Senior General Manager of Production for Blue Man Group.

Jeannene Bragg, Operations Director, has over 20 years of experience in arts and local government administration in Colorado. Prior to joining the team at LTAC, she served as Director of Artistic Partnerships and Strategic Initiatives at the Colorado Symphony. Jeannene holds a MA in Arts Administration and a BA in Theatre. She is a practicing theatre artist and writer whose work can be seen at The LIDA Project, a meta-media arts collective, in Denver.

Katie Maltais, Marketing Director, joined the Lone Tree Arts Center staff in early 2012.

Before coming to LTAC, Katie worked for the international consulting firm TRG Arts where she was the Manager of Accounts and Services.

She has a broad range of marketing experience, working with such notable organizations as Broadway’s Nederlander Alliances, Center Theatre Group in LA, and the Philadelphia Orchestra.

Allissa Dailey, Events Manager Kathy Denzer, Administrative Assistant Chris Husted, Rental Events Technician Jen Kiser, Assistant Technical Director Katie Konishi, Marketing Assistant David Laird, Assistant Box Office Manager Don Post, Lead Stage Technician Robin Scurto, Development & Marketing Associate Ashley Vander Weg, Box Office Manager Technical Staff: James Bryant, Mallory Hart, Elizabeth Porter, Randy St. Pierre, Rick Thompson Front of House Staff: Melissa Blair, Jean Chavez, Ken Fisher, Bonnie Kobzoff, Jim Murphy, Thaddeus Valdez Bar Staff: Richard Davis, Michelle Hendershott, Andy Frier, Charine Lung, Tianna Saez

5 Things You Didn’t Know About… The Box Office 1. Five of the six had never worked for a theater or in the arts before they came to LTAC. 2. Thaddeus, a Country Dinner Playhouse alum, has been a performer on our stage… twice! (He’s the one with the good voice when you call.)

3. They have cough drops for you – just ask.

4. Ashley used to work for a baseball team and Bonnie is a former Disneyland decorator.

5. They know things you don’t about upcoming shows – just ask and they’ll spill their “secrets.”

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LONE TREE ARTS CENTER

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Helping Lone Tree hit a high note.

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Music can inspire, motivate, and build strong communities—which is why we’re so passionate about supporting it in the places where we

Brian Folkerts Branch Manager Lone Tree 9899 Schwab Way Suite 100 Lone Tree, CO 80124 (720) 895-3416 www.schwab.com/lonetree

do business. For virtuoso-level financial guidance and support, visit Schwab.com or call (720) 895-3416.

Brokerage Products: Not FDIC-Insured • No Bank Guarantee • May Lose Value the Lone Tree Arts Center is not affiliated with Schwab or any of its subsidiaries or affiliates. ©2015 The Charles Schwab Corporation. All rights reserved. CS19752-13 (0414-2423) ADP79340-00 (08/15)

For every stage in life.

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Get a library card

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Register to vote

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Learn to ride a bike

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Set up monthly gifting to LTAC That’s right–you can now elect to give an automatic, no hassle gift to LTAC every month. You designate the amount and give us a credit card and we’ll take care of the rest. Your tax-deductible gift will help us present outstanding professional performances and create memories for thousands of families.

Join us today with a gift of $5, $25, $50, or $105 per month in celebration of our fifth anniversary season!

Call or Click Today 720-509-1000 or www.LoneTreeArtsCenter.org/donate Gifts are tax-deductible to the extent permitted by law.

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LONE TREE ARTS CENTER

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39 Steps, Produced by LTAC in 2015

Presenting...Producing...And Renting...Oh My!

By Paul Ackerman,

LTAC Technical Director Presenting House. Producing House. Rental House. Your Lone Tree Arts Center is all three. What am I talking about? Well, the answer is somewhat technical.

Being the Technical Director, I suppose that is why they asked me to write about it.

Guys and Dolls in Concert, Produced by LTAC in 2014

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L O N E TT R E E A R T S C E N T E R

you want to showcase. When you do that, you become a Producing House. At this point you have committed to making something tangible out of a bunch of ideas. This is a whole different ballgame. The Explorers Club is a show we are producing.

Big River, Produced by LTAC in 2014

This is a show with a finished script and it has been produced before but even so, the reality is that this specific production is being hand-built here in Lone Tree. The script is our blueprint and the previous productions are great for showing one way of how that plan turns out.

Rental is the simplest to describe as it means just what it says; we rent the theater to an outside organization that is putting on a show. When we rent the Arts Center, renters have access to all of our specialized and sophisticated theatrical equipment. Our staff is there to help make the show a success for the rental company from the moment they move in, and there’s a lot of communication to make sure the show runs smoothly.

A Presenting House is an organization that is actively seeking out the shows that it will then present to its audience. This is how the Lone Tree Arts Center was originally conceived and we seek to represent a wide swath of material.

From a technical standpoint, the advantage that presenting offers is that almost every show has been performed somewhere before it comes to Lone Tree. Believe it or not, sometimes getting the show started is the trickiest part of the evening, especially for shows that are here for just one night.

The limitation to the previous two methods I have described is that you are restricted to the shows an outside organization or artist wants to develop. The solution is to create the shows

After selecting the script, months and months of work begin. When we decided that we would produce The Explorers Club, the first order of business was to select a director. In this case, that director is Randal Myler, who has worked with us on several shows in the past. He asked us if we could assemble the same creative team from the last play he directed here, Sylvia. The creative team’s job is to imagine how we would take this script and build it into a physical production. After the team was assembled, schedules were laid out, concepts were floated, auditions were held, sketches and then final designs were approved, and the actual building of the production could finally begin.

Sets and costumes take several weeks. Props are assembled and tested out in rehearsal and continue to be fine-tuned throughout the days onstage before opening night. The acting company was selected following auditions and rehearsed for three weeks before moving onstage for the technical rehearsals. These technical rehearsals are long days and nights when sound and lights get added into the show during the week before opening. It culminates with a Final Dress rehearsal when we run the show as we will for the duration of the performances. You can bet after all this we knew exactly how and when each night’s performance would begin!

As you can see, there is a world of difference between presenting and producing. It must be 10 times more work to produce a show. But the crazy thing is – we look forward to each production with 10 times more excitement. Don’t get me wrong, we love the variety of presenting acts that we bring in, but when you have built the show yourself and sweated all the details, you own that show (and it owns you) in a very special way.

www.LoneTreeArtsCenter.org

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Exploring the Red Planet Courtesy NASA-JPL-Caltech

Passion 8000: Dream of a Lifetime Photo Credit: Ralf Dujmovits

National Geographic Live Tales from Beyond the Pages Who doesn’t remember flipping through a National Geographic magazine as a kid, day-dreaming about the far-off places in the pictures? Now you can look at some of those amazing images and hear the incredible stories behind them, from the people that have actually been to those far-off places. We are so excited to be able to bring the magic of National Geographic to the Lone Tree Arts Center in the 2015-16 season with three National Geographic Live talks.

These explorer talks will give our audiences the chance to travel all over the planet (and beyond), without ever having to leave the comfort of home–or at least the comfort of one of our theater seats! Our first explorer, Kobie Boykins, is a mechanical engineer at NASA’s Jet Propulsion Laboratory who has been involved in both the Mars Exploration Rovers, Spirit and Opportunity, as well as the Mars Science Laboratory, better known as Curiosity. Gerlinde Kaltenbrunner is the world’s first woman to summit all fourteen 8,000-meter peaks without oxygen and you can hear some of her breathtaking (literally!) stories in our second explorer talk. The last talk of the season is with photographer David Doubilet and his underwater partner Jennifer Hayes, who will take you on a journey from Papua New Guinea to Antarctica.

Coral Kingdom and Empires of Ice Courtesy of Jennifer Hayes

National Geographic already enriches the lives of so many people in so many different ways and we are delighted to be able to bring it to our audiences in a way that you’ve probably never seen and heard before. This isn’t like a lecture you struggled to stay awake in during your high school science class. These speakers have engaging stories and are excited to share them, along with the incredible imagery that you would expect from National Geographic.

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The Explorers Club

by Nell Benjamin

October 15-24, 2015

Sponsored by:

Scott Leonhart & Maggie Eichenlaub

Michael Harris & Charlotte Min-Harris

Originally produced on May 28, 2013 by Manhattan Theatre Club (Lynne Meadow, Artistic Director; Barry Grove, Executive Producer) THE EXPLORERS CLUB is presented by special arrangement with Dramatists Play Service, Inc., New York.

ARTISTIC TEAM Director.........................................................Randal Myler

Stage Manager................................................ Lyle Raper*

Costume Designer................................. Kevin Copenhaver

Lighting Designer............................................... Jen Kiser

Scenic Designer..................................... Michael R. Duran

Sound Designer.......................................... Brian Freeland

Properties Designers................. Rob Costigan & Bob Bauer CAST

Sir Humphries.......................................... Colin Alexander*

Professor Walling......................................... Brad Bellamy*

Professor Cope........................................... Rob Costigan* Phyllida/Countess...................................Stephanie Cozart* Lucius......................................................... Sam Gregory*

Professor Sloan........................................... Randy Moore* Luigi............................................. Christopher Joel Onken Percy........................................................... Mark Rubald*

Beebe/Irish Assassin...................................Erik Sandvold*

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

The Director is a member of the State Directors and Choreographers Society, a national theatrical labor union.

Nell Benjamin, playwright, co-wrote the score to Legally Blonde, The Musical with composer Laurence O’Keefe, for which they received Tony Award nominations, Drama Desk nominations and the Olivier Award for Best Musical. Her play The Explorers Club was a commercial and critical hit for Manhattan Theatre Club and received an Edgerton Foundation New American Plays Award, as well as an Alfred P. Sloan Foundation grant.

Nell’s disturbingly free adaptation of Gilbert and Sullivan’s The Pirates of Penzance, called Pirates! (Or Gilbert and Sullivan Punder’d) ran at the Goodspeed Opera House, the Paper Mill Playhouse, the Huntington Theater and the St. Louis MUNY. She is currently working on an adaptation of the movie “Dave” with Thomas Meehan and Tom Kitt, “Gotta Dance” with Bob Martin, Chad Beguelin and Matt Sklar, and “Mean Girls” with Jeff Richmond and Tina Fey. Nell’s work for television includes the last and weirdest season of “Unhappily Ever After,” Animal Planet’s “Whoa! Sunday with Mo Rocca,” and the new “Electric Company.”

Nell received the 2003 Kleban Foundation Award for lyrics and a 2003 Jonathan Larson Foundation Grant.

Randal Myler, Director, is one of Lone Tree’s favorite directors, leading the highly successful runs of Big River, Sylvia, Hank Williams: Lost Highway, and John Denver Holiday Concert.

He received a Tony Award nomination (Best Musical/Best Book of a Musical) and a Drama Desk nomination (Best Musical Revue) for It Ain’t Nothin’ But the Blues, which he staged at both NYC’s Lincoln Center and Broadway’s Ambassador Theatre. Love, Janis, Randy’s musical biography of Janis Joplin, reached over 700 performances at the former Village Gate, while his highly-successful musical Hank Williams: Lost Highway has been performed both Off-Broadway (garnering him a ‘Best Director’ nomination from the Outer Critic’s Circle) and throughout the United States, as has his coal mining musical (co-written with Dan Wheetman) Fire On The Mountain, which received five Joseph Jefferson Awards in Chicago. His many regional directorial credits also include both the Kennedy Center and the Arena Stage in Washington D.C., both the Mark Taper Forum and the Geffen Playhouse in Los Angeles, the Grand Ole Opry in Nashville, Arizona Theater Company, Denver Center, Dallas Theater Center, Houston’s Alley Theater, Seattle Repertory Theater, Actor’s Theatre of Louisville, San Diego’s Old Globe Theater, Alabama Shakespeare Festival, Cincinnati Playhouse, Chicago’s Royal George, Northlight Theater and many others.

Lyle Raper, Stage Manager, is returning to LTAC after working on Hank Williams: Lost Highway in 2013. She served as production stage manager for the Denver Center Theatre Company from 1983 through 2010. Prior theatres include Berkeley Rep, Oregon Shakespeare Festival, Lizard Head Theatre, Shakespeare in Santa Fe and the Pacific Conservatory of the Performing Arts. She has enjoyed touring productions both nationally and internationally along with teaching at DU.

Kevin Copenhaver, is returning to LTAC after designing for Sylvia in 2013. After 24 seasons with Denver Center Theatre Company, some of his proudest work includes: Lord of the Flies, Animal Crackers, Just Like Us, Ring of Fire: The Music of Johnny Cash, The Whale, Dracula, Mama Hated Diesels, A Christmas Carol, Noises Off, A Funny Thing…Forum, Living Out, Crowns, Fire on the Mountain, Boston Marriage, Oedipus Rex, Dirty Story, Blithe Spirit, Lobby Hero, Blue/ Orange, Almost Heaven, Scapin, The Miser, Jesus Hates Me, Bernice/ Butterfly, Pierre, Inna Beginning, Elevation of Thieves, Servant of Two Masters, Tantalus. Kevin recently did the millinery work for Broadway’s Dr. Zhivago and has a wealth of experience throughout the US. Kevin holds a BA in Theatre Design from University of Cincinnati College Conservatory of Music.

Jen Kiser, Lighting Designer, is also the Assistant Technical Director at LTAC. Previous designs have been seen at Goodspeed Musicals (Meet John Doe; Caraboo, Princess of Javasu and others), Hartford’s TheaterWorks (Fully Committed), Wadsworth Atheneum (Sister Mozart with Haley Mills), Lone Tree Arts Center (39 Steps, Guys and Dolls in Concert, Big River; South Pacific in Concert; Bunnicula; Home for the Holidays; Sylvia; Hank Williams: Lost Highway; John Denver Holiday Concert; Alexander and the Terrible… Day and others), Arvada Center (How I Became a Pirate), Mizel Center (The Value of Names). She has worked for the Guggenheim Museum, and assisted designers at venues including Papermill Playhouse, Carnegie Hall, Lincoln Center Festival, and on Broadway’s By Jeeves.

Michael Duran, Scenic Designer, is a native of Denver and has worked as an actor, stage manager, scenic designer, playwright and director in theatre and film for over forty years here and across the country. Michael’s designs were recently seen in 39 Steps, Home for the Holidays, Big River, Sylvia and Bunnicula at LTAC. As scenic designer, Michael has designed scenery for every major and community theater in the Denver metro area as well as three national tours. Michael served as the resident designer for the Helen Bonfils Theater, Steamboat Repertory Theatre, Stagewest, Backstage Theatre, Creede Repertory Theatre and The Shadow Theatre Company. His work has also been featured at The Avenue Theatre, Curious Theatre Company, Aurora Fox Theatre, The University of Denver and the University of Colorado.

Brian Freeland, Sound Designer, has designed sounds and projections regionally for Curious Theatre Company, The Denver Center Theatre Company, Town Hall Arts Center, The Aurora Fox, and The Catamounts. He makes his return to the Lone Tree Arts Center after his previous sound design work on 39 Steps, Sylvia, and Bunnicula. He is a 10 time Henry Award nominee, 14 time Ovation/True West Award nominee and Westword Mastermind Award recipient for his sound work. He is a founding member and Artistic Director for The LIDA Project a media-based theatre company based in New York. Brian received his education from the University of Colorado at Denver and The American Musical and Dramatic Academy.

Rob Costigan & Bob Bauer, Properties Designers, are the owners and creative force behind PROPabilities. Their work can also be currently seen in Bright Ideas and Baby with the Bathwater at Avenue Theater. Credits include 39 Steps, Guys and Dolls in Concert, Big River, The Clean House, How to Succeed in Business Without Really Trying, Peter Pan, Bunnicula, The Complete World of Sports (Abridged), 9 - 5 the Musical, The Wizard of Oz, Little Shop of Horrors, and Always, Patsy Cline.

Colin Alexander, Sir Humphries, is a longtime Denver favorite. Past performances include: Nicely-Nicely in Guys and Dolls in Concert (LTAC); A Christmas Carol (Denver Center); Tarzan, Mousetrap, Curtains, Miracle on 34th Street, Chess, Importance of Being Earnest, (Arvada Center); Scarlet Letter (PACE Theater); 1776 the Musical (Fine Arts Center); Sweet River County (National Tour); Marriage of Figaro, Merry Widow, Elijah (London). TV/Film: Emmy-nominated The Hiding Place. Awards: Henry Award, True West, Marlowe Award.

Silver Angel Trophy Winner for The Mark. Colin trained at the Guildhall School of Music and Drama in London, U.K. Brad Bellamy, Professor Walling, is a member The Ensemble Studio Theatre and was formerly an artist in residence at Manhattan Punch Line.

Brad’s most recent New York appearances were in the Off-Broadway productions of March Madness, Alphabetical Order and the Drama Desk nominated So Help Me God. He played Stefano in the 400th anniversary production of The Tempest.

Regional credits include Actors Theatre of Louisville, Atlanta’s Alliance, Cleveland Play House, Dallas Theatre Center, Denver Center, Long Wharf, and Pittsburgh Public among others. His film appearances include Ira and Abby, Burning Point, Tied to a Chair, The Adventures of Arthur Conan Doyle and A Kiss for Jed Wood. On television he’s been seen as the special musical guest in ABC’s “On the Edge”, with Rodney Dangerfield in “It’s Not Easy Being Me”, “30 Rock”, “Law & Order SVU”, “Conviction”, and in commercials for AARP, Snickers, Sprint, Wendy’s, and many others.

Rob Costigan, Professor Cope, was seen last season as Benny Southstreet in Guys and Dolls in Concert. Other LTAC roles include Lafe/ Young Fool in Big River and Stewpot in South Pacific in Concert. He has performed in thirty productions at The Arvada Center, including The Man of La Mancha, Ragtime, Hairspray, Joseph and the Amazing Technicolor Dreamcoat, Big River, Victor Victoria, Broadway Bound, and The 1940’s Radio Hour. Other local credits include Xanadu and The Wedding Singer (The Aurora Fox), Singin’ in the Rain, Beauty and the Beast, State Fair, 42nd Street, Hello, Dolly!, and Gypsy (Country Dinner Playhouse). He has received a Denver Drama Critic’s Circle Award for Best Supporting Actor in a Musical and most recently a Henry Award nomination in the same category.

Stephanie Cozart, Phyllida/Countess, makes her Lone Tree debut. Denver Center: over 25 productions, including Arcadia, Sylvia, Plainsong, Amadeus, A Christmas Carol, and The Miser. Off-Broadway: Lost in Yonkers (TACT) and Seven Rabbits on a Pole (Urban Stages). She performed The Syringa Tree at Portland Stage, Cincinnati Playhouse, Repertory Theatre of St. Louis, Capital Rep, and Lizard Head (in Telluride). Other credits: As You Like It and All My Sons (Actors Theatre of Louisville), Doubt (Virginia Stage), You Can’t Take It With You (Cincinnati Playhouse and Repertory Theatre of St. Louis), The Crucible (Cincinnati Playhouse and Rep Theatre St. Louis), An Ideal Husband (Paper Mill Playhouse), as well as Barrington Stage, Laguna Playhouse, Alabama Shakespeare Festival, Adirondack Theatre Festival. Film/TV credits: “Reflection”, “The Good Wife”, and “Law and Order: SVU”. MFA: The National Theatre Conservatory. Stephanie is a recipient of two Denver Drama Critic Circle Awards.

Sam Gregory, Lucius, makes his LTAC debut.

He has appeared in over 40 productions at the Denver Center for the Performing Arts Theater Company, where he received multiple acting awards including the 2006, 2009, 2011 and 2013 awards for “Best Season for an Actor” in the Denver Post and Westword. His regional credits include the Alabama, California and Colorado Shakespeare festivals, Seattle Repertory, Milwaukee Repertory, Cleveland Playhouse, San Jose Repertory, American Players Theater, Eureka Theater, George Street Playhouse, Northern Stage, the O’Neill Theater Center and most recently the Cincinnati Playhouse in the Park. His TV credits include “NY Undercover,” “One Life to Live” and “As the World Turns.”

Christopher Joel Onken, Luigi, was last seen in Colorado as Rapunzel’s Prince/Florinda in Into the Woods, Richard Hannay in The 39 Steps, Arles Struvie in Greater Tuna, and Henry Higgins in My Fair Lady. He has worked professionally in Colorado, Iowa, Tennessee, Florida, and South Carolina, in productions such as Les Miserables, Clybourne Park, Cabaret, The Merchant of Venice, and To Kill a Mockingbird.

Favorite roles include Ken in Red, Leo in 4000 Miles, Clifford Anderson in Deathtrap, Tripp in Other Desert Cities, Orpheus in Eurydice, as well as title characters in Romeo and Juliet and The Elephant Man. He is a proud Clemson University graduate and Associate Company Member of Saltbox Theatre Collective in Chicago.

Randy Moore, Professor Sloan, was a member of the acting company of the Dallas Theater Center from 19611994. Among his over 200 roles there, favorites include Cyrano de Bergerac, Marc Anthony (Julius Caesar), Prospero (The Tempest), Salieri (Amadeus), Norman (The Dresser), Dysart (Equus), and Col Kincaid (The Texas Trilogy). A company member at the Denver Center Theater since 1995, his roles there have included Grandpa (You Can’t Take It With You), Argan (The Imaginary Invalid), Harpagon (The Miser), Scrooge (Christmas Carol), and Polonius (Hamlet). LTAC audiences will recognize him from his roles in Big River, Sylvia, and Hank Williams: Lost Highway. Other regional theaters include The Alley, Old Globe, Baltimore Center Stage, and Curious Theatre.

Mark Rubald, Percy, was last seen at LTAC as Pap/King in Big River; he was also seen in South Pacific in Concert, Dirty Rotten Scoundrels and Ragtime. Arvada Center: Best Little Whorehouse in Texas (Sheriff Ed Earl), La Cage Aux Folles (Dindon), Of Mice And Men (Slim), Man Of La Mancha (Governor), Man For All Seasons (Common Man), and Dividing The Estate (Lewis Gordon). Denver Center: Dinner With Friends (Gabe), Servant of Two Masters (Truffaldino), Comedy Of Errors (both Dromios), John Brown’s Body (Elyat/Wingate), and Man Of The Moment (Douglas Beechey). Old Globe: Taming Of The Shrew (Biondello). Central City Opera: West Side Story (Schrank).

Erik Sandvold, Beebe/Irish Assassin, is an alum of Northwestern University and has performed frequently with Colorado’s leading theater companies. LTAC patrons will recognize him from Big River in 2014.

Denver Center Theatre Company: Death of a Salesman, When We Are Married, Well, Plainsong, Diary of Anne Frank, Pillowman, Flea in Her Ear, A Christmas Carol, The Skin of Our Teeth; Arvada Center: A Man of No Importance, Moonlight and Magnolias, Arsenic

and Old Lace, 1940’s Radio Hour; Colorado Shakespeare Festival: Romeo & Juliet, Twelfth Night, The Rivals; Curious Theatre: Lucky Me (Westword Best Of - Best Actor in a Comedy), God of Carnage, Rancho Mirage, Clybourne Park, Homebody/Kabul, Opus, Rabbit Hole, Fuddy Meers, Closer, Take Me Out (Denver Post Ovation Award – Best Performance by an Actor in a Comedic Role), I Am My Own Wife (Ovation Award – Best Solo Performance). Erik performed the new, one-actor musical BUBS (Ovation Award – Best Solo Performance) at FringeNYC and has won two national Alexander Scourby Narrator of the Year Awards.

The View Magazine is produced for the Lone Tree Arts Center by The Publishing House, Westminster, CO. For advertising information, please call 303.428.9529 or e-mail sales@pub-house.com • ColoradoArtsPubs.com

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KEVIN COPENHAVER

If you’ve been to a show at the Denver Center in the last 25 years, chances are you’ve seen the work of Kevin Copenhaver. Costume Designer and manager of the craft shop (where they make wigs, hats, and accessories), Kevin has had his hands in a lot of productions with that company.

The Explorers Club marks his second production at LTAC (he designed Sylvia in 2013).

As a kid (and even now), Kevin loved to play dress-up. Whether making capes to become a superhero or transforming into a monster, young Kevin was creative and ambitious when it came to his designs. His mom taught him how to make a pattern and how to sew and Kevin credits her with fostering his craft from a young age.

In third grade, Kevin was to play the Cowardly Lion in The Wizard of Oz and he had big plans for his costume. But while he was at school, his mom created a costume from a quilted animal print fabric and used orange feathers to make a mane. Kevin was “furious!” and has since ensured he is very clear with his design and execution expectations.

The Cincinnati native hopped across the country after college, working for Washington Opera, Utah Shakespeare Festival, and others before landing in Denver. Still today, Kevin takes design jobs and specialty projects from theaters across the US, saying, “You’ve got to spread yourself around.” One of Kevin’s latest jobs was designing and building hats for Broadway’s Doctor Zhivago.

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Kevin is looking forward to The Explorers Club for a number of reasons, not the least of which is his love of make-up and wig design. With one actor meant to have blue skin, the possibilities are truly endless and Kevin is looking forward to seeing his initial designs come to fruition. Because the show is a period piece, but also a comedy, Director Randal Myler has set the designers free to explore ways to lampoon the style of the day and provide a bit of “visual flavor” within the overall vision.

From reading the script several times, to designing, to pulling pieces and building them, Kevin says, “It’s a process.” A long way from the dress-up he played as a child, a good bit of Kevin’s job is figuring out the logistics of a show and making sure the actors can move and create their characters. So whether that means getting an actress into her corset on the very first day of rehearsal or making sure everyone has appropriate undergarments and socks, Kevin’s job isn’t only about what you see, but also what you don’t.

Catch Kevin’s designs in The Explorers Club October 15-24, Tickets on sale now.

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Tribute to Buddy Rich Jan 24, 2016 – 2pm Lone Tree Arts Center - Lone Tree, CO lonetreeartscenter.org Big Band Classics at the PACE Center Apr 16, 2016 – 7:30 pm Parker Arts Cultural and Education Center (PACE) parkerarts.org

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Saturday, October 31 at 8:00 pm “Playing so many different icons is the best of all worlds. It’s easy to pick good songs when you have so much to choose from.

It’s about celebrating the music, not just portraying the icon or doing a tribute.”

Rock star Billy McGuigan has produced and been the front-man for 3 national hit shows, not including starring in the national touring production of Buddy: The Buddy Holly Story. Since bursting onto the music scene as Buddy Holly, Billy has expanded his talents to include several other famous rock icons including Elvis Presley and John Lennon. His shows take audiences back to a time when rock was more than a genre, it was true expression. That’s what Billy’s shows are all about, celebrating and sharing the music that he loves.

Billy and his brothers Matthew and Ryan are Air Force brats, meaning they spent their childhoods moving frequently and living in base housing.

When their father would come home from Duty,

he would share his love for music, especially the Beatles. These memories have stuck with Billy throughout his life and are what drive him to share his talent and love for music with the world. He got his first big break shortly after seeing a West End production of Buddy: The Buddy Holly Story. While watching the show he leaned over to tell Rachelle (his wife), “If this show ever hits Omaha, I’d do it in a heartbeat.” A few months after seeing the show in London, Billy got his wish.

Over the course of his career, McGuigan has had the opportunity to travel the country and spread the nostalgia. As a man that plays dozens of legends flawlessly, there are two that elude Billy in voice and looks: Michael Jackson and Frank Sinatra. “They are both such dynamic performers that would grab the mic and take over the room.”

Although Billy hasn’t yet attempted to portray either of those two icons, he shares the ability to take over a room and inspire a crowd. All of his shows include audience requests in some capacity or another and Billy says, “The request portion of the shows are for me and the guys onstage as much as for the audiences. It keeps me from getting bored from doing the same sets and keeps the audience’s energy at a high level.”

In an era filled with auto-tuned voices and strict set lists, Billy takes pride in the high quality of music he and his band produce.

Billy now spends over 45 weeks per year onstage and performs all over the US and Canada for hundreds of thousands of fans. Billy loves every minute that he spends performing, but he also enjoys his downtime. When he isn’t performing for crowds of people, he spends his time with his family. As much fun as he has onstage rocking audiences all over the country, he admits he sometimes wishes there was more time “to just sit and play Legos with my seven year old son.”

It’s this attitude and charisma that allows Billy to continue to stay grounded and continue to be a modern day rock star.

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Collaboration is the Key If you’ve been to the Arts Center often or have seen our list of events, you probably know we’re a very collaborative organization. We are “friends” with a lot of other groups here in the metro area.

Colorado Symphony, Colorado Ballet, Wonderbound, Arvada Center, Buntport Theatre, Boulder Philharmonic Orchestra, and more have all performed here (or will this season) as our partners. What else do all these groups have in common? We’re all a part of the SCFD Family.

The SCFD (Scientific and Cultural Facilities District) is one of the unique attributes of the Denver cultural scene and a key reason we have such a rich and vibrant cultural landscape. Every time you spend $10 in the seven county area of metro Denver (Adams, Arapahoe, Boulder, Broomfield, Denver, Douglas, Jefferson), one penny goes into a fund which is then distributed by the SCFD to over 300 organizations annually. Since its inception in 1989, the SCFD has served a mission that enlightens and entertains the public.

The SCFD has been in existence since 1989, when voters chose to make culture, arts, and science a priority by investing in the organizations that serve those missions. Each year, the SCFD distributes approximately $40 million, and in the process has elevated Denver to a world class cultural center. You have probably noticed the wealth of things to do in Denver; with so many choices, it’s impossible to take in all the organizations, festivals, and events this area has to offer.

Along with our colleagues in the cultural industry, we are grateful for the continued support and impact of the SCFD. Collaborations like those that are a hallmark of LTAC’s programming are a huge part of what makes SCFD’s work in Denver so unique. Collaborations are found at every turn and it is SCFD that inspires and instills that spirit into our cultural organizations.

We hope you and your friends come see our friends as they tackle the LTAC stage this season.

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Over a third of RidgeGate’s acreage is dedicated to open space, parks, trails and preserved land. The community offers a healthy blend of residential neighborhoods and retail villages, office districts, corporate campuses and cultural amenities, including the world-class Lone Tree Arts Center and a brand new Douglas County Library now under construction. RidgeGate regularly sponsors community events ranging from concerts and festivals, to nature hikes and yoga in the park.

The vibrancy of RidgeGate is growing, with the new building of state-of-the-art single-family homes, townhomes, senior living, and luxury apartment living. The commercial districts are expanding with new retailers and employment headquarters. In fact, more than 3,000 residents and over 5,000 workers are part of the daily rhythm of life in RidgeGate. The community is connected to the greater metro area via Lincoln Station with additional light rail access planned.

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PARTNERS & SUPPORTERS This list includes donors to the Lone Tree Arts Center from July 1, 2014 to August 1, 2015. If we have inadvertently omitted your name, please contact us at 720-509-1009 so that we can correct our listings.

Thank you for your support.

$20,000+ • Scientific and Cultural Facilities District

$10,000-$19,999 • Andrews Winslow Foundation • Bellco Credit Union • Century Communities, Inc. • Charles Schwab • Colorado Creative Industries • Lone Tree Arts Center Guild

• Scott Leonhart and Maggie Eichenlaub • Martin Fein Interests, Ltd. • Park Meadows Business Improvement District • Sky Ridge Medical Center • Wilks Broadcasting • Betty A. and Don E. Winslow • = core support • = children support • = programming support • = corporate circle support • = senior support • = sensory friendly support Doktor Kaboom

Big River, 2014

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PARTNERS & SUPPORTERS $5,000-$9,999

• Berkeley Homes and Harvard Communities • Linda Bjelland • CliftonLarsonAllen LLP • D.A. Davidson Fixed Income Capital Markets • The Denver Foundation - Arts Affinity Group • Developmental Pathways • HEI Civil • Janet and Joel Kaufman • MorningStar Senior Living • Ralph and Trish Nagel • New Town Builders • RidgeGate • Vi at Highlands Ranch

$2,500-$4,999 • Douglas County

Developmental Disabilities Mill Levy Grant

• Michael R. Harris and Charlotte Min-Harris • McGeady Sisneros • Merrick & Company • The Tappan Foundation

$1,000-$2,499 • Carol and Bob Adelstein • Anonymous • Theora Favre • FirstBank • Sheryl and Andy Gurrentz • Peter and Virginia Loeffler

• Rod and Marilyn Nielsen • Betsy Schutte

• M.J. “Mel” and Virginia Semrad • Paul and Susan Squyer

• Western States Arts Federation (WESTAF)

$500-$999 • Banko Family Fund

(a donor advised fund of The Denver Foundation)

• Wes and Terry Colburn • Seth and Sara Hoffman and Family • Sheila and Paul Shepherd • Charles and Brenda Vitaska • Whole Foods Market • James and Barbara Wightman

$250-$499 • Harold and Ada Anderson • Anonymous • Dr. Delfina Ashley-Baisden • Jim and Tabby Briggs

• Marilyn and George Dockery • Judy K. Hall • Jim Harvey and Bob Greene • David and Bobbie Marfitano

• Norman C. and Florence R. Miller • Hurley and Claire Mitchell • Leslie and Jeff Modesitt • Lisa Rigsby Peterson • Robin and Chris Scurto • Richard J. and Gayle M. Spelts • Ken Waugh

• = core support • = children support • = programming support • = corporate circle support • = senior support • = sensory friendly support

www.LoneTreeArtsCenter.org

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PARTNERS & SUPPORTERS $100-$249 • Barry Blackman • Jeannene Bragg • Thomas Butler • Vincent Calarco

• Shirley and Roland Calhoun • Linda and Fernando Castaneda • Katy Dole • Philip Eves • Don and Audrey Fisher • Don and Susan Hicks • Dennis and Margaret Holman • Vic and Lydia Jacobs • Dr. Weston Johnson • Betty W. Kelley • Michelle Konishi • Tom and Doris Larson • Bruce and Mary Lou Laubach • Kim Laudenslager • Mary M. Mathews • Alicia McCommons and Craig Johnson • Becky Narlinger • Hannelore Rimlinger • Carolyn Samuels • Keith and Victoria Simon • Susan and Bill Smith • Melvin Stolzenburg and Rosemarie Martinez • Roland and Debra Stubblefield • In Memory of Lee VanRamshorst • Leon and Alla Veremeychik • Rita Walensa • Clarence and Eva Williams • = core support • = children support • = programming support • = corporate circle support • = senior support • = sensory friendly support 36

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Theater Trivia What is a quick change?

a) A particularly fast change of set pieces between scenes b) The transition from one show to another at a repertory theater c) A particularly fast costume change d) A refocus of moving lights between light cues ANSWER: c) It is very common for performers to have to change costumes, or even characters between or during scenes. Sometimes, the actors have very little time to make this change and get back onstage for their next cues. A quick change is typically one in which the actor does not have time to return to the dressing rooms to change costumes. Sometimes changes are so fast, they require the help of one or more dressers, or wardrobe personnel. If you saw our production of The 39 Steps, you can imagine the number of quick changes it took for three of our actors to transform into hundreds of different characters over the course of the show!

What do we do with gel? a) It is a way to color light b) It is a dye added to paint for scenery c) It is used in stage designs that incorporate water d) It is a component of stage makeup ANSWER: a) A colored filter, or gel, is placed in a frame in front of the lens of a light fixture.

There is a long history of coloring stage lights, beginning hundreds of years ago when colored water, silk, or even red wine was placed in front of light sources. Colored gel for stage lights was invented in the 1870s, and was indeed made of gelatin. In modern theater, gel is actually a very thin sheet of polycarbonate or polyester that is available in hundreds of different colors. These 38

LONE TREE ARTS CENTER

products began to come on the market in the 1950s, but the old name stuck. Most theaters transitioned to the new materials quickly, but some had stocks of old gelatin hanging around for decades…a common trick to play on young electricians was to ask them to wash the old gel—which would promptly dissolve in their hands!

As technology has advanced in our society, so has it advanced in the theater. When was the first computerized lighting system introduced, and for what Broadway show? a) Pippin, (1973) b) A Chorus Line, (1975) c) Sweeney Todd, (1979) d) My Fair Lady (revival) (1981) ANSWER: b) A Chorus Line, 1975. The lighting designer for this production was the accomplished Tharon Musser, who won a Tony Award for her design. The lighting console was EDI’s LS-8. The advent of computerized lighting opened the door for a myriad of artistic and technical advancements. Some of the most significant: previously, it took numerous electricians to manually control individual resistance dimmers to create light cues—with the computer, only one electrician was needed to run a show. The inclusion of computer memory meant that light cues could be recorded and played back the exact same way for every performance, rather than relying on human memory, dexterity, and written notes to recreate each cue. At LTAC, we have an advanced lighting system that is an industry standard. It is of course much more complex than its 1975 predecessor, but many of the concepts for designing and programming have remained largely the same.

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